Here are some highlights from the Volta fair, which everyone--quite justifiably--told me to attend after the somewhat dull viewings at Scope (don't get me wrong, there was a lot of really nice work on view, it just didn't feel like--well, like art was happening).
Above, Jacin Giordano's fabulous toilet seat cover column and glitter painting at Baumet Sultana.
Above, these sculptures from Kevin Francis Gray (at Goff & Rosenthal) were real crowd pleasers. A combination of cast resin, bronze and automotive paint that filtered a smart classicism through a contemporary filter, or is that the other way around..? Sex, death, glamor, drapery, and the artist himself, a big, bearded, beaming Irishman...
It made me think. No one in New York is making work like this, except Koons, but he's on his own trip--but it may have more to do with access to the resources necessary to make this kind of work. This kind of work is expensive, time-consuming, and craft-conscious, not exactly three things in the toolbelts of most NY artists, but is that an aesthetic choice or are the means of production limited by the difficult realities of living here? The junk/assemblage aesthetic certainly seems to rule the scene here. I'd be interested in your opinion on this.