I like this side because it has the weirdest perspective and is the only one to fill the slot for shins. Paula Cooper Gallery was showing this Christian Marclay piece from 1990 called “Skin Mix II”Įach side is an exquisite corpse comprised of record sleeves. If I lived in a big transparent cube 800 feet above 57th street, I would buy this painting and hang it from the ceiling above my big, hypothetical, expensive bed. The glassy new condo towers piercing Manhattan’s skyline and mega-mansions carved out of London’s Victorian housing stock frequently have little interior wallspace but an embarrassing surplus of floorspace. We mused that perhaps the surge in sculpture and installation is indicative of how much empty space the world’s uber-rich now find themselves in possession of in numerous pied-à-terres. My friend Jared and I had just been joking about how much 3D work there is at Basel this year, as opposed to the more readily salable paintings that dominate the other fairs. I would love to see it hung on the ceiling or lying on the floor. I really like that it’s composed of imagery that’s rendered in different styles and different orientations. Inside the fair, the first piece that caught my eye was David Salle’s “Falling into Bed” at Skarstedt. Here, some of the world’s most high-brow goods are exchanged on a floor that looks like the “Saved by the Bell” opening credits. I immediately thought of Seth Adelsberger’s carpets at the Baltimore Museum of Art. Last week, standing in the press registration line at the Basel Vernissage, a gauntlet that seems to grow more and more challenging annually, I stared at the Miami Beach convention center’s carpeting for the first time. Michael Farley on Art Basel, Zones Art Fair, and Art Theft at ABMB
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