Work by Maria A. Guzmán Capron at the Armory Show. Photo : Alex Greenberger/ARTnews
The crowd at the Armory Show, with sculptures by Dyani White Hawk, Jim Denomie, and George Morrison at center.ALEX GREENBERGER/ARTNEWS
Was it the uncertain economy? A summer hangover? The fact that Frieze Seoul happened simultaneously, nearly 7,000 miles away? The Armory Show opened in New York on Thursday, and the energy that could be felt at past editions of this fair—the biggest in the city—was generally not present.
One might have expected something more dramatic, given that the Armory Show has gone through big changes in the past year. This was the first edition of the 30-year-old fair staged under Kyla McMillan, who took the reins as director from Nicole Berry two months ago, and the first held fully under Frieze’s ownership. The results of those behind-the-scenes shifts will likely play out in future years. For now, however, the fair remains largely the same.
The art on view left something to be desired. Few of the fair’s 235 galleries opted for attention-grabbing stunts (a good thing), and even fewer took big risks with the art on view (a bad thing). What could be seen, mainly, was a flood of interchangeable figurative paintings and so-so abstractions—more, even, than is usual for a selling event like this one.
But amid all that bland fare, there are some satisfying shockers. It’s all too easy to walk right by Jimmy Wright’s kinky drawings of S&M sex at Corbett vs. Dempsey’s booth, or to miss Naturee Utarit’s painting of a woman pointing a gun at a Giorgio Morandi still life, on view at Richard Koh Fine Art’s presentation. My advice? Slow down and bask in these works’ weirdness. Consider them a reminder that gems lie in the rough—if only you know where to find them.
To point you in the right direction, here are nine booths to see at the Armory Show before it closes on September 8.
I Gusti Ayu Kadek Murniasih at Gajah Gallery
Works by I Gusti Ayu Kadek Murniasih, including Kejadian (Incident, 2004) at left.
Photo : Alex Greenberger/ARTnews
The Armory Show’s most memorable artwork is this woefully under-recognized Indonesian artist’s 2004 painting Kejadian (Incident), featuring a foot speared by a pole. The painter, who worked under the name Murni, immortalized disturbing subjects such as this one to respond to violence against women—a timeless subject that she encountered early on, having survived a sexual assault by her father at age 9. More than simply acting as a record of traumatic events similar to that one, Murni’s paintings are also stylistically subversive. Murni explicitly drew on the spare forms oft seen in placid landscapes from the Balinese village of Pengosekan, then moved them in a less peaceful direction.
In lesser hands, Murni’s art would have been overly serious and impossible to endure. But her body horror often has a humorous edge, and that makes it invigorating. Witness the case of Plek Menjengkelkan (Annoying Colds, 2000), in which a plugged-up nose emits gigantic, suffocating beads of snot, offering gross-out nastiness and sick pleasure in equal measure.
Yüksel Arslan at Galeri Nev and Galerist
Works by Yüksel Arslan, including Arture 482, Man 123: Cures (1997) at second from left.
Photo : Alex Greenberger/ARTnews
Calling Arslan an artist is technically wrong, as he did not believe he was one, and anyway, such a label cannot encapsulate the genre-defying sensibility evident in his drawings, which variously depict human heads, masks, and landscapes belonging to faraway places. Born in Istanbul and based for part of his career in Paris, Arslan was known for his “Artures,” drawings made from pigment with his own bodily fluids, blood, spit, and urine among them. The wall text for the works brought to the fair by these two Istanbul galleries neuters his bizarre media, referring to it all as “natural materials,” but even so, one cannot possibly tame a piece like Arture 482, Man 123: Cures (1997). That drawing features an array of penises, some of which are erect and outfitted with constrictive devices. Ostensibly, this drawing collects remedies for ailments unknown, making it emblematic of Arslan’s zany practice of cataloging objects and ideas that intrigued him.
Claudia Alarcón & Silät at Cecilia Brunson Projects
Works by Claudia Alarcón & Silät.
Photo : Alex Greenberger/ARTnews
Alarcón, an Argentinian textile artist who often works with the Wichí collective Silät, is a standout of the current Venice Biennale, and she has wowed viewers once more with new collaborative pieces that abstract landscapes into colliding geometric planes. These pieces here are made from chaguar, a plant native to the Salta region of Argentina where Silät is based, and they are produced in such a way where they are allowed to hang loose, so that gaps are visible between the threads. These works look back to textiles by modernist women such as Anni Albers and Lenore Tawney, this time with a new emphasis on Indigenous imagery. The collaborative pieces are the main attraction here, but Alarcón holds her own solo, too, with the 2024 piece La presencia permanente del sol con su resplandor [The ever-present sun and its radiance], whose crocheted wool threads, in shades of neon green and red, live up to the work’s title.
Maria A. Guzmán Capron at Nazarian / Curcio
Work by Maria A. Guzmán Capron at the Armory Show.
Photo : Alex Greenberger/ARTnews
The self is multiple in Capron’s visually resplendent textile works, in which people’s bodies merge and contort. These works can be considered metaphors for Capron’s identity. She was born in Milan to Colombian and Peruvian parents, and is now based in Oakland, California—she can hardly be boiled down to one nationality or culture. In that way, her art, made using cast-off textiles that she stitches together, is an expression of her own hybridity. In one work, a mother-like figure holds a child, whose patchwork form ends up being subsumed by its parent. Works such as that one make a strong for why Capron will likely emerge as one of the stars of La Trienal, the recurring survey of Latinx and Latin American art at El Museo del Barrio, which will open this year’s edition later this month.
Diana Sofia Lozano at Proxyco
Works by Diana Sofia Lozano at the Armory Show.
Photo : Alex Greenberger/ARTnews
A similar form of hybridity can also be found in Lozano’s sculptures resembling flowers gone rogue. Lozano, whose parents are both botanists, has previously said that her work could be compared to “flowers in drag,” and indeed, her blooms are extravagant and unruly, adorned with gangly faux vinery that sticks out in all directions. Some even appear like animals, bearing claw-like hooks extending from chains that threaten to pierce anyone who dares to touch them. In real life, it is possible to categorize flora, essentially allowing botanists and biologists the possibility of reining in disorderly vegetation. Lozano’s plant life, on the other hand, cannot be restrained.