Moving Image, New York’s Video Fair, Returns With Bigger, Better Screens (And More Nudity)
If you’re looking for a theme running through this year’s Moving Image video art fair stationed in the Waterfront Tunnel on Eleventh Avenue, co-founder and gallerist Edward Winkleman has two suggestions: there’s the predominance of women artists (also visible over at the ADAA Art Show), and then there are all the naked bodies. “Every time I walk through I see a new naked body part,” Winkleman told ARTINFO during the fair’s soft opening this afternoon. A steady stream of visitors progressed down the cavernous space, every so often stopping to inspect possibly naked works like AES+F’s “Allegoria Sacra” (Anna Schwartz gallery, Melbourne) and Hunter Reynolds’s “Mummification Heart Transformations” (P.P.O.W. gallery, New York).
After launching with a bang last year, Winkleman and director Janet Phelps took some time to polish the fair’s execution, revamping with bigger, high-definition monitors that dealers were “very happy about,” he said. Moving Image 2.0 also features a more diverse distribution of monitor-based pieces with installation work. Rather than the rear of the hall feeling claustrophobically cluttered with competing monitors as it did in the first outing, the work is luxuriantly and spaciously installed. The difference, particularly in the case of the monitors, is noticeable and appreciated.