The collectors and philanthropists Susan and Michael Hort are back home in New York, and in between hosting walkthroughs of their substantial holdings in their own apartment they’ve found the time to give Frieze, NADA, and local galleries a good once-over. Here a sampling of the works that caught their eyes.
FRIEZE
After driving one-and-a-half hours and going less than 12 miles we arrived exhausted at the fair, but as soon as we walked into the tent we woke up because of the incredible light that enhanced the art work.
GINA BEAVERS
Clifton Benevento
We collect her work and have always enjoyed it, but this presentation with the cubes is very special. She builds up thick acrylic paint to make it look three-dimensional.
PETER LINDE BUSK
Derek Eller
To Peter, painting is a verb, not a noun. Loose figuration lends itself to the viewers imagination and thus to their participation in the work.
ALEX OLSON
Shane Campbell
She is another artist we collect and we were excited to see her go in a new direction, bringing her technique to a new level. She showed real courage in changing her new paintings considering how successful she is.
BENJAMIN SENIOR
James Fuentes
We spent time with Benjamin during one summer two years ago. We saw a new evolution in his work here—love the repetition of the stripes and the color green.
NADA
ANNA GLANTZ
Topless
We have a series of her paintings in our present installation. Her new paintings at NADA are more narrative and complex. We particularly liked how the curve of her elbow wove itself into the painting.
NAAMA TSABAR
Spinello Projects
We’re proud to say that Naama is a New York Rema Hort Mann Foundation winner. Her wall pieces are made out of heavy felt with a fiber imbedded in them that become musical instruments when the string is plucked or the felt is tapped. She had similar work at the Guggenheim Museum in 2014. In addition to the sound they create, they are beautiful to behold.
JAN-OLE SCHIEMANN
MIER Gallery
He’s a Cologne-based artist that uses multiple layers of ink, then acrylic to give it depth.
SOJOURNER TRUTH PARSONS
Tomorrow Gallery
We love the graphic quality of the paintings and the minimalist use of color. Her paintings reveal little, which causes the viewer to finish the narrative.
AROUND NEW YORK
SADIE BENNING
Callicoon Fine Art and Mary Boone Gallery
Sadie is a former video artist, which helps to explain part of her approach. Her highly complex paintings are cut from a larger piece of wood, then reconfigured like a puzzle. The results are very seductive.
MAX FRINTROP
Lyles and King
Max is an artist with a fallback plan—his father has a gourmet restaurant near Düsseldorf, and Max is a great cook—although we’re sure the plan will never be necessary. Max makes his own very wide brushes to put on layers of color. The results are very lush—the more you look, the more you see.
MARC HOROWITZ
Johannes Vogt Gallery
When we first discovered Marc at USC, we thought he was going to be a filmmaker. He was always a closet painter, but he told us the reason he concentrated on painting is becuase filmmaking requires lots of additional help, but he can create paintings by himself. This California-based artist often includes art historical references in his paintings. We loves his use of color. We now have six of his paintings—each is different, but you can tell they come from the same hand.
NICOLE EISENMAN
The New Museum
Great artist, great friend! We discovered her when we had to climb up the stairs to a gallery run by Nicola Tyson called Trial Balloon. The first drawing we bought, called Trash Dance, is now hanging on our bedroom wall. This is her second appearance at the New Museum. Her work is figurative, funny, thoughtful, often political, and filled with art historical references. Here, The Tea Party shows a homeless Uncle Sam in a bunker. We also just saw images of Anton Kern's next show with Nicole, which opens this month—it is GREAT!
GERT AND UWE TOBAIS
Team Gallery
These are beautiful, large chalk and graphite drawings inspired by art history and the pari’s collaborative imagination. We’ve never seen anything like this work before.
This is a fifty-year retrospective. We have loved his work since we started collecting him in 1986. There is nothing we need to say about his work—he is just a master!
