Christie’s Sale Gives Armory Dealers Hope

Aleksandra Mir, Plane Landing in Paris
Aleksandra Mir, Plane Landing in Paris

The Armory Show is America’s leading fine art fair devoted to the most important art of the 20th and 21st centuries. In its eleven years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.

Will the success of last week’s record-breaking sale of Yves Saint Laurent’s possessions bring a ray of hope to this weekend’s Armory Art show? Director Katelijne De Backer called the recent events “a very good boost,” in a Bloomberg article.

Two hundred forty three international galleries are gearing up for the 11th edition of the newly expanded Armory Show, and their exhibits will range from contemporary works exclusively made for the fair to museum-quality historical presentations. A new series of Special Projects will also punctuate the public areas.

Many galleries are devoting their stands to single artist installations. In the contemporary section on Pier 94, Ronald Feldman Fine Arts is presenting The Volksboutique Armory Apothecary, where visitors will have the opportunity to describe their maladies to artist Christine Hill, who will prescribe remedies for a small fee. Galerie Laurent Godin will debut Plane Landing in Paris, a new series by Aleksandra Mir, featuring photographs of a helium balloon in the shape and size of a passenger jet plane “landing” in various historic landmarks in Paris. Other notable solo exhibitions include Dasha Shishkin at Zach Feuer, Sarah Braman at Museum 52, James White at Max Wigram, Maria Finn at The Apartment, John Neff at Western Exhibitions, Gyan Panchal at Galerie Frank Elbaz, Matthias Weischer at EIGEN + ART, Hans Josephsohn at Hauser & Wirth and Anton Henning at Galerie Bob Van Orsouw and Stephen Antonakos at Kalfayan Gallery.

About Art After X

With the death of President Kennedy in 1963, America changed. As hard as it is to minimize that sentiment, the effect of Dallas was even greater. The same year saw the merging of the Dallas Museum for Contemporary Arts, which had been central to the art scene, and the Dallas Museum of Fine Arts. Douglas MacAgy, then the director of DMCA, not only opposed the merger, but also declined to directorship of the combined museum. The regionalist movement which had been strong for decades, was giving way to more of an interest in what was going on nationally, and internationally. Like it or not, Dallas was on the national stage. When the Kennedy’s arrived in Fort Worth, local collectors had decorated a hotel room with internationally-renowned works. While the president and his wife learned a great deal about the ability of Texans to collect major art, there was little they could glean about the local scene in this era-defining city. With this in mind, we have begun a project to look not back at the art scene in Dallas, but foreword from 1963. We are interviewing gallery owners, curators and others involved in the art scene then, but this will be a story told mostly through interviews with artists active in the city from that point into the 1980s. The result will be a book with a video component. We hope you will join us in our journey. The hashtag for the project is #artafterx and the url will point to the latest updates on this weblog.

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