What is known as “Armory Week” took place early March in New York. The roughly seven-day-long art extravaganza takes its name from the 1913 Armory Show—America’s first large-scale exhibition of modern art, which took place in the Regiment Armory on Lexington Avenue. Every year, Armory Week encompasses numerous art fairs and events across the city, providing excellent opportunities to not only look at art and meet artists and art world professionals, but also to practice observing the art market and predicting forms it could take in the foreseeable future. On March 6, I attended the Art on Paper Fair. As many will likely admit, time at art shows goes by quickly and is never quite enough. Thus, I focused my visit on new, alternative uses of the paper medium, observing the gamut displayed, speaking with artists and dealers, and gauging the visitors’ reactions.
One thing that became noticeable early on, while walking around the space, was the number of conversations concerning the apparent two-dimensionality of most works exhibited at the fair. Such observations were offered with a tone of disappointment, as though the future of paper, as presented here, had circled back on itself and was, once again, non-sculptural and flat. Despite the public’s generalizations about the prevalence of age-old applications of pencil, ink and paint, this year’s fair was actually marked with works that pushed far beyond tradition.
There were numerous instances of artworks that toyed with both two and three-dimensionality. A fascinating example was found in the offerings of Canadian artist and author Cybèle Young, represented by Forum Gallery, whose works are sculptures trapped in a frame. Elsewhere, Browngrotta gallery exhibited only non-flat works. Of particular note was “Vanishing and Emerging Wall,” 2009, a round textile by Japanese artist Hideho Tanaka woven out of squares of paper, painted with stripes and hung in such a way as to create vertical folds. Similarly, Owen James Gallery exhibited small paper pulp sculptures by Adam Frezza and Terri Chiao. The sculptures’ whimsical colors, glitter, and coral-like structure created a playful atmosphere that made them alluring to fair-visitors of all ages. Overall, encountering works that experimented with unique applications of the paper medium made the whole visit far more lively than one could typically expect of these fairs—like a treasure hunt of art on paper.