By Damien James
“It’s the same old shit punctuated by happiness and tragedy,” read Ryan Duggan’s screenprint for Johalla Projects, a statement that aptly encapsulated 2011’s Artropolis. That happiness is the piece causing you to gape in wonder, the rare work you can’t tear your eyes from, while the tragedy is everything else on display, reiterating the fact that you can show art wherever you want if you’ve got the money.
What’s been true of Artropolis in the past still stands: NEXT continues to excite more than Art Chicago; people-watching is worth the price of admission; and the entire fair is becoming smaller, evidenced by joint tenancy on the twelfth floor of both NEXT and Art Chicago, which only sharpens your focus to the difference between the two. The energy of NEXT is undeniable, where art spreads itself across more forms; it rolls, spins records, hacks itself to pieces, stretches across rooms, flashes and sings at you, and even makes you want to take a bite out of it. Art Chicago, on the other hand, exists mostly in squares and rectangles on white walls.
Not that Art Chicago is bereft of enjoyment, though if you pulled the Ed Paschke’s down the overall temperature would’ve grown tepid. All of the Shepard Fairey’s sold, which makes Santa Monica’s Robert Berman Gallery the big winner, but Hammer Gallery stood up for Chicago by releasing a $75,000 Roger Brown painting into the world, along with a lovely Karl Wirsum. Carl Hammer himself said that the weekend was moving slower than in past years, but that he was pleased with how his space came together. If I had Chris Ware and Henry Darger on my walls, I’d be pleased too. [Read more…]