Verge Emerging Art Fair

Certainly there is a place among the New York art fairs for a venue dedicated to emerging artists--however, I'm not sure how well Verge fills it. While much of the work was interesting and well-executed, even exciting, overall the quality was uneven.

The set up in the Dylan Hotel was extraordinarily intimate, with each organization having a separate room. This could be good or bad, depending on the people and art. Scariest moment: When I walked into an empty, dimly lit room to watch a video playing on a white screen around which a mirror and sex toys were arranged, I said to my friend that the video projection must be reflecting in the mirror, when a disembodied voice replied, "No, it's playing through the latex screen." I jumped out of my skin!

If that was the bad (and not so very horrible at that), this is the good:

Work by John Breiner, Mighty Tanaka Gallery

• Brooklyn galleries represent! Some great work from Antidote, Slate, Wildspace, and others.

Marc Anthony Polizzi, Untitled, 2010

• Installations from the large sprawling pinkness on the 2nd floor stairwell (above) to metal boxes and bedspreads (Galerie Yellow Fish Art)
  



• Take something besides a flier home: from a ASMPNY project benefiting Haiti to Fuse Works, which promotes multiples and editioned work, not only can you afford to take something home, but you can even put your token in a Artist Meeting Art Machine, a fine art dispensing device set up in the lobby.



Laurence Hegarty, Cash Register, Sarah Nightingale Gallery

What bothers me about Verge is not that anything is so very terrible about it, but that it should be better than it is. Emerging art should be the most exciting work to see, and here the uneven curation left me with the feeling I had been at a thrift store, sorting through racks to find a good sweater.


L