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As the bigger and brawnier Armory Show aims to start anew on the western edge of Manhattan, the Independent art fair has taken up its typically cooler, cozier station in a new location near the island’s southernmost tip. Starting with a preview on Thursday and continuing through the weekend, the slightly slimmed-down satellite fair—with 42 galleries this year, compared to the more normal 50 to 60—fits nicely in the Beaux-Arts–style Battery Maritime Building, recently restored as a home for Cipriani South Street. The ceilings soar, and a terrace out front offers a good perch for people-watching. On the first day, a subdued but solid crowd perused booths presented by domestic galleries from New York, Los Angeles, Chicago, Philadelphia, Detroit, Oakland, and Portland as well as international vendors from Vancouver, London, Oslo, Berlin, Cologne, Paris, and Antwerp. Herewith, see works from the six best booths at Independent.

Ken Nevadomi at New Canons


An 82-year-old Neo-Expressionist from Cleveland, Ken Nevadomi is having a moment with his first solo presentation in New York at the booth for New Canons, a “nomadic curatorial office and contemporary art think tank” also opening a month-long show of Nevadomi’s work at a space in Tribeca. The paintings at Independent are entrancing and enigmatic, in an array of styles that are hard to reconcile as the work of only one artist. And the elusive but evocative subject matter drifts between strange fever-dream visions and sly allusions to the artist’s past as a commercial illustrator for American Greetings alongside the likes of Harvey Pekar and R. Crumb. A fish bursting through the nozzle of a spay can in Bernini Visits Louis XIII in His Toilet is a good example of Nevadomi’s “restless symbolism,” as described by New Canons founder Maxwell Wolf (also known for his work in the past as director and chief curator of Red Bull Arts).


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New Canons, founded by Maxwell Wolf, presents a poignant and prickly Nevadomi collection at this years’ Independent Art Fair being held next week at the Battery Maritime Building in Manhattan. 

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Thank you Steve Litt for once again shedding your very dim light on one of Cleveland's greatest artists. Last time you tried hard to diminish Carl Gaertner resulting in a swell of attendance through our Cleveland School exhibition. Now you pick on Ken Nevadomi, whom you have targeted before, hopefully with the same result for the much deserved AAWR. The exhibition is a profound slice of Nevadomi’s brilliant career, artfully hung and clearly beyond your grasp. Or, perhaps you simply enjoy expounding on lurid details to the detriment of each composition while ignoring Nevadomi’s mastery of form and color.
You’ve worked hard to earn your place as the Darth Vader of Cleveland’s Arts community.

Michael Wolf

Creepy ambiguities, sexual tensions, pervade provocative show of Ken Nevadomi paintings at Artists Archives of the Western Reserve

By Steven Litt,


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Some artists have careers which unfold over time – beautiful, clean arcs that advance doggedly toward a mature style. Not Ken Nevadomi. A fearless innovator and unapologetic iconoclast, Nevadomi’s creative journey rides like a rollercoaster: twisting, looping, and changing directions at break-neck speeds.

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WOLFS Gallery is pleased to announce the representation of Ken Nevadomi (b. 1939), one of Cleveland’s premier figurative painters. Included is the acquisition of Nevadomi’s own remarkable collection of paintings spanning his celebrated and prolific career. Known for his direct and often controversial figurative subject matter, Nevadomi’s art is an intuitive and personal response to contemporary culture and urban drama.

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