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Art Dealers Association of America (ADAA), The Art Show 2019

February 27, 2019 – March 3, 2019

 Art Dealers Association of America (ADAA) Art Show
The Art Show takes place at the Park Avenue Armory at the intersection of Park Avenue and 67th Street.
 
It runs from Thursday, February 28th through Sunday, March 3th.
 
A gala preview occurs on the evening of Wednesday, February 27th from 5:30pm to 9:30pm.  The gala is a benefit for the Henry Street Settlement and to buy tickets in advance for the benefit, click here.
 
Tickets for the run of the show can always be purchased at the door.
 
Krakow Witkin Gallery will exhibit works by Robert Barry, Mel Bochner, Daniel Buren, Willem de Kooning, Jenny Holzer, Julian Opie, Giulio Paolini, Liliana Porter, George Segal, Kiki Smith and Richard Serra, among others.  You can find us in booth A-15.

Works In Exhibition

Last Seen (Rembrandt, The Storm in the Sea of Galilée)

Sophie Calle Last Seen (Rembrandt, The Storm in the Sea of Galilée) 1991 Ektachrome photograph with text sheet

Photograph, framed:  100 x 65 inches (254 x 165.1 cm)
Text, framed: 69 x 56 1/8 inches (175.3 x 142.9 cm)
This installation size:  100 x 129 5/8 inches  (254 x 329.2 cm)

In her series Last Seen…, Sophie Calle creates a poetic remembrance of a famous crime: the theft in 1990 from the Isabella Stewart Gardner Museum in Boston of five drawings by Degas, a vase, a Napoleonic eagle, and six paintings by Rembrandt, Flinck, Manet, and Vermeer. Gardner’s stipulation in her will that the arrangement of the galleries remain fixed ensures that a sense of loss remains a permanent fixture of the museum. Calle interviewed curators, guards, and other staff members, asking them to describe the absent works; their varied responses are displayed as a counterpart to photographs of the labels, empty pedestals, and bare wall hooks left behind after the theft

The text reads:

There was a bad storm, a big ship, and all kinds of people on the ship. I remember some of them got sick, they were kind of throwing up or something. I don’t remember the colors. That’s all I can say ✦ There’s a big storm at sea and the ship is tossing and turning, and it looks like it’s the end. I visualize Jesus as being there too, and he’s going to save them. There’s no danger, just hold on and pray, everything’s going to be all right, there’s no problem ✦ It was a biblical piece. It told the tale of the apostles with Jesus. But, I was very upset because there were fourteen in the boat and not thirteen, as in the Bible, since Rembrandt had put himself in the picture. Why was he there? What was he doing? It was so arrogant of him ✦ I find it very appealing that he included himself in this moment of revelation, looking scared to death. I thought it was a rather humble thing to do ✦ It was my favorite because he put himself in the boat. I swear that’s where Hitchcock got the idea to put himself in his movies. But, of course, Rembrandt was the best looking one when all the others looked old and sick. We used to call him Robert Redford ✦ This painting faced an earlier Rembrandt self-portrait, so the two Rembrandts looked at each other across the centuries ✦ Some of the apostles are looking panicky, some are trying to wake up Christ, and Rembrandt himself is holding onto his little cap against the wind and looking out at his audience. Rembrandt’s looking at you ✦ That was a very aggressive painting. Very dark. A lot of movement and a lot of terror. A look of terror on people’s faces. Everybody was frenzied, hanging on for dear life, except Christ and Rembrandt. Everyone else was just a wreck ✦ It was busy, very busy. The flow, the sense of movement is mostly what I remember. Torn sails and water everywhere. Sailors who looked at it disliked it because they said that Rembrandt knew nothing about a ship. They always claimed that the boat would have never sailed because the mast was too thick and its proportions wouldn’t allow for floatation. So, I remember being distracted by those details not being correct ✦ The ship was below the center, turning up towards the left-hand corner of the painting, triangular shaped with the mast jutting diagonally across the canvas. One of the ropes had snapped and was going wild in the air. Half of the painting was in darkness because of those who didn’t believe in Christ. Jesus was at the back of the ship very calmly looking towards the light, suggesting that the turbulence might be about to end. What strikes me is how comfortable He was in the midst of all that danger. Everyone is working to save his neck and He’s the only one that isn’t working at all. That’s how you know He’s God ✦ I don’t remember Jesus at all in the painting, I don’t remember seeing Christ…It was Rembrandt’s only seascape, a very luscious painting that always enlivened me. It just felt like your adrenaline picked up when you looked at the picture. The tumultousness and the chaos were very contagious. I don’t remember this painting as color. Action, not color ✦ It’s a very green picture, but it’s also very gold. I can’t remember why in the middle of this big storm, it’s so gold. The painting is just sort of suffused with this golden light ✦ The light on the people was amazing. It lifted them out of the darkness of the storm. There was this blinding concentration of light towards the point of danger with yellows, greens and blues in the center of the agitation. The frame was gigantic, late 19th century oiled gilded frame, very thick, very carved ✦ The colors were actually quite bright on the ship, purples, reds, whites. They kind of stood out from the black background. The waves might have had white tips to induce the stormy feeling. i loved the delicacy of the foam which was whitish and yellow and how he approached that with small strokes ✦ When I was a youngster, one Christmas, a dear family friend gave me a five-pound box of candy in a tin box. And on the lid was The Storm in the Sea of Galilée. It was the first time I’d ever seen it. It was my prized possession. I loved it, absolutely loved it.

Edition 1 of 2
(Inventory #30284)

Untitled

Tara Donovan Untitled 2017 Plastic tubes on Corian base

12 1/2 x 13 1/4 x 13 1/4 inches  (31.8 x 33.7 x 33.7 cm)
Signed and dated on accompanying certificate
(Inventory #29992)

Wedding Souvenir

Claes Oldenburg Wedding Souvenir 1966 Cast resin, painted with acrylic

for the wedding of Jim and Judith Elliott in Topanga Canyon, California, April 23, 1966
from a series of approximately 200
5 1/2 x 6 1/2 x 2 1/4 inches  (14 x 16.5 x 5.7 cm)
(Inventory #27604)

Conference

Kiki Smith Conference 2016 Bronze with silver nitrate patina, unique

17 1/4 x 10 1/4 x 4 3/4 inches  (43.8 x 26 x 12.1 cm)
Engraved KS 2016 on bottom
(Inventory #29946)

Cube Without A Cube

Sol LeWitt Cube Without A Cube 2005 Shaped from solid slabs of syntactic polyurethane and painted in lacquer

Edition of 6
Signed and numbered on bottom of base
Sculpture is 6 x 6 x 6 inches on a base measuring 12 x 12 x 1 inches
(Inventory #18348)

Horizontal Lines, Black and Gray

Sol LeWitt Horizontal Lines, Black and Gray 2004 Gouache on paper

Image/paper size:  15 x 44 1/2 inches  (38.1 x 113 cm)
Signed and dated lower right in graphite
(Inventory #30198)

Untitled

Robert Barry Untitled 2018 Acrylic on canvas in eight parts

Each panel: 12 x 12 inches (30.5 x 30.5 cm)
Installation dimensions are variable
Signed and dated “RB-18”, notated with panel number, all bottom center verso
(Inventory #30134)

Robert Barry has created a work in eight parts.  Each element has a defined orientation.  As to how they are arranged, eight coins are tossed onto a surface with the same proportions as the wall the work is to be installed upon. Following the chance resting place of each of 8 coins, the eight panels are correspondingly installed on the wall.

Coast. 2.

Julian Opie Coast. 2. 2016 Continuous computer animation with sound on 46" LCD screen with inkjet

40 3/4 x 77 1/2 x 4 3/8 inches  (103.6 x 197 x 11 cm)
Signed on label on reverse
(Inventory #30063)

Untitled (from Rubber Band Matrix)

Tara Donovan Untitled (from Rubber Band Matrix) 2006 Ink on Kozo-shi paper, unique

Paper size:  53 x 42 inches  (134.6 x 106.7 cm)
Frame size:  56 x 45 1/2 x 1 1/2 inches  (142.2 x 115.6 x 3.8 cm)
Signed and dated lower right in graphite
(Inventory #29436)

Black drips (Dutch girl)

Liliana Porter Black drips (Dutch girl) 2019 Acrylic with found glass figurine on canvas

44 3/4 x 32 1/4 x 1 1/2 inches (113.7 x 81.9 x 3.8 cm)
Signed, titled and dated on reverse
(Inventory #30382)

Echos

Kay Rosen Echos 2014 Enamel sign paint on canvas

40 x 30 inches (101.6 x 76.2 cm)
Signed and dated on reverse
(Inventory #29953)

After Richard Serra, Prop, 1968, Installed at the Whitney Museum in “Contemporary American Sculpture: Selection 2,” April 4 – May 5, 1969 (Pictures of Dust)

Vik Muniz After Richard Serra, Prop, 1968, Installed at the Whitney Museum in “Contemporary American Sculpture: Selection 2,” April 4 – May 5, 1969 (Pictures of Dust) 2000 C-print mounted on sintra

Image size: 68 x 48 inches (172.7 x 121.9 cm)
Frame size: 69 x 49 inches (175.3 x 124.5 cm)
Edition of 10
Signed and dated on a label affixed to the reverse
(Inventory #30186)

View Larger Image After Richard Serra, Prop, 1968, Installed at the Whitney Museum in “Contemporary American Sculpture: Selection 2,” April 4 – May 5, 1969 (Pictures of Dust)

Selection from Survival Series (Respect for life means you love…)

Jenny Holzer Selection from Survival Series (Respect for life means you love…) 1983-85 Cast aluminum with black patina

7 9/16 x 10 5/8 inches (19.2 x 27 cm)
Edition of 10
(Inventory #30286)