Matt Lipps, Kadar Brock, and Karl Wirsum: Fantasy Shopping at NADA in Miami

Hey, we’ve got an unlimited fictional bank account and some blank walls to fill in our brand-new Tribeca penthouse. Thanks to Artsy, we can now browse most of the offerings for the NADA fair in Miami early, ensuring that once the preview hours begin, we’ll know exactly where to head for the best deals. Let’s get shopping…

Chris Bradley (Thomas Campbell Gallery): I love Bradley’s ‘totems’ – strands of trinkets hanging from the wall – and this young sculptor’s illusionistic handling of materials (he once crafted a potato chip out of metal).

Despina Stokou and Karl Wirsum (Derek Eller Gallery): Stokou is a Berlin-based artist whose mixed-media paintings cram an overload of language onto the picture plane; Wirsum is part of the Hairy Who cadre. Presenting both artists together, this gallery’s NADA booth guarantees to be a cross-generational serving of irreverent awesomeness.

Matt Lipps (Jessica Silverman Gallery): I’ve always loved Lipps’s photos, which are constructed by staging little collaged vignettes in the studio. This latest body of work takes his own aesthetic and throws in a bit of Carol Bove’s things-arrayed-on-a-shelf style. (And hey, if you’re building a collection according to a very specific theme, why not pick up David Korty’s Blue Shelf #15 over at Night Gallery’s booth?


Kadar Brock (The Hole): Painting-as-sculpture-as-mixed-media-explosion…This Brock piece looks like a city street in the aftermath of a war, followed by a celebratory post-war parade, with lots of confetti. Process-based abstraction gets a slightly longer lease on life.

Robert Moskowitz (Kerry Schuss): I had no idea who Moskowitz was until I started prowling through this NADA preview. (Thanks, Artsy!) According to his Wikipedia profile, I’m not alone in not knowing who he is. I’d like to make up for that oversight by asking someone to buy me this totally weird, totally perfect painting.

Richard Kern (Feature, Inc.): I’m not sure if I’d be able to deal with this on my own wall, but the double-vision nude portrait of Angela Pham – the most self-obsessed of all the self-obsessed Gallery Girls – is something to behold, however queasily.

Jamian Juliano-Villani: I’ve previously written about this young painter’s tangential affinity with Mike Kelley. She’s got several works in this gallery’s booth in the fair’s ‘Projects’ section, and they’re all “affordable,” by the punch-drunk standards of the art world.

Main image: Jamian Juliano-Villani

Ryan Schneider, Kristen Schiele, and Other New York Artists Support Typhoon Haiyan Relief

If you’re not headed down to Miami this week, you can still buy art – and in this case, for a very good cause. A cadre of New York-based artists have joined together for a Paddle8-hosted auction to raise funds for NAFCON and the Typhoon Haiyan relief effort. Participating artists include Aaron Johnson (who I previously spoke to about his ‘sock paintings’), Ryan Schneider, Duke Reilly, Noah Becker, Kadar Brock, Andy Cross, Alison Elizabeth Taylor (that’s her Scratch pictured here), Emily Noelle Lambert, Kristen Schiele, and many others. (Full disclosure: I’ve got a little painting in there as well. The starting bid is equivalent to your monthly cell phone bill. Just sayin’…)

Bidding is open online from today through December 13. All works will be exhibited at the Lodge Gallery (131 Chrystie Street), from December 6th through 10th.

Different Damage: Kadar Brock’s Abstraction

Kadar Brock’s debut solo exhibition, on view at the Hole, features abstract paintings that are the result of buffing surfaces, scraping, collecting, and repurposing stray materials. They’re beautifully damaged objects, full of vibrant detail. In addition to his signature large-scale pieces—created by sanding down surfaces marked with flashe, oil, acrylic, house paint, and spray paint—this suite of new works includes ones constructed from studio leftovers and debris, arranged on canvas like so much colorful confetti.

“They’re pretty randomized,” Brock told me. “The material is from all the paint chips I’ve culled while deconstructing the sanded works—those gestures and brushstrokes are entirely de- and re-contexualized.” This sort of artful recycling is also apparent in a medium-sized work, equal parts sculpture and painting, entitled residuumii. “As I work on the larger pieces I collect the dust that’s sanded off of them, and then cast it into a slab of Hydrocal,” he explains.
“It’s another reconstituted painting: Same basic materials, different configuration. I like these ritual processes that turn around my relationship to mark-making—and how info is inherently, like an aura, maintained in paintings after that turnaround.” Brock’s exhibition is on view in conjunction with one by Kaspar Sonne, featuring paintings that look like they’ve been burned and dynamited off their stretcher bars.
Does he, I wondered, feel like he’s part of some new generation of painters, pushing the medium forward by destroying it? “I see it as we’re setting up rituals and actions that make painting the result of something almost performative,” he surmises, “but not in some genius-arena-autonomous way; more in a ‘labor labor every day’ kind of way.”