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DEBRA HOLT

Recent Photographs & Video Installation

ABBA FINE ART233 NW 36th Street, Miami FL 22127

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12 Dinorah Delfinat Elga Wimmer PCCBy Joel Simpson

18 In the Place We Liveat M55 Gallery , Long Island CityBy Chiara Di Lello

22 In The 1st Personat Zuccotti Park, New YorBy Ola Manana

44 Brooklyn • Williamsburg44 Queens • LIC

REVIEWS

LISTINGS36 New York City47 International

BASICS10 News47 Auctions48 Index

MAPS

MintheArtworld.com

Vol. 15, No. 4, December, 2011ISSN 1534-5394

Publisher/ M. Brendon MacInnis • Marketing/ MichaelOlsen • Contributing Writers/ Mary Hrbacek/ CamilleHong Xin/ Tom McGlynn/ Chiara Di Lello/ Andy St. Louis/Jennie Park / Lee Klein / Terry Ward / • Graphic Design AsiaEdition/ Shelly Wang • Web Master/ JasonGoodrow •Copy editor Intern/Claudia Eve Beauchesne

Asia Bureau • Editor/ Vivi Ying HeintheArtworld.com, Room 104, building 2, 91 Tai An Rd Shanghai200052 China. Tel /CH 86.13761300987 /HK 852.95357978email/ vivi@in theAr twor ld.comin theAr twor ld.com

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Based in New York, M produces three essentialart publications that seamlessly integrate art listings,

art maps and art reviews across the print and webmedia. These are: the M magazine, the M art maps,and the easy-to-remember M website:intheArtworld.com.

On the web, M offers a free listings service thatworks smoothly from all platforms: iPad, iPhone,Mac, PC and Android, without requiring any Appsto download. It just works.

The M website’s simple, user-friendly design allowsart professionals to publish listings and openings inreal time. With M you control your own information.Just sign-in and update your listings anytime, fromanywhere, and as often as you like. If you work inthe art world, and you want to become a member,visit intheArtworld.com, click on “welcome” andrequest your free invitation to join. It’s that simple.

In print, M is the largest publisher of art maps andlistings guides serving the art world in New York.As such, we achieve an economy of scale thatenables us to offer galleries, dealers, curators andartists the lowest price and best service, always.

There is never a charge to list exhibitions onlinewith M, but to maintain quality listings, membershipis by invitation only. Of course, you don’t have tobe a gallery owner to access the most up-to-datelistings ever. Once you use intheArtworld.comto check openings and exhibitions, you’ll wonderhow you ever managed without it before.

Best wishes for the holidays, and a joyful,prosperpus New Year.

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News

M in Miami

M / in the Art world also called the M magazineis participating inArt Basel Miami Beach andwill alsohaveabooth inArt Miami during “ArtBaselWeek”.

New Member Gallery

TheYace Gallery hasopened inLong IslandCity.(see intheArtworld.com).

TheMarc Straus Gallery hasopened in theLES.(see intheArtworld.com).

TheMulherin Pollard Gallery hasopened in theLES.(see intheArtworld.com).

Artware Editions hasopened in theLES.(see intheArtworld.com).

KANSAS hasopened inDowntown.(see intheArtworld.com).

Waterhouse & Dodd hasopened in theSoho.(see intheArtworld.com).

Lambert Fine Arts hasopened in theLES.(see intheArtworld.com).

Name Change

TheLESgallery calledNP Contemporary,has revertedback to its original name, Envoy.(see intheArtworld.com).

On The Move

Praxis International Art hasmoved fromUptown toChelsea.(see intheArtworld.com).

CFM Galleryhasmoved fromSohotoChelsea.(see intheArtworld.com).

Design Saves Lives

Coinciding with the exhibition "Beauty in All Thing:Japanese Art and Design" at the Museum of Artsand Design, Design Saves Lives Benefit Committeeconsisting of curators of the Museum of Arts andDesign will hold a Charity Auction & Gala Party onWednesday, December 7. The proceeds will go tothe Design Saves Lives fund that helps artists anddesigners affected by the Tsunami. For more infor-mation, visit: http://designsaveslives.org/auction

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at Museum of Arts and Design and Steelcase Inc.

Organized byInternational Design Network Foundation

For tickets and information www.designsaveslives.org

Museum of Arts and Design, 2 Columbus Circle, New York, NY 10019Steelcase Inc., 4 Columbus Circle, New York, NY 10019

Rev iew

Dinorah DelfinElga Wimmer PCC, New York

By Joel Simpson

The subject of a one-woman show at Elga WimmerPCC, curated by Björn Ressle, Dinorah Delfin’s

paintings and large Photoshop compositions are atonce jarring and mysterious. Delfin is a multi-mediaartist who does not claim to be a photographer. Yetshe masterfully uses photographic imagery in thesecompositions in the same way the Dalí used his pho-torealistic drafting talent in his paintings—to furtherher thematic ends. Her lighting preferences havebeen compared to those of Caravaggio, since, likehim, she uses saturated colors and extreme contrastbetween light and dark. Compositionally and the-matically she displays even more similarities to Dalí(whom she venerates), namely, her use of distortedor exaggerated perspective, added symbolic ob-jects often floating through the air, and hyper-realis-tic figures and settings.

Like Dalí, her imagery is often highly personal, re-maining enigmatic to the viewer, while the overall im-pression of the images is intriguing, even disturbing.And she includes some symbols from English surreal-ist Francis Bacon's playbook. The show is dedicatedto her (former) mentor, Chuck Close, whose imageappears in several of the works. Delfin’s signatureimage-object is herself: nude, often heavily made-up,usually present in multiple iterations, involved in someintimate or abusive activity, and looking at the viewerwith a range of expressions, from reproach to blank-ness or submission. The sets are ornate, and heavilysymbolic images abound: butterflies, birds, balloons,and stuffed animals—and some, such a toy soldiers,recur, offering clues to Delfin’s thematic obsessions.

For example the work depicting sex between tworeclining versions of herself in the right foreground,with a standing, partially obscured Hugo Chavezin the middle ground, and a scribbled over “Vivala Revolucion” graffiti in the background, clearlyhas political meaning. Yet its title is Heart-ShapedBubble Balloons, which happen to be floatingthrough the picture. If we put it all together, sheseems to be saying that the Revolution (Chavez’sthat is) either emits false love (the hearts are onlybubbles), or is the subject of it, or both. Some-one is getting “fucked”—the sex is not about love,especially since the lower figure leans againstbloody carcasses, à la Bacon, and there’s a pair

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Dinorah Delfin Anchor in the Chest, 2010. Digital Image/C-Print. 28 x 35 inches.Courtesy: Elga Wimmer PCC, New York


Dinorah Delfin The Hand, 2010. Digital Image/C-Print. 28 x 35 inches.Courtesy: Elga Wimmer PCC, New York

checkerboard floor, on which stands a tuxedoedthree-year-old, holding a magnifying glass in onehand that reduces entire scene behind him includingthe milk, but minus the central female figure—hismother. The decor is pure baroque, with—anotherDalinian device—an ornately framed ceiling open-ing onto a sky with blue moonlit clouds (the moon isbehind her head), while cherub babies in sailor suitspeer down. To the sides are two portraits, an un-framed one of Chuck Close, her (former) mentor

of scissors stuck bloodily into her right foot. In frontof the foot lies another bloody carcass, coveredwith thorns. Rats crawl around Chavez’s feet, be-hind which lurks a two-headed snake, a ratherclear symbol of duplicitousness. A blurry brainfloats in the air between two columns. “Viva LaRevolucion” seems to be written on broken wind-shield glass, and many random lines cross it out.She clearly is saying that Chavez is a dema-gogue, a fake, and saying it a very emphatic,original way.

Her Madonna and Child series seems to docu-ment a progressive tension in motherhood. InMadonna and Child I we seem to be witnessinga birth, a blurry baby, though not a newborn, isemerging from one nude Delfin figure, who holdsher hand over her mouth as if in astonishment. Thebaby is happy and has a rattle in its hand. A sec-ond nude Delfin figure wears a crown tiara andcontemplates a brain in her extended hand, likeHamlet with Yorick’s skull. She has a suturedwound in her left side that’s dripping blood ontoa crouching ceramic baby figurine, shielded by acockle shell, from which a black chain emerges,leading to what looks like a heart in a bear trap.All this takes place on a covered table, sur-rounded by an artificial sea, that leads out,through a Medieval portal into an idyllic back-ground of an Alpine lake. On the water floatorigami boats and one large object that looks likea blurry placenta. Here and there are plastic sol-diers—there is a persistent military theme inDelfin’s Madonna series: in one of the paperboats, and another one perched on a dark barelylegible sign hanging from two chains that reads“MAMI LOVES YOU.” In the dim background onthe right is a subway sign for the “N” train toQueens, with an arrow point forward.

Delfin seems to be connecting procreation with themilitary, and of course, right-wing regimes havehistorically promoted motherhood and child-bear-ing as a means of supplying soldiers for wars. The“N” in a circle is rather reminiscent of Napoleon’simperial seal, and coupled with the word“Queens” a royal/imperial association is un-avoidable. But there is a very personal source ofpain here—the suture, the heart caught in the trap,which is what children do to their parents, but usu-ally this bond is welcomed.

In Madonna and Child II a naked Delfin wearinga head drape à la the original Madonna, gushespure milk from the right breast, rapturously con-templates a realistic heart, while a naked recliningDelfin seems to pull a naked one-year-old babyfrom her womb, or just hold it as if emerging, look-ing ruefully at the viewer. Motherhood seems notto entail the extraction of the heart in addition tothe brain? The brain is there again, this time ablur, impaled on a cane, and supporting a toy

metal cannon and three 18th century British toysoldiers. The cane is rooted in the armpit of a darkpurple teddy bear at the base of the image, whocradles a dark purple plastic heart that dimlyreads “MAMI LOVES YOU”—again. On the right,behind the reclining figure’s face is a tall, narrowbaroque chapel, bathed in blue light, with a hang-ing anchor on which seems to be crucified a thirdDelfin naked figure, seen from the rear. Child-bearing seems to have cost the mother her heart

as well as her brain, and she crucifies herself inher role as maternal anchor, within a religious con-text that reinforces the notion of martyrdom. The an-chor here (according to the artist) symbolizes fixityand immobility rather than stability. The artist isclearly expressing anxiety about motherhood—elo-quently and enigmatically at the same time.

In Madonna and Child III, a mostly clothed Delfinsuperciliously looks down at the viewer, while herbared left breast gushes milk, flooding an upended


Dinorah Delfin Two Figures Reclining, 2010. Digital Image/C-Print. 28 x 35 inches.Courtesy: Elga Wimmer PCC, New York

(her “Gala” ...), in his own painting style to the left,with a crudely added halo that drips, and to the righta gold-carved-framed one of herself, apparentlynaked, kneeling and praying. Under this frame sitsa blurry bottle of Johnny Walker Black Label. In thefront right foreground lie two flowering lotuses. Themother has given birth to an independent child whoshams maturity with a tuxedo and remembers the milkwithout the mother, underscored by the flowers of for-getfulness, the lotuses, and the blurry booze. The mil-itary references are all but absent—the sailor suits?checkerboard? The child is now apparently readyto play his own game in this very striking powerreversal.

A King’s Milk Gone Sour in the Midst of Warly De-lights offers a coda to her Madonna series. Hereone large Delfin nude standing sideways, lookingguardedly at the viewer, squeezes the right nippleof another Delfin nude facing the viewer with a pas-sive, expressionless look on her face. She wears agolden oak leaf crown, a funerary honor in Romantimes. Is she about to die? This is Delfin herself aswoman-king, in a female version of impotence (thinkof the Midieval Fisher King)—her milk has gone sour.The flow is minimal compared to that in theMadonna compositions. And it flows onto a delib-erate reduction of the baby: a plastic baby doll, whoattends a toy artillery piece, one of the “warly de-lights.” There are sixteen other nude or semi-nude fig-ures (all Delfin) seeming to guard the court withvarious weapons, also including one taking a pho-tograph, one in oversized handcuffs, a draped oneholding an upside-down brain on her lap, a pair inthe central background in which one seems to haveextracted a heart attached to a thick, twisted umbil-ical cord. In the upper left a World War II vintageUS fighter plane chases a dove (peace...), leavinga trail of heart-shaped bubbles. In the upper back-ground a chicken carcass is suspended, crucifixion-like, by wires from the ceiling. Large butterflies flythrough the foreground and background. The wholeseems to aim at the gratuitousness and superficialitywith which formerly serious things are now taken, es-pecially war and sex. So the target here is the de-graded condition of the entertainment state, in whichcitizens are lulled into complacency by the all-em-bracing forces of commercial pop culture, the resultof which is the impotence of the truly vital institutionof motherhood.

Delfin’s symbology becomes clearer by observingthe repetitions and transformations of her recurringobjects. The anchor, for example, upon which thepresumed mother was crucified in Madonna andChild II, recurs in Anchor in the Chest, one of herdarkest works. The scene appears to be a dream ofa prison camp, where snow covers the floor of theinside of a house, which we observe across abarbed wire fence. On our side of this fence is afully clothed Delfin, carrying a mace-like feather

duster and wearing a Russian fur hat and scarf. Sheextends her right hand through the barbed wire tograsp the arm of another Delfin, this one naked ex-cept for a fur hat, same scarf as the first Delfin, andboots, who sits in the snow with a distressed lookon her face. Another naked Delfin sits in the snowwith her back to the viewer. A toy Bambi stands inthe snow, attached to what looks like a potato wear-ing a sombrero. But the most striking figure is asupine nude Delfin lying on a bed, holding an appleand looking mournfully at the viewer, while a large

anchor has split her open from the chest to the ab-domen. According to Delfin’s symbology, she hasbeen killed by fixity and immobility. Otherwise thesubject is cold domestic imprisonment.

Delfin’s imagery is not quite as obscure and personalas Dalí’s sometimes was, but almost. The impressionis often that there is a message just beyond ourgrasp, although a careful inventory of the objectsand dramatic situations in the images will, likedreams, often yield very cogent and satisfying re-

sults. In any case, Delfin is a consummate artist inthis demanding medium of the digital collage, pro-ducing works of great power that transfix the viewerwhether s/he understands or not. M

Editor’s Note:Dinorah Delfin’s work can be seen at Elga Wimmer PCC,New York, and Myra Galleries LCC, Wynwood-Miami


Yoon Choo Hair project – Hair in the box. From the group show, In the Place We Live, 2011Courtesy: M55 Gallery, L IC, New York.

Rev iew

In the Place We LiveM55 Gallery , Long Island City

By Chiara Di Lello

One of the oldest artist run galleries in New York,M55 Gallery in Long Island City presents

nearly fifty young artists in this ambitious groupshow, In the Place We Live. The show offers aglimpse into the neighborhood where the gallery issituated, nestled among a concentration of artiststudios that number in the hundreds in this artenclave of Long Island City, just two subway stopsfrom Manhattan. The wide variety of subject matterand media, and their work is shown in a completelyheterogeneous mix, with works by the same artistoccupying opposite ends of the gallery. While thor-ough, this mixing is not random: curators CarolinaPenafiel and Assa Bigger succeed in highlightingconversations and juxtapositions between the worksto unify the show. There is very real connection andcommunity among the artworks, mirroring the com-munity populating M55 and its surroundings.

At the show’s entrance, visitors are greeted byMatti Havens’ Coincidental Urban ExplorationLeague, a participatory, multimedia piece includ-ing video, maps, and photographs with captionswritten directly on the gallery wall. Havens con-ducted a walking tour of Long Island City directedby the roll of a die, and he generated rules todirect him at both four-way and three-way inter-sections. With the route decided by chance,Havens and any other CUEs (Coincidental UrbanExplorers) are simply directed to “interact with theenvironment and the people they meet along theway.” His contribution to the show is only half fin-ished: the rest will be made up of documentationfrom an open, group “Coincidental Exploration”to be conducted a week or so after the opening.

Inside, the exhibition amounts to an environ-ment, due in no small part to the three dimen-sional works on display. To one side, aprofusion of vellum spirals hang from the ceil-ing. each printed with a question far weightierthan its medium: “Is there life on other planets?”“Do I have any real friends?” Visitors are unin-hibited about interacting with the piece, twirlingthe spirals to make each question fully legible.Not far away, another portion of the gallery’s

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Ana Sanchez From the group show, In the Place We Live, 2011Courtesy: M55 Gallery, L IC, New York.

ceiling is populated by Yuko Ueno’s MagicalButterfly series: gauze, wire and multimediareplicas of the insects, each with over a food ofwingspan, extend down the wall as if to serveas guides ushering from one work to the next,which make heady jumps through photography,oil painting, mosaic, watercolor, silkscreen,metal, ceramic and LEGO.

A series of sculptures by Lilian Engel stands out,due to a combination of artist and curators’choices. One encounters her small wood, stoneand metal sculptures at regular intervals throughoutthe show, and they immediately seem to resonatewith one another from across the room as if cuttinga channel through the other works on display. Sev-eral are from the same series, Bird Variations, inwhich Engel evokes raptor heads and shoulderswith Brancusi-esque style, rendering them in greenor white agate or beautifully smoothed wood. Inone corner, Engel’s work is on display just belowa small oil painting of olives, creating a charmingconversation between the variety of smooth andshining forms.

A very different energy crackles just feet away infront of Dustin Klare’s oil painting, This City, oneof the largest works in the show. This City is abustling street scene, but also a group portrait inits attention to detail and the unmistakable NewYork attitude of its subjects. Even his pigeons, ap-pearing amid sidewalk sitters, hot dog vendor,and women in fishnet tights and leather jackets,have fierce eyes and gleaming talons. Klare’s useof the bright palette and crisp lines of 1980s tag-ging and street art presents a highly finished sur-face, but is supported by a staggering level ofdetail: the dragon design on a skateboard in theforeground, or the pattern of one man’s dappergreen tweed jacket, are Klare’s own designsadded to the final painting.

Another very different but no less standout work isa book by Juan Zorrilla that benefits from a similardegree of meticulousness. Zorrilla’s art book titleda.n.x.i.e.t.y. includes text excerpted from a varietyof sources accompanied by a series of nonfigura-tive, evocative silkscreen drawings. The only dis-advantage here is the decision by the curators todisplay the extended, accordion-style book veryclose to the floor, necessitating crouching to get agood look at each of its pages.

Amid the ebullient energy of the show, BrittanyEmerson’s pensive and multilayered works repre-sent both strong technique and captivating exe-cution. Often working directly on wood, with the

grain visible and highlighted in pencil, Emersonuses palette knife, tape borders and translucentlythin collaged layers to evoke nature mort compo-sitions as well as anatomical or field guide draw-ings. One can almost pick out shapes of bones,wings or leaves, softened and hidden among pre-cise but delicate layering. Emerson’s palette ofopaque yet vivid pastels recalls O’Keeffe, andseems to share the painter’s careful observation ofnature. Her works require and reward careful look-ing – an almost surgical process of examiningEmerson’s components, assembled as if in a metic-ulous reverse dissection.

The beauty of her pieces comes across equallywell in the space of M55 and in the more formaland sparely installed Henry DeFord III gallery, inthe lobby of the Citicorp Building at Court Square,where another portion of In the Place We Live isinstalled. Highlights here include Lexi Namer’sbrooding digital collages of what seem to be vin-tage photographs to create wide vistas of sky andprairie – these works efficiently draw the viewerin, and forcefully bringing up questions of distor-tion, interruption, and the difficulties of recon-structing history. Also on view at Citicorp is YoonChoo’s Hair project – Hair in the box, which per-ceptively brings up a slew of questions about gen-der, partnership, and individuality. In a short videowe watch the artist and her husband receivenearly identical haircuts. Shadowboxes accom-pany the video, containing photographs of thefinal results as well as all the removed hair (in thehusband’s case, a much smaller sample). The hair-cut takes on a multitude of symbolisms: it com-ments on the erasure of a wife’s personality into ahusband’s, while the larger pile of woman’s haircalls to mind the double standard that requiresharder work by women to get even vaguely equalresults. And as for individuality, the moment whenboth artist and her husband put their glasses backon is both touching and troubling – their profilesnow echo each other, but we have to wonder howmuch more identical they would look if we did notknow the starting point.

The location uniting the artists of In the Place WeLive makes this show a wonderful introduction toa geographic and intellectual terrain. Just as thosewho travel from one location to the other emergewith an altered sense of neighborhood geogra-phy, visitors leave this show with a tangible senseof Long Island City’s rich terrain of art activity. M

Zucotti Park, Occupy Wall Street, 2011Photo: Louis Duit

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In The 1st PersonZuccotti Park, New York

By Ola Manana

Iwent to Zucotti Park the day the Occupiers weresupposed to be kicked out for a cleaning. It was

eleven a.m. and the danger had passed. The pro-testers had cleaned the park themselves and werestill there. Everyone seemed relieved. I always feltsolidarity with the occupiers, but somehow didn'tmake it downtown for the first 28 days. But Iwanted to go and be another warm body, to par-ticipate in this crucial event. Work was called offand a window of time opened up. I took the trainto Wall Street, hopped out and flashed a smile ata cops standing next to one of the barricades thatgated in street toward the park. "Where's ZucottiPark?" I aked. He smiled ironically, and pointed. Ifollowed the barricades into the park and quicklytook in the scene. The sidewalk had been cleaned,almost to a shine, and the park was full, withcrowds spilling onto the street. Clusters of peoplewere still sleeping on tarps and in sleeping bags,bunched together off the walkway in groups ofthree or four. Exhausted, apparently by the expectedearly morning stand-off, their voluntarily homelessslumber seemed completely oblivious to the joyfulracket of the drum circle, and thousands of voicesoverlapping an equal number of concerns.

It seemed of little importance to anyone that the"reasons" for participation were as varied as theparticipants. There was a unity in the variation,and it seemed to be that public policies that wereinstituted by government were receiving undue in-fluence from corporation. But that wasn't exactlywhy I was there. I was there for my own reasons.

I'm a single mom. I can't get free health insuranceif I make any more money. But if I don't make moremoney I won't be able to buy my child clothingand food. So here is a catch 22. If I am to receivebenefits for things I cannot afford, I am going tohave to make less money. More objectively, I amdistressed by the triangular focus of our greatwealth as a country. In my opinion, the military,corporation, and the prison industrial complex arecosting the common man, woman and child theirright to life, liberty and the pursuit of happiness.1.) Life. Our "occupation" in foreign countries isrobbing others of their life, and when things gowrong our soldiers are losing their life. I want thewar to end. It seems to be one of the biggestmoney drains, and a big life drain. 2.) Liberty.The prison industrial complex. For those who donot know the United States imprisons more peopleper capita than any other country in the world. In-carceration costs an average of $115. per dayper inmate. If we spent that much money on buffer-ing education, we would have less people inprison. Of the more than a million inmates, lessthan half are violent criminals. Prison is a niceword for living in a cage. 3) The pursuit of hap-piness. Happiness is relative, but I can pretty muchguarantee that although advertising would leadyou to believe that the next car, house, pill, snack,geegaw, etc., will bring happiness, it will not.Happiness can not be provided by corporations,but can be taken away, by debt, anxiety andeventual non-voluntary homelessness.

So I walked around and shared my feelings witha couple of people I ran into and listened to afew of their stories. Among the friends I con-versed with, an unemployed lawyer in a suit, amedicaid callout person who was spendingevery lunch break in the park, a couple ofteenaged boys who'd come down from Ithaca,a lawyer from Portland, Oregon, a photogra-pher originally from Holland. A sweet facedpink haired girl walked by "Anybody want asign?" I took the sign and stood by the barri-cade. "Wall Street You're Fired." I felt sombernext to the dancing drumming crowd. I identi-fied with the younger kids, with their rainbowhair, protesting. I've been protesting the warsince it started in 2001. Before I realized toomuch hair dye makes your hair fall out. But Iwas here now, a mom, with responsibilities. Istood for two hours at the barricade. Touristsposed for photographs as the police officerstried to keep the line moving. I was getting hun-gry. Fortunately, there's free food at the park.

A line had formed and split in two directions.One was to the free ice cream, another to a tablewith a random array of fixins from beans andchicken to sad little foil pans of creamy lookingbrownies. I decided to check out the ice cream.Apparently Ben and Jerry from Ben and Jerry's icecream were serving up free ice cream for the oc-cupiers. I finally came to the end of the line andthe Real Jerry served me Cherry Garcia ice cream

in a sugar cone. "Can I have a picture with you?"I asked. He smiled.

Tired of standing I sat with my sign and my icecream cone until it started to rain. And then pour.People ran for cover spreading plastic tarps overthemselves in tents. I huddled underneath an or-ange tarp next to Jerry who was still serving icecream with his wet shirt stuck to his back. Awoman, perhaps in her 80's came with a friendand huddled beneath the tarp with me. Sheseemed fragile, but was very happy to be thereparticipating in the occupation. I saw a chair legunderneath some cardboard construction andpulled it for her, and a pair of jeans dropped onthe ground. The people were here to stay, andhad brought a change of clothes. I set a dry pizzabox on the wet chair and offered her a seat. Shesat out the rain, with three umbrellas that magi-cally appeared for her.

After the rain stopped, she and her friend Louisand I went to a cafe for some hot tea. A chill hadbroken in the air, and it was certain to be anothercold night in the park. During our conversation,the woman, Lillian told me she had been awomen's activist and had attended Martin LutherKing's "I have a dream" speech in the 60's. Shedidn't go into detail, but seemed to connect thetwo events in her mind, and for me it was a greatinspiration to see that even though she had spentat least fifty years working toward change, shewas still there, shining. M

Repor t

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Village / LESAnastasia Photo166 Orchard St, 10002212 677 9725 [email protected] Tue-Sat 11-7

ChinaSquare102 Allen St, 10002212-255-8886 [email protected] Tue-Sat 12-6; Thu 12-8

Christopher Henry Gallery127 Elizabeth St, 10002, 212 2446004www.christopherhenrygallery.com Tue-Sat 10-6

Lehmann Maupin201 Chrystie St, 10002212 254 0054 [email protected] Tue-Sat 10-6

Moe's Meat Market, a gallery237 Elizabeth St, 10012212 343 2785www.phyllisstigliano.com

The New Museum of Contemporary Art235 Bowery, 10002212 219 1222 [email protected] Wed-Sun 12-6; Fri-Sat 7-9

Bullet Space292 R 3 St. 10009347 277 9841 [email protected] by appt.

The Pen and Brush, Inc.16 E. 10th St., 10003212.475.3669 [email protected] Thu-Fri 4-7; Sat & Sun 1-5

Feature Inc131 Allen St, 10009212.675.7772 [email protected] -Sat 12-6, Sat 1-6

Umbrella Arts - Fahey Bodell317 E 9, 10003212.505.7196 [email protected] Thu-Sat 1-6; by appt

White Box Bowery329 Broome St, 10002212.714.2347 [email protected] Wed-Sun 11-7

Woodward GalleryLADY PINK "LADY PINK: EVOLUTION", painting Nov 5 thruDec 30133 Eldridge Street, 10002212.966.3411 [email protected] Tue-Sat 11-6; Sun 12-5

SohoArtists Space Gallery38 Greene, 3rd fl, 10013212.226.3970 [email protected] Tue, Thu, Fri 12-6; Wed 12-8; Sat 12-5

Axelle Fine Arts472 West Broadway, 10012212 226 2262 www.axelle.com

Peter Blum SoHo99 Wooster St, 10012212 343 0441 [email protected] Tue-Fri 10-6; Sat 11-6

Brooke AlexanderWooster, 2nd fl, 10012212.925.4338 [email protected] Tue–Sat 10–6

Ethan Cohen Fine Arts14 Jay St, 10013212.625.1250 [email protected] Tue-Sat 11-6

The Drawing Center35 Wooster, 10013212.219.2166 [email protected] Tue–Fri 10– 6; Sat 11–6

Eli Klein Fine Art462 West Broadway, 10012212 255 4388www.elikleinfineart.com

OK Harris Works of Art383 West Broadway, 10012212.431.3600www.okharris.com Tue–Sat 10–6

Ronald Feldman Fine ArtsSimone Jones , sculpture multimedia installation video Nov 3thru Dec 2331 Mercer Street, 10013212-226-3232 [email protected] Tue-Sat 10-6; Mon. by appt.

Soho Photo Gallery15 White Street, 10013212-226-8571 [email protected] Wed-Sun 1-6

Staley-Wise Gallery560 Broadway, 3rd fl, 10012212.966.6223 [email protected] Tue–Sat 11–5

Ward-Nasse GalleryOngoing salon exhibition with 200 works on the walls 1000works in the racks. The Gallery that give artists a chance andthe public a choice178 Prince, 10012 212.925.6951www.wardnasse.org

27i n t heArtwor ld .com26 i n t heArtwor ld .com

Robert Miller Gallery524 W 26, 10001212.366.4774 [email protected] Tue–Sat 10–6

Nancy Hoffman Gallery520 West 27th Street, 10001212 966 6676 info@nancyhoffmangallery

nancyhoffmangallery.com Tue-Sat 10-6

Ricco / Maresca529 W 20, 3rd fl, 10011212.627.4819 [email protected] Tue–Sat 11–6

MidtownAsia Society725 Park Ave at 70th, 10021212.288.6400 [email protected] Tue-Sun 11-6; Fri 11-9

Forum Gallery730 Fifth Ave, suite 201, 10019212.355.4545 [email protected] Tue-Sat 11-7; Sun 1-5

Fountain Gallery702 Ninth Ave, 10019212.262.2756www.fountaingallerynyc.com Tue-Sat 11-7; Sun 1-5

Galerie St. Etienne3024 W 57, 8th fl, 10019212.245.6734 [email protected] Tue-Fri 11-5

The Gabarron Foundation, Carriage HouseCenter for the Arts149 E 38, 10016212.573.6968 x10 [email protected] By appointment only

Howard Greenberg Gallery41 E 57, 14th fl, 10022212.334.0010 [email protected]

Nohra Haime Gallery730 Fifth Avenue, 10019212.888.3550 [email protected] Tue-Sat 10-6

Bill Hodges Gallery224 W 57, 10019212.333.2640 [email protected] Tue-Fri 10:30-6; Sat 12:30-5:30

Jadite Galleries413 W 50, 10019 212.315.2740 [email protected]@nohrahaimegallery.comwww.jadite.com Tue-Sat 12-6

The Museum of Modern Art (MoMA)11 W 53, 10019212.708.9400 [email protected] www.moma.orgSat-Mon, Wed-Thu 10:30-5:30; Fri 10:30-8www.newartcenter.net Tue-Sat 1-6

Michael Rosenfeld Gallery24 W 57, 7th fl, 10019212.247.0082 [email protected] Tue-Sat 10-6

Throckmorton Fine Art, Inc.145 E 57, 3rd, 10022212.223.1059 [email protected] Tue-Sat 10-6

UptownAmericas Society680 Park Ave at 68, 10065212.249.8950 [email protected] Wed–Sat 12–6

Nathan A. Bernstein & Co., Ltd.21 East 65th Street, 2nd Floor, 10065212.288.8970 www.nathanbernsteinart.comMon-Fri 10-6; Sat. by appt.

China Institute125 E 65th St, 10065212.744.8181 [email protected] Sun-Sat 10-5; Tue & Thu 5-8

The Frick Collection1 E 70, 10021212.288.0700 [email protected] Tue-Sat 10-6; Sun 11-5

Gagosian Madison Avenue980 Madison at 76, 10021212.744.2313 [email protected] Tue-Sat 10-6

Guggenheim Museum1071 Fifth Ave at 89th, 10128212.423.3500 [email protected] Sat–Wed 10–5:45; Fri 10–8

Metropolitan Museum of ArtFifth Ave at 82nd, 10028212.879.5500 www.metmuseum.orgTue–Thu & Sun 9:30–5:30; Fri–Sat 9:30–9:00

Van de Weghe Fine Art1018 Madison Avenue, 3rd fl, 10075212 744 1900 [email protected] Mon–Fri 10–6

The National Academy Museum1083 Fifth Avenue, @ 89th Street, 10128212.369.4880 [email protected] Wed-Thu 12-5; Fri- Sun 11-6

Whitney Museum of American Art945 Madison Ave at 75th, 10021212.570.3676 [email protected] Wed, Thu, Sat, Sun 11–6, Fri 1–9

Chelsea532 Gallery / Thomas Jaeckel532 W 25, 10011917.701.3338 [email protected] Tue-Fri 11-6; Sat 1-5

ACA Galleries27529 W 20, 10011212.206.8080 [email protected] Tue-Sat 10-6; 10:30-6

Bertrand Delacroix Gallery535 West 25th Street, 10001212-226-2262 [email protected] Tue-Sat 10:30-6:30

Betty Cuningham Gallery541 W 25, 10001212.242.2772 [email protected] Tue–Sat 10-6

Ceres547 West 27th Street, Suite #201, 1000212.947.6100 [email protected] Tue-Sat 12-6; Thu until 8

Cheim & Read547 W 25, 10001212.242.7727 [email protected] Tue-Sat 10-6

DC Moore535 W 22 St, 2nd floor, NY 10011212 247 2111 [email protected] Tue-Sat 10-6

Gagosian Gallery522 W 21 St, 10011212 741 1717 [email protected] Mon-Sat 10-6

Kips Gallery511 W 25, 10001212.242.4215 [email protected] Tue–Sat 11–6

Kathryn Markel Fine Arts529 W 20, 6th fl,10011212.366.5368 [email protected] Tue-Fri 10-6; Sat 11-6

Lehmann Maupin Gallery540 West 26th Street, 10001212 255 2923 [email protected] Tue-Sat 10-6

Matthew Marks Gallery522 W 22, 10011212.243.0200 [email protected] Tue–Sat 11–6

Mike Weiss Gallery520 W 24, 10011212.691.6899 [email protected] Tue-Sat 10-6

Messineo & Wyman511 West 25th Street Suite 504, 10001212-414-0827 [email protected] Wed-Sat 12-5; by appt

Williamsburg / BrooklynArt 101, Inc.101 Grand Street, 11211718.302.2242 [email protected] Fri-Sun 1-6; by appt

Causey Contemporary92 Wythe Ave., 11211718.218.8939 [email protected] Wed-Sat 11-7; 12-6 pmSunday, 9-5 pm Monday

Parker's Box193 Grand St, 11211718.388.2882 [email protected] Fri-Mon 1-7

Pierogi177 N 9th St718.599.2144 [email protected] Thu-Mon 12–6

The Boiler191 N 14th St, 11211718.599.2144 [email protected] Thu-Mon 12–6

Williamsburg Art & Historical Center (WAH)35 Broadway, 11211718.486.6012 [email protected] Sat-Sun 12-6

artMoving

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International - ShanghaiPearl Lam Gallery181 Middle Jingxi Rd, Shanghai 20002+86.21.6323.1989www.contrastsgallery.com

MOCA ShanghaiPeople’s Park, 231 Nanjing West Road, Shanghai 200003+86.21.6321.9900 [email protected] Mon-Sun 10-6; Wed 10-10

1918 ArtSPACE ShanghaiNo,78 Changping Rd, Jing’An District, Shanghai 200041+86.21.5228.6776 [email protected],78 Changping Rd, Jing’An District

Elisabeth de BrabantNo. 299 Fuxing West Road near Huashan Road, 200031+86-021-6466-7428 www.elisabethdebrabant.comTue-Fri 10-6:30; Sat, Sun 1:30 - 6:30 PM

M97 GalleryNo. 97 Moganshan Rd. 2nd floor, 200060+86-021-6266-1597 [email protected]

ifa gallery621 Changde Road, (near Wuding Road), 200040+862162560835 [email protected] Tue-Sun 10-7; by appointment

AuctionsChristie’s20 Rockefeller Plaza, 5th fl, New York, NY 10020T 212.636.2000 F 212.636.4928www.christies.com

Doyle New York175 E 87, New York, NY 10128T 212.427.2730 F 212.369.0892www.doylenewyork.com

Phillips de Pury & Co.450 W 15, New York, NY 10011T 212.940.1200 www.phillipsdepury.com

Sotheby’s1334 York Ave, New York, NY 10021T 212.606.2000 F 212.606.7833www.sothebys.com

Leslie Hindman Auctioneers1338 West Lake St, Chicago, IL 60607T 312.280.1212www.lesliehindman.com

Bonhams & Butterfields San Francisco220 San Bruno Ave, San Francisco, CA 94103T 415 861 7500 F 415 861 8951www.bonhams.com

LIC / QueensReis Studios43-01 22nd St., 11101718-784-5577 [email protected] Mon-Sun 12:30-6

M55 Art44-02 23rd Street, ground floor, 11101718.729.2988 [email protected] Wed-Sat 12-6; by appt

P.S.1 Contemporary Art Center22-25 Jackson Ave, LIC 11101718.784.2084 [email protected] Thu-Mon 12-6

QCC Art Gallery222-05, 56th Ave, 11364718.631.6396 [email protected] Tue-Fri 10-5; Sat-Sun 12-5

Socrates Sculpture ParkBroadway @ Vernon Blvd, LIC 11106718.956.1819 [email protected]

Yace Gallery44-02 23rd St #109 LIC, NY 11101718.729.0888 [email protected]

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LIC Arts CenterM55 Art

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1918 ArtSPACE Shanghai 28532 Gallery / Thomas Jaeckel 26AACA Galleries 26Brooke Alexander 25Americas Society 27Anastasia Photo 24Art 101 27Artists Space Gallery 25Asia Society 26Axelle Fine Arts 25BNathan A. Bernstein & Co., Ltd.27Bertrand Delacroix Gallery 26Betty Cuningham Gallery 26The Boiler 27Bonhams & Butterfields San Fran-cisco 28Bullet Space 24CCausey Contemporary 27Ceres 26Chambers Fine Art- Beijing †28Cheim & Read 26China Institute 27China Square 24Christie’s 28Christopher Henry Gallery 24Ethan Cohen Fine Arts 25Contrasts Gallery 28DDC Moore 26Doyle New York 28EEli Klein Fine Art 25Elisabeth de Brabant 28FFeature Inc 24Ronald Feldman Fine Arts 25Forum Gallery 26Fountain Gallery 26The Frick Collection 27GThe Gabarron Foundation, Car-riage House Center for the Arts 26Gagosian Gallery 26, 27Galerie St. Etienne 26Howard Greenberg Gallery 26Guggenheim Museum 27HNohra Haime Gallery 26Bill Hodges Gallery 26Iifa 28JJadite Galleries 26KKathryn Markel Fine Arts 26Kips Gallery 26LLehmann Maupin 24Lehmann Maupin Gallery 26Leslie Hindman Auctioneers 28MM55 Art 28M97 Gallery 28Matthew Marks Gallery 26Messineo & Wyman 26Metropolitan Museum of Art 27

Mike Weiss Gallery 26MOCA Shanghai 28Moe's Meat Market, a gallery 24MoMA 27NNancy Hoffman Gallery 26The National Academy Museum27The New Museum 24OOK Harris Works of Art 25PP.S.1 Contemporary Art Center 28Parker's Box 27Pekin Fine Arts †28The Pen and Brush, Inc. 24Peter Blum SoHo 25Phillips de Pury & Co 28Pierogi 27QQCC Art Gallery 28RRed Gate Gallery †28Reis Studios 28Ricco / Maresca 26Robert Miller Gallery 26Michael Rosenfeld Gallery 27SSoho Photo Gallery 25Sotheby’s 28Staley-Wise Gallery 25TThe Drawing Center 25Throckmorton Fine Art, Inc. 27USocrates Sculpture Park 28Umbrella Arts - Fahey Bodell 24VVan de Weghe Fine Art 27WWAH 27Ward Nasse Gallery 25White Box Bowery 24Whitney Museum of American Art27Woodward Gallery 24YYace Gallery 28

Index30

Vernissage | November 30, 2011 | by invitation onlyCatalog order | Tel. +1 212 627 1999, www.artbook.com

Follow us on Facebook and Twitter | www.facebook.com/artbaselmiamibeach www.twitter.com/abmb

The International Art Show – La Exposición Internacional de ArteArt Basel US Office: FITZ & CO., New YorkTel. +1 212 627 1654, Fax +1 212 627 [email protected], www.artbasel.com

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EXHIBITING ARTISTS

Ground FloorStephanie Bloom | Room:105 ShannLee | Room:109 Hebru Brantley | Room 106Carl Cowden | Room:109Jason Davis | Room: 104 Michiyoshi Deguchi | Room: 107 Maicol Diaz | Room 106Francis Eck| Room: 103 Sheila Elias | Room:105 Anna Stein | Room: 102 Marina Reiter | Room:108 Allen Vandever | Room:104

2nd FloorTodd Alexander | Room: 205Olga Chemokhud Doty | Room: 207 Anne-Marie Cosgrove | Room: 209Eric Ginsburg | (fl room) Room: 203 Leslie Lyons | Room: 200Toni Michael Miller | (Florida Room) Room: 207 Artem Mirolevich | Room: 207Sound of Art’s M. Tony Peralta | (bed-room) Room: 203Ricardo Pistola | (Lvg room) Room: 203JB Wilson | (bedroom) Room: 200

3rd FloorArt Cuestion Gallery: Fernando Hal-con, Consuelo Mencheta, Jose Luis Fiol, Minnie Valero, Lorenzo Martinez, Lola Monserrat, Jesus Cardiel, Carolina Amigo | Room: 309

HeadBones Gallery: Ben Woolfitt, Robert Bigelow | Room: 307

Justin Wood | Room: 305

Frere Independent : Thierry Alet, Robin Scheines, Ron Jones | Room: 300

Lobby : Pink Gallery Grace Rim, Chris Twomey, Joan Giordano, Linda Levit, Youngmi Kim, Juwan Hong, Hwajin Lee, Hyunsuk Kim, Ryung Kal, L. Park, Eunk-ang Jo

Special ProjectsEllis Gallagher | Street ArtKarim Marquez | Installation in garden Artem Mirolevich | Live Performance

Pool Art FairSadigo Court 334 20th Street Miami Beach, FL 33139

Opening receptionFriday, Dec. 2, 20115 to 10:30 p.m.Exhibition open daily from 3 to 10:00 p.m.

Pool Art Fair Miami Beach December 2, 3 & 4 2011Pool Art Fair New York March 9, 10 & 11, 2012Pool Art Fair Guadeloupe June 1, 2 & 3, 2012 Pool Art Fair Martinique November 26 & 27, 2012

Oganized by Frere Independent a not for profit organization 501c3T. + 212 604 0519 E. [email protected]

This section is published on the occasion of the 7th edition of PooL Art Fair Miami Beach. The show is held for the first time at The Sadigo Court Hotel.curators and art lovers in general.

Thierry Alet 2011ALET THE MAGICIAN 14 x 11Mixed media on [email protected]

Todd Alexander 200936 x 48

Look what I can doMixed Media with Wax

T. 1 (404) 358 5318 | E. [email protected]

Hebru Brantley 2011Yesterdays Losers Todays CEO’s72x97Spray paint, OilT. 1 (312) 618 - 0090 | [email protected]

Anne-Marie Cosgrove 2010Superman 24 x 30 in.

Acrylic on boardT. 1 (647) 302 8962 | E. [email protected]

Carl Cowden 2008Porcupine’s New Baghdad 17.5”x49” Monoscreenprint w/mixed mediaT. 1 (813) 545 9109 | E. [email protected]

Francis Eck 2010Les Tableaux en Pieces jointe

30 x 30cmOil on canvas

T. (1) 590 690 59 79 27 | E. [email protected]

Ron Jones 2011AFRO TECH11 X 11 in. Acrylic on panelT. 1 (347)604 2271 | E. [email protected]

Leslie Lyons 2011BEFORE

4’ x 4’C-print framed, Edition of 5Shot on 2 1/4 negative film

T. 1 (917) 386 5465 E. [email protected]

Toni Michael Miller 2010Not ThereunknownOil on canvasT. (1) 44 75 87 36 09 32 | E. [email protected]

Marina Reiter 2011Love Profusion

48” x 36oil on canvas

T. 1 (646) 403 0257 | E. [email protected]

Grace

Rim

2011The

Pond36”x23”

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Pool Art Fair Miami Beach December 2, 3 & 4 2011Pool Art Fair New York March 9, 10 & 11, 2012Pool Art Fair Guadeloupe June 1, 2 & 3, 2012 Pool Art Fair Martinique November 26 & 27, [email protected] | www.poolartfair.com

ShannLee 2011Nokey: Shining Splinter of Wonderment48” x 30” x 30”Mixed mediaT. 1 (813) 679 7225 | E. [email protected]

Anna Stein 2010VIE ET DÉRIVE

81 x 65 cmOil sur toile

T. (1) 33 1 46 22 37 60 | E. [email protected]

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