Contributed by Jonathan Stevenson / Like VOLTA, the Art on Paper fair on Pier 36 was a modestly gauged and user-friendly alternative to the massive and unwieldy Armory Fair. It also presented consistently rich work from a geographically and stylistically broad range of galleries. Here are a few eye-catching selections. From the Upper East Side (but soon to relocate to a larger space
in Chelsea), C. G. Boerner presented a flock of Martin Assig�s pastel-and-wax
drawings, rich but compact, which with handwritten text inscriptions
constitute succinct philosophical essays.
[Image at top: Martin Assig, St. Paul #704, 2015]
At the fair�s northeastern edge were San Francisco artist Henry Jackson�s playfully lugubrious edge-of-abstraction paintings � unobtrusively combining oil paint with other media � shown by Stewart Gallery of Boise, Idaho.
Two elegantly louche hipsters vibrantly collaged within a single large frame by Mersuka Dopazo and Teresa Calder�n, who are from Spain by way of Bali, anchored the booth of Rebecca Hossack Gallery of Soho (and London).
Paulson Bott Press (Berkeley, CA) offered a winsome 2014 Martin Puryear etching, abstract though it seems to bow from the chest.
Montreal�s Beaux-Arts des Am�riques showcased several of architect-by-training Patrice Charbonneau�s bright, tactile landscape and interior paintings, which deftly impart the personalities of absent inhabitants to the objects or scenes depicted.
Hal Katzen Gallery (E. 78th Street) provided a lot of bang per square foot, arraying small works by Elizabeth Peyton, Alex Katz, Helen Frankenthaler, and David Hockney on a single wall.
And there was no escaping Frank Stella, here by way of his collage displayed by New York�s David Findlay Jr Gallery.
Rebecca Morgan�s wryly off-color and on-target drawings graced a wall for Chelsea�s Asya Geisberg Gallery.
In keeping with its host city, the Art on Paper Fair offered something worth seeing literally around every corner. It was an afternoon well spent.
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