the 2019 armory show was a color-drenched dreamscape
i-D highlights 8 artists of note, from Ariana Papademetropoulos' hallucinogenic 70s-inspired interiors to Jamel Shabazz's photographs of 80s Red Hook.
By Jack Sunnucks
Incredibly, this was the Armory Show’s 25th year. Originally conceived to buoy a stagnant art market, and held at the Gramercy Park Hotel (in the rooms!) it’s now utterly massive, taking over piers 90-94, and crammed with galleries from 33 different countries. The opening was similarly crammed, although I was thrilled to spot Paul Rudd, who has also aged fantastically while not sacrificing any of his artistic appeal. Somehow, wandering the corridors of art world power, the show felt endless. This is despite it having been condensed, due to Pier 92 being structurally unsound (which presented one with visions of people types with thick rimmed spectacles floating in the Hudson) and thus part of the fair being moved to Pier 90.
Kohn Gallery — Jonathan Lyndon Chase
Kohn Gallery showed two artists in conversation. John Altoon was working in the 60s, and Jonathan Lyndon Chase is very much of today, but both explore the various boundaries of the body through their dynamic work. Altoon’s ink on board drawings, comprised of chaotic zig-zags, sit alongside Lyndon Chase’s color drenched studies of queer black men. Lyndon Chase has spent his life dealing with mental illness, while schizophrenic Altoon lost his at the age of 43. This show crackles with manic energy that’s hard to forget. Evidently, we weren’t the only ones thusly moved — four of Lyndon Chase's paintings in the booth have been acquired by major US institutions, including Dawn Embrace (2019) going to The Walker Art Center.