Independent 20th Century has consistently set the bar for what a top-tier, specialized, and forward-thinking art fair should look like. The preview day for this year’s fall edition, which focuses on 20th-century art and movements, was filled with collectors and felt like the perfect kick-off to the new art season. Hosted at Casa Cipriani, the atmosphere is unlike most fairs, in that you are not accosted by headache-inducing fluorescent lighting, and the overall vibe is refined and, dare I say, demure, making it an ideal forum for an art fair.
Another draw to Independent 20th Century is the reinvention that happens with each edition. The roster of participating galleries seems to change noticeably, offering a wider mix of participants to take part in this special event, providing visitors with an opportunity to always happen upon something new, or at the very least recontextualized in an inventive way. We picked some of our favorite booths from this year’s mix of thoughtful presentations.
Sol LeWitt at James Barron Gallery
Sol LeWitt, “Wavy Brushstrokes,” 1996, gouache on paper, 30 x 22 inches, courtesy of James Barron Art © Estate of Sol LeWitt.
A thoughtful selection of Sol LeWitt works on paper at James Barron’s booth provides a glimpse into the artist’s oeuvre beyond the immersive wall works and site-specific installations he is well known for. Primarily employing gouache, the paintings on paper demonstrate Lewitt’s careful attention to form, color, and composition. Also on view are a series of works on paper, made either through tearing and arranging disparate pieces of paper, or simply folding pieces of colored paper into perfectly sized rectangles. After finding much success with selling his wall paintings, LeWitt began a series of smaller-scaled works on paper, all of which had “Not to be sold for more than $100” inscribed on the back. I don’t think that pricing structure is still in place, nor do I think it should be: each work on view highlights the artist’s highly conceptual and rigorous practice that continues to command immense presence and continued curiosity for contemporary artists and art historians.
Squeak Carnwath at Jane Lombard Gallery
Squeak Carnwath, “Things I’ve Heard Or Seen In Person,” 1998, oil and alkyd on canvas, 77 x 77 inches, courtesy of the artist and Jane Lombard Gallery.
One of the most succinct and captivating single-artist presentations is Jane Lombard Gallery’s installation of work by Squeak Carnwath. The Independent 20th Century booth focuses on the artist’s approach to painting and its application across the mediums she employs. According to the press release, Carnwath, “likens her iconography and messages to anonymous notes scrawled upon the wall of a public bathroom,” creating an almost voyeuristic feeling of studying each composition comprised of text, figures, and shapes. An entire wall is covered with wallpaper depicting Carnwath’s fascinating works on paper, further enveloping the viewer in the booth and offering an opportunity to study the complexity of her process and approach to artmaking. Another central piece in the presentation, “Things I’ve Heard Or Seen In Person” from 1998 comprises many of the visual motifs Carnwath continually returns to, and a small, chilling line of text scribed by the artist: “in America = more guns than citizens.”
Filippo De Pisis at P420 at Independent 20th Century
Filippo de Pisis, “Vaso di fiori con libro,” 1947, oil on canvas, 19 11/16 x 15 3/4 inches, photography by Carlo Favero, courtesy Filippo de Pisis Estate and P420, Bologna.
A lovely presentation of works by Filippo De Pisis (1896 – 1956), an Italian painter and poet, provides a glimpse into the remarkable life of this artist, who is currently featured in the 60th Venice Biennale curated by Adriano Pedrosa. Born in Italy and inspired by the early 20th-century artistic movements of his homeland, namely Futurism, De Pisis moved to Paris early in his career, where he helped found the group “Les Italiens de Paris” with Giorgio de Chirico, Alberto Savino, Gino Servini, Massimo Campigli, Mario Tozzi, and René Paresce. The artist, who was gay, depicts gentle still lifes and portraits of clothed and nude male figures, all approached with a similar sensitivity to his subjects.
Heitor dos Prazeres at Galatea and Simões de Assis
Heitor dos Prazeres, “Carnaval no arcos,” 1966, oil on canvas, 23 5⁄8 x 28 3⁄4 inches, courtesy of Heitor dos Prazeres and Galatea & Simões de Assis, photography by Ding Musa.
In this joint booth, these two São Paulo-based galleries have come together to present a selection of works by Brazilian multidisciplinary artist Heitor dos Prazeres (1898 – 1966). A composer, musician, woodworker, shoemaker, tailor, and self-taught painter, the presentation includes a mix of the artist’s oil paintings. The compositions depict everyday scenes sourced from his mind and daily life: card playing, dancing, walking in the street, and community gatherings. Captured with exquisite detail and a vibrant palette of colors and textures, these works demonstrate the artist’s dedication to his craft and singularity of his approach.
John Ahearn and Rigoberto Torres and Salon 94
Rigoberto Torres, “Myra,” 1980, acrylic on plaster, 16 x 14 1/2 x 6 inches, courtesy the artist and Salon 94 © Rigoberto Torres.
Impossible to miss is Salon 94’s booth, which brings together the work of John Ahearn and Rigoberto Torres. Focused on a series of works made between 1979 and 1998, the installation includes life-cast sculptural portraits of the South Bronx community made with acrylic and plaster. The personality, emotion, and inner mind of each subject on view is captured with such sensitivity and artistry and demonstrate the vibrancy of the community captured through this fascinating project.
