Superfine! Art Fair: The Breathtaking, Inclusive Art Fair
In the heart of SoHo, the Superfine! Art Fair hosted their Third Annual May presentation from May 1-5.
As people entered the fair in SoHo, they were immediately immersed in a group of welcoming artists’ and art galleries, whose art is accessible to a variety of socio-economic spheres. After all, Superfine! Art Fair holds the purpose of including art lovers from various walks of life to revel in the brilliance of more than 80 emerging artists. Though the fair was in SoHo, Superfine! has extended their exhibitions to Los Angeles and Washington D.C. where they have traveled and spread the message of inclusive art by displaying equally beautiful pieces. Though they already hit L.A. in February, their next stop is D.C. in the fall.
Co-founder James Millie explained the fair is “filling a gap in the art world that needs to be filled. There’s a crowd of people who enjoy art, who love it, and they want to be able to buy it...art is not a thing that only wealthy people want to collect, everyone wants to collect art.”
The environment of the fair opened up the traditional limited art market to an inclusive and inviting atmosphere. Additionally, Millie says artists’ should not “ have to wait years or decades for [their] art career to take off, if you're creating something that someone wants to buy now, there should be a platform for that.”
Not only have Millie and CEO Alex Mitow provided obtainable art for the public, but they have also exhibited art of an exceptional level. Walking around the different sections of the fair, the incredible display of artistry was mesmerizing.
Each piece held a certain magic to it that will definitely continue whether it ends up in an art lover’s hands or another exhibit. Below are a few of the most striking pieces from SoHo’s display.
Because I Said So (2019), by Cindy Press may appear to be a photograph at first glance, however, it is actually an oil painting. Once a visiter walks into Press’s booth, the figure’s striking eyes stare right at them, and they be unable to look away. The painting will start a conversation with viewers wherever it travels, especially female viewers. Perhaps they will converse about their roles in life and what it means to be a woman in contemporary society.
Another defining aspect is the few strands of her beautiful hair that fall diagonally across her face. The strands follow the curves of her features, from her right eyebrow, to her nose, and end at her mouth, delineating a delicate separation of form that floats along the surface of her skin. Her bare shoulder conveys that she just turned her head to look at an unknown counterpart. Thus, we can imagine the woman suddenly turning her head, causing her hair to move to her back, she looks at the recipient of her gaze while wind blows those pieces of hair over her face, and she speaks.
In Sara Caruso’s Florida Boy (2019), she represents a male figure in the presence of nature. The mystical figure is looking down, possibly contemplating something, such as his own life or the greenery that exists around him. Also, a path is suggested, conveying he could be walking somewhere, and may eventually walk through the slight opening in the vegetation, disappearing into the impressionistic forms. The details can be connected back to Henry David Thoreau (1817- 1862), who wrote extensively on the importance of nature and the self-reflection one can experience when they spend time in the natural world.
The painting represents a distant world that the viewer wants to be a part of, yet cannot reach physically. However, they can reach it spiritually, for they can imagine themselves in the role of this boy. And hopefully during their life, they will also encounter the wonders of nature.
Amaia Marzabal’s Undress (2018) portrays a woman with her arms stretched over her angled head. The viewer will lock eyes with the figure’s slightly closed eyes and examine her colorful, nonchalant expression, possibly conveying relaxation or tiredness. Interestingly, her countenance appears to differ from specific details of the work. For instance, the shape of her body, from her bending arms, her loose shirt, to the beginning of her legs create an organic zigzag form that extends off each side of the painting, as though she is attempting to break out of the rectangle in which she is contained.
Her abstractly patterned shirt surrounds the front of her face, almost like a kind of sheild from the outside world. Also, her hand peers over the top of her head, in a fist, perhaps as a symbol of resistance. The combination of her calm expression with the subtle aspects of protection and defiance, possibly communicates her struggle with the society in which she lives.
Heather LaHaise’s adorable Joyride (2019) portrays an alert white dog hanging out of the window of a yellow NYC taxi, evoking the consistent enjoyment dogs have for life, especially for riding in cars. Two more taxis drive on either side of the dog’s taxi, and white and grey buildings fill the background, representing a busy day of a populated area in the city. Sitting in the middle of the work, the dog looks at the viewer, and is the clearest detail amongst the blurred objects surrounding the furry best friend. This identifies the dog as the main feature. Yet, the dog is not the largest detail of the piece, which expresses what all dogs desire: to be included in the lively environment around them.
Next year, the Superfine! Art Fair is coming back to New York City to exhibit an exciting triple fair, centered around themes of women, myths, and magic. The three fairs are planned to take place consecutively. One will start the week before Frieze Week, one will occur during it, and one will finish a week after. This will add more options to the usually overfilled week, giving art lovers more time to explore the stunning art market world.
Lead Image Credit: James Mille / Superfine! Art Fair