Featured piece: Adam Mysock, Upon Meeting the Permanently Discontent, 2014, acrylic on panel, 7.42" x 6"
After: Caravaggio's David with the Head of Goliath (1611) and an illustration by Ed Valigursky
This year, the solo-project art fair, VOLTA, has returned to trendy Soho, the neighborhood that in the 1980s was the apex of the art scene. In spacious booths covering two floors, more than 90 galleries from five continents have mounted exhibitions of their most exciting talent for VOLTA NY.
The resulting fair—both focused and innovative—engages in the past, when the world of the art fair was a manageable size and not the behemoth that the Armory has become. It also hints towards the future, where large, shiny and chaotic works are not necessarily better, or even that interesting.
This is not to say that VOLTA is the fair where small is beautiful; rather it is the fair where the deep engagement of the viewer is once again valued as significant.
At Jonathan Ferrara Gallery, artist Adam Mysock, a self-described science nerd, revisits old masters—from the Baroque genius of chiaroscuro, Michelangelo Merisi da Caravaggio, to the 19th century French artist Jean-Léon Gérôme—in the form of the life story of an archetypal 1950s robot (who resembles the Tin Man from “The Wizard of Oz”).