Independent 20th Century Doubles Down on Its Mission, According to Elizabeth Dee
The invitation-only art fair, Independent 20th Century, returns to the Battery Maritime Building in New York for its second edition. On view September 7-10, this sophomore edition will showcase the lesser-known work of artists from the past century—be it a body of art previously unseen, overlooked communities, or failed to recognize as yet narratives.
Sure, other international fairs showcase more than just contemporary art, from a specific time period event. But what makes Independent 20th Century unique is its clear dedication to telling the histories, saying the names, giving light to the movements, and bringing forth the archives that now deserve their due. This concept, introduced in 2022, has been so well-received, that the fair’s founder Elizabeth Dee was sought out by galleries to participate this year.
Whitewall spoke more with Dee about the 2023 edition, which brings together around 50 presentations of work by artists specially nominated by Matthew Higgs.
Sergio Lombardo, “Aldo Moro,” 1961-1963, Enamel on paper laid on canvas, 27.5×19.6×1.1 inches; photo by Giorgio Benni, courtesy of Archivio Sergio Lombardo and Independent New York.
WHITEWALL: You described this year’s edition as “doubling down on its mission to reframe and broaden our understanding of the canon.” In what ways are you doubling down?
ELIZABETH DEE: So much of this show is about historical reconsideration. Which artists from the past century do we see represented today? Are those artists the most central to their time, or were there artists that were equally or more innovative? For instance, Loren MacIver, who was the first woman artist to enter MoMA’s collection, is coming back into focus with the presentation by Alexandre Gallery. For artists we know well, are we seeing every side of their story? No, actually, for instance Sigmar Polke’s photography and kinetic sculpture have a relationship with mysticism and absurd humor; that perspective will be the subject of a solo with Sies + Höeke. This raises the connection between Polke and someone like Joseph Beuys for example! Once we ask those questions, we start to see a bigger spectrum of art history.
WW: This is the second edition of Independent 20th Century. What lessons in success from the first edition are you implementing to this sophomore edition?
ED: Once we launched, the idea of the show crystallized in people’s imaginations immediately, which was wonderful to watch. That has brought us a lot of good fortune. Galleries have reached out to us with new projects that are being brought forward in the fair’s second edition. I was not aware of some key Latin American and Caribbean figures who are now being shown, like Kenwyn Critchlow (presented by Diane Rosenstein) who has been a key artistic figure in Trinidad since the 1970s, and Wanda Pimentel, who’s a true master of international Pop in Brazil (presented by Fortes d’Aloia & Gabriel).
Loren MacIver, “Ashe Street Blooms,” 1940, oil on canvas, 23 x 44 inches; courtesy of the artist, Alexandre Gallery, and Independent New York.
Independent 20th Century is More than a Trade Show
WW: Given this reframing, this context, narrative, and reconsideration of art history, what kind of context do you find important for fairgoers?
ED: I believe the art fairs have gotten duller and duller with every passing year with few exceptions, which is why an intellectually generous show stands out. The well-informed art audience deserves more. A fair can be more than a trade show to establish prices of yesterday, it can pinpoint the market for the future. That’s why we created Independent originally and why we established Independent 20th Century following conversations with the rising generation of gallery and institutional leadership. More exploration into different angles of contemporary art, more opportunities to assess a broader spectrum of well-deserving artists, detailed information
about the artist’s work as a whole and the society in which it was formed: these are integral elements of the Independent visitor experience.
WW: This year also debuts a talks program and performance by Allan Wexler. How do you see this programming complementing the overall mission of the fair?
ED: I am so very excited about Allan Wexler’s show with Jane Lombard Gallery, and performance on opening day, which will showcase his conceptual genius that artists have long known. Participatory conceptual practice investigating the cause and effect of human dynamics, which was developed by Wexler and others in the 90s, is extraordinarily relevant right now. We have been wanting to develop a talks program for a long time. With the support of our partners, Cipriani, Pommery, and our network of luminaries, we are finally realizing our first public program. The four talks will be on American art in the 1950s, Black Art Communities from 1960-1980, the legacy of Ed Baynard, and Andy Warhol’s commissioned portraits. Talks are free with admission, and we are looking forward to bringing this experience to our guests.
Diane Rosenstein Gallery: Kenwyn Crichlow, Power to the People, 1974, Oil on board, 37 x 31 inches; courtesy of the artist, Diane Rosenstein Gallery and Independent New York.
What Elizabeth Dee is Seeing in New York Outside Independent 20th Century
WW: Outside of the fair what are you looking forward to seeing this week/season in New York?
ED: The beautiful fall in New York should be an indoor/outdoor experience for everybody. Governors Island which can be reached with a five-minute ferry just under our historic venue, the Battery Maritime Building, as well as NADA House, which will return to the island and stage site-specific shows. In the space of a day, people can see some historical New York landmarks, a world-class fair, take a boat ride across the Hudson, explore the island full of art and culture, and top it off with bellinis on our Cipriani terrace overlooking the city. Sounds like a great day to me!
