Every Day's Journey

Brian Boucher’s Dispatch | San Francisco, January 16, 2020 Dear reader, Oh, hello there. I’m Brian Boucher. If you hadn’t heard, I’m the writer-in-residence for the fourth edition of UNTITLED, ART, San Francisco. I’ll be your guide to the fair, which brings together sixty galleries from a dozen countries on Pier 35 at the Embarcadero, from January 17–19. As a reporter for Art in America and artnet News, and currently as an independent writer, I’ve traveled the world to report on art fairs, from Dubai to Dallas and New York to Hong Kong. But it’s my first time serving as a fair’s very own writer, and as far as I know, no other fair has ever had a resident writer, so we’re all a little part of history here. (I’m following in the footsteps of my friend Osman Can Yerabacan, who was UNTITLED, ART’s writer in residence at the Miami edition, last month.) What, pray tell, does a writer-in-residence at an art fair do? I’m glad you asked. You can follow me

    Programming, Special Projects, Books & Editions, and Additional Partnerships announced for the Fourth Edition of UNTITLED, ART San Francisco UNTITLED, ART is pleased to announce a diverse program of VIP events and public programs including  performances ,  workshops , and  conversations  for the fourth  edition of UNTITLED, ART San Francisco. In addition, the fair will feature  Special Projects  by participating galleries, the return of the  Books & Editions  section after its debut in 2019, and a number of  additional partnerships  including  Inside Weather , the presenting partner of the Podcast Lounge, and  Withersworldwide , the presenting partner of the Podcast Lounge conversations program. Read the full  press release  here .  VIP Program Barbara Jones–Hogu,  Unite , 1971, screen print UNTITLED, ART San Francisco continues the tradition of welcoming special guests to tours of th

Osman Can Yerebakan’s Dispatch | Miami Beach, Dec 8, 2019 Art Spills Outside Booths and Taps Into Politics​ Today I’ve looked outside the booths and talked to artists whose works go outside the white walls and prompts critical discussion around national identity and labor. Positioned at entrance to UNTITLED, overlooking the South Beach is Ruben Millares and Antonia Wright’s It’s not down on any map; true places never are (presented by Luis De Jesus Los Angeles), a motorized public sculpture made out of flagpoles, chains, a steel platform, and 16 flags of countries currently involved in migration crises, such as Venezuela, United States, South Sudan, Myanmar, Turkey, Germany, and Mexico. Rotating in a steady half loop, the chain structure moves the flags up and down, creating a metallic machinery noise as the flags ascend, squeeze through the chains, and rise again. Flags which have traditionally been placed on high ends of dwarfing poles are upsid

  Osman Can Yerebakan’s Dispatch | Miami Beach, Dec 6, 2019 Painting, Deconstructed Painting is widely celebrated across UNTITLED, ART this year, including artists who test the medium’s creation process with alternative touches to its physical nature and dimension. They raise its flatness into sculptural layers, deconstruct its wholeness, or put its traditional mediums into test. CONDUIT, Brad Winchester, 2019, Hand-woven linen, dye, bleach, oil and yellow cedar, 26" x 26" (James Harris Gallery) Song to Siren, Leah Guadagnoli, 2019, acrylic, pumice stone, canvas, upholstery foam, insulation board, and aluminum panel, (HT Contemporary) At Hollis Taggart’s booth, Leah Guadagnoli’s lusciously architectural and jubilantly pastel painting and sculpture hybrids yearn for a touch — however, do not. The artist constructs her canvas-based works by putting the modern art’s favorite material into

  Osman Can Yerebakan’s Dispatch | Miami Beach, Dec 5, 2019 Painters Illustrate Pleasure Of Leisure In a high temperature city, such as Miami where sun is bright and pace is slower, idyllic moments are tempting, luring us to slow down and enjoy the pleasure of doing nothing, which comes at price and guilt of “un-productivity.” The choice one makes to immerse themselves into taking time off is a gift and evil, imposing the dilemma of taking part in work or laziness. Poolsides, couches, parks, and beds invite us to detach from productivity; however, laziness has its own aesthetics, too. Painters in this year’s UNTITLED approach the sweet pleasure of leisure with humorous, transforming moments of repose into juxtapositions of intimacy and self-care. Placer, Kira Piriz, 2017, acrylic on canvas, 80 x 60 cms. (Aninat Gallery) Put your shades on Johnny (and hold me tight), Audun Alvestad , 2019, Acrylic on Canvas, 1