[Editor's note: Nashville-based artist Mary Addison Hackett has agreed to be Country Life's correspondent at this year's Art Basel and Art Miami, and she'll be supplying us with her notes and photos throughout the fairs' duration. This is her second entry.]
8:30 p.m. Aqua. I'm so tired I can't stand it. My phone, the warhorse that it is, has had at least three near-death experiences today. I place my last phone call to a voicemail. My message in a bottle.
Our agenda was to stay beachside and do Nada, followed by Untitled, and wind up at Aqua. There are more than 20 fairs this weekend. I'm realistically going to make six, maybe seven. Nada was a priority, specifically the work of Daniel Heidkamp at Know More Games out of New York. I had a top 10 list before I left Nashville, but after three fairs, I caved.
As of today both Nada and Untitled are in the running for top two fairs. Highlights from Nada included Green Gallery out of Milwaukee with a collaborative and still-wet piece by Spencer Sweeney and Emily Sundblad, and two works by Michelle Grabner, curator of this year's Whitney Biennial. Kristin Calabrese at Brennan and Griffin and Keith Mayerson at Derek and Eller and Locust projects out of Miami stood out, but I'm biased toward figurative this year.
Out of the consistently high caliber work at Untitled, I noticed that some of my favorites were coming out of South America. On the way out, Cordy Ryman caught my eye at Dodge Gallery in New York, and in a quick exchange of niceties I met owner, Kristen Dodge, and Patton Hindle the director, who coincidentally grew up in Nashville. If you want to follow the whole Nashville connection thing, Cordy is the son of Robert Ryman, who was born in Nashville.
We arrived at Aqua in time for the party where I was less enthused by the overall vibe of the works presented-especially for such a smaller fair. Loved the intimate viewing space of the motel rooms rooms and it was great to run into Mat Gleason of Coagula and watch artist Tim Youd retyping Elmore Leonard's Get Shorty.