Politics take center stage at the New Art Dealers Alliance in New York

Opening just days after Supreme Court majority draft opinion to be overturned leaked Roe vs. Wade, and amid an unjustified Russian-led war in Ukraine, New Art Dealers Alliance, a non-profit organization that operates year-round to support its member galleries and the art community at large, returns for the 8th edition of its New York Fair. The event showcases a poignant array of artwork and design that evokes a resilience particularly honed in these current contexts.

In I talk about everything, a remarkable work in the series by Sri Lankan-Canadian artist Rajni Perera presented with Toronto gallery Patel Brown, a figure of a crouching woman facing the viewer. Presented on a marbled and hand-dyed textile, decorated with stones and hand-beaded ornaments, a leopard is depicted resting above the woman. Referring to diasporic narratives throughout her work, Perera also elicits the protection of the universal and primordial female body.

Patel Brown’s NADA facility.

Odessa Straub’s sculptural installation at the September Gallery offers an equally powerful commentary: alluding to bodily autonomy, each assemblage on display is made from repurposed pieces of her own clothing or other upcycled ephemera and contains a self-sufficient plant in its form. In their grotesqueness and beauty, Straub’s works parallel the vital nature of the body, while reaffirming the vigorous and autonomous action of form.

suspended installation with water
Odessa Straub, Foster freedom from dirt (thong༄ƃuoɥʇ)2019. Photograph courtesy of September Gallery.

Lazy Mike, a Moscow-based gallery, presents a wall of artwork prints on utilitarian paper – facsimiles of works by Russian and Ukrainian artists whose delivery times have been prohibitively delayed in because of the impacts of war. If not predominantly Spartan, the strongest presence in the exhibition is through its absences.

The presentation at Voloshyn, a Kyiv-based gallery, is also inevitably written against the backdrop of the war. It features works by Ukrainian artists, including experimental paintings by Lesia Khomenko (also exhibited at the Venice Biennale). Depicting ordinary and local Ukrainian citizens, Khomenko’s paintings are life-size portraits on bi-flex, a synthetic material whose elasticity she sometimes uses to her advantage to stretch and distort the subject, their humanity nonetheless intact through the resounding intimacy of the form of the portrait.

Artwork by Lesia Khomenko 2016 from the series “Author’s copy”.

Other highlights of the fair include the Swivel Gallery’s presentation of artist Walter Cruz, exhibiting a multimedia series of painted wall sculptures wrapped in a knotted rope, suggesting both physical captivity and freedom of expression. ; paintings by Adrienne Elise Tarver, including Eclipse, which grants visibility to the often untold narratives of the work of enslaved women on plantations in indoor, domestic settings; a display of wild, frantic, color-saturated paintings by Julia Jo at Charles Moffet (whose complete series sold out within the first hour of the fair); Proyecto NASAL’s exhibition of funky woodchips and tempura by Ecuadorian artist Pablo Andino, which are treated like canvases and painted with patterns of body parts that invite touch against the curious texture of “tempura”; and La Mama Galleria’s presentation of prolific textile artist-designer Liz Collins, whose unusually monotonous series of hand-woven works reflect their inspiration – a ferocious, if meditative, blizzard that persisted for the duration of the completion of the series.

In addition to a series of engaging programs throughout the weekend, NADA’s 120 galleries, art spaces and nonprofit organizations represent not only the 18 countries they cover geographically, but also a punch in the gut of some of our hottest political topics. plagues, delivering a collective sense of hope in the same stroke.

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