April 3 to May 15, 2016
170 Suffolk Street (between Houston and Stanton streets)
New York, 212 274 0064

For her fourth solo show at Rachel Uffner, in the gallery’s second floor space, Sara Greenberger Rafferty has made a series of mixed media works exploring domesticity, gender, fashion, and the page/screen. The show’s title, “New Works: Dresses and Books,” creates an immediate connection between the forms and contents of two kinds of consumables. The material combination is striking; Rafferty uses a combination of acetate, Plexiglas, inkjet prints, acrylic polymer, and hardware. Hardware is necessary for holding the work to the wall and is always listed as a material. There is always more hardware than is necessary, pointing to the necessity and the décor of objects.

The 10 works are of varying sizes and most take the rectangular or square shape of the page or screen. Dress (all works 2016), is cut to the shape of a dress itself, comprised of photographic images combined with acrylic polymer. They appear worn behind the glass. The images — vintage undergarments, designer dresses, and screenshots — are simultaneously flattened and thickened (each piece of Plexiglas is a half-inch thick). Rafferty points to dresses and books as generic objects: ones that require bodies to perform them. One of the books in the show — rendered in two dimensions, like the dresses, under clear acrylic — is Recommended Reading. The outline of Dress appears on the cover. A Hélène Cixous quote repeats down the length of the dress; it begins “I am entrusted with the dress,” and ends “I slipped them on to go to war.”

An artist’s book, and Recommended Reading (2016), with a text by Melissa Huber, accompanies the show. Its contents range from advertisements (current and old) to essays to clothing catalogues to collages. Rafferty shows us where she pulls some of her sources. There are drawings of dresses and bodies inhabiting dresses. There is a dress that contains a list to be checked off, with words wrapping around the body:

How do you feel?

CONFUSED
MODERN
NATURE-LOVING
SCARED
IN LOVE
OLD FASHIONED
MOODY
FAT
EXCELLENT
SPIRITUAL
CREATIVE
RESERVED
CYBERNETIC
SICK
EXCITED
DREAMY
INTELLECTUAL
BACKWARDS
YOUNG

ALL OF THE ABOVE

The image of the dress is empty but appears to be inhabited, the way that clothes are sometimes shown in clothing catalogues. The breasts are perfectly outlined and the dress falls to the ground as though there is a small figure inside. Rafferty astutely placed the above checklist on an evening gown-type dress. We inhabit clothing similarly to the ways in which we inhabit words. We know that fashion communicates, but Rafferty allows the stark pleasure of realizing again and again the ways in which consumer culture guides taste, preferences, the ways we feel about ourselves, and therefore the outside world. We can choose any combination from the list (confused, modern, moody?) or all of the above. Conversely, those terms are probably already projected onto the body inhabiting the clothing. Definitely women. Definitely those people in dresses.

In the gallery, Rafferty shows images of dresses and pages and screens; in the accompanying text, she makes visible her thought processes. Her Recommended Reading is simultaneously fashion catalogue and critique, process clue and question mark. There are two pages taken from Charles Baudelaire’s The Painter of Modern Life (1863), a paean to fashion and modernity. We see highlights and underlines (presumably Rafferty’s), including this passage describing “Woman” in the abstract:

[She] is obliged to adorn herself in order to be adored. Thus she has to lay all the arts under contribution for the means of lifting herself above Nature, the better to conquer hearts and rivet attention. It matters but little that the artifice and trickery are known to all, so long as their success is assured and their effect always irresistible.

Placed on the opposite page, over the text, within a yellow square matching the color of the highlighter, is an image of a young woman in a similarly yellow bikini, holding a piece of paper over her torso. The word “women” appears across her eyes, from the section entitled “Women and Prostitutes” from The Painter of Modern Life. Large text stamped beside her reads: ARE YOU OFFICE PRINTER READY?

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Art has found its place in the sun.  This week sees the tenth edition of Art Basel Miami, previewing Wednesday,  with a host of other fairs and art events also taking over the Art Deco Miami Beach neighborhood, the Design District, Wynwood and Downtown Miami.  artcritical will be covering the fairs day by day with highlights and personal reports from our regular correspondents and guests.

Art Basel Miami is the US sister event of Art Basel, the Swiss fair that has taken place on the Rhine since 1970.  The Miami iteration, launched in 2002,  quickly eclipsed the preexisting Art Miami and usurped Chicago, the nation’s previous front running expo.  Some say it has even overtaken its Swiss parent in terms of size, if not earnings.

But Miami is not just for 1%’ers, as our title cheekily implies.  With 40,000 visitors expected through this coming weekend Miami can make credible boasts to be the art Olympics.  Besides Art Basel Miami and the persistent – actually reinvigorated – original Art Miami there are over a dozen satellite (or should that be parasite?) fairs, whether informal, pop up fairs in hotels along Collins Avenue or substantial rivals like NADA, the New Art Dealers Association event, striking out at the Deauville Beach Resort in North Beach, where Rachel Uffner’s stand includes the work of Sara Greenberger Rafferty, or Pulse, in the Ice Palace, where Morgan Lehman features Sharon Louden.  And there are specialist fairs devoted to Asian art, photography, and design.

For all the offshoots and tolerated rivals  (in fact they are encouraged, as Art Basel even lays on free buses) Art Basel does remain the main event.  Aisle upon aisle of blue chip historic shows  (L&M Arts, for instance, with Andy Warhol drawings of the 1950s and ‘60s or Robert Miller with Louise Bourgeois) are cheek by jowl with the latest novelties, or simply fine offerings by mid-career artists like Alexander Ross, on display at David Nolan New York or Nabil Nahas at Sperone Westwater.

For the second year a group of (mostly) New York galleries will present Seven, antidote to the booth after booth overload of the biggies, in which the eponymous seven integrate their artists in a unified display.  Douglas Florian, for instance, is represented at Seven by BravinLee programs.

And this year more than others there are signs of concerted efforts to integrate all this frenzied commercial activity with museum and non-profit cultural centers across the city, offering hopefully more focused and thoughtful displays.  The Bass Museum of Art, for instance, offers a solo exhibition of Austrian sculptor Erwin Wurm while the reviving Miami Art Museum is showcasing Faith Ringgold paintings of the 1960s.

And many local galleries enter the fray  with curated group exhibitions.  Carol Jazzar Contemporary Art at 158 NW 91st Street presents a ten-person international line up, curated  by Omar Lopez-Chahoud, and including New York artists Franklin Evans and artcritical contributing editor Greg Lindquist.  The show is titled “you are here forever…” But as artists, collectors, dealers and casual perusers of art fair craziness must all realize, we are actually here for a weekend.

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