Mark Hughes on His Favorite Artworks from Week 2 of FAIR
For the second week of FAIR, art advisor Mark Hughes shares a selection of his favorite artworks on view.
Mark Hughes founded Mark Hughes Art Advisory in 2011 after working in commercial galleries in Sydney and New York for twenty years. Based in Sydney, Mark works with private clients in Australia, the UK and the USA. He has also completed corporate projects in Hong Kong, South Korea, Japan, China and Australia. Prior to founding MHAA, Mark was director at Galerie Lelong in New York.
Acrylic, ink, salt and alcohol on maple panel with artist-made frame
17 x 13.25 inches
Presented by Altman Siegel, San Francisco
"This earlier work by Liam Everett is imbued with a truly handmade physicality. The mysterious forms, all scratchy and blurry, hover and pulsate within its unpretentious simple wooden frame. An economy of materials produces an abundance of visual delight."
"Tears of Paradise (study)," 2020
Financial Times stock listings, archival inkjet, sand and acrylic on canvas
31 1/2 x 39 3/8 inches
Presented by Edel Assanti, London
"This textured and alluring paradise by British-Chinese artist Gordon Cheung quietly explores China’s history, international relationships and power. Stock listings of the Financial Times literally underpin this magical sandy landscape. Nature takes a back seat as we are seduced by its gorgeous colours and imagery of winding roads, with the promise of a progressive future that has already arrived."
Acrylic watercolor on canvas
22 x 27 Inches
Presented by François Ghebaly, Los Angeles
"You could be forgiven for thinking this is a portrait of a Bourgeois spider emerging from isolation. Overweight and slightly lethargic, there is a sturdiness and resilience in the bodily form of this being or object as it hovers in an ice-blue cloud. It rightly confounds our expectations and desires to categorise and label, but one cannot deny its sharp, confident presence."
"Girls with Cat and Martini," 2020
Oil on linen
34 x 26 inches
Presented by Jack Hanley Gallery, New York
"It’s 2am and the drinks have been drunk. The room is tilting, bodies dissolving and the cat is hungry. It is almost like the pause button has been pressed on this moment between revelry and sleep, where time is a triangle upended into a martini glass. No matter how strange it all is, a deep serenity pervades this scene of luscious color."
B. Ingrid Olson
Swan Crash Foil, 2020
Inkjet print and UV printed matboard in aluminum frame
16 7/8 x 26 inches
Presented by i8, Reykjavik
"A moment of intimacy, privacy and action is expressed in this photographic work by B. Ingrid Olson. The body in space and the body creating space are both explored in this moment in progress. Legs extend and lift into the air and off to the side; between them is a window through which we view an angled hand about to slide deep into a crevice. The work is both sensual and playful, with the artist inviting us to be both quiet viewers and imaginary participants."
"Look How Far We’ve Come 053," 2017
22.5 x 30 inches
Presented by Participant Inc, New York
"There is little cause for celebration for even the most positive optimists, no matter how bright and joyous the design and colors announcing this declaration in Jeffrey Gibson’s unique screenprint. Given the current state of everything right now, it would be hard to read this without sarcasm and sadness at the decline of political standards, the ability of the human race to ruin the planet, and the careless treatment of First Nations peoples the world over. Gibson’s work is a window through which we can see things more clearly."
"Trash and Champagne," 2012
Oil on canvas
17 x 15 inches
Presented by Philip Martin Gallery, Los Angeles
"This earlier work by Tomory Dodge reminds me of first discovering his luscious paintings as the art world awoke again to abstraction. Layers of luscious stripes in delicious thick oil are applied with obvious love for the medium, and scraped back with care to reveal what lies beneath. More champagne than trash for me."
"I'll find you a good one!," 2020
Fabric dye on stretched cotton
44 x 44 x 2 inches
Presented by Sean Horton (presents), Dallas
"Who can forget Orkideh Torabi’s installation at NADA NYC in 2018! Pattern and decoration continue to enliven Torabi’s dyed fabric paintings, with figures here engaged in conversation in the cosy environment of a men’s bathhouse. One can only guess at the role of a small-size sock in this conversation, and the artist raises more questions about tradition and relationships than she answers."
Untitled (spectacles), 2020
Decoupage on wood panel
24 x 24 inches
Presented by The Suburban, Milwaukee
"With printed matter slowly disappearing from our lives and on its way to becoming future artefacts, thankfully we have Jeff Gibson to facilitate renewed appreciation of the medium. Combined through decoupage, Gibson brings to life an obscure selection of imagery from advertising, street scenes and Hollywood archives. These fragments are cut, arranged, fixed and delivered as a kind of ‘painting’ that mirrors our own image-laden environments. Gibson celebrates the visual and physical history of the printed form – and it’s all in the detail."
"Rich Pig," 2019
Acrylic on linen
35.8 x 24 inches
Presented by Neon Parc, Melbourne
"We could all do with some humor right now, and often the best humor is underpinned by uncomfortable truths. Harris is known for making art that pushes the boundaries of taste and this week he wins with this choice cut of pig’s nuts."
"Catherine Opie 420," 2019
Acrylic on pine panel
12 x 5.75 inches
Presented by Callicoon Fine Arts, New York
"What greater homage for your favorite artwork than to have it as your lock screen? For the painter-sculptor Nicholas Buffon, the choice to depict Opie’s powerful work “Self-Portrait/Cutting” on a 12-inch pine ‘phone’ is, for me, a touching display of respect. The process of reverence makes clear the importance of one artist to another, and the complexities of that exchange. The result is something true to Buffon’s practice and a new tale is being told."
Jordan MaraniBig Fat Nobody, 2019
"Big Fat Nobody," 2019
Acrylic, graphite on polyester quilt cover, polyester wadding
83 x 55 x 14 inches
Presented by Daine Singer, Melbourne
In some respects, we are all the “Big Fat Nobody” in Jordan Marani’s large stuffed sculptural work. Made pre-Covid, this work could become a poster for these days of comfort eating and our realisation that there are much more powerful things out in the world than us – especially things we cannot see. The helplessness of our large lumpy friend brings forth a desire to protect and care for those around us. Every nobody is always a somebody to someone else."
"Numbers Station for The Pony Express (Gill’s / Sand Hill Station)," 2018
Laser-etched slate, postage, archival inkjet print
24.5 x 37 inches
Edition of 3 plus I AP
Presented by Simone Subal Gallery, New York
"Instructions, communication, public service – all things that are very much on our minds right now – inform this work by Frank Heath made in 2018. I can’t really make out what is going on, but in 2020 this rather banal imagery from a US post office (places not known for high tech efficiency) brings forth uncomfortable truths about the movement of goods and systems that are either in decline or broken entirely. It might also be a love letter to correspondence and communication – the ambiguity of meaning now even more heightened in these pandemic days."
Daniel Rios Rodriguez
Hawks and Doves, 2020
Oil and mixed media on wood panel
14.5 x 16.5 inches
Presented by Nicelle Beauchene, New York
"Texture, colour and form lap right to the edges of this painting by Rodriguez, who is known for his vibrant sculptural paintings in homemade frames, where nothing seems immune to being painted or covered. I am not sure how something which has elements of painting, collage, texture and sculpture can also feel minimal, but maybe that lies in its supreme elegance and balance. For me this painting feels rooted in nature, and at the same time other-worldly."
Candace Worth on Her Favorite Artworks from Week 1 of FAIR
For the inaugural week of FAIR, Friends of NADA Member Candace Worth of Worth Art Advisory, shares her favorite artworks on view.
"Chair de l’anti-carré," 2018
Oil on canvas
60 x 84 inches
Presented by Mitchell Algus Gallery, New York
"This special Canadian artist makes completely abstract, ethereal, atmospheric paintings. Her subjects seem to be air and light themselves."
Archival pigment print
19 x 15.5 inches
Presented by Bureau, New York
"I love the work of this mid-career, conceptual, photo-based artist. Her imagery of the last few decades is based on vintage books, found poetry and old pattern-making pamphlets. Baum produces works in small editions and they are relatively inexpensive, so I like to buy the work in small groupings."
"Stolz und Vorurteil," 2018
Monotype in artist's frame with chine collé and pochoir
29 x 22.25 inches
Presented by Callicoon Fine Arts, New York
"I like how Muller moves easily between painting, print-making and ceramics. This colorful monotype feels like a photographic still-life."
"Untitled (DM 1263)," 2019
Acrylic on paper
30 x 44 inches
Presented by Creative Growth, Oakland
"Dan Miller comes from the Creative Growth Art center in Oakland, CA, a special place that supports artists with disabilities. His intense, repetitive abstractions of letters and words have great energy and color."
James Benjamin Franklin
Acrylic, sand, glitter, fabric, and apoxie sculpt on rigid wrap
22.5 x 16.5 x .75 inches
Presented by Reyes Finn, Detroit
"This Detroit-based painting makes great, three-dimensional paintings, built up with unusual materials like glitter and epoxy. They have a beautiful, rough surface and a ton of presence in person."
Robin CameronVayyyyyyyyse, 2015
14 x 13 x 7 inches
Presented by Franz Kaka, Toronto
"I love this built-up ceramic work by Robin Cameron, an ancient form in a contemporary format….it can sit within a bookshelf or on its own pedestal (with a little museum glue underneath!)"
Plywood, wood, paint, hardware and sandbags
86 x 20 x 16 inches
Presented by i8, Reykjavik
"One of the most important voices of the last ten years (who could forget the major, multi-screen work ‘The Visitors’), Ragnar is also a wonderful draftsman and painter. These ‘Goddess’ sculptures combine his interest in figurative sculpture with painting and drawing."
"Unity Gain/All Out," 2018
Oil on canvas
20 x 16 inches
Presented by Susan Inglett Gallery, New York
"This small, detailed seascape painting packs a lot of visual power onto a small canvas. Degen is renowned for his tight mark-making and beautiful palettes."
"Untitled (Good and Bad Intentions...)," 2006
Paper, tempera, ink, photocopy
33 x 25.5 inches (framed)
Presented by Kristina Kite, Los Angeles
"This LA-based, conceptual artist often works in sculpture and photography, looking at relationships between images, objects, and language. The candle image in this collage, a recurring motif in Queenland’s work, lies between two geometric diamond-shaped drawings."
"My Your Pattern in Your Head," 2020
Oil on canvas
65 x 50 inches
Takal is a wonderful, newer painter for me, and I am drawn to how she gives you a representational painting, but only gives you partial information to understand the narrative. Is this a rack of women’s clothes installed outdoors? For what purpose? The bottom half of the foreground is a landscape but what is the geometric background? Great price point for a large work by a strong, up-and-coming painter.
About Candace Worth
Capitalizing on her extensive knowledge and relationships in the gallery, auction house and artist communities, founder Candace Worth established Worth Art Advisory in 2001 to bridge the gap between new art collectors and the art world establishment. In the last nineteen years, Worth Art Advisory has developed into a leading, internationally-recognized contemporary art advisory service representing a diverse group of art collectors.
Prior to establishing Worth Art Advisory, Worth worked in the Contemporary Art Department at Christie's auction house, followed by positions at a blue-chip gallery in New York City and an internet-based art consultancy. She has participated in panel discussions and lectures related to the contemporary art market at the Rhode Island School of Design, the Drawing Center, Art Dealers Association of America and TEDxChelsea.
Worth is an executive member of the Association of Professional Art Advisors and served for ten years on the board of the Drawing Center in New York City. In 2010, she created an artist residency program in upstate New York, offering artists a unique opportunity to work for extended periods in a rural environment. Worth received her bachelor's degree in Art History from the University of Pennsylvania in 1992 and studied at the graduate school of Art History at Columbia University.