Heidi Spector

Miami Project, a fair out of Williamsburg, Brooklyn enjoying its second year in Miami and located in an undistinguished tent down the block from Art Miami, showed some of the best work anywhere. Dedicated to U.S. galleries with a “serious commitment to important living artists” or “extensive involvement with remarkable estates,” Miami Project lived up to its claims. After seeing Dustin Yellin’s apocalyptic vision, which was like John Martin’s The Deluge encased in glass, at Phong Bui’s magisterial exhibition “Surviving Sandy,” I was excited for Yellin’s smaller works at Richard Heller Gallery. A large Chuck Webster from his recent show at Betty Cuningham made an appearance at Steven Zevitas. The geometric abstractions of Devin Powers—an artist to watch—looked great at Lesley Heller. Margaret Thatcher Projects had exquisite colored sculptures by Heidi Spector.

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Spector's paintings, composed of liquitex acrylic painted as bands of color on Russian birch, are topped with resin, creating a surface where candy like colors pulse and dance together, alluding to the impact of popular music on her work.

I was pretty down on a lot of the art I saw at HFAF this year. But I did see art I liked. The thing is that good art takes time. It requires contemplation. And an art fair is an environment antithetical to that. The bad art tends to be unsubtle. It screams at you from the walls. It's like a spotlight shining on your face. It makes it hard to see anything else.

Combining fashion, art with her 125 glasses-of-champagne skirt. It turn out that Heidi Spector's sense of style is part other DNA: she is an artist. As we chatted, she told me she is showing her art in New York. Her work reminded me of Frank Stella and Herald Schmitz-Schmeizer with their colorful stripes.

Spector’s new works include sculptural paintings and the addition of new materials, including polished stainless steel. Her oil paintings are made on Belgian linen with canvas stretchers and alkyd and resin finishes, which provide a high-gloss finish. The reflective resin surface and polished stainless steel reflect the image of the viewer.

When Mia Feroleto opened Green + Blue Gallery on Stowe’s Mountain Road last fall, it was with the fanfare of intrigue and great promise. Not only was she planning to exhibit national and Vermont artists in a variety of contemporary styles; Feroleto also proposed an ambitious plan to bring urban artists north aÌ€ la the Fresh Air Fund. That is, to find studio spaces in private homes in which participating artists could work for a brief sojourn, giving their host patron a piece of art as payment.