Jennifer Landes's blog

Rose Zelenetz, a sculptor, and Tracy Jamar, a fiber artist, attended the opening of "Under The Influence" at Ashawagh Hall. Morgan McGivern, photos
A sculpture by Ms. Zelenetz
Clothes and outerwear were lighter in weight and color than in previous weeks.
Some familiar and not so familiar repurposed objects made up Ruby Jackson's "Bar Scene."
Everybody got into the act.
Kristie Ortman and Jessica Evans made the rounds.
Paintings by Sara Coe
A painting caught in a glass orb
Tracy Jamar's fiberwork with shells and other pieces
Vodka and wine made for a convivial crowd and helped cement the theme of the evening.

The warm glow of the gallery was a beacon in the dark but mild winter night. Morgan McGivern, photos
Geoffrey Nimmer joined Denise Gale, the exhibition's curator, at the opening.
Eugene Brodsky stood by his work on paper "Study for Storyboard."
A sizable crowd came out to view the show.
Kurt Gumaer and Sabra Moon Elliot attended.
Arlene Slavin, whose work on canvas behind her was inspired by an earlier drawing nearby.
Alberto Herszage at the opening

Michelle Stuart, background, and Agnes Denes, foreground, at Leslie Tonkonow Artworks + Projects booth Jennifer Landes photos
Even though it was Sunday, the fairs still attracted a quirky crowd, in this case a gentleman checking out the Hirschl & Adler booth of Fairfield Porter works.
Lee Krasner's "Imperfect Indicative," left, and an untitled work from 1984
Lee Krasner's "Present Conditional," a two-paneled collage on canvas from 1976
A crowd gathered near the Miller booth.
Other works from the Porter show at Hirschl & Adler, including a portrait of James Schuyler, right
The Porter still life
Images from Roy Lichtenstein and Andy Warhol at Susan Sheehan's booth
Gavin Turk's "Large Transit Disaster (Ochre, Copper, Red, & Blue" from last year at the David Nolan Gallery booth
Petah Coyne's installation "The Unconsoled," featuring her wax-dipped flowers and stuffed birds, at Galerie Lelong

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