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Art Basel 2017 Art

(Clockwise, from top left) Reza Aramesh, Site of the Fall: Study of the Renaissance Garden, 2016-17, marble, topiary, Leila Heller, New York City, at Parcours, ArtBasel ; Sue Williamson, Messages from the Atlantic Passage, Goodman Gallery, Johannesburg, South Africa; Phyllida Barlow, untitled: 100banners2015, 2015, Hauser & Worth, Zurich; Thomas Struth, Paradise 28, Rio Madre de Dios, Peru 2005, 2005, chromogenic print, Galerie Max Hetzler, Berlin/Paris; Peter Regli, Reality Hacking No. 313, 2014, Levy Gorvy, New York.


THE MORNING AFTER: LOOKING BACK AT ART BASEL 2017

This year, Art Basel had something for everyone. Dominated by the motherlode of over 4,000 works of art shown by 226 exhibitors in the Galleries sector, Art Basel extended its universe to individual artist projects at Parcours, Unlimited, Statements and Features. The solo projects, the result of artist proposals, were politically aware, environmentally conscious and community oriented.


Subodh Gupta "Cooking the World”

Subodh Gupta, "Cooking the World” 2017, found aluminum utensils, monofilament line, steel, Gallery Continua, Italy.


ARTSCOPE’S GUIDE TO BASEL ART FAIRS 2017

It is a calmer year at Art Basel, but no less edgy. Escapist to a degree, the world sector-wide reflects a desire to hide under the covers, or at least spend time at a beach, eating a good meal or watching an entertaining, possibly animated film. Whereas the work last year implored us to speak an act, and sometimes revolt, we’ve now done it, and largely have had no effect. So, let’s have some fun. Many projects allow us just that.


Art Basel Art 2017

(Clockwise, from top left) Reza Aramesh, Site of the Fall: Study of the Renaissance Garden, 2016-17, marble, topiary, Leila Heller, New York City, at Parcours, ArtBasel ; Sue Williamson, Messages from the Atlantic Passage, Goodman Gallery, Johannesburg, South Africa; Phyllida Barlow, untitled: 100banners2015, 2015, Hauser & Worth, Zurich; Thomas Struth, Paradise 28, Rio Madre de Dios, Peru 2005, 2005, chromogenic print, Galerie Max Hetzler, Berlin/Paris; Peter Regli, Reality Hacking No. 313, 2014, Levy Gorvy, New York.


ARTSCOPE AT ART BASEL SWITZERLAND: DAY TWO

First confronted by Al Wei Wei’s “Iron Tree” (2016), which changes patina as it ages, it also brings nature and the manmade relationship with nature into perspective. That relationship seems a theme of Parcours, curator Samuel Leuenberger’s brilliant trek through the city through the following of artwork installations. Reza Aramsh recreates Michelangelo’s “Slave” in resin, but tiesits hands behind his back with a rope, making him captive and towering on a plinth over the river. Katinka Bock’s “Parasite Fountain” (2017) creates ametal fish that draws water from a neighboring fountain, thus the parasite description, and does not give it back. It uses the water for itself. Politics has come into the work now.


Art Basel Entrance

Art Basel Entrance


ARTSCOPE AT ART BASEL SWITZERLAND: DAY ONE

Done with the hard-hitting political landscape of last year’s work here, and taking a breather, maybe literally, everyone’s happier seeing fewer political statement or in your face art. A lot is concentrating on the process, the materials and the bringing in of concrete, beads, aluminum screening and more for innovative treatments of material.


Clemens Kalischer and Familly

Clemens Kalischer and family at the opening reception for his “Between Past and Future: Clemens Kalischer’s Vermont” exhibition at Bennington Museum (photo by Marguerite Serkin).


Between Past and Future: Clemens Kalischer’s Vermont at Bennington Museum

Bennington Museum hosted an artist reception on the afternoon of June 3rd to honor legendary photographer Clemens Kalischer. Now on view in the museum’s ground floor gallery, “Between Past and Future: Clemens Kalischer’s Vermont” provides a wide sampling of Mr. Kalischer’s masterfully- composed portraits that span more than six decades of Vermont life.


In the Count’s garage where he keeps the cars in tip-top shape, Figaro (Evan Hughes, r.) helps Susanna (Emily Birsan) imagine their upcoming nuptials in Boston Lyric Opera’s production of “The Marriage of Figaro.” Photoraph by T. Charles Erickson.

In the Count’s garage where he keeps the cars in tip-top shape, Figaro (Evan Hughes, r.) helps Susanna (Emily Birsan) imagine their upcoming nuptials in Boston Lyric Opera’s production of “The Marriage of Figaro.” Photograph by T. Charles Erickson.


Boston Lyric Opera presents The Marriage of Figaro at John Hancock Hall

In Boston’s venerable John Hancock Hall, a few steps down Berkeley Street and just off Copley Square, our own Boston Lyric Opera roars into town with an enduring classic, a smoking hot bedroom comedy that offended one emperor, Joseph 2nd of the Hapsburg Empire, and King Louis XVI. Threats of censorship loomed, then dissipated.



May/June 2017

Article Excerpts: Welcome | Cornered: Michael Mansfield| A Retrospective Ode To Fearlessness | The Artist’s Eye Draws Us In | Bearing Witness To Tragedy | Boston Athenaeum’s Works On Paper | Michelman Makes Space | Going With The Grain | Young Russians At Shattuck | Expressing Freedom At Miller White | A Synergistic Blend In […]


Paul Forte, Mantle (after a fashion), 2007, dressmaker’s mannequin, cut and pinned photocopies, 64” x 13” x 10”.


WONDERMENT AND CONFUSION

PAUL FORTE, VISUAL POET Suzanne Volmer It is rare for an AS220 Project Space exhibitor to get extra square footage for an exhibition. However, this luxury is provided to Paul Forte for his “The Alchemy of Collage — Selected Works 2005-2016” collection of visual poetry in order to give breathing room to the show’s complex […]



May/June Classifieds

Your work could be artscope’s next CENTERFOLD. Your work can be Artscope’s next Centerfold. Work by established and emerging artists welcome. For the July/August 2017 issue we will be accepting submissions in the category of Wood medium. Send up to three images and your statement with contact information to: centerfold@artscopemagazine.com by June 15, 2017. Submit […]



May/June 2017 Centerfold

    Artscope 68, May/June 2017   art: The Well artist: James Dye medium: dip pen and india ink theme: Outsider/Visionary Art Through the methodical application of detail, I explore the ritual nature of art and the symbiosis of image and story. I draw inspiration from mythology both personal and established to create works that […]