05.05.22 Art Fairs,Events,Press

At NADA, a Glorious Collision of Paintings and Ceramics

The New Art Dealers Alliance brings together more than 120 galleries and nonprofit organizations from 37 cities.


At NADA New York, on the wall, Abdolreza Aminlari, “Untitled (21.033)”; Dietmar Busse’s “Mother”; and Faye Wei Wei’s “The Lido Is a Ballroom With a Moon Mirrored Ceiling.” Front, Amber Rane Sibley’s “The Ones Who Win,” “Maternal Damnation,” and “Muliebral Canker” at Fierman+ Situations gallery. Jeenah Moon for The New York Times


By Martha Schwendener
May 5, 2022

Two things can be found everywhere at NADA New York in Lower Manhattan: painting and ceramics. This makes sense, since the younger generation of digital natives (people who grew up with the internet and social media) that NADA generally features tend to favor art that is pointedly nondigital and handcrafted. But I’m getting ahead of myself. First, NADA.

The New Art Dealers Alliance (NADA) is a group of new and mostly young art dealers. This is the eighth edition of NADA New York (the last New York fair was in 2018, although they appeared in Miami last December). Eighty-one members are represented in this fair, with a total of 120 galleries and nonprofits from the U.S. and around the world.

Younger dealers presumably take greater risks, and you see plenty of that here — in tone and attitude, mostly. The work ranges from scruffy, comic and irreverent to smartly polished — albeit with an edge. The last thing anyone wants to do is look old or irrelevant before their time. And yet, artists and dealers need to make a living, hence the prevalence of painting and sellable crafts that knowingly copy the normcore aesthetic of thrift shops and folk art.


Painting and Ceramics

What’s called pluralism — simultaneous strains of art — extends to painting and everything under that umbrella is represented here: figurative painting, abstraction, paintings made without paint, and what might be called “punk” painting, or art works in which the artist appears too cool to expend much effort. New York’s Kapp Kapp (Booth 2.02) covers this range, with a lineup of crisp, botanically inspired paintings by Molly Greene and homages to graffiti-and-collage by Hannah Beerman. Occupying the opposite pole of painting are the socially engaged works of Karla Diaz at the Los Angeles gallery Luis De Jesus (Booth 5.03). Diaz’s deep, color-saturated canvases tell personal stories of migration from Mexico to the United States, as well as preserve folklore from her heritage. Ryan Crotty at the Lower Manhattan gallery High Noon (Booth 6.15) does a spin on modernist formalism, making translucent abstractions with an acrylic gel medium that creates ethereal and iridescent results that look almost holographic. Other notable galleries showing paintings include Stephen Thorpe at Denny Dimin (Booth 6.14); Mickey Lee at One Trick Pony (Booth 6.01) and a group show at The Pit (1.01)

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