Untitled, Art
Untitled, Art is an international, curated art fair founded in 2012 that focuses on curatorial balance and integrity across all disciplines of contemporary art. Untitled, Art innovates the standard fair model by selecting a curatorial team to identify, and curate a selection of galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally designed venue. The 2020 edition of Untitled, Art Miami Beach will take place as an Online Viewing Room, from December 2–6, 2020. For more information navigating the online viewing room, feel free to contact Arianna Mastro who would be happy to hand select pieces for you.
Chris Akordalitis,
Fig Love
Gallery: Dio Horia
Akordalitis is a scene-maker: his paintings and sculptures always show cartoon-like figures that are set in some predetermined topographical landscape and in a specific time of day. He builds his scenes carefully so that they balance between the real, the comical and the nostalgic, using objects, food and pets, as props for action to take place and feelings to be revealed.
Kate Pincus-Whitney,
Feast in the Neon Jungle: Last Picnic in Providence
Gallery: Fredericks & Freiser
Kate Pincus-Whitney's maximalist, feminist, and unapologetically boisterous work is not only about the reality of the still life or the things painted but about the specificity of life and its cosmology. Mapping the movement of culture through histories of spices, wax candles, or fine white china bowls, her tablescapes are a place of narrative portraiture--sometimes a sort of shrine, sometimes a stage or a commons. Sometimes they are a place for formal or historical political acts of agency, and sometimes, she simply wishes to capture the essence of a person through the objects they consume or surround themselves with.
Boo Saville,
Thursday 1PM
Gallery: Davidson
Boo Saville’s color field paintings are only a portion of her oeuvre, but are perhaps the most indicative of her interest in divergent models of aesthetic exploration. The abstractions are achieved by layering paint over time, slowly sanding and cleaning each dry layer of paint before applying the next. The process is driven by instinct depending on the situation of a given day influenced by mood, emotion, light, and music. The paintings serve as a record of the days and of the decisions Saville has taken to get to the finished product. As soon as the abstracts start to resemble a ‘painting’, Saville tends to destroy that gesture within the paint. The abstracts are always tonally neutral and represent the moment before a gesture or a slow recurring dream.
Elizabeth Schwaiger,
Grand Political Séance
Gallery: Jane Lombard Gallery
Based in Austin, TX and Brooklyn, NY, Schwaiger creates multi-media paintings portraying the confluence of luxury and disaster. Her works present our best attempts at permanence in contrast to cataclysmic powers beyond anyone’s individual control, scaling our own strivings and the potential ends to which they might succumb.
Sam Mack,
easy container, perfuse w/ narrative
Gallery: Galleri Urbane
Sam Mack’s installations of objects and material visually expands upon conversations surrounding institutional critique and its contradictions. In their work, Mack focuses on challenging behavioral expectations of the gallery and how bodies can be guided through an exhibition space. Methods and material of display popularized by museums and galleries are installed in conjunction with hardware store materials and manifests as an allegorical formalism that through the handling of material constructs a non-verbal dialogue between the individual pieces in the gallery. The work points toward boundaries. Mack creates their own boundaries within the work by utilizing symbols of institutional spaces, traditions of queer-coding, and charged word-play. The precariousness of the installations urge the viewer to be aware of their own body and of the space they take up as they navigate the exhibition space, implicating both the viewer as well as the artist in the work.
Orkideh Torabi,
Don't Be Bossy
Gallery: Richard Heller Gallery
Orkideh Torabi makes paintings that lampoon patriarchal societies, depicting men as absurd clown-like figures, drawing attention to the personal, political and social issues facing women. By portraying the figures in her paintings with cartoonish whimsy, she is trying to strip the male oppressors of their power by undermining the culture of machismo that pervades many societies.
Philip Govedare,
Gulf
Gallery: Winston Wächter Fine Art
Philip Govedare creates intricate, layered landscapes that are suggestive of a complex narrative of natural forms and human intervention. His paintings elicit questions about our role in nature and how our activity has reshaped the earth’s surface.
Julian Burgos,
Evidencia geométrica
Gallery: La Balsa Arte
Julian Burgos bold and eclectic work challenges traditional assumptions about figuration and abstraction, as well as the relationship between the glorious tradition of western art and contemporary pop culture. Burgos’ unique style deals with the ambiguity of representation and his multilayered works create puzzling and intricate compositions, wherein different sources become almost indistinguishable. Filled with humor, art historical pastiche, and lascivious characters, his paintings are simultaneously absurd, funny, and decadent. He accomplishes a full range of painting effects and different stylistic registers, from Trompe-l'oeil realism to the cartoonish, from high-finish virtuosity to fuzzy, 18th-century rococo frivolity. Furthermore, his work ironically references masterpieces of artists, such as Boucher, Fragonard, Goya, Velasquez, and Poussin, among others. Beyond the playful appearance, Burgos’ work emerges from historical, artistic and philosophical references. It explores the relationship between image and representation, and between the individual and the collective. Furthermore, it involves progressive acts of appropriation and decontextualization, suspended between linguistic references, psychoanalytic and cultural theories, individual obsessions and collective imaginary.
Andrew Casto,
Accumulation Vessel 66
Gallery: Winston Wächter Fine Art
Andrew Casto’s ceramics are an investigation into dialogues concerning negative forces in our lives, and the degree to which the phenomenological ramifications of responsibilities and stress shape us physically, mentally, and emotionally. These works can be seen as a material study of erosion and geological processes translated into ceramic and mixed media objects.
Thomas Witte,
HE DIDN'T WANT TO BE THERE
Gallery: Davidson
Thomas Witte studied sculpture at Rutgers University. After graduating, he traveled to Argentina, where he found himself drawn to the vibrant stencil graffiti scene. Recently, the artist’s focus has shifted from mark making to the paper-cut stencils themselves. Witte uses images from found 35mm slides to create his hand-cut paper works. He selects photographs which put viewers in the position of sightseer or voyeur, creating a connection between the act of viewing art and viewing life. This juxtaposition presents a sublime discrepancy in the way in which we, as removed art-viewers, take meaning from the images.