Armory Show 2014: 11 Installations to See This Weekend

NEW YORK—Part of the appeal of the Armory Show and the countless other art fairs that have sprouted up in recent years—whether their focus is blue-chip fine art or emerging artists and independent galleries—is the spectacle factor. Live performance art and grand installations intrigue visitors season after season.

You could use the installations as sign posts to navigate the show. Scale and innovative use (or reuse) of materials are usually at play, along with considerations such as light, gravity, balance and composition to create works that complement, and in some cases help define, an artist’s practice.

The following is a selection of 11 compelling works, a great majority of them suspended in air like “NGC 5457,” 2014 (metal, iridescent acrylic, polyester, nylon monofilament, stainless steel thread, adhesive) by Tomas Saraceno (shown above) at Andersen’s Contemporary of Denmark.

All photos © Arts Observer

This vertical sculpture composed of assembled scrap wood in various hues of green and tan is complemented by a trio of similar structures at the entrance to the Armory Show near the bar/lounge area.

“Cloud Prototype No. 2,” 2006 by Inigo Manglano-Ovalle at Galerie Thomas Schulte of Berlin.

“Body Web I,” 2008 (forged ball bearings) by Antony Gormley at Sean Kelly Gallery of New York.

Detail of “Body Work I.”

“Obituary Note,” 2013 (burnt wood and bronze) by Tallur L.N. at Jack Shainman Gallery.

“White Speech Bubble III,” 2012 (polyester varnish clear coated) by Jurgen Drescher at Mai 36 Galerie of Zurich.

“Oyster #5,” 2013-14 (wood galvanized steel, flashe on panel, fabric on panel, silver and gesso on panel, framed type c paint, oil on canvas, enamel on aluminum, oiled wood, various fasteners) by Michelle Grabner and Brad Killam at James Cohan Gallery of New York.

Grabner is a co-creator of the 2014 Whitney Biennial. The Chicago Tribune spoke to her about the “highest-profile job of her career.”

The reverse of “Oyster #5” shows the remnants and textured of the steel garbage cans from which it was constructed.

“Behemoth,” 2012 (virgin cork and pure pigment) Jason Martin at Galerie Forsblom of Helsinki.

“Merrivale Circle,” 1994 (approximately 57 granite stones) by Richard Long at Lisson Gallery of the UK.

Detail of “Soundsuit,” 2014 (mixed media including fabric, buttons, antique sifter, and wire) by Nick Cave at Jack Shainman Gallery.

“Distant Cousin,” 2008 (stainless steel; version 1) by Tony Cragg at Galerie Thaddaeus Ropac of Paris. In the background, from left, works by Andy Warhol and George Baselitz.

Post Your Thoughts