Art Miami Exhibitor Highlight: Allan Stone Projects
Interview with Bo Joseph
Director of Allan Stone Projects
535 West 22nd Street, 3rd Floor
New York, NY 10011
What is the gallery's focus at this year's fair?
Consistent with the gallery’s long history, our booth program will illustrate artistic kinship and visual legacies by presenting works by mid-level contemporary artists in dialogue with historically significant works of the Modern and Post-War period. While the works on view will span a range of styles and genres, from Abstract Expressionism to figuration, what they all have in common is a mastery of their underlying abstraction.
Are there specific artists or works that collectors should pay attention to at your booth?
Having represented Wayne Thiebaud from 1962 to 2006, we have the unique capability to present an exceptional cross section of still life, landscape and figure paintings and works on paper by this celebrated contemporary master. With a recent exhibition at White Cube and upcoming surveys at the Shrem Museum and the Morgan Library, collectors have a timely opportunity with the works we will have on view. The largest and earliest Thiebaud we will present is a commanding yet sensitive full length figure painting, entitled Nude (Seated Nude), 1963. Another artist enjoying increasing visibility and favor with collectors, who also had early success with our gallery, is the Washington DC color field painter Thomas Downing. We will have two of his very early, very popular dot paintings, in acrylic on unprimed canvas, each from 1961. At 62 inches square, the one entitled After 5 presents an opportunity for a collector looking for a dazzling period piece whose large sense of scale defies its very manageable dimensions.
What trends have you noticed in the art market over the past few years?
The proliferation of information and general visibility of works in the marketplace seems to overwhelm and almost fog out the audience, especially newer buyers, but even more seasoned collectors. With all of the data available, collectors are in the best position ever to become knowledgeable about artists and their place in the art historical and market fabric, however the pace and volume at which the information is coming at them and the time constraints we all feel are impeding their ability to develop focus and connoisseurship. I see incredible opportunities for collectors who can slow down the viewing and hunting process, and engage dealers personally as resources and as allies in their effort to grow and evolve.
What are some of your favorite aspects of being a part of Art Miami?
Every year, most of the visitors who arrive at Art Miami after their opening day at Basel Miami say the same thing: "the energy over here [at Art Miami] is so much more positive and accessible, and there are so many good things!" This is a great affirmation for any dealer interested in maintaining a sense of approachability and inclusiveness while also presenting works of the highest quality and desirability. Art Miami has a rewarding balance between serious business opportunities and the altruistic motivations that many dealers struggle to maintain these days.
Please give our readers a few tips for making the most of attending art fairs based on your experience.
First, slow down and try to remove the filters that can cut you off from seeing something extraordinary. Try to give yourself over to the experience of looking, rather than judging. Then engage the dealers: introduce yourself, ask them questions about the works that interest you. Even if the works you see are not the exact fit, sharing your interests could help a dealer to connect you with that life changing work of art.
Buy your tickets to Art Miami 2017 here:
(Header image: Thomas Downing, After 5, 1961 acrylic on canvas 62 x 62 in. Courtesy: Allan Stone Projects, New York © Estate of Thomas Downing)