Reviews | NYABlog | New York Art Beat

The Fountain Art Fair would be better off with a logo of a vectorized Mona Lisa than a readymade.

Abandoning the lofty idealization, Will Kurtz’s sculptures capture the essence of the ordinary individual in a range of informal private gestures and personal activities, with their attendant emotions.

A small, intimate painting entitled American Psycho captures a dramatic Edward Hopper angle, while a surprisingly tranquil Tompkins Square Park landscape is reminiscent of Impressionist belle epoque Paris.

“Highlights of CAM,” curated by Elga Wimmer, brings together pivotal works from four earlier exhibits, whose formal inter-relationships create a connecting thread that accentuates the collaborative spirit that is the Museum’s hallmark.

These true “flat screens” evoke a sense of the past while still maintaining the reality of our digital, global, expansive existence.

Truth is represented by giant, brightly-colored hand mirrors, which face each other against a white wall and floor.

As a commentary on the drinking habits of artists (including, of course, himself), Kramer constructed a cozy wine bar in the corner of the gallery, surrounded by his works.

Chiara Bernasconi, the great Elastic City guide and artist, is attempting a sort of poetry of her own, asking a small group of amenable participants to dance with their own shadows on a Coney Island shadow walk.

While these works relate loosely to graffiti, she puts a personal stamp on the genre by omitting heavy white or black bands around defined brightly colored volumetric forms.

LaChapelle is certainly preoccupied with dramatic and even outrageous portrayals of flesh, nature, and religiosity.