COMPANY Picks from SCOPE Art Fair

COMPANY Picks from SCOPE Art Fair

For me the Scope Art Fair, across the street from Pier 40 downtown, has in the past been like a temperamental child: flashes of brilliance but mostly just gives you a headache. In contrast with last year’s event at the Lincoln Center, Scope 2011, organized and directed by Mollie White, focused their efforts on low-brow, pop-surrealist amenities, activities, and performances.  Among these were:  Stephanie Diamond’s Home Away from Home, a comfy nook with magazines, snacks, and free wifi, that provided respite from the overwhelm of the fair.  Additionally, in a shrewd move and with a nod to foodies, Roberta’s, the pioneering Bushwick slow-food locavore pizza restaurant, was invited to participate as food and drinks provider for the fair.  Fair-goers and exhibitors could also slip in for a Bud draft (I did several times) and some conversation at English Kills artist Andrew Ohanesian’s installation Mandies, a pub/confessional booth. 

Best of all was the tableau vivant as the decaying empire’s last gasp Bacchanal created by
Jennifer Catron and Paul Outlaw and presented by Artists Wanted, a much-talked about new platform for emerging artists similar to Welcome To COMPANY.  While all of the above sniffed a bit of art-school ephemera, at least there was something to talk about at SCOPE. In the final analysis, the path for SCOPE is simple: curate better art from your galleries and provide some thematic cohesion.


Performance: Jennifer Catron & Paul Outlaw, Artists Wanted
Catron and Outlaw, a collaborative duo, incorporate performance, installation, food and drink to create this extraordinary spectacle.  The piece invites you to experience a sumptuously gluttonous dinner party and encourages participation though the sausage tasted a bit gamey.  The elaborately decorated Rococo-inspired installation which includes everything from gold ornate costumes and a boom box to hanging slabs of raw meat, created quite a scene.  It was definitely a favorite of the fair.



Painting: Jason Bard Yarmosky, Like the Spice Gallery
In a quest to portray parallel naivety among old and young Elder Kinder exhibits large scale oil paintings and graphite drawings with combine the ambitions of yesteryear with the consequences of age.  This series addresses the innocence at both ends of the generational spectrum.  Yarmosky recruits his eager Brooklyn-born grandparents to pose in an assortment of playful costumes.  Using multiple layers of oil paint, Yarmosky employs dramatic lighting to create depth, literally and metaphorically.  Each character’s stark pose accentuates the inconsistencies of age and appearance.  Ranging from a shirtless cowboy to a pensive pink bunny rabbit, Yarmosky’s subjects explore the intersection of jaded seniority and the audacity of youth.




Sculpture: SunKoo Yuh

These ceramic pieces express not only physical realities but psychological realities as well. The sculptures reflects the artist’s relationships and life experiences, encompassing front and back, inside and outside, present and past memories.  The images seem intuitively and spontaneously created with ink and brush.  These works are built of different clay bodies such as porcelain, stoneware and sometimes porcelain casting slip.  Fifty different colorful glazes are layered and then fired to around 2300 degrees Fahrenheit.  Rather than controlling glazes, Yuh allows glazes to play by their own rules and he accept the results of unexpected serendipities.


Mixed Media: Jordan Eagles

Through a self-invented process, Jordan Eagles suspends and permanently preserves animal blood, salvaged from slaughterhouses, in plexiglass and UV resin. The technique is designed to retain the blood’s natural colors and textures and to expose its finite details.  When lit, the works become more translucent, cast shadows and project a glow onto the wall behind them.  This effect reveals multiple layers of organic material floating in clear resin and makes the works appear as if they are illuminated from the inside.  The materials and luminosity in this new body of work relate to themes of corporeality, morality, spirituality and science – regenerating the blood as sublime.



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