AQUA 2012 was more raucous than 2016, not just for the party atmosphere but also for the art. It was more vibrant, in your face in a playful/forceful way. This time it felt more subdued, but still had substance amongst all the eye candy.
Like "Trust" and other pieces by Thomas Morphis at Hang Art (San Fran).
Seth Clark had solid paintings of old buildings at Boxheart Gallery (Pittsburgh). At first glance they seemed like abstract work, but on second glance they came together as these industrial landscape depressed structures.
McCaig-Welles had its always solid choices of work. Swoon was ALL OVER the art fairs, and MW had smaller works with more glimpses of painting and drawing in them than just her signature wheat-paste line work.
In Kallenbach Gallery's room (I didn't mention, AQUA is in a hotel) Haas & Hahn/Favela Painting had these works that were studies and photos for their geometric murals. Again, sorry for the blur, but you get the idea.
AQUA is always a good stop because the hotel setting sometimes makes for interesting spatial solutions, and it's not an overwhelming, time consuming stop on the art fair circuit.
Like "Trust" and other pieces by Thomas Morphis at Hang Art (San Fran).
Seth Clark had solid paintings of old buildings at Boxheart Gallery (Pittsburgh). At first glance they seemed like abstract work, but on second glance they came together as these industrial landscape depressed structures.
McCaig-Welles had its always solid choices of work. Swoon was ALL OVER the art fairs, and MW had smaller works with more glimpses of painting and drawing in them than just her signature wheat-paste line work.
In Kallenbach Gallery's room (I didn't mention, AQUA is in a hotel) Haas & Hahn/Favela Painting had these works that were studies and photos for their geometric murals. Again, sorry for the blur, but you get the idea.
AQUA is always a good stop because the hotel setting sometimes makes for interesting spatial solutions, and it's not an overwhelming, time consuming stop on the art fair circuit.
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