{"id":1240,"date":"2021-09-17T08:21:20","date_gmt":"2021-09-17T00:21:20","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1240"},"modified":"2021-09-14T15:44:49","modified_gmt":"2021-09-14T07:44:49","slug":"the-10-best-booths-at-new-yorks-armory-show-stunning-sculptures-under-recognized-pioneers-and-mindscapes","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-10-best-booths-at-new-yorks-armory-show-stunning-sculptures-under-recognized-pioneers-and-mindscapes\/","title":{"rendered":"The 10 Best Booths at New York\u2019s Armory Show: Stunning Sculptures, Under-Recognized Pioneers, and \u2018Mindscapes\u2019"},"content":{"rendered":"<p>On Thursday, the Armory Show opened in its new home at New York\u2019s Javits Center. With timed entries, proof of vaccination, and other pandemic restrictions in place, the mood at the fair on its VIP day was much more subdued than in past years. But that seemed to be to the fair\u2019s benefit, allowing for a more relaxed way to visit over 150 booths \u00adin a spacious layout. In an interview on opening day, <a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Armory Show<\/a> executive director Nicole Berry said that galleries were reporting strong sales and that collectors were pleased by the fair, which is now taking place in the fall for the first time. \u201cThis is the start of a new chapter for the Armory Show,\u201d Berry said. \u201cThis is an opportunity to take this fair to the next level. The fair\u2019s new layout, by Frederick Fisher and Partners, is allowing the art to shine.\u201d<\/p>\n<p>Below a look at some of the best art at the fair, which runs through Sunday, September 12.<\/p>\n<div id=\"pmc-gallery-vertical\">\n<div class=\"c-gallery-vertical\">\n<div class=\"c-gallery-vertical__slides\">\n<div class=\"c-gallery-vertical__slide-wrapper\" style=\"text-align: center;\" data-slide-id=\"1234603583\" data-slide-index=\"0\" data-slide-position-display=\"1\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\" style=\"text-align: left;\">Tunga and Jaider Esbell at Galeria Millan<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/9_a_JE_12623_110x200cm_2021_HR.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/9_a_JE_12623_110x200cm_2021_HR.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/9_a_JE_12623_110x200cm_2021_HR.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/9_a_JE_12623_110x200cm_2021_HR.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/9_a_JE_12623_110x200cm_2021_HR.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/9_a_JE_12623_110x200cm_2021_HR.jpg?w=1200 1200w\" alt=\"A colorful dense landscape showing an Indigenous cosmology.\" width=\"985\" height=\"575\" \/><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of Filipe Berndt<\/span><\/figure>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 17px;\">Image: Jaider Esbell, Amamenta\u00e7\u00e3o (Breastfeeding), 2021.<\/span><\/figure>\n<p style=\"text-align: left;\"><span style=\"text-align: left;\"><a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">S\u00e3o Paulo<\/a>\u2019s Galeria Millan used its booth to showcase one of Brazil\u2019s most famous artists, Tunga, and an emerging star, Jaider Esbell (Macuxi), whose work is currently on view as part of the Bienal de S\u00e3o Paulo. One of Tunga\u2019s famed \u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Braids<\/a>\u201d works, featuring hundreds of leaded wire strands twisted to resemble a braid of hair, trailed from the booth\u2019s floor to a wall mount. Nearby were Esbell\u2019s ethereal paintings, in which he offers up radiating Indigenous cosmologies.<\/span><\/p>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603592\" data-slide-index=\"1\" data-slide-position-display=\"2\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Wendy Red Star at Sargent\u2019s Daughters<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/wendy-red-star.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/wendy-red-star.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/wendy-red-star.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/wendy-red-star.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/wendy-red-star.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/wendy-red-star.jpg?w=1200 1200w\" alt=\"A papier-m\u00e2ch\u00e9 pick-up truck with a honor bonnet installed in an art fair booth.\" width=\"805\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: Installation view of Sargent\u2019s Daughters booth showing work by Wendy Red Star.<\/h5>\n<p>New York\u2013based gallery handed over its booth to Portland-based Wendy Red Star (Aps\u00e1alooke\/Crow). Titled \u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">A Float for the Future<\/a>,\u201d the booth centers around a papier-m\u00e2ch\u00e9 recreation of Red Star\u2019s father\u2019s pickup truck, the roof of which is adorned with a larger-than-life honor bonnet conceived of by the artist\u2019s grand-uncle Clive Francis Dust, Sr., an Aps\u00e1alooke knowledge keeper. The truck was one of many that participates in the annual Crow Fair Parade on tribal lands in Montana. Surrounding Red Star\u2019s sculpture are various collages of cut-out photos featuring automobiles that have participated in past Crow Fairs atop bright textiles\u2014a gesture toward car fairs.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603582\" data-slide-index=\"2\" data-slide-position-display=\"3\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Joy Labinjo at Tiwani Contemporary<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/JLA-093.jpg?w=667\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 853px, (max-width: 2560px) 853px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/JLA-093.jpg?w=267 267w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/JLA-093.jpg?w=533 533w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/JLA-093.jpg?w=667 667w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/JLA-093.jpg?w=853 853w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/JLA-093.jpg?w=1138 1138w\" alt=\"Painting showing a white man in business casual running with a butterfly net that has a tag that says 'Racism Catcher.'\" width=\"639\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Tiwani Contemporary<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: Joy Labinjo, The Catch, 2021.<\/h5>\n<p>In her latest body of work, Joy Labinjo infuses her paintings with humor and clever wordplay to reflect her experience as a Black woman living in a white world. In\u00a0<em>Playing the Race Card<\/em>, a Black man in a suit holds a royal flush while a white man looks at him angrily. Meanwhile, in\u00a0<em>The Catch<\/em>, a white HR manager is caught mid-run holding a butterfly net with a tag that reads \u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Racism Catcher<\/a>.\u201d Both works consider how people of color, in particular Black people, are asked to prove the racism that they are experiencing or to counter the notion that they are reaping benefits by \u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">playing the race card<\/a>.\u201d In a statement, the artist said the works are \u201cslightly unnerving and uncomfortable as I feel that\u2019s an apt reflection of the situation, we all collectively find ourselves in.\u201d<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603591\" data-slide-index=\"3\" data-slide-position-display=\"4\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Genevieve Gaignard at Vielmetter Los Angeles<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/gg.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/gg.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/gg.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/gg.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/gg.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/gg.jpg?w=1200 1200w\" alt=\"A triangle that reads 'Sell to Black Collectors' above a collage.\" width=\"805\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: Installation view of work by Genevieve Gaignard at Vielmetter Los Angeles at the Armory Show 2021.<\/h5>\n<p>In February 2019, Genevieve Gaignard wore a shirt at Frieze Los Angeles that read \u201cSell to Black Collectors.\u201d Now, the artist has transferred that text into a triangle-shaped canvas that hangs in the booth of Vielmetter Los Angeles, as well as one that reads \u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Black Is Excellence<\/a>.\u201d These two works hang above recent photocollages by the artist on which found images from magazines like\u00a0<em>Ebony\u00a0<\/em>and\u00a0<em>Life\u00a0<\/em>are transposed over vintage wallpaper, a recurring theme in her practice. Gaignard\u2019s forceful call for visitors to an art fair to think about how Black artists, collectors, and dealers have historically been excluded from the art market\u2014and often continue to be\u2014was hard to miss.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603584\" data-slide-index=\"4\" data-slide-position-display=\"5\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Marcelo Cidade at Vermelho<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/vermelho.jpg?w=681\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 871px, (max-width: 2560px) 871px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/vermelho.jpg?w=272 272w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/vermelho.jpg?w=544 544w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/vermelho.jpg?w=681 681w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/vermelho.jpg?w=871 871w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/vermelho.jpg?w=1161 1161w\" alt=\"A delivery bag with a block of concrete sits on the floor.\" width=\"652\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: Marcelo Cidade,\u00a0<em>Untitled (backpack)<\/em>, 2020\u201321.<\/h5>\n<p>Included in the fair\u2019s Focus section, S\u00e3o Paulo\u2013based gallery Vermelho presented a two-person booth featuring work by Cinthinia Marcelle and Marcelo Cidade. A standout in the presentation was Cidade\u2019s new piece\u00a0<em>Untitled (backpack)<\/em>, 2020\u201321, in which a cube of concrete has been fitted into an insulated backpack that could be used to deliver food. Among the most underrecognized essential workers during the pandemic are those who deliver our groceries and take-out orders from restaurants. This sculpture visualizes the weight carried by these workers.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603588\" data-slide-index=\"5\" data-slide-position-display=\"6\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Tsuyoshi Maekawa at Whitestone Gallery<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/tsuyoshi-maekawa_untitled-170101_2016.jpg?w=595\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 761px, (max-width: 1440px) 761px, (max-width: 2560px) 761px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/tsuyoshi-maekawa_untitled-170101_2016.jpg?w=238 238w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/tsuyoshi-maekawa_untitled-170101_2016.jpg?w=476 476w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/tsuyoshi-maekawa_untitled-170101_2016.jpg?w=595 595w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/tsuyoshi-maekawa_untitled-170101_2016.jpg?w=761 761w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/tsuyoshi-maekawa_untitled-170101_2016.jpg?w=1015 1015w\" alt=\"An abstract artwork of sewn brown hemp cloth.\" width=\"570\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Whitestone Gallery<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: Tsuyoshi Maekawa,\u00a0<em>Untitled 170101<\/em>, 2016.<\/h5>\n<p>Whitestone, one of Japan\u2019s leading galleries, is offering a great overview of the work of Tsuyoshi Maekawa, one of the youngest members of the country\u2019s influential postwar Gutai movement. One work from the 1960s, made from painted hemp affixed to canvas, evinces the frenetic energy used to create Maekawa\u2019s abstract compositions. Beginning in the 1970s, the artist began to rely on a softer color palette. He continues to use these cooler hues, and his hemp is now sewn instead of torn.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603590\" data-slide-index=\"6\" data-slide-position-display=\"7\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Richard Mayhew at ACA Galleries<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mayhew-above-and-beyond-square-crop-1.jpg?w=600\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 768px, (max-width: 1440px) 768px, (max-width: 2560px) 768px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mayhew-above-and-beyond-square-crop-1.jpg?w=240 240w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mayhew-above-and-beyond-square-crop-1.jpg?w=480 480w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mayhew-above-and-beyond-square-crop-1.jpg?w=600 600w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mayhew-above-and-beyond-square-crop-1.jpg?w=768 768w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mayhew-above-and-beyond-square-crop-1.jpg?w=1024 1024w\" alt=\"A swirling colorful landscape abstraction by Richard Mayhew. The colors are green, light blue, pink, orange, lilac, and pale yellow\" width=\"575\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy the artist and ACA Galleries, New York<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: Richard Mayhew,\u00a0<em>Above and Beyond<\/em>, 2009.<\/h5>\n<p>One of the under-recognized powerhouses of abstraction is Richard Mayhew, 98, whose brightly colored abstracted landscapes\u2014or \u201cmindscapes\u201d as he often calls them\u2014are on view courtesy of <a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">New York\u2019s ACA Galleries<\/a>. Mayhew was set to have his first solo show with ACA in March 2020, timed to the release of a new monograph on his work, but the show was delayed until June of that year because of the pandemic. Seeing these works in person acts as a highlight for anyone who missed that exhibition or has yet to see the power of his work firsthand.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603589\" data-slide-index=\"7\" data-slide-position-display=\"8\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Dindga McCannon at Fridman Gallery<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mccannon.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mccannon.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mccannon.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mccannon.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mccannon.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/mccannon.jpg?w=1200 1200w\" alt=\"A mixed-media wall work with gold lame train cascading to the floor.\" width=\"805\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: Dindga McCannon,\u00a0<em>Bessie\u2019s Song<\/em>, 2003.<\/h5>\n<p>A cofounder of the \u201cWhere We At\u201d Black Women Artists collective, Dindga McCannon is currently the subject of the first solo show of her career at New York\u2019s Fridman Gallery. Her works were a memorable part of the groundbreaking 2017 exhibition \u201cWe Wanted a Revolution: <a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Black Radical Women<\/a>, 1965\u201385\u201d at the Brooklyn Museum. Among the best pieces on view is\u00a0<em>Bessie\u2019s Song<\/em>\u00a0(2003), a quilted portrait of a seated woman whose gold lam\u00e9 robe drapes out of the canvas and onto the floor.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603587\" data-slide-index=\"8\" data-slide-position-display=\"9\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Kyle Meyer at Yossi Milo<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/km.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/km.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/km.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/km.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/km.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/km.jpg?w=1200 1200w\" alt=\"A fabric and photography woven portrait of a man in a head wrap.\" width=\"805\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: A work from Kyle Meyer\u2019s \u201cUnidentified\u201d series, 2021.<\/h5>\n<p>Born in Ohio and based in New York and eSwatini, Kyle Meyer commanded attention with his \u201c<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Unidentified<\/a>\u201d series. Displayed at the booth of Yossi Milo and shown earlier this year at the gallery, Meyer\u2019s woven photography pieces look at the ongoing HIV epidemic in eSwatini, which has one of the highest rates of any country in the world and where it is also illegal to be gay. Meyer photographs gay men he has met wearing a specially designed head wrap. Once the photographs are complete, Meyer shreds both the prints and fabric used in the head wrap, and then weaves them together as a way to obscure the identity of his sitters.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234603586\" data-slide-index=\"9\" data-slide-position-display=\"10\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Adrienne Elise Tarver at Welancora<\/h2>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/hp.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/hp.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/hp.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/hp.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/hp.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/09\/hp.jpg?w=1200 1200w\" alt=\"A tapestry showing a woman whose eyes are covered by a blue box of waves with small gold eyes.\" width=\"805\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<h5 style=\"text-align: center;\">Image: Adrienne Elise Tarver,\u00a0<em>High Priestess<\/em>, 2021.<\/h5>\n<p>In three beautiful tapestries displayed in the booth of Brooklyn\u2019s Welancora, Adrienne Elise Tarver pushes back against the notion of the Black female seductress.\u00a0<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\"><em>High Priestess<\/em>\u00a0<\/a>(2021) shows a Black woman with short natural hair that appears to go from mauve to lilac. Over her eyes is a rectangular pool of water dotted with golden eyes.<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<\/article>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"<p>On Thursday, the Armory Show opened in its new home at New York\u2019s Javits Center. With timed entries, proof of vaccination, and other pandemic restrictions in place, the mood at the fair on its VIP day was much more subdued than in past years. But that seemed to be to the fair\u2019s benefit, allowing for [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1241,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1240","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The 10 Best Booths at New York\u2019s Armory Show: Stunning Sculptures, Under-Recognized Pioneers, and \u2018Mindscapes\u2019 - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"On Thursday, the Armory Show opened in its new home at New York\u2019s Javits Center. 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