Providence, RI, March 28, 2014 --(PR.com
)-- Metropolises like New York, Berlin, London, Hong Kong, Miami and Paris have long captivated the art world, attracting top artists, collectors, critics, curators and galleries to their exclusive orbit each time a major international art fair is hosted in their respective city. Every March, over 50,000 people visit New York when the “Armada” known as The Armory Show and its satellites (ADAA, Independent, Moving Image, SCOPE, Volta) converge in the Big Apple to showcase the best art the world has to offer. When Providence-based contemporary art gallery Yellow Peril participated in their second edition of SCOPE in New York, the little gallery from the littlest state outsold several international peers and gained new collectors from three continents, proving that size and location doesn’t matter when Hope is the anchor.
Building on the success of their first appearance in the international art fair circuit at SCOPE Miami Beach 2013 in December, Yellow Peril presented “Cultural Hegemony” at SCOPE New York 2014 during Armory Week from March 6-9, 2014, and the experience has been a game changer for the gallery, which was established in Providence, RI, in 2011.
“The gallery’s sophomore edition of SCOPE was, in a word: Exceptional!” proclaimed Director Vanphouthon Souvannasane. “We sold an unprecedented 29 ‘Video Prints’ by Anne Morgan Spalter to top collectors of digital media from NYC, Miami, Seattle and Bogota, Colombia.” Each archival print has an embedded LCD screen with video and is motion sensor activated with a battery life of over 20 hours.
“Throughout the fair, the red dots went across the label and then darted up to disappear outside the label,” shared Souvannasane. “It was definitely a first for us. A top new media collector has already reserved the second edition of the next series!”
Sight unseen, Spalter’s video table “Topío”, which was on display at SCOPE Miami Beach 2013 in December, was acquired by the Thoma Collection, and it also piqued the interest of MOCA-Jacksonville, and NYU Langone Medical Center. The latter is also interested in multimedia works on plexiglas exploring social gaming and concepts of reality by Naomi Campbell and “Chronic Care Collection”, which featured photographs from a nursing guide with sections of photographs by Kathryn Parker Almanas and medical bandaging hand stitched with suturing thread.
“We were pleased The Whitney Museum and Fundación Pablo Atchugarry from Manantiales, Uruguay have both expressed interest in acquiring ‘Borderline Personality Disorder #4’, a kinetic light sculpture by Paul Myoda that executes actions depending on your proximity to it, for their impressive collections,” said Yellow Peril Curator Robert P. Stack.
The opportunity to present “Cardboard Trees” by Joan Backes as part of Featured Programming at SCOPE New York was a highlight for both Souvannasane and Stack. The installation, comprised of cardboard trees from every continent, received very positive press from ArtNet and GrandLife, and caught the eye of several museum curators.
“We’ve definitely reaped the benefits of being a Breeder Program gallery,” notes Souvannasane. "We are both grateful for the opportunities presented to us by the entire SCOPE organization and sincerely look forward to the next edition to extend the reach of our artists to new audiences in Basel, Switzerland.”
Next, Yellow Peril Gallery will present “Ubiquity”, featuring new media works from Paul Myoda, Anne Morgan Spalter and Naomi Campbell, at cutlog NY 2014 during Frieze Week in May. They will also present two installations at the fair, including Jessica Deane Rosner’s “The Ulysses Glove Project” (courtesy of Cade Tompkins Projects), a monumental display of 310 yellow rubber gloves with the entire book of “Ulysses” by James Joyce transcribed on each hand. The second installation is from Joan Backes, another RI-based artist. cutlog NY 2014 will take place at Clemente Soto Vêlez Cultural & Education Center in the Lower East Side of Manhattan.
“Honestly, you don’t have to live in a metropolis like NYC to nurture your artistic career,” stresses Stack. “Although Rhode Island is small, the talent found here is world class and it will continue to augment the contemporary art landscape with its boldness.”
Indeed, size and location doesn’t matter when Hope is the anchor.