Jessica Warboys, Sea Painting, Dunwich, 2013
Alice Mackler, Untitled, 2013
Alice Mackler, untitled, 1968
Andra Ursuta, Commerce Exterieur Mondial Sentimental, 2012
Armin Boehm, Le Plus vulgaire en toi, 2013
Dan Asher, Untitled, 1982
Dan Asher, Untitled, circa 1980s
Danny McDonald, A Totem Of Exaggerated Fictional Objects (Soup Can, Idol From "Raiders Of The Lost Arc", Faberge Egg), 2010
Hannah Levy, Untitled, 2013
Heimo Zobernig, Untitled, 2013
John Hiltunen, Untitled, 2012-2013
John Hiltunen, Untitled, 2012-2013
Joan Jonas, Night Light, 2013
Margaret Files, Margret/Günter K., untitled (1970/08/21–1970/08/31)
Mathew Brannon, Matthew Brannon presents LAURENCE HARVEY an Irresponsible Biography at Three Star Books, 2014
Paul Lee, Untitled (tambourine with black corner), 2011
Paul Lee, Tambourine (yellow, grey, pink), 2013
Paul P., Untitled, 2013
Ricahard Nonas, River Run (From Swerve to Bend), 1996/2012
Roman Singer, Piano, 2010
Rosalind Nashashibi, The Joins (2), 2013
Sue Thompkins, Sue Me, 2013
Will Boone, Study for Target paintins
What’s the philosophy behind the Independent?
We wanted to show emerging, established and historical works while moving away from the cubicle aesthetic of most art fairs. We’re trying to create a platform that’s sympathetic to both the audience and participants.
What’s your role?
Ultimately, it’s quite loose because it’s never been defined. But as someone running a non-profit, I’m very interested that such organizations are seen alongside galleries. I’m also interested in presenting what I call maverick dealers.
Well, this year we have The Box from Los Angeles, which was co-founded by Paul McCarthy’s daughter; they’re showing work by American junk artist Robert Mallary. Kerry Schuss, whose gallery offers outsider, folk and contemporary art, is presenting vintage paintings and new ceramics by Alice Mackler, an artist who recently had her first solo show at age 82. Jose Martos is showing pieces by the late Dan Asher, an incredibly underrated New York artist.
How do you decide who goes where, given that you’ve got blue chip galleries like Michael Werner juxtaposed with emerging spaces?
The idea is to have an intergenerational fair that doesn’t reflect the economic pecking order of any particular artist or gallery. Michael Werner’s program is interesting because it shows both historical and contemporary positions, so here, he’s presenting modernist works by Hans Arp alongside recent pieces by Enrico David.
You’re incluidng more exhibitors this year; how do you do that and still maintain an intimate environment?
The allocation of the space stays the same because the number of galleries that are collaborating has gone up. For example, Modern Art and Maccarone are sharing a room to present Paul Lee’s series of small tambourine paintings. The Independent’s manageable scale has always been one of the interesting things about it, and it changes subtly each year as galleries rotate out. It’d be nice to have everyone back each year but the way the fair drifts organically is part of its nuance.
Who do you consider the standout group presentations this year?
Cologne’s Susanne Zander is bringing examples of outsider and vernacular photography, including Polaroids of a cross-dressing man shot over a seven year period. Plus, there’s an archive documenting a love affair between a German business man and his secretary as well as an extraordinary collection of anonymous found photos by a foot fetishist. And Untitled from New York is showing the work of Brad Troemel, who’s invited nine other artists to create two- or three-hour-long solo presentations with the transformation of the space happening in real time while the fair is open.
What about site-specific installations?
Art: Concept from Paris is presenting a great one with a grand piano and videos by Roman Signer, and Berlin’s Mehdi Chouakri is installing Gerwald Rockenschaub abstractions throughout the building, even in areas dedicated to other galleries. Dia, the former occupant of this building, had a history of installation art that was thoughtful and responsive to these really beautiful rooms, and we’re trying to go for a little of that here.
Besides that, what has been the impact of the building on the show?
For me it’s one the most iconic and perfect spaces in New York for art. One of the great things about Independent is that it’s not clear where one gallery’s presentation begins and another one ends. This year we’re working with new architects, Andrew Feuerstein and Bret Quagliara, who’ve come up with a very dynamic re-imagining of the place. And we’re very keen on maintaining the idea that the space here is as much a part of the experience as the work on view.
Independent 2014 is on view Thu 6–Sun 9.