Jennifer Landes's blog

Audrey Flack's sculpture, center and Julian Schnabel's "Malabaristas" were shown at Hollis Taggert's booth at the Armory Show on the piers. Jennifer Landes photos
Elaine de Kooning at Hollis Taggert
Norman Bluhm was a popular artist at the Modern section of the Armory Show with several works on view at different booths. Here are two at Jerald Melberg Gallery
Sean Landers added some wit to the Galerie Rodolfe Janssen booth with "Golden Section."
A work from Alice Aycock's "Sum over Histories" series at the Frederic Schnitzer Gallery booth.
Ross Bleckner, who had a show opening at Mary Boone's Gallery on Saturday evening, was represented at the Armory Show with an untitled work from last year at the Crane Kalman booth.
Saul Steinberg's "Ocean Parking" at the Danese/Corey booth
A maquette for Richard Serra's sculpture "SLAT" was available at the Senior & Shopmaker Gallery booth.
Lynda Benglis was featured in a special section devoted to female artists.
James Goodman Gallery offered a bit of cheese in the form of Roy LIchtenstein's "Collage for Three Swiss Cheese Doors."

Satoru Tamura, an artist from Japan, showed pieces that relied on simple mechanics to create light or movement at the Tezukayama Gallery. Jennifer Landes photos
Two works on paper by Jonathan Hart at the Halsey Mckay booth
A Hart painting on canvas
A Ross Watts painting with sculptural works on the floor at Sara Nightingale's booth
Textural works on paper by Mr. Watts along with sculptural pieces alluding to the loss or loss of meaning of the printed word
Mr. Watts's compressed and honed bound books look like river rocks and are silky smooth to the touch.
Ms. Nightingale speaking to visitors in her booth

Antonia March's "Girls Only" toilet/fountain, served as the perfect leitmotif for the show. It's surprising no one ever thought of it sooner. Jennifer Landes photos
A close up of Lola Schnabel's work
The larger installation that includes the Schnabel work as well as Barbara Kruger
Marilyn Church's abstraction in the installation
A better image of the painting supplied by the artist
Video projections emanating from the largest HD screens to the smallest personal devices were a popular medium.
Very little white space or "eye wash" remained on these walls.
A close up of more of the video art

Laurie Barone-Schaefer, curator of HPA/Overexposed, and Andrew, her son, at the opening Morgan McGivern, photos
Ms. Barone-Schaefer's photograph of the Sag Harbor Bridge
Checking out the installation
The family Hassett, from left: the daughters Sam and Emily with their parents Greg and Kelley
Malcolm van Couvering and Tina Mills
A gathering by the food and beverage table
"The Red Umbrella" by Margery Harnick
Ken Morsch and Don Ludlow provided entertainment for the evening.
Peg English stood with her image "This Way My Child."
Red sails in the sunset and a kindred spirit meet.

Bianca Beck strikes an Irving Penn-esque pose by her painting at Halsey Mckay on Saturday night. Durell Godfrey, photos
Dress code red: from left, Joe Fyfe, Josh Brand, Sarah Elliott, Sara Steele, and Bianca Beck
From the outside in: A pink bag piece by Josh Blackwell hung in the gallery window acts as an exhibition banner and beacon for the show.
Joe Fyfe took notes during the installation on a piece by Yorgos Sapountzis.
Cheryl Donegan's jacket and hair were as textural as her art.
The gallery provided many engaging vantage points to view the art.
Anne Raymond, Linda Matalon, and Marisa Cardinale gathered by Ms. Matalon's work.
Kenneth Goldsmith, left, is a poet and founding editor of UbuWeb and senior editor of PennSound who teaches at the University of Pennsylvania. He spoke with Bill Komoski, a painter.
Lisa Beck stood with her painting "Perseid (study)," looking coordinated with her Missoni scarf.
Red was the color of the evening and helped make more neutral paintings by Patricia Treib, left, and Robert Janitz, right.

Li-lan and Carter Ratcliffe signed books at Rizzoli on Thursday night. Jennifer Landes
A special edition print of "Song of Sorrow" has been released in tandem with the book's publication.
"Eyes of Night"
"Dream of Day"
"The People's Republic"
"Afrique en Couleurs"

Performers from Temporary Distortion played for six hours at Watermill Center on Saturday. Morgan McGivern, photos
Because the performers were in an enclosed space, the audience listened to their music through headphones, encouraging an individualized response to the piece.
The piece was accompanied by video that contributed a dreamlike, otherworldly quality to the work.
One of the video projections

Karyn Mannix celebrated the opening of her annual "Love & Passion" show on Saturday in Water Mill. Morgan McGivern, photos
Dalton Portella played in the galleries as part of Sara Nightingale's "Blind Date Music Lab" series.
Jim Lubetkin stood by his photograph on Saturday.
Lori Schultz brought "I left My Heart In Panama" and Rosa Hanna Scott showed her work "Cotton Candy." at the show.
The crowded galleries had a festive air.
Vannessa Cuccia offered "Chakrubs" at Hamptons Hang on Saturday night.
Joseph Eschenberg at Hampton Hang
Ms. Mannix at sunset

Maeve D' Arcy , Scott Gibbons, Grant Haffner, and Carly Haffner in the early moments of the opening of "Phenomena" on Saturday night Morgan McGivern, photos
Rossa Cole made the scene.
Scott Gibbons et al in the Markel installation
Randy and Dylan Rauner came out to support the show.
A selfie or capturing a moment for posterity?
Arrex's skulls, based on personal loss and illness were a recurrent momento mori theme in his work.
Carly Haffner's paintings dominated part of the upstairs space.
Catching the scene, and Baxter, from above
Even the youngest opening attendee was decked out in style on Saturday night.
Mr. Gibbons's soft sculptures

Ivo Pannaggi's "Speeding Train (Treno in corsa)." a 1922 oil on canvas painting from the Fondazione Carima-Museo Palazzo Ricci in Macerata, Italy Fondazione Cassa di risparmio della Provincia di Macerata
Umberto Boccioni's "Elasticity (Elasticità)," an oil on canvas painting from 1912 on loan from the Museo del Novecento in Milan Luca Carrà, Museo del Novecento, Comune di Milano
Umberto Boccioni's sculpures were completed by him in plaster, but were cast in bronze after his death, such as the iconic "Unique Forms of Continuity in Space (Forme uniche della continuità nello spazio)," made by the artist in 1913, but cast in bronze in 1949 from the collection of the Metropolitan Museum of Art.The Metropolitan Museum of Art Image Source: Art Resource, New York
Futurism, which began as a literary movement, was one of the first to embrace text in artwork as in this painting by Carlo Carrà titled "Interventionist Demonstration (Manifestazione Interventista)" from 1914, a long-term loan to the Peggy Guggenheim Collection in Venice from the Gianni Mattioli CollectionArtists Rights Society (ARS), New York/SIAE, Rome. Photo: Solomon R. Guggenheim Foundation, New York