Installation view for Armory exhibit, 2022. Photography by Vincent Tolo. Courtesy of Armory Show.
2022 version of Show Armory New York seems to resemble a bygone era: a bustling spectacle of a global art audience that is so sociable, engaged, cosmopolitan, and exhausted. Over the past two years, art galleries have responded and transformed in response to the ever-changing social and travel restrictions related to COVID-19, resulting in increased avenues of online selling and a shift toward local galleries. And while virtual instruments such as viewing rooms remain largely online, The Armory Show 2022 painted a vibrant picture of New York’s once vibrant and bustling art world – a vision of the city’s art scene that has been sorely overlooked.
This vitality, which extended to opening fairs and parties across the city, was met with strong sales. By Saturday evening, exhaustion was palatable, but it didn’t stop exhibition-goers and attendees from talking to each other so long after closing, that the Javits Center had to suddenly turn off the lights to drive out the remaining attendees (myself included). Many exhibition makers have noted that the rapid transition from the inaugural version of Seoul frieze To The Armory Show he contributed to a particularly stressful exhibition week.
An installation view of Grimm’s booth at the Arms Show, 2022. Courtesy of Grimm.
Hormuz Himmatian, Director of Dastan Gallery in Tehran, was one of the exhibitors who attended both consecutive exhibitions and noted that in the inaugural edition of Frieze Gallery in Seoul, the audience was quite mixed. “There were different people coming to see the art,” he said. Hematian attributed this diversity to Frieze’s widespread exposure, which attracted an international crowd, as well as a local Seoul collector’s base. He added, “Korean audiences were greatly affected by the first edition of the Korean Art Fair.”
However, Hematian also noted the importance of enduring a traveling marathon in order to attend The Armory Show – which, although somewhat quieter compared to Seoul, was useful for conversations with curators and collectors taking place in New York. “When you come to a big art gallery with many great art galleries by your side, you show the artists that you believe in such a great city, that is a positive thing,” he said. “This is no exception.”
Andishe Avene, Chrysler Building2018 Courtesy of Dastan.
Iman Thunder Sad oriental oriental bittersweet sweet pomegranate head 2022. Courtesy of Dastan.
Hematian added: “Armory Gallery is known to have brought in great artists from all over the world, and they have hung excellent artwork on the walls and that is still the case with this [year’s fair]. Dastan showed an artist rendering of Iman Reed’s work and Andish Aveene. The gallery has sold many works by artists in the price range from $5,000 to $15,000 a piece.
Artists also seemed enthusiastic about the exhibition. Nikki is my star, who attended Armory for the second time this year as a viewer only, was impressed by the paintings on display. “I’m in love [the art] of the drawing,” he said. “And this year, there were so many good works that it was almost impossible to see them all.”
ching ho cheng, Untitled Palmetto Series1981. Courtesy of BANK/Mabsociety.
Unsurprisingly, the painting sold exceptionally well at the exhibition. in Bank/Mpsocityfounder and director Mateo Borisevich was excited to present a booth of artists from the works Michael Lynn And the Ching Ho Cheng—Both artists from the Asian diaspora who have a history with the New York art scene. Lin currently has a solo installation shown at The Metropolitan Museum of Art.
BANK displayed many of his incredibly prolific paintings that feature a dominant pale blue background with small bouquets of red and purple flowers drawn on the edge of the frame. Additionally, the gallery featured muted colors on paperwork by Cheng, an artist who died of complications from HIV/AIDS in 1989 and is currently having a moment in the secondary market. Borysevicz informed Arty that the gallery had sold several works by the end of the gallery, as well as several scheduled institutional talks. Business prices ranged from $38,000 to $98,000.
An installation view of Anat Ibji’s booth at the Arms Fair, 2022. Courtesy of Anat Ibji.
Anat Abji Her booth was sold out on VIP opening day. The booth featured an incredible array of prints, sculptures, paintings, and textiles, and reflects the current, broader focus on the work of emerging women artists and artists of color, as well as the artisanal materials and techniques found in the primary and secondary markets. The exhibition was receiving many institutional inquiries about Jordan Nassar textile work, Écrasante beauty (2022), and they put the rest of the works in the kiosk – including a witch painting by Tammy Campbell—With notable collections in the United States and Spain.
The housing gallery noted that the exhibition helped cement the artist’s rising stature Nathaniel Oliver. Oliver paintings inspired by pictures Alice Neal And the Noah Davis in how they reflect and derive the everyday experiences of their subjects. The artist’s pictorial style and growing profile undoubtedly contributed to the stall sale upon completion of the vernissage, with prices each ranging from $42,000 to $65,000.
von span, St. Helens2022. Courtesy of Alamine Rich.
Some other notable sales include:
- aluminum feathers She sold her booth from von span Business between $100,000 and $300,000.
- Victoria Mir Items sold by Doron LangbergAnd the Idris KhanAnd the Sarah SzyAnd the Flora JoknovicAnd the Yayoi Kusama Prices range from $18,000 to $3.25 million.
- James Cohan sold a Fred Tomaselli A piece of shingle for $675,000.
- Galleria Massimo Minini Sold I’m Stella (1964) by Carla Accardi for $325,000.
- one of Kehinde WileyThe latest bronze sculptures have sold for between $250,000 and $300,000 Templonbooth.
AES + F, Inverso Mundus, Inquisition or Women’s Labor #2, 2015. Courtesy of Galleria Senda.
Ozioma Onuzulike, Royal Babariga2022. Courtesy of Co Gallery.
- Nara RoslerHis highest sales at a VIP opening included a Tomie Ohtake painting that sold for $240,000, as well as strong sales for André Griffo’s work—Farm Management Instructions 6 (2022), which sold for $30,000 – and Marco a CastilloWakamba 5 (2022), which sold for $110,000.
- Galleria Senda feet solo booth On the Russian collective AES + Fwhich attracted heavyweight collector Steve Wilson (co-founder of 21c Museum-Hotels), who eventually bought a sculpture, in the $35,000 to $60,000 price range, and a painting, Inverso Mundus, Inquisition or Women’s Labor #2 (2015). The painting is so notable, that the group has produced only 20 paintings in its 35-year career.
- Master collector Beth Rudin DeWoody purchased Kyle Staver Painting for $32,000 from half fair And the Ozioma Onuzulike‘s Royal Babariga(2022) for $65,000 from the Lagos Fair ko. A representative from Kó said the gallery was very excited to attend the Armory Show, and the team was excited about the success and interest the show was receiving as first-time exhibitors for a booth of artists, which also included works Nina Okor.
Mark Badiou, Le dejéuner dans la plantation2022. Courtesy of Jack Bell Gallery.
- Jack Bell Gallery She sold all three of her paintings by Mark Badiou In the range of $55,000 – $65,000.
- Sargent’s Girls almost sold her solo painter’s booth Emily Forewhich is also the subject of its current solo exhibition, with prices ranging from $3,500 for small businesses to $65,000 for large-format paintings.
- Galleria Lorcan O’Neill He has made many notable sales to private collectors in the United States, including a variety of Kiki SmithThe job price ranges from $24,000 to $165,000. Gallery director Laura Chiari said she was delighted with her experience at the gallery and was thrilled to present Smith’s work – who currently has a solo show in the gallery space in Rome – to an enthusiastic audience.
- Two new paintings by Chris Ofili Sold for $600,000 each David Zwirnerwhich also achieved one of the exhibition’s highest sales, with Homa Bhabhanew sculpture I’m friend (2022) Sold for $350,000 to the Museum of South Asia.
grimm He returned to The Armory Show after a three-year hiatus with strong sales. It was her best seller Caroline WalkerBoard Cashing (2022) for $150,000 to an American foundation; Mixed media piece Michael Raedker for $110,000; Angela HecheBoard green pond (2022) for $50,000; And the Arturo Camiyainstallation Odor Gas / Olure Gas II (2021) for $15,000.
Sebastian Brandsen, Senior Director of the Kameya facility, said, “We are getting a lot of response with the work of Arturo Kameya. It is one of our stores. It was a work originally created for the new Museum Triennial, where it was shown last year.” The gallery has also sold a work by a Dutch artist answer beckmanwhich is the subject of an upcoming show at its New York location, for approximately $35,000.
Other businesses that have received institutional placements include:
- Catherine Clark Gallery She sold many works from her individual booth dedicated toAnna Teresa Fernandezwith Eco and Narciso II (Performance Documents, Rodeo Room at the Headlands Center for the Arts) (2008) and the space between us (2022), both oil paintings, sold for $48,000 and $42,000, respectively. Additionally, the gallery captured some of the gallery’s early institutional placements when it sold Fernandez’s video Borando la Frontera (Erasing the Frontier) (2011) and two photos associated with Indianapolis Museum of Art At the opening of the VIP.
- mother gallery Sold Jenny MorganEye-catching painting descent (2022) to Institute of Contemporary Art, Miamithrough a donation from the Rojat family.
- The Rubell Museum has acquired Jared McGrave painting, benign destruction (2022), in the $25,000 to $35,000 price range of Spinello Projects.
- Yancy Richardson Gallery Successively David alikoji diptych to the Everson Museum of Art. Display kiosk also works Omar ParqueAnd the Mary blameAnd the Rachel BerryAnd the Zanelli Moholi which sold in the range of $4,000 – $63,000.
Helena Mitavria, forty-seventh headdress2022. Courtesy of Addis Fine Arts.
While sales were strong and appear to be counteracting the deteriorating economic climate, the highlight of The Armory Show this year was the return of personal social relationships. Artist Helena Mitafria—who made a solo booth With Addis Fine Art and two works from her “By Way of Revolution” (2018-present) collage series that sold in the $12,000-$15,000 range, she deeply appreciates the conversations she’s had among art collectors and curators alike. It was great to hear the comments [from new audiences] And I know the work resonated with them because my work is so political… the audience was able to see themselves in it,” she said.
“Exhibits like this provide artists with a focused international audience that a normal gallery can’t provide, so I really appreciate the physical presence here,” she added. The artist also noted that this audience was important because for her, there was a growing emergence of female artists and artists of color whose work presented a variety of important political issues.
“Artists are affected by their environment and what is happening in the current situation,” Metaferia continued. “[Artists] Inspired by their lived experiences, there is much shared anger and sadness that is expressed through the artwork in the gallery. But thank God, we have art that helps us get past this! ”
Ayanna Dozier is the Artsy Staff writer.