As the proceedings of Art Week Miami marches on, and the Miami Beach Convention Center remains packed with art lovers, artists and gallerists, NADA Miami has also opened its doors for its 20th Edition in the Floridian metropolis, returning to its haunt at the Ice Palace Film Studios, and continuing its mission showcasing new art and to celebrating the rising talents from around the globe, exploring new or underexposed art that is not typical of the “art establishment,” by their words. NADA Miami is also the one of the only major American art fairs to be produced by a non-profit organization, and is recognized as a much needed alternative assembly of the world’s youngest and strongest art galleries dealing with emerging contemporary art.
The result of this mission statement is a fair that gives itself a decided familial atmosphere, with artists and gallerists milling around the entrance for a smoke, chatting at their respective booths, or greeting each other in the courtyard with a smile. This atmosphere leads to a relaxed, considered approach to the fair itself, bringing and emphasizes a lingering, considered approach to viewing the work on view, offered additional strength by the scale and surrounds of the fair.
The work matched this comfortable and communal experience with a selection of works that ran from expressive paintings and sculpture to built out environments that matched vibrant energy with conceptual rigor. At the Brussels-based Sorry We’re Closed, the gallery was presenting a series of sculptures by artist Roger Herman and paintings by Milo Matthieu, exhibited in a bright yellow booth build-out that accented each artist’s energetic styles. At Charles Moffett Gallery, a similarly kinetic body of work by painter Maggie Ellis, showcasing chaotic and often disturbing scenes. Another highlight came from New York’s Housing, where Taína Cruz was showcasing a body of works that brought a similarly sureal and disturbing series of figuration, while at Bradley Ertaskiran, artist Stephanie Temma Hier was showcasing a body of work that mixed together ceramics and painting to create densely-layered and otherworldly works.
The loose atmosphere and friendly demeanor of the galleries on hand, combined with the modest size of the fair made for an open-ended presentation well-attuned to the fair’s reputation. Marking a vital statement and alternative vision on the possibilities for a global art fair and the community that can spring from it, the fair continues to present itself as an important and expressive look at the art world beyond the halls of the blue-chip mega-galleries. It closes December 3rd.
– D. Creahan
NADA Miami [Exhibition Site]