2013 Frieze Fair New York reports/NADA Art Fair reports

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    • Art & Design

FRIEZE FRAME: WHAT TO SEE THIS WEEK

Frieze New York is only in its second year, but the mega-art fair, which opens to the public on Friday, already feels like an institution. And like most of the city’s traditions, this one has built-in pageantry: a weeklong blur of deals, dinners, parties, and of course, splashy openings. To lure the big-fish collectors and international artelligentsia in town, galleries have pulled out the big guns—Koons, Kelly, McCarthy. Here are a few blue-chip shows to see and be seen at this week.

May 2013
PAUL McCARTHY at Hauser & Wirth

PAUL McCARTHY at Hauser & Wirth

Read more: http://www.wmagazine.com/artdesign/2013/05/frieze-art-fair-preview-ss#ixzz2SrqFlI2i

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http://www.style.com/trendsshopping/stylenotes/050613_Frieze_Art_Fair/

WELCOMING PARTY

If Frieze has a mascot, it’s Paul McCarthy’s Balloon Dog. McCarthy has gained renown for a litany of idiosyncratic works. He’s presented decidedly alternative views of allegorical characters such as Snow White and Santa Claus; questioned the merit of celebrity in art, and art in general; and recently moved into satirizing pop culture, with Pig Island and Rebel Dabble Babble. His eighty-foot-tall Koonsian inflatable pooch announces Frieze’s arrival to anyone in view of the East River. It also serves as a colossal companion to the free-to-all Sculpture Park’s other works, which include the pieces by Tom Burr and Franz West pictured here.

In the Drink

During a 1971 diatribe about Manhattan, Woody Allen mused, “There is no question that there is an unseen world. The problem is, how far is it from midtown and how late is it open?” At that point, the city’s most notorious “unseen world,” its 32,000 Prohibition-era speakeasies, was forty-one years into retirement. Double that, and nostalgia for the hedonistic twenties has led to the proliferation of legal speakeasies hidden, say, behind a phone booth in an East Village hot-dog shop. It also inspired L.A.-based artist Liz Glynn, who has concealed Vault, a speakeasy, within Frieze’s grid. Built like a ramshackle bank vault, with safe-deposit boxes containing symbolic objects, its location will be revealed to lucky fairgoers at random. On the cocktail menu: gin and vodka Vespers.

A 2012 installation by Glynn.

Photo: BLACKBOX (Bar), 2012, by Liz Glynn, stained wood, one hundred unique numbered glazed ceramic mugs, eleven stools, Xerox copies, and acrylic. Photograph by Calvin Lee. Courtesy of LAXART and the Getty Research Institute.

Epicurean Inspiration

“Not all food is art,” Frieze Projects New York curator Cecilia Alemani says. “But [both food and art] are creative processes that start from very simple ingredients and transform them into something magic.” That was the essence of Food, the legendary artist-run Manhattan restaurant opened in 1971 by Gordon Matta-Clark and Carol Goodden. At Frieze, the icon is reincarnated as Food 1971/2013, a restaurant featuring artists as guest chefs. For a more traditional culinary experience, a number of the city’s hottest restaurants will also be on-site: Frankies Spuntino will be reprising its full-service restaurant, while Prime Meats will offer picnic fare. Marlow & Sons and The Fat Radish are returning, and Mission Chinese will make its Frieze debut with an array of dishes worth waiting in line for, including its famous Kung Pao Pastrami.

Photo: Tina Girouard, Carol Goodden, and Gordon Matta-Clark outside the restaurant FOOD prior to its opening, 1971. Photograph by Richard Landry. Courtesy Richard Landry, the Estate of Gordon Matta-Clark and David Zwirner, New York / London

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http://www.newrepublic.com/article/113180/frieze-new-york-randall-islands-glamorous-empty-weekend-art-fair#

ART MAY 10, 2013

Frieze New York, a VIP Art Fair for Our Gilded Age

Frieze New York, up and running through Monday, is a fashionista’s wet dream of what an art fair ought to be. Take a look if you want to know how the people who buy and sell contemporary paintings and whatnots are amusing themselves right now. Set in a meandering white tent on Randall’s Island in the East River—it’s just a quick taxi ride (or Frieze-organized bus or ferry ride) from Manhattan—Frieze New York is our Gilded Age art world’s answer to the perfect Edwardian country house party. The bleached-chic style can make ignorance and mendacity look pretty. At a time when the people with the heaps of money are terrified of anything that isn’t “curated,” whether it’s their Louboutins or their Warhols, Frieze is so finely curated that it becomes its own conceptual art work, annihilating whatever art happens to be on display. Even an interesting late painting by Joan Mitchell, at Cheim and Read, registers as little more than another color swatch. You don’t need an art critic to explain Frieze New York. Henry James would have savored the drop-dead elegance and seen straight through to the corruption, although you might want a little help from Marx or Keynes (take your pick) to explain exactly how it all works.

Everything about Frieze is designed to obliterate any particular impression. 

Artistic experience is first and last a local experience—an experience of some particular thing seen in some particular time and place. The trouble with Frieze—and the same goes for Art Basel and all the rest of the high profile international art fairs—is that the particulars are effectively pulverized so as to create one grandiose global mash-up. To the extent that a fairgoer distinguishes one thing from another, it’s just a matter of determining the product placement in a top-of-the-heap trade fair. And whom does this all-in-one experience really serve? Well, it definitely serves the people who keep the galleries in business, because this is a constituency that has a lot of money but not a lot of time, at least so they will tell you. Contemplation is dead. Closing the deal is all that matters. At an art fair the mood is so keyed up that even the most lackluster work of art can begin to look as if it’s on steroids. And there’s always the chance that a collector will get in the mood and rev things up even further, with the adrenaline high of a purchase made more or less in public. Art collectors used to be inclined to be secretive. Now they’re pretty much all publicity hounds.

Actually, Frieze seems to have managed to send the entire Manhattan art scene into a mind-altering frenzy. This is only the second year Frieze, an established event in the London season, has appeared in New York. And it’s still fresh enough that the hometown team is eager to partner and stir things up—and make a bit of a rumpusin the same few weeks that also include the major spring art auctions. Days before Frieze had opened, when I went down to Chelsea to see a few shows, there were already many more gallerygoers than you would normally see on a Tuesday afternoon. The international crowd had already arrived, anxious not to miss out on any of the fun. Over the weekend, the city is hosting a bewildering number of art and art-related happenings. And next Wednesday a major Jackson Pollock, November 19, 1948, is on the auction block in the Post-War and Contemporary Art Evening Sale at Christie’s. I suspect that at least for all but the most exclusive events there may be some anxiety as to whether there are enough bodies to go around. At Frieze there are VIPs and VVIPs, at least so I gather. And to top it all off—and obviously coordinated with Frieze and the auctions—Jeff Koons, king of the trashmeisters and the top dog among the top selling artists, has a duo of shows opening in Chelsea. One is with his dealer of recent years, Larry Gagosian, but the second is his first appearance at the David Zwirner Gallery, which has a far more austere and intellectual atmosphere than Gagosian and might just persuade the chattering class that’s wearied of Koons to take another look. Koons is now ripping off the Greco-Roman sculptors and for all I know will be hailed for revitalizing neoclassicism.

John Berens/Frieze
Fairgoers stand in a room curated by Gavin Brown’s Enterprise, a New York art gallery.

I am sorry to be a party pooper. Of course I get a buzz out of Frieze, what with the people-watching and the suave food concessions (Blue Bottle Coffee, Court Street Grocers, The Fat Radish, Sant Ambroeus, and so forth). I could write about the work I saw that stood out a bit, including Mai-Thu Perret’s miniscule, minimalist, and possibly mystical gameboard-like paintings at Zurich’s Galerie Francesca Pia and Simon Evans’s pale, all-over collages featuring bits and pieces of lined paper and graph paper at New York’s James Cohan. But under the circumstances I refuse to be the well-behaved art critic assigning B- to this and C+ to that and maybe even a provisional midterm grade of A-. Everything about Frieze—from the blinding white light to the open floor plan with galleries flowing one into the other—is designed to obliterate any particular impression. And that’s what’s wrong with the whole godforsaken glamorous weekend. At Frieze, you’re being pushed to groove, not to grapple. You’re in the know, but you’re a know nothing.

John Berens/Frieze
“Smoking Room in a private Palais in Brussels, as seen from entrance, 1905,”by Maria Loboda.

The people who run Frieze certainly knew what they were up to when they positioned themselves on an island that has a bit of a never-never land feeling. It’s as if they had set out to deny New York’s great artistic history—what Donald Judd, in the title of one of his pioneering articles about the art of the 1960s, referred to as “Local History.” At Frieze, history is dead and New York’s legendary spirit of place is totally obliterated.  Art is left to start from scratch every time, which perhaps explains the scratchpad stupidity of a lot of the work on display. It’s demagogues who want to obliterate the past. And there is something autocratic if not fascistic about the sleekly cosseted ambience in Frieze New York’s snaking white tent.  Everybody walks around in a cheerfully hypnotic state. The flow patterns have been oh so beautifully worked out. If you go, you have no choice but to go with the flow.

Jed Perl is the art critic for The New Republic.

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30 Must-See Art Pieces at Frieze New York 2013

WWJD by Jack Early, 2012 (printed Lexan, lights, plywood, muslin, lentils, printed cotton)

Gallery: McCaffrey Fine Art B15

30 Must-See Art Pieces at Frieze New York 2013

Untitled by Daniel Arsham, 2013 (broken glass, resin)

Gallery: Galerie Perrotin, C43

30 Must-See Art Pieces at Frieze New York 2013

Fotini by Saint Clair Cemin, 2013

Gallery:Paul Kasmin, C13 (Sculpture Garden)

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New York Times
Special Report: The Art of Collecting

Frieze Art Fair Pitches Its Tent in New York

Graham Carlow/Frieze

Frieze New York offered a strong showing of North American work in 2012, with 35 percent of galleries coming from that continent, 51 percent from Europe and 14 percent from other regions. Those proportions remain consistent in 2013.

LONDON — When the Frieze Air Fair, the cool teenager of the contemporary art world, set up shop in New York last year, there did not seem to be much surprise. But Frieze New York, which opens its second edition Friday in Randall’s Island Park in Manhattan, remains a daring move and a gamble for the London show and its organizers.

Linda Nylind/Frieze

Contemporary art at last year’s edition of Frieze New York.

The fair, which runs through Monday, comes just two months after the centennial edition of the huge Armory Show in New York, and competes with Art Basel Miami Beach, another important U.S. destination for serious collectors.

There is also a risk that the expansion of Frieze to the United States could dilute the impact or panache of its London edition, take galleries and collectors away from the mother ship, or attempt too close a clone of London in a very different context.

Amanda Sharp, who co-founded Frieze with Matthew Slotover in 2003, said that although it “did seem like a very big challenge,” the impetus to take Frieze to New York came largely from the European galleries that were showing at the London fair.

“I had mentioned the idea to about two people,” Ms. Sharp, a Briton, said by telephone from New York, where she has been based since 1999. “Then a German newspaper got wind of it, and wrote about it, and the deluge of interest was so extreme that I knew I had to find a location.” She describes how she went to Google to look for large green spaces and eventually drove out to Randall’s Island. “I knew it could be perfect for us,” she said.

The choice of the island, a part of Manhattan between the East River and the Harlem River that is unknown to many New York City residents, was a contentious one. In the 19th century, it featured a poorhouse, a reformatory for juveniles and a hospital; now it is mostly parkland with a multipurpose sports complex. Getting there involves either taking a 20-minute ferry or a fairly long car ride via the Robert F. Kennedy Bridge, anathema to the New York love of convenience.

“People said we must be crazy,” Mr. Slotover said by telephone. “But to an amazing degree, in the first few minutes of arriving, the consensus changed 180 degrees.”

Ms. Sharp and Mr. Slotover engaged the New York firm SO-IL Architects to design the tent for the fair, a caterpillar-like, curvy, light-filled structure that Holland Cotter described in The New York Times as “the architectural equivalent of a white stretch limo.”

The attractive environment, together with Ms. Sharp and Mr. Slotover’s attention to detail — the food on offer, the V.I.P. lounges, the special projects scattered throughout the tent and the sculpture park outside — contribute to Frieze’s trademark theatrical charm, which is deemed a considerable factor in drawing galleries.

“They are very good at managing the environment and putting artists’ projects at the center of the fair,” said Louisa Buck, the contemporary art correspondent for The Art Newspaper. “People do go from the U.K. to exhibit because it’s a chance to show in a place that’s a lot less creaky than the Armory. It provides a much more stylish, highly regarded alternative.”

Last year, Frieze New York offered a strong showing of North American work, with 35 percent of participating galleries coming from North America, 51 percent from Europe and 14 percent from other regions. Those proportions remain more or less consistent this year.

The London fair, on the other hand, has a higher European-to-American ratio; last year, about 63 percent of the galleries came from Europe and 24 percent from North America. But Mr. Slotover added that there was already a high crossover of gallery applications for the two fairs, suggesting that if curators like the Frieze brand, they consider it worthwhile showing in both cities.

But there is at least one market that Frieze London has struggled to capture. “There is certainly a bunch of New York-based collectors who don’t travel that much,” Mr. Slotover said. “And what astounded us when we started the London fair was the depth of collecting in New York and across the U.S. It really is much bigger than any other country, and galleries want access to that market.”

Maureen Paley, whose gallery in London has been a longtime Frieze participant, exhibited at both the London and New York Frieze fairs last year, as well as at the Armory Show. She said it seemed obvious to her that the opportunity to be in New York, at what she described as a prime time on the international arts calendar, was not to be missed.

“The galleries that do involve themselves with Frieze are often creating stands that are very curated, rather than just displaying their wares,” Ms. Paley said. “It creates a particular atmosphere that is a little bit niche. In that way, New York was very consistent with the feeling of the London fair.”

Despite that consistency, the New York fair has a different feel, Ms. Buck of The Art Newspaper said. “They hired American curators, they take collectors around to local galleries. They are very context-specific, so in that way it is very different to Frieze London. Yes, they are both in tents in parks, but in very different tents, in very different parks.”

But Kim Stern, an art consultant and curator who divides her time between New York and South Africa, said that the works on display at the first Frieze New York fair last year did not differ significantly from what she had seen in London.

“What people take to Frieze New York is, for the moment, very much based on its London reputation,” Ms. Stern said. “As it grows in New York, that will shift, and we will start to see a very different landscape, particularly since I think people feel the perception is that, in America, they can be more bold than in Europe.”

That potential differentiation could be an important factor for Frieze, as two very similar fairs could lead regular London exhibitors to shift their allegiance to New York.

Ozkan Canguven of the Gallery Rampa in Istanbul, which exhibited twice at Frieze London before going to Frieze New York last year, said that the New York edition had been the best fair the gallery had ever done. “I had thought we would do better business in Europe, but New York had such an international crowd of collectors,” she said. “Americans, Brazilians, Mexicans, and lots of Europeans. I think London was more local.”

Although Ms. Canguven said her gallery would continue to show at both Frieze fairs, Ms. Sharp acknowledged that some regular exhibitors felt that New York was a more important market. But “it works the other way round, too,” she hastened to add.

“Some galleries who came to us first in New York have now applied for London,” Ms. Sharp said. “And New York gives us a broader group to market to, which is the whole idea — to establish more relationships, that people understand what we do.”

Mr. Slotover said that while the first edition of Frieze New York had lost money, he hoped that the event would break even this year and be profitable in 2014. The real issue for Frieze, then, may not be whether there is a conflict of interest between its editions in Britain and the United States, but whether there is a sufficiently deep pool of collectors to support both Frieze New York and the Armory Show.

“I’m not sure that the New York art market can really support two enormous fairs that draw upon the same collector base and same galleries,” Ms. Buck said. “Which one will it be? The jury is still out.”

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by Karen Archey

May 10, 2013

Frieze New York

FRIEZE ART FAIRNew YorkMay 10–13, 2013

“Contemporary art: one, us: zero,” quipped a friend as we mistakenly toured what appeared to be the off-limits back room of Marian Goodman’s booth at Frieze New York. We were looking for Tino Sehgal’s performance Ann Lee. Aware of the nature of Sehgal’s work probing social boundaries through real life situations, my partner and I weren’t entirely convinced our foray into Goodman’s secret room wasn’t part of the performance itself. Our mishap was worthwhile though: it brought us to Ann Lee, an adolescent girl performing a monologue as a fictional Manga character originally developed by Pierre Huyghe and Philippe Parreno in 1999. The duo had purchased the rights to the character from a Japanese animation company, and subsequently invited other artists, such as Dominique Gonzalez-Foerster, Rirkrit Tiravanija, and Liam Gillick, to include her in their work. Originally a vacant character, she is figuratively filled by the artist’s intention. Sehgal’s version of Ann Lee comprises a rotating cast of confident, “robotic” 11-year-old girls, replete with mechanical limb movements, who directly engage audience members with questions like “Would you rather be too busy or not busy enough?” (Unsurprisingly, most audience members preferred to be too busy.) The piece examines a collective desire to be filled or occupied—with distraction, personal fulfillment, or what have you—and in turn, a fear of stagnation and vacancy. That “Ann Lee” focuses on the art fair goer seems an exceedingly apropos subject for the opening day of Frieze, which was mottled with well-shorn, busybody alpha patrons.

Though its performative nature and challenging salability is undoubtedly anomalous, Sehgal’s performance epitomizes the high quality of work at Frieze New York’s sophomore edition. The fair’s serpentine SO – IL-designed tent boasts twenty more booths than last year’s effort, reaching to 180 galleries in total. And while the titanic amount of galleries proves it impossible to adequately see the entire fair in one day (I was there a total of six hours and can only hope I caught a glimpse, at least, of everything), the overall tone of Frieze New York’s opening day was posh, bright, contemporary, and poised in addition to the usual bourgeois art fair goings-on, and the presence of decidedly cool, emerging artists penetrated the fair.

Most satisfying were booths resuscitating vintage chromogenic prints from decades past. Elizabeth Dee showed a photographic pairing by the lesser-known British photographer Mac Adams. The first photograph depicts a man seemingly wiring a bouquet of daffodils to spy on an unsuspecting woman, the second showing the subject at home amidst the arrangement, perhaps being unwittingly recorded. Titled Conversation [Diptych], the 1975 piece compresses crime narrative into highly staged mise en scène, a rare potential historical analog to the increasingly celebrated, idiosyncratic young conceptual artist Alejandro Cesarco. (With Murray Guy, Cesarco’s installation-cum-detective story The Streets Were Dark with Something More Than Night or the Closer I Get to the End the More I Rewrite the Beginning won the Baloise Art Prize at Art Basel in 2011.) For Frieze New York, Murray Guy presented Zoe Leonard’s vintage chromogenic prints, most of which were taken during her forays to remote Alaska in the mid-90s. The striking images—ranging from depictions of a dismembered bear and moose to a dead beaver laid prone in his watery grave—build upon feminist investigations into the gaze endemic to the 1980s, positioning the human being as predator and consumer. At Reena Spaulings, Ken Okiishi’s breathtakingly honest (but unsent) 1997 postcards addressed to art world luminaries such as Larry Clark or Jack Pierson track his coming-of-age lust for a straight friend—a gay rendering of the universal experience of potent desire, rejection, and consequent alienation.

The relative lack of work made before the 1970s was assuaged by a few unique, hard-hitting presentations from artists with decades-old careers. Gagosian showcased a work from Robert Rauschenberg’s lesser-known series of Gluts, metal assemblage sculptures made primarily in the late-eighties while the artist was visiting an economically depressed Texas. Paris’s Galerie Chantal Crousel showed an unusual vitrine-bound but characteristically explosive Thomas Hirschhorn, while B. Wurtz’s grocery-themed paper collages puzzled and dazzled at Richard Telles Fine Art.

The fair ushered in an exciting bevy of young London imports relatively unexposed in New York. London’s The approach brought Magali Reus’s strangely poetic custom-made stadium seats propped up by a crutch leg, meditating on notions of public support, as well as Alice Channer’s hybrid-state, droopy resin clothing. Carlos/Ishikawa, also of London, presented a solo showing by Steve Bishop one could likely smell before they see. In addition to a cutting of the gallery’s wall repositioned as a temporary structure delineating the booth, Bishop’s Listerine tray hilariously and noxiously permeates the fair—a new take on “cutting through fair bullshit.” Shoreditch’s Limoncello presented an Ikea kitchen-inspired installation replete with ceramics by Jesse Wine, who is perhaps on top of the never-ending surge in contemporary art pottery. David Raymond Conroy’s work at Seventeen wraps paravents in fabric (more commonly associated with African clothing), and juxtaposes them with photographic collages meditating on the functionality and history of photography.

London’s contemporaries across the pond presented equally successful, materially inventive work by young Americans. Gavin Kenyon’s bulbous yet phallic, fuzzy plaster works impart a dark take on relatively traditional sculpture at Lower East Side’s Ramiken Crucible. Fellow LES gallery 47 Canal shows the similarly inventive Stuart Uoo, who is the subject of a current two-person exhibition with Jana Euler at the Whitney Museum of American Art (Euler’s winsome paintings can be seen in the fair at Brussels gallery dépendance’s booth). Uoo’s work at 47 Canal comprises a set of busts representing, in a degraded, post-human fashion, each of the famed four females of “Sex and the City.” The mannequins, burnt, are fashioned with floppy hats, bandanas, and tutus, and tout wires for veins. Nearby hang a selection of exceedingly tacky yet expensive designer fabrics that help position Uoo’s busts as belonging to a private, post-identity fantasy world in which a gay (or straight, for that matter) man is just as likely to identify with Carrie Bradshaw as any undergrad co-ed.

If there’s anything surprising about Frieze New York’s second year, it’s perhaps the seamlessness of its presentation. Is the fair’s continued success too good to be true, especially given the long history of the Armory’s struggle for relevance? While the fair’s private usage of public, tax-supported New York property and the company’s refusal to hire unionized workers has precipitated heated New York City Council meetings (1), these issues have yet to turn many heads in the art world. No one wants to rain on the Frieze parade, presumably because New York has yearned so long for a hip, commercially viable fair. It could be argued that Frieze (and not entirely unlike this publication) is built on a highly commercial yet alternative, self-sustaining funding system. This well-oiled machine accrues cultural capital from Frieze’s exceptionally edited magazine, which in turn creates an attractive brand, fueling the pay-to-play desire to show in the fair. While this structure isn’t especially pernicious, it explicitly represents a new model of power: just to be rich or cool isn’t enough to claim your place at the front of the rat race. Today, you have to be both.

1) http://teamsternation.blogspot.com/2013/05/new-york-city-council-hearing-slams.html

Karen Archey is an art critic and curator based in New York. She is the 2012–2013 curator-in-residence at Abrons Arts Center.

View of Frieze New York Sculpture Park with Paul McCarthy, Balloon Dog, 2013.

1View of Frieze New York Sculpture Park with Paul McCarthy, Balloon Dog, 2013.

Tino Sehgal, Ann Lee, 2013.

2Tino Sehgal, Ann Lee, 2013.

Mac Adams, Conversation [Diptych], 1975.

3Mac Adams, Conversation [Diptych], 1975.

Zoe Leonard, Dead Beaver, 1997/1998.

4Zoe Leonard, Dead Beaver, 1997/1998.

Ken Okiishi, Wish I Were Here (detail), 1997–2001.

5Ken Okiishi, Wish I Were Here (detail), 1997–2001.

Robert Rauschenberg, Miami Glyph Late Summer Glut, 1987.

6Robert Rauschenberg, Miami Glyph Late Summer Glut, 1987.

Thomas Hirschhorn, Vitrine Murale "Natural Concretion," 2007.

7Thomas Hirschhorn, Vitrine Murale “Natural Concretion,” 2007.

B. Wurtz, Untitled, 2010.

8B. Wurtz, Untitled, 2010.

Magali Reus, Parking (shade), 2013.

9Magali Reus, Parking (shade), 2013.

Steve Bishop, If Everything Has a Place, Place Too Has a Place IX, 2013.

10Steve Bishop, If Everything Has a Place, Place Too Has a Place IX, 2013.

View of Seventeen at Frieze New York. Foreground: David Ramond Conroy, Broadway flats, 2013.

11View of Seventeen at Frieze New York. Foreground: David Ramond Conroy, Broadway flats, 2013.

View of Frieze New York, 2013.

12View of Frieze New York, 2013.

Stewart Uoo, No Sex, No City: Miranda III, 2013.

13Stewart Uoo, No Sex, No City: Miranda III, 2013.

David Maljković, Monochromes, 2013.

14David Maljković, Monochromes, 2013.

  • 1View of Frieze New York Sculpture Park with Paul McCarthy, Balloon Dog, 2013. Courtesy of Hauser & Wirth, Zurich and John Berens/Frieze. Photo by John Berens.
  • 2Tino Sehgal, Ann Lee, 2013. Performance. Courtesy Marian Goodman Gallery, New York. Photo by Karen Archey.
  • 3Mac Adams, Conversation [Diptych], 1975. Color photographs, gelatin silver prints, 14.17 x 11.81 inches each. Edition 1 of 3. Courtesy of Elizabeth Dee, New York.
  • 4Zoe Leonard, Dead Beaver, 1997/1998. Silver gelatin print, 24 x 17 inches. Edition of 6. Courtesy of Murray Guy, New York.
  • 5Ken Okiishi, Wish I Were Here (detail), 1997–2001. Five framed archival inkjet prints 19.5 x 13.5 each. Edition of 5 + 2 AP. Courtesy of Reena Spaulings Fine Art, New York. Photo by Alex Ross.
  • 6Robert Rauschenberg, Miami Glyph Late Summer Glut, 1987. Riveted metal and plastic parts, 60 1/5 x 102 x 12 1/2 inches. © Robert Rauschenberg Foundation. Courtesy of Gagosian Gallery, New York. Photo by Dorothy Zeidman.
  • 7Thomas Hirschhorn, Vitrine Murale “Natural Concretion,” 2007. Four mannequin heads, prints, brown tape, cardboard, plexiglas, neon, 98 x 65 x 23.5 inches. Courtesy of Galerie Chantal Crousel, Paris. Photo by Alex Ross.
  • 8B. Wurtz, Untitled, 2010. Plastic lid, collage, string, 48 x 30 inches. Courtesy of Richard Telles Fine Art, Los Angeles. Photo by Alex Ross.
  • 9Magali Reus, Parking (shade), 2013. Polyester resin, fiberglass, pigments, powder, coated aluminum, rubber stop-end, car magazine cover, Artex, 21.3 x 37.4 x 19.1 inches. Courtesy of The approach, London. Photo by Alex Ross.
  • 10Steve Bishop, If Everything Has a Place, Place Too Has a Place IX, 2013. Removed MDF wall, 78.7 x 43.3 inches. Courtesy of Carlos/Ishikawa, London. Photo by Alex Ross.
  • 11View of Seventeen at Frieze New York. Foreground: David Ramond Conroy, Broadway flats, 2013. Dutch Wax fabric, acrylic paint, wood, hinges, sandbag, 94.5 x 30.4 x 47.2 inches. Courtesy of Seventeen, London.
  • 12View of Frieze New York, 2013. Courtesy of John Berens/Frieze. Photo by John Berens.
  • 13Stewart Uoo, No Sex, No City: Miranda III, 2013. Polyurethane resin, epoxy, ink, pigment, paint, wires, cables, clothing, accessories, ferrofluid, razor wire, steel, feathers, hair, make-up, glitter, eyelashes, flies, dust, 84 x 30 x 30 inches. Courtesy of 47 Canal, New York.
  • 14David Maljković, Monochromes, 2013. Plexiglas, wood, 3 palm fronds, bull dog clips, acrylic on canvas, trestles, 28.34 inches high, Plexiglas, 29.52 x 78.74 x 33.46 inches. Courtesy of the artist, Annet Gelink, Amsterdam, and Metro Pictures, New York.
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http://www.artribune.com/2013/05/new-york-updates-nuova-sede-sulleast-river-immutata-vocazione-modernista-ecco-video-e-fotogallery-dalla-fiera-a-latere-nada/

New York Updates: nuova sede sull’East River, immutata vocazione modernista. Ecco video e fotogallery dalla fiera a latere Nada…

Nada Art Fair, New York 2013 13

Altro “Pier”, altra fiera. Dalle parti del 36, sempre affacciati sull’East River ci sono i capannoni di Basketball City, scelta – azzeccatissima – come nuova location della fiera Nada, che vi approda dopo diverse peregrinazioni.

Meno entusiasmo per il livello degli stand che, con una allure modernista che spesso caratterizza questa fiera, hanno optato per allestimenti che strizzano l’occhio più alla vendita che alla ricerca: piccole opere, pochi progetti, booth piccoli, a dispetto di nomi di grande tendenza ai blocchi di partenza. Anche qui non manca una rappresentanza italiana, con gli stand di Thomas Brambilla da Bergamo – che per l’occasione sfoggia gli americani della sua scuderia e un giovanissimo italo-croato di vent’anni – e di Luce Gallery da Torino. Anche questi li vedete nel video e nella fotogallery…

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http://www.huffingtonpost.com/mutualart/frieze-new-york_b_3237739.html

Recommended Artists at Frieze New York

Posted: 05/09/2013 2:15 pm

The Frieze Art Fair made quite the first impression last spring during its opening New York exhibition. Ever since, expectation and curiosity levels were high among fair-goers, waiting to see what this year’s fair will bring. Over 180 galleries will be taking part in the five-day fair, making the journey to Randall’s Island well worth its while. With so much to see, finding some focus might be daunting, so MutualArt has put together a list of 10 artists not to be missed at the fair.

Dianna Molzan

Los Angeles based artist Dianna Molzan’s paintings are frequently described as sculptural and often break the convention of the picture surface as single, uninterrupted plane. But rather than shifting horizontally into the established register of another medium, it often feels as if her works are burrowing vertically, deeper and deeper into painting itself. The sculptural quality of the work is almost a by-product of Molzan’s investigation into the apparatus of painting in its most literal sense – the wood supports, the canvas, the paint.

Molzan has had solo exhibitions at the Institute of Contemporary Art Boston (2012), Whitney Museum of American Art, New York (2011), and her gallery, Overduin and Kite in Los Angeles (2009). Several of her works were included in the show All of this and nothing at the Hammer Museum, Los Angeles (2011).

(Image: Dianna Molzan, Untitled, 2013, oil on canvas, 2 panels: 84 1/2 x 94 in / 214.6 x 238.8 cm overall, Courtesy of Overduin and Kite, Los Angeles)

Dianna Molzan’s work can be seen at Overduin and Kite, Stand C3. 

Ivan Seal

Berlin-based Ivan Seal was a sound-artist before switching to painting a couple of years ago. Sound  still plays a role in his art and at his In Here Stands It installation the paintings were shown alongside computer-generated sound works, whose structure and rhythm are akin to the flow of canvases on the gallery wall. Seal’s paintings share matter, scale and palette. He usually exhibits them in groups although they are conceived of independently and shown out of chronological order.  The objects he depicts are inspired by his everyday surroundings and may seem plain and simple, yet Seal finds the eerie, dream-like quality in the mundane.

Recent solo exhibitions include Ivan Seal at Carl Freedman Gallery, London (through May 25th, 2013), the object hurts the spaceat RaebervonStenglin in Zurich (2011), True as applied to you; false as applied to you at Krome Gallery, Berlin (2011), I Learn by Osmosisat CEAAC, Strasbourg (2010) and Two Rooms For A Fall in Berlin (2009).

(Image: Ivan Seal, ‘prototype to get out no 3′ (2011), Oil on canvas, 70 x 60 cm, Carl Freedman Gallery)

Ivan Seal’s works can be seen at Carl Freedman Gallery, Stand C37

Jorge Macchi

A 2005 featured artist at the Venice Biennale, Argentinean Jorge Macchi has gained international attention for his delicate meditations on the poetics of everyday life using a variety of media formats, from video installations to artist’s books to cut out newspaper collages. His work is characterized by a somewhat melancholic air, with subjects ranging from acts of random violence to unrequited love, the impossibility of conclusion, and the interplay between presence and absence.

Macchi solo show is up through June 16th at the Kunstmuseum Luzern in Switzerland. Selected solo exhibitions include The Singers’ Room, in collaboration with Edgardo Rudnitzky, at Galleria Continua in San Gimignano, Italy (2008);The Anatomy of Melancholy at Blanton Museum in Austin, Texas (2007); Gallery Night at Luisa Strina Gallery in São Paulo, Brazil (2007); Jorge Macchi at Galeria Ruth Benzacar in Buenos Aires, Argentina (2007); and Time Machine at Kilchmann Martin Gallery in Mexico City (2006).

(Image: Music stands still, 2007 iron, courtesy: Galleria Continua, San Gimigango/Beijing/Le Moulin, Photographer: Ela Bialkowska)

Jorge Macchi’s works can be seen at Galleria Continua, Stand C42

Marie Cool & Fabio Balducci

French artist Marie Cool and Italian Fabio Balducci live and work in Paris and have been working together since 1995. The grand logic behind the work of Marie Cool Fabio Balducci is an enigma that cannot be resolved in a single definition.  Their art, which includes both live actions and videos, is a personal ethic, erected movement by movement through a very peculiar sociability, which could be thus devised: What distance should I maintain between the others and me to build an unalienating “living together”, an unexiled loneliness? The actions and what comes of them (still objects or drawings in a broader sense) do not provide an answer. These shapes tell of a disciplined and self-sustaining life, which joins those whose desires are chained to the paradox of the tetherless freedom, to favour the Free Spirit, emancipated and uncluttered of itself.

Marie Cool Fabio Balducci work together in Paris. Their work was shown in solo exhibitions at Site Gallery, Sheffield, at La Maison Rouge, Paris and Attitudes, Geneva in 2008, at The South London Gallery in 2009, at CAC Brétigny in 2010, at Villa Medici, Roma in 2011, at La Synagogue de Delme art center, FRAC Lorraine, Metz and Le Consortium, Dijon in 2012-2013. They also took part in the exhibition On Line: Drawing through the Twentieth Century (cur. Connie Butler and Catherine de Zegher) at MoMA, New York (2010), The Living Currency (cur. Pierre Bal-Blanc, 2010) and in La cavalerie exhibition at CAN, Neuchâtel. Their works have recently been added to the collections of MoMa New York, Centre Georges Pompidou, Frac Île-de-France and Frac Lorraine, as well as Vehbi Koç Foundation, Istanbul.

(Image: Marie Cool Fabio Balducci, Untitled, 2008 (paper, table, 220 x 100cm), video: 37 sec, courtesy Marcelle Alix, Paris) 

Marie Cool & Fabio Balducci’s work can be seen at Marcelle Alix, Stand B25

David Shrigley

This year’s Turner Prize nominee David Shrigley will take over an entire wall of the Anton Kern booth with a vibrant range of themes and materials. Shrigley’s disquieting and often profound sense of humor becomes evident in every medium, i.e. drawings, prints, photographs, signs and paintings, mixing the mundane with the absurd. Shrigley draws a universe infused with satire. With a fierce line, he depicts human doubts and uncertainties, animating the twisted scenarios of our insecurities and obsessions. One of his works from “What the Hell Are You Doing?” titled “In I Go” depicts the artist (labeled as “me”) entering into a skull (labeled “my destiny”).

David Shrigley has recently presented solo exhibitions at Museum M, Leuven, Belgium (2010), Anton Kern Gallery, New York (2010), Kelvingrove, Kelvingrove Museum, Glasgow International, Glasgow (2010), Galleri Nicolai Wallner, Copenhagen (2009), Kunsthalle Mainz, Mainz (2009), Bergen Kunsthall, Bergen (2009), Fumetto, Kunstmuseum, Luzern (2009) and Galerie Francesca Pia, Zurich (2009). His work has been shown in numerous museums and international exhibitions including “Life on Mars”, the 55th Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (2008), “Laughing in a Foreign Language” at Hayward Gallery, London (2008), “Learn to Read” at Level 2 Gallery, Tate Modern, London (2007), “The Compulsive Line: Etching 1900 to Now” at The Museum of Modern Art, New York (2006), and “State of Play,” at the Serpentine Gallery, London (2004).

(Image: “Reprinted from What the Hell Are You Doing? The Essential David Shrigley by David Shrigley. Copyright © 2010 by David Shrigley. First American edition 2011. With the permission of the publisher, W.W. Norton & Company, Inc.”)

David Shrigley’s works can be seen at Anton Kern Gallery, Stand C2

Martha Friedman

The Brooklyn-based artist Martha Friedman often examines quotidian objects in her sculptures, manipulating the scale and material of such things as waffles, rubber bands, and nails, which emphasizes the surreal aspects of these familiar items. In Frieze, Friedman will show at the Wallspace gallery booth as well as an outdoor piece as part of this year’s Sculpture Park curated by Tom Eccles. Her outdoor piece is essentially a “tongue garden.” – – with glossy, pink tongues – a reoccurring motif in Freidman’s work – instead of tulips, and mulch that is made of black recycled tire rubber instead of dirt.

Friedman’s solo exhibitions include “Caught” at the Wallspace gallery 2012; “Erogenouse Zones” at the Jessica Silverman Gallery 2012; “Rub” at the Museum of Contemporary Art Detroit 2010; “Rubbers” at the DeCordova Museum and Sculpture Park 2010-2011.

(Image: Martha Friedman, Mechanical Disadvantage II, 2012, Steel, Concrete, 121x60x60, Courtesy of Wallspace Gallery) 

Martha Friedman’s work can be seen at Wallspace Gallery, Stand C8

Zhan Wang

Zhan Wang is widely recognized as one of China’s leading contemporary artists today.  Working in installation, photography and video, his sculpturally informed practice challenges ideas of landscape and environment, addressing the urban, rural, artificial and industrial. Zhan Wang’s art has a particular perspective fundamentally anchored in his relationship to his own cultural heritage.  Among his most celebrated works is his series of “artificial rocks” – stainless steel replicas of the much-revered “scholar’s rocks” traditionally found in Chinese gardens. The mirrored surfaces of these often monumental objects absorb the viewer and its surrounding environment, enticing them to become part of the work,.The unevenness of the surface results in abstraction and a distortion of reality as reflected in the rock, thus creating a visual interplay between positions of tradition and modernity.

Zhan Wang has exhibited extensively in major museums and galleries across the world including the National Museum of China, Beijing, China; Williams College Museum of Art, Massachusetts, USA; Kunst Museum, Bern, Switzerland; Mori Art Museum, Tokyo, Japan; International Center of Photography, New York, USA; and the Asia Society Museum, New York, USA.  He has also executed a number of art projects at significant landmarks such as Mount Everest and the Great Wall of China. His work was also included in the landmark exhibitions ‘Cities on the Move: Asian Contemporary Art’, Austria, France, USA, Finland, UK, Denmark (touring exhibition 1997-99) and ‘Synthi-Scapes: Chinese Pavilion’, 50th Venice Biennale, Venice, Italy in 2003.

(Image: Zhan Wang, Artificial Rock No. 71, 2004,  Stainless steel, 185 x 165 x 100 cm, Courtesy of Long March Space)

Zhan Wang’s works can be seen at the Long March Space, Stand D26

Eileen Quinlan

Eileen Quinlan makes bold photographic works that range from bright abstractions to dark, organic landscapes.  Created by taking detail shots of commonplace objects and materials, they are captivating in their use of light, color, and scale.  Quinlan creates images of dimensional confusion by photographing modest studio constructions of foam, mirrors, and other common materials. She is interested in exposing the formal constructs of photography, like light and shadow.  She has also addressed the artificial scarcity created by  a limited edition by displaying entire editions side-by-side and treating them as a singular piece.

Quinlan participated in a number of group exhibitions in 2012, including Blind Cut at Marlborough Gallery and Accrochage at Miguel Abreu Gallery in New York, Second Nature: Abstract Photography Then and Now at the deCordova Sculpture Park and Museum in Lincoln, MA, and Printed at Mai 36 in Zurich. The highlight of last year, however, was unquestionably her September solo exhibition, Twin Peaks at Campoli Presti in London. Most recently, she mountedY? O! G… A., collaboration with Matt Keegan at The Kitchen in New York.

(Image: Eileen Quinlan, Ishtar, 2012, 60 x 48 inches, Courtesy of Miguel Abreu Gallery)

Eileen Quinlan’s works can be seen at the Miguel Abreu Gallery, Stand B57

Zoe Leonard

Shot between 1994 and 1997 while Zoe Leonard was living in an extremely remote part of Alaska, the photographs presented at Frieze show animals that the artist hunted and butchered herself and with friends: a bear, a moose, a beaver, and a duck.  Astonishingly anti-picturesque, they are key works in Leonard’s long exploration of the relationships between photography and images of nature.”I was afraid at first that I would have a hard time making art in Alaska. What I found was the opposite. I was surrounded by the complexity of nature, and I began thinking about our “progress” as a people, about the choices we have made,” says the artist about her experience.

Zoe Leonard has exhibited extensively since the late 1980s. Major solo exhibitions include Observation Point, Camden Arts Centre, London (2012); Photographs,   Fotomuseum Wintherthur (2007), which travelled to Museo Nacional Centro de Arte Reina Sofia, Madrid (2008), MuMOK — Museum Moderner Kunst Stifting Ludwig, Vienna (2009), and Pinakothek der Moderne, Munich (2009); You See I Am Here After All, Dia: Beacon (2008); Derrotero, Dia at the Hispanic Society, New York (2008); Analogue,  The Wexner Center for the Arts, Columbus, Ohio, and Villa Arson, Nice (2007). 

(Image: Zoe Leonard, Bear Paw Hanging, 1996/1998 Silver gelatin print 24 x 17 in, Courtesy of Murray Guy Gallery) 

Zoe Leonard’s works can be seen at the Murray Guy Gallery, Stand B5

Tsuruko Yamazaki

Between 1954 and 1972, the Japanese avant-garde art movement Gutai (meaning “concrete” or “embodiment”) challenged traditional artistic media through spectacularly orchestrated exhibitions. Despite being one of the founding members of the Gutai Group, Tsuruko Yamazaki remains one of the less discussed members of the group. Her participation at Frieze New York 2013 will be the artist’s first solo presentation in the USA.

Starting in the 1950s, she created washes of colored dye, using hues of indigo, violet and magenta on outdoor installations in public parks before moving on to more Pop-influenced paintings in the 60s. She has presented a range of works including three-dimensional pieces made using sheets of tin, performances, and paintings. Throughout her decades-long career, Yamazaki has produced work on the themes of real and virtual images and sight/cognition/recreation that expresses her unique outlook on the relationship between the individual and the world.

Yamazaki’s solo exhibitions include “Tsuruko Yamazaki” at the Take Ninagawa gallry (2013); Lads Gallery Osaka (2012); “Beyond Gutai: 1957-2009” Galerie Almine Rech (2010); Gallery Cellar (2008-2009); “From Gutai to Today” Lads Gallery (2007); “Reflection: Tsuruko Yamazaki” Ashiya City Museum of Art & History (2004).

(Image: Tsuruko Yamazaki, Work, 2009, Dye, lacquer and thinner on tin , 47.5 x 47.5 cm, Courtesy of Take Ninagawa Gallery)

Tsuruko Yamazaki’s works can be seen at Take Ninagawa gallery, stand B23

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http://www.artinamericamagazine.com/news-opinion/the-market/2013-05-08/frieze-new-yorks-sophomore-outing-a-preview/

Frieze New York’s Sophomore Outing: A Preview

In the midst of setting up her booth at the Frieze Art Fair, Los Angeles dealer Susanne Vielmetter was presented with a last-minute problem. One of the artists she’s showing, Andrea Bowers, disagreed with the fair’s decision to hire non-union workers (an issue that plagued the fair last year as well). Two days before Frieze’s preview, which is this Thursday, May 9, Bowers had decided to display a pamphlet and a written statement calling out Frieze’s anti-union labor practices. When she spoke to A.i.A. on the phone, Vielmetter was in the process of drafting an e-mail to Amanda Sharp, co-organizer (with Matthew Slotover) of the fair, to inform her of Bowers’s plans.

View Slideshow Sara VanDerBeek: Roman Women V, 2013, C-print, 20 by 16 1/4 inches. Courtesy Altman Siegel, San Francisco.; Kathryn Andrews: Claire, 2013, polished aluminum, certified film prop, 10 by 10 by 36 inches. Courtesy David Kordansky, Los Angeles. Photo Fredrik Nilsen.;

“It’s a free country,” Vielmetter told A.i.A. “My most important role is as a representative of the artist.” In addition to Bowers’s impromptu pamphlet, the gallery is exhibiting two of her large drawings on found cardboard (the material references homemade signs held by protesters), as well as a suite of 10 new paintings by Nicole Eisenman and landscape paintings with psychological undertones by Whitney Bedford.

Despite her potential conflict with the fair’s organizers, Vielmetter echoed what many dealers had to say about Frieze’s pleasant, outdoorsy setting and airy, light-filled exhibition space: “It’s the most visually stunning fair in the world and the quality of the galleries really is extraordinary.”

Nearly 200 international galleries will show at Frieze’s second annual New York outing (May 10-13). Like last year, the tent, designed by New York firm SO – IL architects, is one of the biggest draws for both dealers and art enthusiasts trekking out to Randall’s Island. Frieze is divided into three sections: the main area has 139 exhibitors; Focus, which highlights projects and artworks made specifically for the fair, has 30; and Frame, featuring solo presentations by emerging galleries, has 24.

According to several dealers who spoke with A.i.A. off the record, booth prices in the main section run from about $30,000 for 430 square feet to $90,000 for 1,290 square feet. The costs for the subsections are approximately $9,000 for a 270-square-foot spot in Frame and  $20,000 for 350 square feet in Focus.

In addition to the galleries exhibiting in the quarter-mile-long tent, Sharp and Slotover have, like last year, organized a range of programming. “I almost see them as curators, not just art-fair directors,” said David Maupin, of New York’s Lehmann Maupin, who is showing Do Ho Suh and Teresita Fernandez in his gallery’s booth. There’s a sound art component, specially commissioned installations in and around the tent, a sculpture park on the waterfront, and a series of debates, panel discussions and lectures.

The most talked-about project is a re-creation of and tribute to FOOD, the short-lived SoHo restaurant run by artists Gordon Matta-Clark, Tina Girouard and Carol Gooden in the early ’70s. Both Girouard and Gooden will participate (roasting a pig and making soup, respectively); also on hand as artist-chefs will be Matthew Day Jackson (wartime food) and Jonathan Horowitz (vegan cuisine).

Frieze’s presence in New York has, again, attracted a range of smaller satellite art fairs in Manhattan. NADA (New Art Dealers Association) will set up shop at Pier 36 on the Lower East Side (May 10-12). Pulse returns to the Metropolitan Pavilion on West 18th Street (May 9-12). And PooL will take over the Flatiron Hotel on West 26th Street (May 10-12). Two fairs that jumped on the Frieze bandwagon last year—Red Dot and Verge—have decided not to return.

Claudia Altman Siegel, of San Francisco’s Altman Siegel, views art fairs in New York and abroad as particularly important. Her booth, in the Focus section, will have a solo presentation of work by Sara VanDerBeek. “Sara recently had a residency in Rome, and her new photos are depictions of women from Roman ruins in various stages of decay. They’re glamorous and sexy but in the context of stone sculptures,” Altman Siegel told A.i.A.

Gabrielle Giattino, of New York-based Bureau, is showing seven new paintings by Julia Rommel in Frame. In her mostly monochromatic paintings, Rommel manipulates the canvas, “dealing with the folds and staple holes that are a result of stretching and unstretching canvas.” Compared to some of the smaller fairs she’s participated in (Independent, Liste, NADA), Giattino finds Frieze to be more serious, with higher stakes. “Here, we’re small fish, and the mood is serious business. There’s more money at stake, and you can feel that.”

New York’s Tanya Bonakdar has a booth in the main section showing a small, pendulumlike sculpture by Sarah Sze and a painted wood bust by Mark Manders resembling unfired clay. Sze and Manders are both representing their home countries (the U.S. and the Netherlands, respectively) in this year’s Venice Biennale. Also on view is new work by Tomas Saraceno, Gillian Wearing and Olafur Eliasson.

Los Angeles’s David Kordansky is filling its booth with a range of work by many of the gallery’s artists. Highlights include three geometric, gravity-defying recent sculptures by John Mason, who has shown in the past with better-known L.A. ceramicists Peter Voulkos and Ken Price; a mid-60s hard-edge painting by Sam Gilliam that has been in his studio for 50 years; and, according to director Stuart Krimko, a “really killer” new John Pastore painting. Krimko seemed most excited about a conical Kathryn Andrews sculpture with a point so sharp it had to be hung high up on the wall to meet safety regulations.

Mehdi Chouakri, whose eponymous gallery is based in Berlin, is bringing a selection of artists he represents, including John Armleder, Sylvie Fleury, Hans-Peter Feldmann, Saâdane Afif, Charlotte Posenenske and Mathieu Mercier. The combination of Fleury’s sculpture, made up of hairpins and curlers, Mercier’s functional sofa and Möbius strip-like leather belts, and Feldmann’s large-scale photos of his original bookshelves will give Chouakri’s booth a “furniture/design kind of esthetic, like a living room,” he told A.i.A. by phone.

Discussing Frieze’s inaugural outing last year, Chouakri recalled that, partly due to the setting, “people were scared and wondered if it would work. Now, it feels like part of the city.”

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http://www.coolhunting.com/culture/pulse-new-york-2013.php

Pulse New York 2013

Kick off NYCxDesign week with highly-curated art from across the globe

by CH Editors in Culture on 10 May 2013

In the lead-up to NYCxDesign, this weekend marks the opening of Frieze, NADA and Pulse art fairs in New York City. For art world regulars, it’s one of the few chances to see thousands of examples of contemporary art in a single go. For others, it can be pretty overwhelming. With Frieze’s takeover of Randall’s Island and NADA holding court at Basketball City at Pier 36, Pulse on 18th street remains one of the few convenient venues to get to—it also happens to be one of the most well-curated.

If you’re in the city and looking for a place to kick off your tour, we recommend dipping your feet at Pulse, where you can take in these highlights we spotted around this year’s NYC fair and more.

pulse-2013-Rune-Guneriussen-2.jpg

Rune Guneriussen

Photographer Rune Guneriussen explores the intersection of interior and exterior spaces, decorating natural landscapes with domestic items and traditional lighting. Ethereal and occasionally haunting, several examples of his most recent series are on view at Galerie Waltman‘s booth.

pulse-2013-alicia-cross.jpg

Alicia Cross

Multimedia artist Alicia Ross utilizes embroidery to create captivating portraits of the female form with religious undertones and overt sexuality. Her series “Moral Fiber” is currently showing at Black & White Gallery‘s space.

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Sohei Nishino

Japanese-born artist Sohei Nishino creates his aptly named “Diorama Map” by walking around a city with a disposable camera, later arranging and pasting the results to create a textural, layered and rich urban portrait. Visit Michael Hoppen Gallery‘s booth to see Nishino’s portrayal of Berlin and various other world cities.

With contributions from Hans Aschim and James Thorne; images by Cool Hunting and courtesy of the artists.

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http://www.papermag.com/2013/05/amanda_sharp_frieze.php

PAPER

on the front lines of cultural chaos since 1984.
frieze frame
Frieze New York Founder Amanda Sharp On Her Mega Art Fair
Sometime early this century I invited Frieze magazine editor Amanda Sharp out to lunch. I took her to a glassed-in tablecloth joint down near the water in Battery Park. The location was good for a visitor from London, I thought, and close to the Artnet offices, where I had my own upstart magazine going. With Matthew Slotover, her partner in founding Frieze in 1991, she was soon to launch the Frieze Art Fair in London. Along with the new Tate Modern and the advent of Damien Hirst and Young British Art, Frieze would re-energize London as a global art capital.”New London Sun,” I titled the report I filed from the very first Frieze Art Fair in 2003, a reference not only to the stellar aspirations of the event but also to the beautiful weather, a rarity in the often overcast city. The 12-year-old glossy magazine was already “the arbiter of everything cool about Brit Art,” I went on to say. Now, the Frieze Art Fair would make it an eminence grise in the art market as well.Sharp grew up in London and studied politics, philosophy and economics at Oxford University. Her own art collection is modest but personal, she says, consisting of artworks by artist friends. She has been a New Yorker for at least a dozen years.Recently I caught up with Sharp on the phone to talk about the second installment of the Frieze New York Art Fair, taking place May 10-13, in a custom-made structure out on Randall’s Island in the East River. It’s a very contemporary scene, with over 180 galleries from 32 countries, including more than 50 from New York.frieze.jpgAbove: Frieze founder Amanda Sharp.Walter Robinson: When you launched the Frieze Art Fair back in 2003, was subsidizing the magazine an issue? Did you anticipate that you would be re-energizing London as a global art market?
Amanda Sharp: No, we weren’t far-sighted enough to think of the fair as a way to subsidize the magazine. In fact we worried that it might damage the magazine! We had thought for years that London needed its own contemporary art fair. In the end, we got frustrated that no one was doing it, and launched it ourselves. And we did not anticipate that the fair would “re-energize” the London art scene. It was the other way around, really. London was generating a lot of energy and we capitalized on it. Interest in young artists was exploding, more contemporary galleries were opening, the Tate Modern was inaugurated — all these events predated the opening of the fair.WR: The 2013 edition of Frieze New York, featuring galleries from 32 countries, suggests that we now have a global art world.
AS: Globalism is part and parcel of the way that the whole world is connected now, with constant and rapid cross-pollination and information exchange. If you ignore that, you are a dinosaur. And it’s funny, but an international fair serves a very local purpose, by bringing in interesting artworks that local artists wouldn’t have seen any other way.WR: A recent report showed a general pullback in the global art market by seven percent over the last year, with smaller galleries taking a disproportion-ately large share of the hit. Does your experience reflect that dynamic? Isn’t the market for contemporary art supposed to be growing?
AS: That’s not my forte, paradoxically. I think it’s clear that the interest in contemporary art is growing, and there are more people buying contemporary art than there were 10 years ago. But not everyone is benefiting, because we all know that a lot of the increase comes from big-ticket works that are going to a small number of people.WR: In the last decade or so we’ve seen a proliferation of digital art Web sites that offer a kind of virtual art market or digital art fair — most of them still in the beginning stages of development. So far, the art world seems to prefer the real-world fair experience. Does Frieze have any plans to adapt to the digital experience? What do you see happening in this virtual space going forward?
AS: I think people like to see art in the flesh, and I think there’s a good reason for that. One thing you can’t replicate digitally is the overall art fair experience, which involves looking at artworks right in front of you, not to mention the chance meetings, the networking and all of the accidental, enjoyable social interactions that don’t take place in quite the same way in the digital realm. Of course the digital experience has obvious benefits, and Frieze does a lot of stuff digitally — we have an app that helps visitors navigate the fair, and a mobile Web site — and we believe in the digital community. But it’s not the same as looking at art for real.WR: I understand Frieze New York is featuring a re-creation of Food, the late artist Gordon Matta-Clark’s pioneering SoHo eatery. Can you give us any details? Is the artist-as-chef a new category of artist?
AS: Cecilia Alemani, the curator of the project program, has been committed to this idea of bringing back an important exhibition from New York’s past and embedding it in the fair. Last year John Ahearn re-created what he had done at Fashion Moda, and this time around Cecilia thought of creating an homage to Food. Artists are cooking each day, re-creating some of its most beloved dishes — suckling pig stuffed with pineapple is one, and another is a roasted bone soup.WR: Frieze New York also promises a speakeasy, a cemetery and a color-coded garden. Can you give us any details on these features, or a preview of any other anticipated crowd-pleasers?
AS: Liz Glynn’s speakeasy is hidden inside the fair, and the lucky visitor is given a key. The barman will mix you a cocktail and tell you a special story — so it’s an immersive, playful experience. And the Andra Ursuta cemetery, if you come in on the ferry, as you walk up to the fair, you pass it on the way. Basically, it’s where images go to die, and the headstones bear fractured-image icons. So, it’s as if some dreams don’t quite make it out of that tent.WR: I imagine that managing the competing demands of several hundred alpha art dealers is something of a challenge. From your experience, can you characterize what makes an exemplary art dealer?
AS: The really good ones are those who find the artists, believe in the art, champion it, understand there’s a long view — they want to help artists find homes in the best museums. They are people who talk with passion and insight about the work. They are always prophets, aren’t they?WR: Fairs are great fun to visit, but it is art collectors and their purchases that fuel the all-important art economy. Can you give us any insight into what makes the contemporary art collector tick?
AS: Collectors are people who have caught a bug — it’s an obsession, it’s what they love, it’s what they devote all their time to learning about, they get enormous enjoyment and intellectual reward from looking at art and living with art and having access to artists. Their collections are totally personal and idiosyncratic. Those people are fantastic to meet and talk to, and those are the true collectors.
WR: It’s been almost two decades since the launch of the new art fair era with the Gramercy International Art Fair at the Gramercy Park Hotel in New York — are you sensing any fair fatigue?
AS: We have a lot of art fairs now, more than when we launched our fair 10 years ago, and I think there is some fair fatigue. But you don’t feel fatigue around the good fairs. Where good art is being shown, good galleries are present, and that’s always going to be an interesting event to visit. For some professionals, though, they can’t always be on an airplane every week. At some point there’s bound to be some sort of consolidation, where you’ll see a clear stratification between local fairs and international fairs.
For more information visit friezenewyork.com

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Do Ho Suh recreates his apartment in cloth.

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WALL STREET JOURNAL

Five Objects to Warm Up a Trip to Frieze

What will make New York’s art elite cross to a small island off Manhattan for a second year in a row? Try an 80-foot-tall inflatable dog, a re-creation of a famed SoHo eatery and 186 galleries participating in the Big Apple’s Frieze Art Fair.

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‘Dominated Boat—Project’ by Maria Nepomuceno

The four-day event, which began Friday, is an offshoot of a London fair that’s become an important date on Europe’s art calendar. The inaugural New York version came close to selling out last year, with about 45,000 visitors and 180 galleries participating. (There are no plans to import London’s new Frieze Masters, which is oriented toward historical art.)

The fair has synced with major spring art auctions in New York and, once again, is touting its food offerings (particularly important given its remoteness from Manhattan eateries). A different artist will cook every day at the reincarnation of Food, a performance-art restaurant opened in 1971.

Here are five artists whose works visitors might want to put on their route:

Paul McCarthy: Towering over the fair tent, and visible from Manhattan, is the artist’s giant “Balloon Dog.” This spring, Mr. McCarthy, age 67, is having three shows at Hauser & Wirth’s two New York locations, as well as a show at the city’s Park Avenue Armory. The dog is made of tarpaulin rubber and inflated by a constantly-running blower.

Sarah Sze: The Chelsea artist, who won a MacArthur “genius” grant, is creating an installation for the Venice Biennale’s U.S. pavilion and working on a massive installation for New York City Transit’s new Second Avenue subway station at 96th Street. The 5-foot-high “Slow Sieve (Water Diviner),” at Tanya Bonakdar’s fair booth, includes screwdrivers, yarn, stones and a pencil. The gallery declined to disclose the asking price.

Cameron Platter: Working in a range of media, including wood sculpture, printmaking and drawing, the Johannesburg-born Mr. Platter has been dubbed the love child of Quentin Tarantino and Dr. Seuss. He’s been given a mini-exhibition by Whatiftheworld, one of three South African galleries at the fair. (Frieze this year hosts galleries from 32 countries.) His drawing “Cannibal” is priced at $12,000.

Maria Nepomuceno: An artist-run gallery in Rio de Janeiro, A Gentil Carioca, is showcasing this 37-year-old artist whose sculptures often feature floppy, tubular weavings or hammocks decorated with colored beads and pearls. Some of the rope she uses is recovered from ships. “Dominated Boat—Project” is an almost-5-foot-tall boat. The price is $25,000.

Thomas Ruff: The German-born artist’s ma.r.s. series is based on black-and-white photographs of the surface of Mars, taken by cameras aboard National Aeronautics and Space Administration craft. Mr. Ruff digitally altered the images, changing their perspective and adding color. David Zwirner’s booth is asking $95,000 for “ma.r.s.08 II.”

—Jennifer Maloney

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Daily Beast

The Best Things to See at Frieze Art Fair NY 2013

From a recreation of Do Ho Suh’s apartment in green polyester to a creepily robotic chatty little girl, a look at what not to miss at this weekend’s exhibition on Randall’s Island.

interactive-frieze-fair-teaseAndy Jacobsohn/The Daily Beast

The Frieze Art Fair in New York—the city’s answer to the famed London fair—kicked off Thursday morning in a torrential downpour. But intrepid fair-goers trekked to Randall’s Island by East River Water Taxi, where they were greeted by artist Paul McCarthy’s giant red inflatable dog, which towered over the fair itself. Unsurprisingly, the more than 180 booths inside offered everything imaginable. There is a slick Doug Aitken wall-mounted sculpture with the words “ART” written in cracked mirror (to remind us of our own narcissism? Of a discipline that’s falling apart? Or maybe just to serve as a mirror in case we have something in our teeth?) There’s a video by Chinese artist Qiu Anxiong, The Temptation of the Land (2009), which served as an animated commentary on the destruction caused by the construction of an Olympic stadium, known as the Bird’s Nest, on the natives of Beijing. There was an empty, haunting self-portrait by the Serbian performance artist Marina Abramovic, her mouth ringed with plated gold. By midday, the fair was chock full of people: designer Valentino Garavani, in a perfectly tailored brown suit, went from booth to booth—as did the actor Andrew Garfield, who appeared to be led around by an adviser. And deals were happening here: quickly but quietly, art appeared to be selling, under the nose of tourists and kids taking Instagrams. Below, our list of art not to miss at the fair. (Frieze New York, on Randall’s Island, runs May 10-13.) 

interactive-frieze-fair-1Andy Jacobsohn/The Daily Beast

1. Francesco Vezzoli, Unique Forms of Continuity in High Heels, Bronze, 2012 (Yvonne Lambert Gallery)

When you’re wandering through the wide alleys between  booths, this loping golden sculpture by Francesco Vezzoli will stop you in your tracks. It’s simultaneously a riff on and commemoration of Umberto Boccioni’s 1913 sculpture, Unique Forms of Continuity in Space, a touchstone of Futurism. But the original was also a symbol of masculinity: a bullish, mulscular soldier, rumbling forward through space and time. Now, Vezzoli recreates the statue in high heels—which, hopefully, will cause some gender-studies student somewhere to write a dissertation on what all this means for gender identity. Here we all are, collectively rumbling forward, in five-inch stilettos.

interactive-frieze-fair-2Andy Jacobsohn/The Daily Beast

2. Katy Grannan, Anonymous, Bakersfield, CA, 2011, 2011 (Salon 94)

Haunting portraits by Katy Grannan ring the booth at Salon 94, faces that—even when you move past it to other booths—stay with you. Grannan, a young photographer who lives in Berkeley, Calif., has become well-known for choosing total strangers as subjects. She lets their cues dictate the photographs; these people aren’t posed, styled, or arranged. For the series shown here, Grannan traveled along California’s Highway 99—from the Mexican border to the top of the state—photographing people as she went along. The faces tell a million stories: of heat and hunger, poverty, and hard work.

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3. Thomas Ruff, Various Portraits, 1980-1984 (David Zwirner)

No collection of faces could be more different from each other than Grannan and Ruff’s. Thomas Ruff’s portraits, 12 in total, are stern and passport-like relative to the emotional, large-scale portraits at Salon 94. But here, the objective approach, which Ruff picked up at the Dusseldorf Art Academy in the 1970s, makes this grid of blank faces about as neutral as wallpaper.

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4. Marianne Vitale, Cockpit, 2013, P5

The fair is proudly touting “Frieze Projects”: a series of commissioned projects curated by Cecilia Alemani. Among them is FOOD, a recreation of the 1971 artist’s restaurant opened by Gordon Matta-Clark and Carol Goodden, which—in its new form—will serve food from a different chef each day of the fair. Another highlight: a monumental installation by Marianne Vitale, which towers at the center of the fair. Vitale, whose works consist of pieces of burnt bridges and outhouses, presents an enormous fragment of a burnt barn wall.

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5. Alex Hartley, The Future Is Certain, 2011

When you walk by it, this mixed-media print appears to be a feat of nature: it’s a glossy photograph of a craggy South American rock face that includes architectural and sculptural elements. The two-dimensional photograph becomes 3-D where the artist has constructed a little ledge with rocks. Similarly, small windows into 3-D homes are carved into the image of the rock face, bringing Hartley’s landscape to life.

interactive-frieze-fair-3Andy Jacobsohn/The Daily Beast

6. Dan Colen, To Be Titled, 2013, Gagosian Gallery

Dan Colen is known for his smashed basketball backboards, but here’s one unlike any we’ve seen before. The artist smashed backboards, set them in resin, and welded them together in an aluminum circle. It’s the centerpiece of Gagosian’s booth this year—and makes you sort of wish you were a hamster in a Dan Colen wheel.

interactive-frieze-fair-6Andy Jacobsohn/The Daily Beast

7. Zoe Leonard, Niagra Falls Postcards, 2009-2012, Galleria Raffaella Cortese

There was something nostalgic and sweet about Zoe Leonard’s table of neatly assembled postcards from Niagara Falls from the 1920s—arranged in a way that the horizon lines in each image were perfectly aligned, and stacked in a way to resemble the waterfall itself.

interactive-frieze-fair-8Andy Jacobsohn/The Daily Beast

8. Rodney Graham, Sunday Sun, 1937, Lisson Gallery

Two eerily beautiful pieces at the fair this year are the transparent photographic lightboxes by the Canadian artist Rodney Graham. Drywaller’s Boombox (2013), at 303 Gallery, depicts a construction site with a dirty boombox, and Sunday Sun, 1937, lights up a wall at the Lisson Gallery. They’re painstakingly detailed (and highly nostalgic) tableaux reconstructed from the artist’s memory.

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9. Pae White, Mobile, 2011, Andrew Kreps Gallery

American artist Pae White is fascinated with the idea of turning something transient and impermanent into something real. “It’s about monumentalizing something very temporal,” she has said. In the past, she’s made mobiles out of sculptural pieces of popcorn, and stage curtains for the Oslo Opera House, which David Coleman of Architectural Digest called similar to “crumpled tinfoil.” At Frieze, White presents a 2011 mobile of tiny pieces of fractured mirror, with the undersides painted with concentric rainbow circles. The kaleidoscopic mobile changes no matter how you look at it—or where you stand.

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10. Bjarne Melgaard, Theresa starting to show she will die, and other works, Gavin Brown’s Enterprise, 2013

Some booths are inviting—and then others are really inviting. The space at Gavin Brown’s Enterprise is painted entirely purple this year, and lined with a thicket of brightly colored blankets, each based on sketches by Norwegian phenom Bjarne Melgaard. Melgaard has produced a series of abstract paintings that directly complement the blankets, but it’s impossible to see those paintings unless you’re willing to climb over the sea of quilts to get there (some guests just chose to lie down on top of them). The blankets, by the way—which, by the end of the weekend, will surely be covered in sludge from everyone’s muddy boots—are going for $12,000 each.

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11. Anish Kapoor, Untitled, 2013

After a mechanized robot angrily moves its windshield-wiper arms at you, and making it through a room set up with steps toward a lit-up Jesus, there is nothing more simple and powerful than a gold Anish Kapoor bowl, glowing against an empty wall.

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11. Daniel Firman, Linda, 2013 (Perrotin Gallery Paris)

After walking from booth to booth for hours, it’s easy to get Art Overload: that feeling when your blood sugar dips, your stomach growls, and everything starts to look the same. It’s enough to make you want to pull your sweater up over your eyes, and, well, bang your head against a wall. That’s what French artist Daniel Firman has brought to life in Linda, a resin and plaster life-size portrait of a woman. She’s frustrated, she’s tired, and she is pressing forcefully against the outside wall of the Perrotin gallery. Part of the fun of looking at this piece, of course, is watching passersby react to it: they inevitably think she’s real, begin whispering to each other—Look at that eccentric art person!—until they realize she’s just a piece of plaster.

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12. Gabriel Orozco, Roiseau 8, 2012, Galerie Chantal Carousel

One of the most mesmerizing pieces in the lot is a giant, circular bamboo reed affixed with hundreds of tiny feathers, by Mexican artist Gabriel Orozco. It’s punctuated by two photographic diptyches and illustrates the artist’s fascination with animals and the changing “equilibriums of the universe.”

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13. Do Ho Suh, Wielandstr. 18, 12159 Berlin, Lehmann Maupin (C11)

“Unbelievable,” one woman said to her husband, while stepping into Lehmann Maupin’s booth. “Un-fucking-believable.” She was describing Do Ho Suh’s Weilandstr. 18, a life-size replica of the artist’s former apartment in Germany—rendered in polyester. Do’s structure is a feat of architecture and engineering—and shows a great mastery of material. The translucent green polyester has been stretched into door handles, moldings, and even a telephone.

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14. Tino Sehgal, Annlee, 2013, Marion Goodman Gallery

This is perhaps the most alarming—and downright creepy—piece at Frieze. You walk into a large room at the Marion Goodman booth, which is completely empty save for a few fluorescent lights overhead. In the center of the room, a little girl in jeans and a blue shirt is talking—talking robotically, theatrically, but speaking to no one. She moves her arms as if they’re being remote-controlled, and for a minute you think: “Wait a minute, is this kid a robot?” But she’s not, she’s just an actor in a weird and thrilling performance piece by British-German artist Tino Sehgal. “I’ve wondered, what’s worse; to feel too busy, or not busy enough?” the girl asks into the ether. Then she turns to you, locking eyes: “Can I ask you, would you rather feel too busy or not busy enough?” “Uhh,” we say. But she continues: “What is the relation between a sign and melancholia?” Outside, a representative for the gallery explains that the piece is a commentary on Annlee, a Japanese Manga character whose identity was purchased by two artists.

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THE ART NEWSPAPER LONDON

Trends Contemporary art Fairs USA

A tale of two art worlds

Giant pieces take over New York as artists super-size their work—but bigger is not necessarily better

Paul McCarthy’s inflatable Balloon Dog towers over the Frieze tent. Photo: © Casey Fatchett, 2013

Two mammoth sculptures by the American artist Paul McCarthy straddle New York’s rivers this week. The 181,000kg bronze Sisters, 2013, hulks down by the Hudson River, while Balloon Dog, 2013, the artist’s irreverent 80ft-tall take on the Jeff Koons original, squats beside the Frieze New York tent next to the East River. Meanwhile, Koons himself, an artist of huge ambition with the production costs to match, has rival shows opening this week at David Zwirner (C48) and Gagosian galleries (B59).

From Ugo Rondinone’s colossal figures at Rockefeller Plaza to Orly Genger’s installation in Madison Square Park (her work is made from 1.4 million feet of rope, equating to nearly 20 times the length of Manhattan), artists in the city are super-sizing their work to fill public spaces and huge commercial galleries.

“The market, which is much larger than it was ten years ago, has opened the door for artists to scale up their work and realise projects they couldn’t have done before,” says the art adviser Allan Schwartzman.

McCarthy, represented by Hauser & Wirth (B7), “is one of the greatest artists of our time, who went decades without access to money. He scaled up the minute he started to make money—the resources have made it possible,” Schwartzman adds.

As fairs like Frieze proliferate, and countries and collectors around the world pour money into contemporary commissions designed to put themselves on the cultural map, it seems that art, like gas, is expanding to fill whatever space is available.

The trend towards gigantism comes at a price. “We’ve got millions of dollars tied up in production,” says the New York dealer Sean Kelly, whose eponymous gallery (B46) is due to open a show devoted to the Cuban collective Los Carpinteros on Saturday. “Irreversible” consists of three monumental sculptures, one film, two light pieces and a room-sized installation, and is described by Kelly as an “enormous production”. Prices for the works range from $60,000 to $200,000.

Fairs like Frieze New York, which opened to VIP visitors on Thursday, are fuelling this growth. “There is a wheel of hysterical activity focused mostly on auctions and art fairs, which service the upper-tier, hyper-scale buyers,” Schwartzman says.

The sheer quantity of work available in the tent this week puts pressure on dealers to create displays that grab attention in a sea of art—and some galleries have commissioned works specifically for the fair. New York’s CRG gallery (A10) is showing just one work at Frieze: Mix (Americana), 2013, an 8ft by 16ft concrete mixing drum by the artist Alexandre da Cunha. “We approached Alex and asked him to make us a big work,” says the gallery’s director Richard Desroche. “We’ve become aware of the impact of solo shows and large pieces at fairs.”

“If you only see art at fairs, you might have the feeling that art is getting bigger, but that’s because you always need a crowd-pleaser. Large-scale works stick in people’s minds,” says Alex Gabriel of Brazil’s Galeria Fortes Vilaça (C50), which is showing floor-hogging works including Ernesto Neto’s Na esquina da vida com uma planta na mão, 2013, priced at $205,000, and Valeska Soares’s Finale, 2013, a mirrored table-top covered in crystal glasses containing alcohol, priced at $120,000.

Size isn’t everything

This is not quite the full story, however. There is plenty of art at the fair that is more quiet, contemplative and homespun. “We focus on work where the artist is involved with the brush stroke,” says the dealer James Fuentes (D22), whose pared-down presentation of four paintings includes Jessica Dickinson’s Hold-, 2011-13, priced at $30,000, and John McAllister’s days gently embered, 2013, priced at $40,000.

“There are a lot of artists who want to maintain the independence of art practice and not rely on production, so have a more DIY approach,” says Hans Ulrich Obrist, the co-director of the Serpentine Gallery in London. “We have a very complex world now where all of these realities can coexist.”

Marian Goodman Gallery (C7) is hosting a typically subtle performance by Tino Sehgal in which a child actor poses as a Manga character named Ann Lee and asks visitors questions, a personal approach that is the antithesis of the monumental.

Indeed, the trend for ambitious large commissions seems to be fanning a countercurrent. “There’s a real push away from what’s happening in Chelsea, which is becoming a place for blue-chip galleries showing expensive works,” says Loring Randolph of Casey Kaplan (A7). The gallery has a solo presentation of paintings by Julia Schmidt, ranging in price from $14,000 to $20,000.

For fair-goers in search of something less muscular than the giant art on show throughout New York, the Berlin gallery Wien Lukatsch (D30) is showing 49 clippings from Korean real-estate adverts pinned to the wall in a seven-metre installation by Haegue Yang. The work—Flat Utopia, 2004, on sale for €45,000—is so fragile that it has been shown only once before. “For me, it was tempting to show something so delicate and experimental,” says the gallery’s director Barbara Wien. “It’s a challenge for a collector.”

Click here for interview with Rondinone about his work at Rockefeller Plaza

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WALLL STREET JOURNAL

Frieze Frame: Art Fair Takes Manhattan

A Weekend of Art Events Around the City’s Frieze Fair

When Frieze opened on Thursday morning it offered not just art and people-watching—the two go hand-in-hand—but, as many attendees noted, a great selection of food. There was pizza from Roberta’s in Brooklyn; a salad bar courtesy of the Fat Radish; and Chinese cuisine from the notoriously busy Mission Chinese.

[image] Billy Farrell Agency

Sofia Sanchez Barrenechea

“Just be careful with Mission Chinese,” said the philanthropist Jamie Tisch. There’s so much garlic, “your breath might smell until Frieze in London.”

That’s in October, by the way.

[image] Billy Farrell Agency

Maria Baibakova and Rashid Johnson

Between now and then, the art world has a lot of work to peruse—and a lot of partying to do. Just after Memorial Day is the Venice Biennale, then there’s Art Basel in June. Think of this past weekend in New York as a warm-up, a conditioning exercise for the European marathon. Who will get the gold in seeing and being seen?

Billy Farrell Agency

Phil and Shelley Aarons at the second-anniversary dinner for Artspace hosted by Maria Baibakova.

On Thursday, there was a big new Jeff Koons opening at Gagosian, as well as a dinner in honor of Artspace, the digital arts marketplace, hosted by the Russian collector Maria Baibakova that brought out Lauren and Andres Santo Domingo; Christie’s chairman Amy Cappellazzo; Thelma Golden; and Shelley and Phil Aarons.

Billy Farrell Agency

James Franco

[image] Billy Farrell Agency

Michaela de Pury and Stephanie French at a party hosted by Paddle8.

Billy Farrell Agency

Poju Zabludowicz and Anita Zabludowicz

[image] Billy Farrell Agency

Nicole Hanley Mellon and Stacy Engman

[image] Billy Farrell Agency

Richard Chai at the Clocktower Gallery to celebrate G-Shock watches and Visionaire magazine.

[image] Billy Farrell Agency

Nate Lowman and Shamim Momin

For each guest, Ms. Baibakova commissioned a work made by the married artists Rashid Johnson and Sheree Hovsepian. Mr. Johnson and Ms. Hovsepian photographed an air plant and a silver vase, encased it in a wood frame and then dipped it in wax to make each piece unique.

On Friday, Paul McCarthy showed his new work, inspired by Snow White and Disney, DIS +0.26% at Hauser & Wirth, and the German artist Tobias Rehberger, recreated the Bar Oppenheimer in Frankfurt at the Hotel Americano in West Chelsea.

So, by Saturday, there was thankfully a lot to talk about, like how does Disney allow Mr. McCarthy to use their intellectual property? And what did everyone think of what Gwyneth Paltrow said about the Costume Institute? This was a good thing, because there were long dinners both in Midtown and downtown.

At MoMA, Volkswagen, VOW3.XE -0.60% MoMA director Glenn Lowry and PS1 director Klaus Biesenbach hosted a dinner to celebrate the opening of Expo 1: New York, an ecologically themed exhibition at various venues. This attracted its fair share of celebrities, including James Franco and Maggie Gyllenhaal and Peter Sarsgaard, who came to enjoy a performance by Martha Wainwright.

Several of the guests at the Expo party did double duty with a dinner hosted by the virtual auction house Paddle8, Bulgari and Land, a nonprofit public art initiative that creates site-specific projects in Los Angeles. A big draw here—besides a live auction of paintings by Nate Lowman; Lucien Smith (which went for $24,000, even though it was estimated between $5,000 and $7,000); and Barnaby Furnas—was that it was taking place at Carbone on Thompson Street, probably the hottest restaurant in town right now. It’s delicious, too.

“New York magazine said the ribs are the best thing on the menu,” said Maria Bell, the Los Angeles art patron and television writer. “They’re a religious experience,” she added, after she tasted them.

Being on the art circuit on a weekend like this, said Stacy Engman, who, like many were also planning to go to Greenwich, Conn., Sunday morning for an exhibit at Peter Brant’s home, “can be exhausting. That’s why I always travel with these,” she explained, pulling a pair of sunglasses that covered nearly her whole face. This month, Ms. Engman has also made her sartorial choices simpler. She has been exclusively wearing a dress she had made from five yards of fabric in tribute to Vivienne Westwood “and the climate revolution.”

“You don’t smell badly,” said Rodman Primack, an interior designer and Paddle8′s head of auctions.

“Well, I’ve been washing it,” said Ms. Engman.

In an unusual twist, Simon de Pury, the auctioneer at this particular auction, purchased two of the six art lots, with his wife, Michaela, doing the bidding. There was a Wade Guyton “U Stencil” and one from Mr. Lowman, though not one of his now-famous bullet holes, which Mr. de Pury purchased for $100,000. (Its estimate: $30,000 to $40,000.)

“It’s very nice to let your auctioneer’s wife get away with that,” said Mr. de Pury. “A fantastic collection is being built right in front of my eyes.”

Meanwhile, a late-night art party at the Clocktower Gallery on Leonard Street showed how sometimes all you need are some Christmas lights and a little aluminum foil to make a great event.

Actually, Alex de Betak, the French furniture and fashion designer, and a team of 20 or so, spent days wrapping the various rooms in this majestic penthouse space with tin foil, mylar and silver confetti to create a kind of silver palace. The party was celebrating the 30th anniversary of G-Shock watches and the 63rd issue of Visionaire, which features indestructible, metallic plated 3-D reliefs of photographs of, among others, Kate Moss and Lady Gaga.

“For once you have a reason to make the Factory and push the envelope,” said Mr. de Betak, referring to Andy Warhol’s New York studio.

One room featured fans on which to throw the silver confetti; another featured tons of oversize mylar balloons. But perhaps the best space was the rooftop, which featured no silver at all, but just the best thing to look at, no matter the art fair: the cityscape of Manhattan.

Write to Marshall Heyman at marshall.heyman@wsj.com

A version of this article appeared May 13, 2013, on page A21 in the U.S. edition of The Wall Street Journal, with the headline: Frieze Frame: Art Fair Takes Manhattan.

=========FINANCIAL TIMES LONDON

May 12, 2013 5:21 pm

Performance art, Frieze New York

Art fairs such as Frieze New York are increasingly incorporating performance art into their programmes
Spartacus Chetwynd’s ‘cat bus’ at Frieze London 2010©Sarah Lee

Spartacus Chetwynd’s ‘cat bus’ at Frieze London 2010

When 7,000 people a day visited performance art veteran Marina Abramovic’s 2010 retrospective at the Museum of Modern Art, it proved a breakthrough for the medium. No one anticipated that so many visitors would queue for hours to sit opposite the artist. Since then, performance has enjoyed something of a revival, one that has happened in the very places the original performance artists of the late 1960s and 1970s shunned: public museums and art fairs. Once considered deeply avant-garde, an anti-commercial edgeland of the art world, performance is more popular than ever – and art fairs recognise this, as Frieze New York, whose second edition ends on May 13, illustrates.

As museums have embraced more interactive work, contemporary art fairs have shrugged off their trade fair trappings and remarketed themselves as cultural “events” able to hold their own in the visual arts calendar alongside the openings and biennials. Their aim is still to sell art, but their approach has shifted. Established in 2003, Frieze London has blazed the trail, with a full-time curator and an ambitious programme of non-selling installations and performances called Frieze Projects running alongside (and sometimes against) the commercial thrust.

Where Frieze leads, others follow. Art13, the London art fair whose inaugural edition took place in Kensington Olympia this spring, featured large-scale installations neatly punctuating the rows of gallery booths, as well as talks and a special booth for performance art. “It’s about visitor experience,” the fair’s director Stephanie Dieckvoss tells me. “Performance art refocuses people’s minds in a different way. I thought it was important to have a balanced curatorial aspect to the fair.”

By branding themselves as cultural destinations, contemporary art fairs have sought to represent not only the art market but artistic practice more widely. And, given that it’s often impractical for galleries to stage performances on their cramped stands, the fairs themselves have stepped in to fund a performance element. As Amanprit Sandu, curator of Art13’s performance programme, says, “These are quite difficult times economically and a lot of the artwork I’ve been seeing at art fairs over the past two years is 2D: the offering is a bit more conservative.”

At Frieze New York, however, the Marian Goodman Gallery has taken the risk and decided to show a work by the performance artist Tino Sehgal. When I visited the small walled booth, adults were standing round the edges listening to a girl not more than 10 years old tell how she used to be the manga character Ann Lee but has become “an individual”. First seen at the Manchester International Festival in 2011, Sehgal’s extraordinary piece – called “Ann Lee” – assumed a new significance in the context of the fair. “Now that I’m an individual,” said the girl with a serious expression and unflinching gaze, “I’ve met people who are tired of being an individual and having all these decisions to make.” Collecting art is, essentially, about making decisions that express individuality. The girl’s audience, recognising this, looked variously awkward and amused, taken aback by her poise and apparent wisdom.

“Ann Lee”, an edition of four, has a starting price of €80,000. On Frieze New York’s VIP day, Marian Goodman’s associate director Karina Daskalov tells me there has been “a lot of interest from museums”. Ever adaptable, artists have found ways to sell performance – often in the form of photographs, video and even left-over props. At Frieze New York, Vienna’s Galerie Krinzinger is selling 45 photographs from 1971 documenting performances by Otto Muehl, an influential Vienna Actionist, for a hefty $190,000. But Sehgal, wanting his performances to be truly ephemeral, does not allow them to be photographed. So instead they are sold in an oral contract between the artist and buyer in the presence of a lawyer, during which Sehgal explains how to re-enact the work.

One visitor to the Marian Goodman booth was overheard describing Sehgal’s piece as “a complete tonic”. Despite not being as easily sellable as painting or sculpture, performance art has the advantage of immediacy. As Cecilia Alemani, curator of Frieze Projects at New York fair, admits: “I’m an expert and even I get tired after seeing 180 booths. But performance can capture viewers’ attention.”

Yet Alemani’s Frieze Projects are less about attention-grabbing performances than creating social spaces for, as she puts it, “those moments when people want to take a break from the fair”. One such space is designed by artist Liz Glynn: a Prohibition-style speakeasy hidden in the tent, to which 200 visitors each day are given keys. These lucky few are then treated not only to cocktails strong enough to take the edge off even the most hectic art fair, but also to bartenders who serve them up with stories and magic tricks – a performance in itself.

Another Frieze Project is Matteo Tannatt’s series of benches around the fair, each of which has a script displayed beside it. The benches double as stages, with an actor moving from bench to bench performing the script or improvising. This, however, is more elusive than the secret speakeasy: during my day spent pounding the aisles of the fair, I didn’t once see a bench used as anything other than something to sit on.

Different fairs have different ways of presenting performance art. The best performance at Art13 was Bedwyr Williams’ “Expedit”, written for the occasion. Like all his performances, it began with him asking the audience to pretend they were moles. “It’s usually a London audience I perform to,” he tells me, “and they’re used to following other Londoners blindly around tunnels.” In “Expedit” he asked his mole audience to imagine burrowing down through the floor and up into the fashionable home of a couple of designers in order to ransack it. “I thought designers were a good choice because they collect things. Although it’s not the same as collecting fine art, it’s similar. My gallery wouldn’t thank me for lampooning visual art collectors – although it’s on the agenda.”

Though Williams’ satirical piece responded to the art fair setting, the performance artists at Art13 were not specifically requested to do so – a measure of the fair’s relatively conservative approach in its first year. While the Frieze Projects often work as “interventions” around the fair – Spartacus Chetwynd’s show-stealing giant “cat bus” at Frieze London in 2010, for example – the performances at Art13 were safely contained in one booth. Art fairs tread a fine line between creating spectacle and keeping their galleries happy: few dealers would thank them for scheduling a loud performance next to their booth, and Sandu admits she had to turn down the “really ambitious” proposals that wanted to “infiltrate” the fair.

But as museums embrace performance art, and performance artists themselves increasingly engage with the market, the medium will only become more common at art fairs – and not just in special non-selling sections. Today, performance art is more usually bought by museums than individuals, but Williams predicts change: “Performances at institutions are really well attended,” he says. “I think there’s a clamour for that kind of thing. And when people want something, collectors are usually quite close behind.”

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frieze-scene-tease
Andy Jacobsohn/The Daily Beast
==
Johannes Kahrs at Zeno X Gallery

Johannes Kahrs at Zeno X Gallery

===

The Enterprising Gavin Brown

It’s VIP Day at Frieze New York, which means half the designers in town have hightailed it to Randall’s Island to ogle the art. Gallerist Gavin Brown talked to Style.com about his love-hate relationship with the fashion business.

Published May 9, 2013

Frieze New York, the art-fair import from London, kicks off today, and with it comes another round of cocktail parties, “intimate” dinners, and late-night bacchanals—most sponsored by fashion and lifestyle brands, and all inevitably bigger and louder this time, owing to the runaway success of last year’s Frieze fair. Gallerist Gavin Brown calls the mutually beneficial schmoozing endemic to art fairs (see Art Basel Miami) “the fashion/art death lock.” The British-born Brown has a way with words that rivals his way with artists—Elizabeth Peyton, Urs Fischer, and Alex Katz are all on his roster at Gavin Brown’s Enterprise. At Frieze, he’ll showcase the work of Bjarne Melgaard. Who better to discuss the way New York’s culture producers make their livings by feeding off of each other? Just don’t get Brown wrong—he might be ambivalent about all the art/fashion shenanigans, but he still likes to be invited to the party.

NP: Frieze is back for another year here in New York. What did you make of last year’s fair? What did it do for the New York art scene?

GB: I’m not sure what it did beyond add to the noise—which is already very loud.

What does Gavin Brown have in store for this year’s fair?

Sales, hopefully.

Last year, you fried up anti-fracking sausages with Mark Ruffalo, and you won the Stand Prize from Champagne Pommery.

Did I? I don’t remember that.

At the time, I believe, you said Pommery’s 10,000 pound prize was “better than a poke in the eye.” You seemed bemused but also slyly aware of the benefits that kind of publicity can bring. True?

This was, in fact, in London. I was a little embarrassed. Winning a prize for a booth is silly in the first place. And for me to win it was sillier still. There were many galleries—younger galleries—for whom a win like that would make a serious impact. Of course, I absolutely deserved to win. There’s no doubt about that.

My mistake! What do you think about fashion and lifestyle brands sponsoring art shows? What do they get out of it?

I doubt they pay for the whole thing. Barely a fraction. The organizers make vast sums from the exhibitors, who in turn are the attraction that brings in the paying public, who spend a few bills to get in and gawk, but not spend. It’s a very complex and interdependent food chain or ecosystem. What do the brands get? I guess this is at the crux of the question around the fashion/art death lock. They get to put on the Technicolored cloak of the mystery that is art. While they wear it, they seem more interesting than they think they are.

The give-and-take between fashion and art isn’t new, of course. Do you remember a time before mega-brands were hosting parties for the art crowd?

Yes—absolutely. It mostly happens at art fairs, but actually, as I think about it, it happens everywhere now. Dinners for museum shows are sponsored by fashion companies, and half the people there are from the fashion world. It wasn’t always like that. The shift was easiest to see comparing each successive Miami Basel—you could see the change happening before your eyes. It was in Miami, of course, that the fashion/industrial complex felt safe to show its face. It seemed to give itself permission to move in—like colonists in an Arcadian land. Swapping beads for an entire cultural history. Before they arrived, we were still an oddball backwater. But as everything else became exhausted, as it inevitably would, art was all there was left.

Photo: Courtesy of Gavin Brown

The Enterprising Gavin Brown

Continued (Page 2 of 2)

Do you ever want to go back to the halcyon days before artist/designer collaborations? Did they ever really exist?

Yes, they did exist. They were days when one threw a party to have fun. Not sell a name…. Ah, innocent days. Those parties are probably still happening—I’m just not invited. I never was. That’s why I threw my own parties.

How interested are your artists in collaborating with fashion brands? Has facilitating such partnerships become a bigger part of an art dealer’s job?

Some are. It makes sense for them. It’s part of the language they speak. Others are not. But the extraordinary profile of these businesses—they exist in the imagination like nothing else—is something that is a powerful lure to someone whose goal in life is to communicate. As to it being part of my job, not really. When it does happen, my job becomes more damage control than anything else.

How can such collaborations affect an artist’s career—for the better? For the worse?

Totally depends on the players involved.

Have we reached the art/fashion collaboration tipping point? Or did that moment come and go long ago?

I hope not. Now we are in it, let’s win it! I want more!

Do you have any dream collaborations, for yourself or for your artists?

I’m not sure. It’s not my job to think about that. I would love to throw some people in a room and see what happens.

Mark Leckey and Google, Urs Fischer and Norman Foster, Alex Katz and Marc Jacobs, Jeremy Deller and the Pentagon, Peter Doig and the Metropolitan Opera, Jonathan Horowitz and McDonald’s, Laura Owens and Walmart, Thomas Bayrle and Ford, Rob Pruitt and Claire’s. The list could go on and on.

What do fashion people get wrong about the art crowd? And vice versa?

The fashion crowd doesn’t get anything right about art. The two tribes speak two entirely different languages. You are either on one side or the other. This is a particularly interesting week to think about the difference: the punk Met Ball and Frieze Art Fair. Both sides using the other to dress themselves up as something they are not, and destroying something essential about themselves in the process. The punk Met Ball was particularly hideous. The final enslavement of one of the most powerful postwar social movements. Reduced to Sarah Jessica Parker’s fauxhawk. A sad and accurate diagram of the state of our culture. A crowd of shiny morons turning reality inside out so it matches the echo chamber of their worldview. Would Sid have been invited? What would he have thought? Is this what Mark Perry meant by “This is a chord, this is another, this is a third. Now form a band”? The English art schools of the sixties and seventies—the cradle of this creative movement—must be writhing in their supply-side straightjackets. It only emphasizes to me that fashion—whatever that is—sees art (and artists) as an idiot-savant gimp, and they keep them on a leash, begging for glam snacks. And fashion follows along behind art, picking up its golden shit.

How different is the art world from the fashion world, in the end? Hasn’t all of the madness around collecting, and the obsession with which artist is up and which artist is down, eclipsed the art?

I see the fashion world with my nose pressed against the window, but from that perspective it seems dynamic, fast, frothy, and 99 percent empty. But that really isn’t so different from most cultural worlds—including the art world. There are creative and talented people doing incredible things at the heart of each arena. But both fashion and art suffer—in different ways—from the crushing weight of capital. And in this sense, they have both been co-opted to do capital’s bidding—as it reaches into every corner of the globe. Wherever you find an LVMH store, a brand-name contemporary art gallery will surely be very close by. The right bag and the right painting are the clearest ways possible for those with money to recognize each other.

What does art get wrong about fashion?

We think it’s important.

What are you looking forward to seeing at Frieze?

Roberta’s Pizza!

Photo: David X. Prutting / BFAnyc.com
====

Newsmaker Interview: Cecilia Alemani

By William Hanley
May 9, 2013
Frieze 2012
Photo courtesy Frieze Art Fair
Alemani has organized a series of installations, talks, and other programming for the Frieze Art Fair in New York, held in a snaking tent designed by SO—IL, May 10-13.

Cecilia Alemani’s favorite work of public art is Maurizio Cattelan’s massive statue of a hand that stands in front of the stock exchange in her native Milan, with every digit severed but an insouciant middle finger. While Alemani enjoys the provocation, she mostly admires the way it confounds expectations about what public art should be.

As the director and curator of High Line Art, she brings that spirit of disruption to the elevated New York City park designed by James Corner Field Operations (with Diller Scofidio + Renfro). Since taking the job in 2011, Alemani has exhibited a pickup truck with a brick-filled bed, an exihibition on miniscule sculpture, and artist-designed billboards that riff on commercial imagery, among many other works along the park’s route. This season a new exhibition, titled Busted, shows artists tweaking the tropes of monumental portrait sculpture. As the show opens, Ale­ma­ni is also reprising her role as curator of Frieze Projects, programming presented alongside the Frieze New York art fair. Begun in London 11 years ago, Frieze has its second turn in New York from May 10 to 13. Once again, it will occupy a 1,500-foot-long tent designed by Brooklyn architecture firm SO—IL, pitched on Randall’s Island, a grassy stretch in the East River accessible by ferry from Manhattan during the event.

The Frieze fair will shift the New York art world’s center of gravity to an out-of-the-way island for a few days. How does your programming respond to that?

This year, we’re showing work by five artists. They’re all pretty young and almost all female. The idea is to highlight the communal spaces that people create out there—we want to emphasize squares, plazas, and benches. Andra Ursuta is even creating a cemetery for art. Andra says when she grew up in Romania the only way she saw art was traveling to visit churches. In a way, that’s similar to what you do when you take a ferry to Frieze: you go on a pilgrimage.

You’re also doing a pop-up recreation of Food, the artist-run restaurant cofounded by Gordon Matta-Clark in the early 1970s. Why revisit that project?

When first started working on Frieze Projects, I had the idea for one of them should always be an homage to an art space that was very important in our tradition but is now closed. When I decided that the theme of this year would be gathering and a communal space, I started thinking about Food. It’s such a part of New York’s history and the underground scene. What people remember with lots of joy is the artist-designed menus on Sunday nights. Gordon Matta-Clark’s famous menu was all different varieties of bones.

At Frieze, it’s going to be a small stand outside where the tent does a zigzag. We will have four different chefs, one every day, do a menu, and it will be a mix of people from Food reinterpreting their legendary dishes or others who might not have been to food but whose practice is inspired by it. It’s going to be simple and cheap. For me, it’s not just about recreating the idea, but it’s about making the same gregarious gesture.

The High Line draws a much wider audience than just art pilgrims, but as a park, it certainly makes a gregarious gesture to the city. How is curating for it different?

Last year we had 4.4 million visitors, so it’s definitely about creating a dialogue with an audience that is not an art audience. Visitors don’t expect to see art. They encounter it, and the encounter could be disturbing. It could be pleasant. It takes them by surprise. The architectural and horticultural side of the High Line is so perfect, I see the art as an intervention to disrupt the beauty.

How do you determine where to intervene?

I just invite artists to come and take a walk with me. I want to see an artist’s take on something that shapes a location, something that breaks it or makes it even better. We use the city as a pedestal, but the tricky thing is, the landscape and the cityscape changes every week—you walk by one day, and wow, that building went up five more stories.

The High Line has been criticized for contributing to skyrocketing development in nearby neighborhoods. How do you respond?

It’s easy to blame the High Line, but galleries moved into Chelsea in the 1990s, and that was already part of its gentrification. The High Line could have been torn down and you would just have more buildings, but now it’s a free public amenity.

How will the High Line’s third phase and Hudson Yards development affect your work?

I’m excited, because half of section three will be renovated like the rest of the park, but half will be left wild. There I could see big monumental sculptures, but I really don’t have any idea yet. I usually just go to an artist I like, and I’m usually pleasantly surprised.

===

Painting by Matt Connors at Herald St.

Painting by Matt Connors at Herald St.

Ramiken Crucible

Ramiken Crucible

Lily van der Stokker at Kaufmann Repetto

Lily van der Stokker at Kaufmann Repetto

Michael Krebber at Maureen Paley

Michael Krebber at Maureen Paley

  • Sam Lewitt hat trick at Miguel Abreu Gallery

    Sam Lewitt hat trick at Miguel Abreu Gallery

    Detail of Sam Lewitt at Galerie Buchholz

    Detail of Sam Lewitt at Galerie Buchholz

    Standard (Oslo) with paintings by Gardar Eide Einarsson and sculpture by Oscar Tuazon

    Standard (Oslo) with paintings by Gardar Eide Einarsson and sculpture by Oscar Tuazon

    Gagosian Gallery

    Gagosian Gallery

    Tom Friedman at Luhring Augustine

    Tom Friedman at Luhring Augustine

    Thomas Ruff at David Zwirner

    Thomas Ruff at David Zwirner

    • Noam Rappaport and John McAllister at James Fuentes

      Noam Rappaport and John McAllister at James Fuentes

      Bjarne Melgaard at Gavin Brown's Enterprise

      Bjarne Melgaard at Gavin Brown’s Enterprise

      Stewart Uoo at 47 Canal

      Stewart Uoo at 47 Canal

      Andy Boot at Croy Nielsen

      Andy Boot at Croy Nielsen

      Limoncello

      Limoncello

      Julia Rommel at Bureau

      Julia Rommel at Bureau

      Shimabuku, Onion Orion, 2012, at Air de Paris

      Shimabuku, Onion Orion, 2012, at Air de Paris

      Nina Canell at Mother's Tankstation

      Nina Canell at Mother’s Tankstation

      Zoe Leonard and Sergei Tcherepnin at Murray Guy

      Zoe Leonard and Sergei Tcherepnin at Murray Guy

      Canada

      Canada

      David Maljkovic at Metro Pictures and Annet Gelink Gallery

      David Maljkovic at Metro Pictures and Annet Gelink Gallery

      Sliding Liam Gillick doors at Esther Schipper

      Sliding Liam Gillick doors at Esther Schippe

      Anton Kern Gallery

      Anton Kern Gallery

      There’s a nice five-part suite of drawings of Wimbledon courts mid-match by Jonas Wood on the back wall.

      Ryan McGinley at Team

      Ryan McGinley at Team

      Dianna Molzan at Overduin & Kite

      Dianna Molzan at Overduin & Kite

      Aaron Curry at Almine Rech Gallery

      Aaron Curry at Almine Rech Gallery

      Steve Claydon at Sadie Coles HQ

      Steve Claydon at Sadie Coles HQ

      Bjorn Copeland at Jack Hanley

      Bjorn Copeland at Jack Hanley

      • John Henderson, Sam Falls and Daniel Rees at T293

        John Henderson, Sam Falls and Daniel Rees at T293

        An untitled 1991 Kippenberger from the "White Rubber Paintings" series at Gisela Capitain

        An untitled 1991 Kippenberger from the “White Rubber Paintings” series at Gisela Capitain

        The Fat Radish in the distance

        Charline von Heyl's Untitled (11/89), 1989, at Gisela Capitain

        Charline von Heyl’s Untitled (11/89), 1989, at Gisela Capitain

        John Wesley and works by Mary Reid Kelly with Patrick Kelley at Fredericks & Freiser

        John Wesley and works by Mary Reid Kelly with Patrick Kelley at Fredericks & Freiser

        The first new set of Wesley paintings since 2004.

        Marianne Vitale in Frieze Projects

        Marianne Vitale in Frieze Projects

        Marianne Vitale in Frieze Projects

        Marianne Vitale in Frieze Projects

        Johannes Kahrs at Zeno X Gallery

        Johannes Kahrs at Zeno X Gallery

        =====

        NADA New York 2013 Preview

        Jamian Juliano-Villani, NIGHT FOOD, 2013

        Jamian Juliano-Villani, NIGHT FOOD, 2013

        Rawson Projects

        Lauren Luloff, Sunflowers (Black & White), 2013

        Lauren Luloff, Sunflowers (Black & White), 2013

        Cooper Cole

        Arthur Ou, Test Screen (Huntington), 2010

        Arthur Ou, Test Screen (Huntington), 2010

        Brennan & Griffin

        Michael Berryhill, Feathery Furnace, 2013

        Michael Berryhill, Feathery Furnace, 2013

        Kansas

        Shannon Bool, The Analyst (2nd version), 2013

        Shannon Bool, The Analyst (2nd version), 2013

        Daniel Faria Gallery

        John Lehr, Office Door, 2013

        John Lehr, Office Door, 2013

        Kate Werble Gallery

        Damian Navarro, Cuisine-Cointet IV, 2013

        Damian Navarro, Cuisine-Cointet IV, 2013

        Ribordy Contemporary

        Mamie Tinkler, Three Glasses Two Ways, 2013

        Mamie Tinkler, Three Glasses Two Ways, 2013

        Kerry Schuss

        Ruby Sky Stiler, Unique Copy (#2), 2013

        Ruby Sky Stiler, Unique Copy (#2), 2013

        Nicelle Beauchene

        Joe Smith, Untitled, 2012

        Joe Smith, Untitled, 2012

        David Peterson

        Scott Reeder, Post Good, 2013

        Scott Reeder, Post Good, 2013

        Lisa Cooley

        Liam Gillick, Allocated Table, 2012

        Liam Gillick, Allocated Table, 2012

        Cumulus Studios

        Jaan Toomik, still from Waterfall video, 2005

        Jaan Toomik, still from Waterfall video, 2005

        Temnikova & Kasela Galler

        Adrianne Rubenstein, Self-Portrait as a Pile of Lumber Falling Backwards, 2013

        Adrianne Rubenstein, Self-Portrait as a Pile of Lumber Falling Backwards, 2013

        Rana Begum, No. 363, 2013

        Rana Begum, No. 363, 2013

        Galerie Christian Lethert

        Francine Spiegel, Lora, 2013

        Francine Spiegel, Lora, 2013

        Loyal

        Max Brand, untitled, 2013

        Max Brand, untitled, 2013

        Jacky Strenz Galerie

        Oliver Michaels, Primordially Decorative and Insincere, 2012

        Oliver Michaels, Primordially Decorative and Insincere, 2012

        Cole

        Marjorie Schwarz, Lamp, 2011

        • Marjorie Schwarz, Lamp, 2011

          Cope Projects

          Nairy Baghramian, Gueridon (brace), 2013

          Nairy Baghramian, Gueridon (brace), 2013

          SculptureCenter

          Alex Da Corte, Head, 2013

          Alex Da Corte, Head, 2013

          Joe Sheftel Gallery

          Nancy Haynes, Retreat, 2012–13

          Nancy Haynes, Retreat, 2012–13

          Regina Rex

          Joe Reihsen, I'm exceptionally fun at parties, 2013

          Joe Reihsen, I’m exceptionally fun at parties, 2013

          Anat Ebgi

        Anna K.E., Paris Bar, 2013

        Anna K.E., Paris Bar, 2013

        Interstate Projects

        Martin Roth, Untitled, 2013

        Martin Roth, Untitled, 2013

        Louis B. James

        Glen Baldridge, Fright Flight, 2012

        Glen Baldridge, Fright Flight, 2012

        Klaus von Nichtssagend Gallery

        Breyer P-Orridge, Lucy Fur, 2004

        Breyer P-Orridge, Lucy Fur, 2004

        Invisible-Exports

        Sculptures by Denise Kupferschmidt

        Sculptures by Denise Kupferschmidt

        Halsey Mckay Gallery

        Elizabeth Jaeger, Mudita, 2013

        Elizabeth Jaeger, Mudita, 2013

        247365

        Stephen Vitiello, Site-Sound Series (Polaroid): Rauschenberg Residency, Captiva, FL, 2012

        Stephen Vitiello, Site-Sound Series (Polaroid): Rauschenberg Residency, Captiva, FL, 2012

        American Contemporary

        Marsha Cottrell, Aperture series (variation 3), 2013

        Marsha Cottrell, Aperture series (variation 3), 2013

        Petra Rinck Galerie, photo by Alan Weiner

        Johanna Jaeger, Prussian Blue - American Vermilion I, 2013

        Johanna Jaeger, Prussian Blue – American Vermilion I, 2013

        Schwarz Contemporary

        Meg Cranston, installation view of Emerald City, 2013

        Meg Cranston, installation view of Emerald City, 2013

        Fitzroy Gallery and Newman Popiashvili Gallery

        Courtesy the artist and LAXART
        Photo Credit: Michael Underwood

        Ilit Azoulay, Red, 2013

        Ilit Azoulay, Red, 2013

        Braverman Gallery

        Richard Jackson, Bad Dog (Blue), 2007

        Richard Jackson, Bad Dog (Blue), 2007

        Galerie Parisa Kind

        Grayson Revoir, Untitled, 2013

        Grayson Revoir, Untitled, 2013

        Thomas Brambilla Gallery

        Robert Davis, Here, 2013

        Robert Davis, Here, 2013

        Luce Gallery

        Andrew Gbur, Untitled, 2013

        Andrew Gbur, Untitled, 2013

        Know More Games

        Bea McMahon, A great organic stratification, 2013

        Bea McMahon, A great organic stratification, 2013

        Green On Red Gallery

        Amy Feldman, Moodmode, 2013

        Amy Feldman, Moodmode, 2013

        Blackston

        Lisi Raskin, Sky Fall, 2013

        Lisi Raskin, Sky Fall, 2013

        Churner and Churner

        Works by Mariah Dekkenga

        Works by Mariah Dekkenga

        Eli Ping

        Stephen Kaltenbach, Untitled, 2012

        Stephen Kaltenbach, Untitled, 2012

        Independent Curators International

        Jimmy Wright, Caves, 1973

        Jimmy Wright, Caves, 1973

        Corbett vs. Dempsey

        ==

        https://www.openingceremony.us/entry.asp?pid=7921

        OPENING CEREMONY

        Thu, May 9, 2013

        Culture Club
        Frieze Art Fair New York 2013: The Food
        by OC Family

        Go for the art, stay for the food! This year’s Frieze Art Fair in New York is coming up with the goods, the food goods! Right now, several of our favorite New York and Brooklyn eateries are firing up the stoves and grinding the coffee beans to ensure we all leave the fair not only feeling cultured, but full! Frankies Spuntino and Marlow & Sons will have pop-up restaurants on-site while hotspots like Roberta’s, Mission Chinese, The Fat Radish, Saint Ambroeus, and Blue Bottle Coffee will be scattered in and about the 180 exhibiting galleries. We asked the chefs to share some sneak peeks of what they’ll be serving.

        FRIEZE ART FAIR NEW YORK
        Randall’s Island Park
        New York The Fat Radish The Fat Radish Roberta’s Roberta’s Saint Ambroeus Saint Ambroeus   Blue Bottle Coffe

        ==

        http://www.vogue.com/culture/article/what-to-expect-at-frieze-art-fair-in-new-york-/#1

        Art

        What to Expect at Frieze Art Fair in New York

        FriezePhoto: Courtesy of Graham Carlow/Frieze

        Some art-fair organizers are satisfied to put up a tent and offer what is essentially a supermarket—aisles and aisles of artworks for sale. But the organizers of Frieze New York, Amanda Sharp and Matthew Slotover, the fair having its second annual edition beginning Wednesday with a kick-off party and running through next Monday, are aiming substantially higher than that with their special programming.

        “We want to engage all the senses this year,” says Cecilia Alemani, the curator of Frieze Projects. “All of the works touch on the idea of gathering places, both at the fair and in the rest of our lives.”

        Alemani chose last year’s projects as well, enthusiastically embracing the fair’s out-of-the-way location on Randall’s Island. Turning constraints into an advantage is something of specialty for Alemani, since her other job is curating the works along the High Line, the elevated train tracks on Manhattan’s West Side that have been turned into a spectacularly successful park.

        The most singular element of Frieze New York 2013 is a tribute to, and reboot of, FOOD, the early-1970s artists’ collective founded by Carole Goodden and the late Gordon Matta-Clark. It straddled a fine line between being an actual restaurant—one where Richard Serra and Philip Glass dropped in for a meal—and a kind of performance art. Alemani has tapped two of the original artist-cooks, Goodden and Tina Girouard, as well as young contemporary artists Matthew Day Jackson and Jonathan Horowitz. Each will cook for one day of the fair.

        Although the Frieze organizers have a reputation for culinary sophistication—the lineup of restaurant options includes the acclaimed Roberta’s and Mission Chinese Food—mere eating isn’t the point. “It’s about the collective energy that made these spaces alive,” says Alemani. The five artists she chose for the other Frieze Projects are no less thoughtful. Liz Glynn has created a hidden speakeasy that harks back to the days of Prohibition in New York; it will be accessible only via a key and a set of directions that will be given out at random to a few fairgoers. Maria Loboda has taken nineteenth-century interior design as the inspiration for a color-coded garden, planted right next to the tent where more than 180 galleries will convene. And Andra Ursuta has created a cemetery of sorts, dotted with marble slabs, representing “where art goes to die,” says Alemani.

        Adding to the sensory stimulation are three sound pieces, experienced from listening platforms, including Haroon Mirza’s mixing and rebroadcasting of actual fair sounds. These will also be available at friezenewyork.com. “Sound is not the first medium people pay attention to,” says Alemani, who is always looking to expand our idea of what art can be. “I consider sound works to be as good as paintings, and it feels like a fresh approach to me right now.”

        Frieze New York opens to the public on May 10 at Randall’s Island Park, New York; friezenewyork.com.

        ==

        PAPER

        on the front lines of cultural chaos since 1984.
        Everything You Need to Know About FRIEZE and NYC’s Spring Art Week
        New York’s Spring Art Week is here! The weather has finally come around and it’s a great time to get out and enjoy the tons of gallery openings, art fairs, auctions and parties taking place from May 6th to the 16th. Here’s what’s happening:

        Screen shot 2013-05-06 at 3.38.04 PM.pngScene from Frieze 2012

        FRIEZE New York 2013
        The New York spin-off of FRIEZE returns to Randall’s Island from May 10 to 13, with a big “Private View” on Thursday night, May 9. It will be open to the public daily from 11 a.m. to 7 p.m. starting Friday and, for a second year, is taking place in a giant tent designed by Brooklyn architecture firm SO-IL. You can get there via ferry from the dock at 34th Street and FDR Drive, by bus from the Guggenheim Museum, free shuttle from the Joe Fresh store or you can drive. Admission to the fair is $42 ($26 students). Over 180 worldwide galleries will be exhibiting and there’s also lots of side-projects, lectures and a tribute to the early ’70s, artist-run SoHo restaurant, FOOD, with artists/chefs doing the cooking and “exploring the relationship between food and art.” There’s also a big sculpture park with works by Paul McCarthy, Fiona Connor, Saint Clair Cemin, Pae White and more. To buy tickets and to check out all the details regarding getting there and back, go HERE.

        nada_artfair2013.pngNADA New York
        NADA is also back for a second year in NYC, and they’re moving the fair over to the East River on Pier 36. Over 70 galleries will take over a space that’s normally occupied by Basketball City (299 South Street) and fill it with “new art by rising talents.” The opening preview is on Friday, May 10, from 10 a.m. until 2 p.m. and then it’s open to the public until 8 p.m. that day and thru Sunday. Admission to this fair is FREE, so be sure to check it out. Go HERE for more info.

        Screen shot 2013-05-06 at 3.47.16 PM.pngPiece on display at PULSE New York 2012

        PULSE New York
        PULSE celebrates its eighth anniversary with over 50 galleries, plus their unique “Pulse Projects” program featuring large sculptures, installations and performances. They’ll return to The Metropolitan Pavilion (125 West 18th Street) in Chelsea and are open for a VIP brunch on May 9 from 9 a.m. to noon and then open to the public thru Sunday. Tickets are $20 ($15 students). HERE‘s the details.

        cutlog_art_fair.jpgTyler Matthew Oyer, Gone For Gold Courtesy Cirrus, which will appear at Cutlog

        CUTLOG New York
        One of the new-fairs-on-the-block, Cutlog, comes from Paris, where it started four years ago. Running from May 9 to 13 in the Clemente Soto Velez Center (107 Suffolk Street) on the Lower East side, the fair features 45 galleries, plus several performances, talks and films. Downtown musician/actor/painter John Lurie will be speaking about his work and about the changes in the LES neighborhood. There’s also Free Car Wash presented by The Fantastic Nobodies who will be dressed as members of the Village People. There are two days of VIP and media previews, but Cutlog will be open to the public on May 9 from 5 to 9 p.m., May 10, 11 and 12 from 10 a.m. to 8 p.m. and May 13 from 10 a.m. to 6 p.m. Admission is $15 ($12 students). Go HERE for more info.

        Screen shot 2013-05-06 at 3.56.03 PM.pngPool Art Fair New York 2013
        This fair started in 2000 with a goal of bringing together artists that aren’t represented by big galleries. It will be open for three days, May 10 to 12, from 3 p.m.to 10 p.m. daily in the Flatiron Hotel (9 West 26th Street) and will include curated exhibitions, lectures, special projects and events. There is a suggested donation of $10.

        collective1.jpgCOLLECTIVE.1 Design Fair
        Another newbie this year, the Collective.1 Design Fair will focus exclusively on design and will include vintage as well as contemporary works. It was founded by the architect Steven Learner and runs from May 8 to 11 at Pier 57 on the Westside Highway at 15th Street. Tickets are $25 ($15 students). The details are HERE.

        BKLYN_Design-12.jpgBKLYN Designs
        The tenth edition of this showcase for Brooklyn-based designers runs for three days — May 10 to 12 — in DUMBO’s St. Ann’s Warehouse (29 Jay Street, Brooklyn). Over thirty designers will show original, limited-edition pieces and furnishings.

        carwash-homepage.jpgAnd, of course New York’s art galleries are taking full advantage of all the crowds in town for the fairs, and they’re opening new shows:

        • The acclaimed Cuban art collective Los Carpinteros are opening a show of new works called “Irreversible” in three rooms at New York’s Sean Kelly Gallery (475 Tenth Avenue). You can check out some of their LEGO constructions, an installation entitled “Tomates” and a video of the reverse performance of a conga band and dancers. The opening reception is May 11 from 6 p.m. to 9 p.m. and the exhibit is up until June 22.
        • Jose Parla and JR open an exhibit of their recent collab, “The Wrinkles of the City: Havana,” on Tuesday, May 7, 6 to 8 p.m. at Bryce Wolkowitz (505 West 24th Street). It’s up until July 12.
        • Gagosian Gallery opens an exhibit of new works by Cecily Brown — it’s her first NYC show since 2008 — on Tuesday, May 7, 6 p.m. to 8 p.m. at their 980 Madison Avenue space. Also that night, they are opening a show of over 400 photographs from The Lost Album by the late Dennis Hopper on the fifth floor of 980 Madison. On Thursday, May 9, 6 to 8 p.m., Jeff Koons has his first New York show with Gagosian at 555 West 24th Street featuring new paintings and sculptures. And don’t forget to check out the current Anselm Kiefer exhibition at the gallery’s space at 522 West 21st Street.
        • Marlborough Chelsea (545 West 25th Street) is opening a big group exhibition called “Endless Bummer II – Still Bummin’” on Saturday, May 11, from 6 to 8 p.m. The show was curated by Drew Heitzler and Jan Tumlir and includes works by Ryan Foerster, Brendan Fowler, Jonah Freeman/Justin Lowe, Christian Marclay and many more. Mr. Heitzler also has his own show called “Comic Books, Inverted Stamps, Paranoid Literature” opening in the gallery on the same night.
        • Martos Gallery (540 West 29th Street) is hosting an exhibit of fifty “small” works from the collection of Anne Collier and Mathew Higgs called “Why is Everything the Same?”. The opening is Tuesday, May 7, 6 to 8 p.m. and the show is up until May 24.
        • There’s a big Bushwick gallery crawl AKA “Bushwick/Ridgewood FRIEZE Night” on Saturday, May 11, so head over there late and don’t miss the closing night of Brian Leo’s “100 Drones” that includes a “silkscreen print party” from 7 to 11 p.m. at David Kesting Presents (257 Boerum Street between Bushwick and White).
        • The High Line has an outdoor screening of “Modern Times Forever” by Superflex opening May 7 at the High Line’s 14th Street passage. It starts at 7 p.m. daily and runs until May 19th.
        • UK artist Tracey Emin will be showing an outdoor sculpture called “Roman Standard” in Petrosino Square (Lafayette Street between Spring and Broome) from May 10 to September 8. It’s a part of her show that’s on view now at Lehmann Maupin.
        • Roberta Bayley curated a group photo show called “Just Chaos!” that features images of early punk style.  It opens on Thursday, May 9, 6 to 8 p.m. at Bookmarc (400 Bleecker St.) and will be up until May 23rd.  You’ll find photos by Bayley, Laura Levine, Janette Beckman, Stephanie Chernikowski, Lee Black Childers, Godlis, Bob Gruen, Marcia Resnick and more.
        • The latest group show, “Wish Meme,” at the Old School (233 Mott Street) in NoLiTa includes over 50 artists spread over the building’s three floors and backyard. The works examine “21st Century wish fulfillment in the recession world.” There’s an opening reception on Wednesday, May 8 from 6 to 8 p.m. and it will be up until May 12th.
        • The Ed. Varie gallery (618 East 9th Street) is showing new work by three New York-based artists: Tyler Healy, Dean Levin and Evan Robarts. The three are participants in the Artha Project in the Brooklyn Navy Yards and there’s also a book — with photos by Clement Pascal and Johnny Knapp, designed by GG-LL — that documents the artist’s “process and studio environment.” The opening is May 10 from 6 to 9 p.m. and it’s up until June 2.
        • The Standard Hotel and the Paul Kasmin Gallery are hosting a book signing for “Kolors” by Kenny Scharf on Monday, May 13th, 5 to 7 p.m. at The Standard Shop (444 West 13th Street).
        • Peter Makebish curated a show of prints and works on paper from the Richard J. Massey Foundation for Arts and Sciences (601 West 26th Street).
        • Luxembourg & Dayan (64 East 77th Street) opens an exhibition, “Martial Raysse: 1960 – 1974,” on May 11. It’s the first U.S. show by the Paris-based artist in four decades and will be on view until July 13.
        • Leila Heller Gallery (568 West 25th Street) has a 5-day, multi-venue installation by London-based artist Reza Aramesh that starts on May 8, 11 p.m., at Marquee (289 10th Avenue) and winds up on May 12, 9 p.m., at the Bossa Nova Civic Club (1271 Myrtle Avenue, Brooklyn.) The gallery also has a show called “Bass! How Low Can You Go?” curated by Amir Shariat that opens May 8, 6 to 8 p.m., and runs until June 5th in their 25th Street space.
        • Vito Schnabel presents a group show curated by David Rimanelli called “DSM-V” in the “The Future Moynihan Station” (421 8th Avenue, enter on 31st Street) that will be open this week through Saturday from 11 a.m. to 6 p.m.
        • Charles Bank Gallery (196 Bowery) has a closing party for Garrett Pruter’s “Interiors” multimedia installation on Friday, May 10th, from 6 to 8 p.m.
        • Flux Factory (39-31 29th Street, Long Island City) hosts their monthly potluck and salon on Thursday, May 9. 8 p.m., with artist presentations, a poetry slam and more. “Please bring drinks or something tasty to share.” All the details are HERE.
        • A show of new works by Seth Price opens on Sunday, May 12, 6 tp 9 p.m. at Reena Spaulings Fine Art (165 East Broadway).

        And finally, don’t forget the arty-parties. There are too many to mention and several are “invitation only,” but here’s a few that caught our eye:

        • There’s a big party on Tuesday night in honor of Paola Antonelli, the senior curator for architecture and design at MoMA, that’s hosted by Hannah Bronfman, Amani Olu and Larry Ossei-Mensah and sponsored by Beefeater 24 Gin.
        • Tate Americas Foundation has a live auction, dinner and after party on May 8 that is sponsored by Dior.
        • Visionaire magazine celebrates their “63 FOREVER” issue on Saturday night with an installation designed by Alexandre de Betak and music by Sebastien Perrin.
        • EXPO Chicago and Gallery Weekend Chicago are hosting a cocktail party on Friday in SoHo.
        • Whitewall magazine is hosting a “FRIEZE NY 2013″ party on Wednesday, May 8, at Le Baron (32 Mulberry Street). Jeremie Khait is DJing.

// //

Vincent Johnson is an artist (painting and photography) and writer in Los Angeles

http://www.vincentjohnsonart.com

Here is a small sample of my Strange Los Angeles Pictures collection of my photography.

The selected works are from my ongoing series on LA entitled Strange Los Angeles Pictures. The project’s purpose is to document the sometimes unreal imagery that one encounters in daily life in Los Angeles. The series is comprised entirely of Black and White digital photographs, taken mostly at night. In the work I bring my own aesthetic sensibilities and interior vision into the world with a camera. Often what will initially appear to be a relatively innocent series of visual elements found on a quite commercial block in LA, will actually reveal itself to be representative of a part of LA’s cultural history that has faded from memory. The city is layered with a dense and rich history, not only being the place where Hollywood was born, but also where neon first entered the US from Paris. There are countless artifacts of history buried in LA’s commercial corridors. From 1940′s dress shops to dead neon signs to the remnants of motor courts, LA allows its past to disappear or sometimes to become a phantom of its own once vital existence.

Take for example the ghostly character of the Wedding dress photo in the storefront in the San Fernando Valley. Although I had seen it dozens of times while driving by the area in which the store resides, I had not actually parked and walked up to the storefront. When I did I walked the corridor, teasing out small details that are hidden from the casual passerby. Yet when I directly engaged the storefont containing the wedding dress for sale, it appeared strange, mysterious, remarkable. It is this engagement with the uncanny that I attempt to capture. The works are shot in black and white to also harken back to the neon noir Los Angeles of the 1940′s and 1950′s, that is everywhere here yet buried in the sea of cars that LA often becomes. One encloses oneself from the world, from what is not necessary to one’s daily life. I as the artist delve deep into the actual event space of the cultural artifact, shoot it, and move on.

Wedding dress store (San Fernando Valley).web

Wedding dress store, San Fernando Valley

archival digital photography by Vincent Johnson in Los Angeles

motelpool.moteltangiers.web

Motel Pool, Motel Tangiers

archival digital photography by Vincent Johnson in Los Angeles

Curtains - film prop for sale.web

Curtains – film prop for sale

archival digital photography by Vincent Johnson in Los Angeles

Reports on 2012 Frieze Fair London and Frieze Masters

Our Parents, by Zuang Huan

FRIEZE LONDON ::
AND BEYOND

Oh London! One always feels at the center of the universe. All the buzz, all the hype, all the chic&vip is right here, just at your hand’s reach.
As if one art fair wasn’t enough, Frieze, that has reached its 10th year, has doubled its capacity with Frieze Masters that collects and displays artworks from the 13th century until the year 2000. So if you are tired of all those newcomers on the other pavilion and miss your Picasso or Brancusi, just pop in here, in the quieter and posher gray hallways where Dali, Avedon and Freud talk classly to each other.
Frieze is gossip, parties, sales, talks, and art, of course. But London is so much more than Frieze. Just to give you an idea of how busy this town can be, let me mention the openings in this same week of Kiki Smith, Luc Tuymans and Anish Kapoor, topped off by Edward Munch closing at the Tate Modern, Christie’s Multiplied - another art fair -, PAD in Berkeley Square (Pavilion of Art and Design) and finally SUNDAY, another little sister of Frieze, the scrappy one that is becoming a swan. And last but not least, just to entertain a few more people, there was London Cocktail Week andLondon Film Festival, with stars such as Tim Burton and Helena Bonham Carter in town.

Are you still on your feet? Then run to the next party where champagne runs as water. Do you think you need to be one and thrine? Yes, you do. So for next year, if you plan to come, you better shape up.
VIPs here are very much taken care of with private views and openings on selected times and hours and I was fortunate enough to jump on this bandwagon a couple of times during this week.
On Tuesday 9th, I was at Paul Fryer‘s opening at The Hospital Club, one of those fantastic private spaces (and proud sponsors of Frieze) that would make any gallerist happy. Fryer is a well known visionary British artist who was recently at Gucci Museum in Florence. His exhibition Undivided Light was one of those little gems that didn’t go under Frieze’s tents because they deserve a better showcase. He was of course the star of the night, greeting, drinking and meeting everyone, always with a smile and as joyful as a child in a candystore. When I finally managed to talk to him he told me he was “very happily drunk for the outcome of the night” and confessed  that “we need more visionary artists and more people who believe in the impossible possibility that we can change this world. But even more than that, we, naive artists, we do need more supporters “. Then I asked if he was planning to come to Italy again and he said that all the works on show were probably going to Turin for Artissima or Milan or Florence “but we are still talking because the Italians like to talk. A lot”.

In the meantime Charles Saatchi was buying his “Suspended woman” for an undisclosed amount of pounds.
And then Frieze opened, the public was quietly queuing as only the Brits know how to and the market was booming, as always, as expected. A few hours in and Hauser&Wirth were already selling the disgustingly interesting head of Snow White by Paul McCarthy. But. But there’s a big but this year, because collectors and dealers are choosing more wisely, less Damien Hirst and more Kippenberger, Bourgeois and Schutte. And a propos of Damien Hirst, his much talked about horrific gigantic statue “Verity” is now in Northam’s harbour and it will stay there for 20 years. Nobody wanted it, but this is the downside of having such an haunting artist as a local celebrity.
Haunting is a word that instead works well with Luc Tuymans’ works, but not in this exhibition Allo! where the Belgian painter was present for another VIP view at 24 Grafton Street. Here collector and gallerist David Zwirner has set new heights, also in terms of gallery space. A stunning three-storey building almost as precious as the painter he shows. Allo! takes inspiration from Joseph Conrad’s Heart of Darkness but ends up talking about the final scene of the 1942 film The Moon and Sixpence, which is itself an adaptation of W. Somerset Maugham’s eponymous novel from 1919. The plot is loosely based upon the life of Paul Gauguin and its Tahiti journey. Not as striking as other works from Luc but certainly worth stopping by.
A few steps away from the champagne and mojitos in Grafton Street, in the same night, Kiki Smith was offering beers (yes, you read right!) at her VIP meetings and greetings at Timothy Taylor Gallery where she was presenting Behold, a series of works in bronze, porcelain, stained glass in which she was “exploring this new concept of female, feminine and repetition through the recovery of medieval art techniques”. She was all smiles and happiness and seemed in great shape. But beer? No way!!
And now that this is over, what will remain after 175 exhibitors from 35 countries will go home? A few interesting pieces, a gigantic circus that keeps moving on and on and that will now jump on other flights to Paris for FIAC and in a few months to Miami for Art Basel, and again to New York for the American edition of Frieze. Are contemporary art fairs still a great conveyor of ideas through which understand and perceive reality or just big banks on the go?
Mh…

Elena Dal Forno
15.10.2012 

Our Parents, by Zuang Huan

Frieze London is an annual fair showcasing contemporary art from around the world. Celebrating its tenth anniversary, the exhibition takes place in central London and runs from 11-14 October 2012.

AO On Site – London: Frieze London and Frieze Masters Summary and photoset, October 14th, 2012

October 14th, 2012

Lynda Benglis and Hans Hurting at Cheim & Read
Lynda Benglis sculptures and Hans Hurting paintings at Cheim & Read’s booth at Frieze Masters. All photos by Caroline Claisse for Art Observed unless otherwise noted

Frieze Masters and Frieze London concluded on October 14th, with both fairs reporting solid sales on the high end. This year, there was a distinct focus on curated booths and curatorial projects and less of an overt feeling of commercialization. Frieze Masters in particular focused on serious connoisseurship and an academic approach, both of which translated into a successful fair for dealers.

Alexander Calder Triumphant Red 1959-63 at Helly Nahmad
A massive Calder hanging mobile, Triumphant Red , 1959-63 at Helly Nahmad’s booth at Frieze Masters was priced at $20 million

Auction week also coincided with the fairs, as well as the numerous exhibitions in private galleries and museums. In addition, Pace Gallery, David Zwirner, Per Skarstedt and Michael Werner inaugurated new spaces in London.

A Robert Mangold Painting, Red Frame/Yellow Ellipse, 1988 at Barbara Mathes Gallery at Frieze Masters

A Robert Mangold Painting, Red Frame/Yellow Ellipse, 1988 at Barbara Mathes Gallery at Frieze Masters

At Frieze, White Cube sold a new Damien HirstDestruction Dreamscape, for £500,000; Hauser & Wirth sold Paul McCarthy’White Snow Head for £812,000 reportedly10 minutes after opening. At Frieze Masters, there were reports of at least two strong Picasso sales: Homme et Femme au bouquet, 1979 sold for $8.5 million at Christophe Van de Weghe’s booth; Acquavella also reported a Picasso sale of $9.5 million for its Buste d’Homme, 1969.

Sol LeWitt Open Geometric Structure _1990_Lisson Gallery
Sol LeWitt, Open Geometric Structure, 1990 (on floor) and John Latham, Untitled, 1958 (on wall) at Lisson Gallery, Frieze Masters

Frieze London (formerly Frieze Art Fair) has grown in size in the past ten years – 264 dealers from 35 countries showed work by over 2,400 artists. Compared to 2003, 124 galleries from 16 countries showed the work of 1,200 artists in a space about half the size. 27,000 visitors attended Frieze in 2003, compared to the approximately 60,000 this year. This was the first year for Frieze Masters, which also took place in Regent’s park.

Installation View of Pace Gallery's booth at Frieze London courtesy Pace Gallery
Installation View of Pace Gallery’s booth at Frieze London, photo courtesy Pace Gallery

The total revenue for both fairs was over $1 billion, according to preliminary estimates by the insurer Hiscox Ltd.

Zhang Huan at White Cube
A Zhang Huan ash painting at White Cube’s booth at Frieze London, photo by Art Observed

Brazilian Gallery A Gentil Carioca at Frieze London
Installation view of booth of the Brazilian gallery, A Gentil Carioca, at Frieze London

Carol Bove The White Tubular Glyph 2012 David Zwirner
Carol Bove, The White Tubular Glyph, 2012 at David Zwirner’s booth at Frieze London

Fiona Tan Vox Popula London 2012 Frith Street Gallery
Fiona Tan, Vox Popula London 2012 at Frith Street Gallery’s booth at Frieze London

Gillian Wearing My Hand 2012 Maureen Paley
Gillian Wearing, My Hand, 2012 at Maureen Paley’s booth at Frieze London

Rosenquist, The Facet 1978 at Acquavellas booth at Frieze Masters
James Rosenquist, The Facet, 1978 at Acquavella’s booth at Frieze Masters

Frieze Projects Grizedale Arts, Yangjiang Group, Colosseum of the Consumed
Frieze Projects: Grizedale Arts, Yangjiang Group, Colosseum of the Consumed

A fairgoer at Frieze London
A fairgoer at Frieze London

Frieze London
Frieze London

Frieze London
Frieze London

Haegue Yang Flip Fleet Flow Units 2012 Kukje Gallery
Haegue YangFlip Fleet Flow Units 2012 at Kukje Gallery’s booth at Frieze London

Bosco Sodi at Eigen+Arts booth at Frieze London photo by Art Observed
Bosco Sodi at Eigen+Art’s booth at Frieze London, photo by Art Observed

Donald Judd Untitled 1980 David Zwirner booth
Donald Judd, Untitled 1980, David Zwirner’s Frieze Masters booth

Alberto Giacometti at Thomas Gibson Fine Art,
Alberto Giacometti drawing and sculpture at Thomas Gibson Fine Art’s booth at Frieze Masters

Colle & Cortes Jusepe de Ribera
Aristotle by Jusepe de Ribera (1591‐1652) at Coll & Cortés’ booth at Frieze Masters

Thomas Schutte Wichte 2007 Frith Street Gallery
Thomas Schütte Wichte 2007 Frith Street Gallery’s booth at Frieze London

Standard Gallery Oslo
Installation View, Standard Oslo’s booth at Frieze London

Pilar Corrias London
Installation View, Pilar Corrias London’s booth at Frieze London

Ricci Albenda Sunrise_Sunset 2012 Marc Camille Chaimowicz Carpet III 2009 Andrew Kreps Gallery
Ricci Albenda, Sunrise Sunset 2012, Marc Camille Chaimowicz, Carpet III, 2009 at Andrew Kreps Gallery at Frieze London

Marina Abramovic at Galerie Krinzinger Vienna
Marina Abramovic’s work at Galerie Krinzinger Vienna’s booth at Frieze London

Rosemarie Trockel Phobia 2002 Sprueth Magers Berlin London
Rosemarie Trockel, Phobia 2002 Sprüth Magers‘ booth at Frieze London

Sarah Lucas Mumum 2012 Sadie Coles
Sarah Lucas, Mumum 2012 at Sadie Coles’ booth at Frieze London

Farhad Moshiri Woman combing 2012 Thaddaeus Ropac
Farhad Moshiri, Woman Combing, 2012 at Thaddaeus Ropac’s booth at Frieze London

Thomas Scheibitz, Tanya Bonakdar
Thomas Scheibitz, Smiley (2009), courtesy Tanya Bonakdar Gallery and Sprüth Magers Berlin London, in Frieze Sculpture Park, photo by Art Observed

Peter Liversidge Ingleby Gallery
Peter Liversidge’s Everything is Connected, 2012, courtesy Ingleby Gallery, in Frieze Sculpture Park, photo by Art Observed

-V. Artzimovich

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http://db-artmag.de/en/71/feature/dynamic-duo-preview-frieze-london-and-frieze-masters/

Dynamic Duo
Preview Frieze London and Frieze Masters

Since its premiere in 2003, Frieze London has grown to become what is probably the most important fair for contemporary art worldwide. As main sponsor, Deutsche Bank has been Frieze’s partner since 2004. To mark its 10th anniversary, the art fair is now on a mission to expand: following Frieze New York, it currently launches Frieze Masters, which shows art from antiquity to the 20th century from a contemporary perspective. Another reason to visit the British capital during “Frieze Week.”

In May, the first Frieze New York took place on Randall’s Island, located in the East River between Manhattan and Brooklyn. The start of the fair was highly promising, and the public and press alike were excited about it. “Frieze Art Fair electrifies New York” was how the Wall Street Journal summed it up. But the art fair in the British capital is also expanding. Frieze Masters now takes place parallel to Frieze London, which focuses on current works by living artists. Deutsche Bank, the main sponsor, also cooperates with the two new Frieze fairs.Over 90 international galleries show art from antiquity to the 20th century at Frieze Masters — in a temporary architecture designed by Annabelle Selldorf. The architect is considered to be a specialist for rooms in which art is presented and produced. Selldorf has not only designed the galleries of Barbara Gladstone and David Zwirner, but also the studios of Jeff Koons and David Salle. For Frieze Masters, she has created a design that is both elegant and contemporary. The new fair can be reached comfortably by foot from Frieze London, as it also takes place in Regents Park. Thus, visitors can inform themselves about current trends and also rediscover older art and classics of the 20th century from a contemporary perspective.

The expectations for the new fair are high. “Frieze Masters will attract the world’s most adventurous and imaginative art collectors to London,” says Nicholas Penny, Director of the London National Gallery. “The fair is designed to revolutionise the relationship between ancient and modern, old and new.” The Spotlight section is bound to be particularly exciting. Here, 22 galleries from the US and Germany as well as from Lebanon, Portugal, and Romania will each present a selected position from the 20th century. The focus is on conceptual and feminist positions from the 1960s and 1970s. These are the “pioneers working at one of the most radical periods of art history,” according to Adriano Pedrosa. The curator of the 2011 Istanbul Biennial acts as consultant to the fair in its selection of galleries for the Spotlight section.

Part of Frieze Masters’ contemporary approach are the talks that take place in the framework of the fair: for instance Cecily Brown, who processes influences by painters such as William Hogarth and Willem de Kooning in her gestural, expressive canvases, talks to Nicholas Penny about her reinterpretations of traditional art historical themes. While Glenn Brown discusses his versions of paintings by artists as varied as Georg Baselitz and Fragonard with Bice Curiger, Luc Tuymans explains how he turns historical events into painting in a conversation with Louvre curator Dominique de Font-Réaulx.

The tenth run of Frieze London is the most international to date: 170 exhibitors from 34 countries present themselves in fair tents designed, as last year, by the architectural firm Carmody Groarke. The new Focus section is reserved for younger galleries who opened after 2000. Some of those selected are Algus Greenspon (New York), Casas Riegner (Bogota), Chatterjee & Lal (Mumbai), and Chert (Berlin). The Frame section also dedicates itself to young galleries, showing exclusively solo presentations. The fact that 16 of the 21 galleries are taking part in the London fair for the first time promises fascinating discoveries. At the François Ghebaly Gallery (Los Angeles), visitors can experience the legendary underground filmmaker Mike Kuchar as draftsman. Experimenter (Calkutta) introduces the artist Bani Abidi, who was born in Pakistan and lives in India. In her humorous works, she trenchantly addresses the political and cultural differences and similarities between the two neighboring enemy states.

To prevent visitors from losing orientation despite the immense amount of art on view, Frieze implements innovative technology: visitors can download a free app for their iPhones and iPads, including an interactive plan of the fair—a service once again made possible by Deutsche Bank. As main sponsor, it presents itself at the fair with its lounge, where works from the Deutsche Bank Collection are juxtaposed under the title Pairs. At the premiere of Frieze Masters, works of Classic Modernism meet with contemporary works: Piet Mondrian, Vassily Kandinsky, David Bomberg, and Andreas Feininger encounter Daniel Richter, Ugo Rondinone, Adrian Paci, and Frank Auerbach. Between the pairs, correspondences in form and content arise that span decades. In addition, preliminary drawings to Keith Tyson’s 12 Harmonics are on view in the lounge. The monumental painting series was installed at the end of last year in the entrance hall of Deutsche Bank’s London Head Office. One of the drawings was auctioned off to benefit Help a Capital Child and the Meningitis Research Foundation.

Anyone interested in visiting ArtMag, which is celebrating its 10th anniversary this October, should come to the press booths at Frieze London, where visitors can surf through the latest issue at stand M 20 and even win a trip to the next Frieze New York. Every subscriber to the ArtMag newsletter has a chance to win two plane tickets to New York including two nights at a hotel and two VIP tickets to the fair.

From the very beginning, the advanced accompanying program of films, talks, and commissioned works has played an important role in forging Frieze’s image. For this year’s Frieze Projects, curated by Sarah McCrory, Thomas Bayrle, Aslı Çavuşoğlu, DIS magazine, Grizedale Arts / Yangjiang Group and Joanna Rajkowska created site-specific interventions. While real actors from a TV crime series take part in Çavuşoğlu’s performance Murder in Three Acts, Bayrle accentuates the fair entrance with print works consisting of his typical motifs reproduced by the hundreds. The pioneer of European Pop Art has long been part of the Deutsche Bank Collection; his contribution to this year’s documenta was one of the highlights of the show.

Frieze London expects prominent guests for the talks, too: Tino Sehgal discusses conceptual art, choreography, and the work of art as object with Jörg Heiser, while John Waters converses with Sturtevant about the theme “stupidity.” Waters began his career making infamous trash films like Pink Flamingos and Female Trouble; he now exhibits as an artist in the New Museum and at Gagosian. With her imitations of the icons of contemporary art, Sturtevant questions everything we think we know about the original and originality, aura and authorship. To arrange for an artist who says that she’s interested in nothing but making people think to get together with John Waters to talk about, of all things, stupidity guarantees an event that will be both funny and inspiring. Really, only the makers of Frieze would come up with an idea like that.

Achim Drucks

Frieze London/Frieze Masters
Regents Park, London
October 11 – 14, 2012


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ARTSATION

First impressions from Frieze Art Fair and Frieze Masters

First visitors at Galerie Barbara Thumm, work by Teresa Burga,
Frieze Masters 2012, 
Spotlight, 
Image: Linda Nylind/ Frieze

The tenth edition of Frieze London takes place in London’s Regent’s Park from 11–14 October 2012. With exhibitors from 35 countries the tenth edition of Frieze London is the most international event organised by Frieze.

Participating Territories:

Argentina, Hungary, Austria, India, Belgium, Ireland, Brazil, Israe,l Canada, Italy, 
China, Japan, Colombia, Korea, Czech, Republic, Lebanon, Denmark, Mexico, France, Netherlands, Germany, Norway, Greece, Poland, Portuga,l Romania, South, Africa, Spain, Sweden, Switzerland, Turkey, UAE, UK and USA

Frieze London is a presentation of 175 of the most forward- thinking contemporary galleries and will present new work by over 1,000 of the world’s most innovative artists. This year the fair is once again housed in a bespoke temporary structure designed by architects Carmody Groarke.

The tenth edition features a new section: Focus, open to galleries established after 2001, showing up to three artists. Focus was first introduced at Frieze New York, which took place 4–7 May 2012 in Randall’s Island Park, Manhattan. The Frame section of the fair is dedicated to galleries under six-years old, showing solo artist presentations. The selection of the 25 Frame galleries was advised by curators Rodrigo Moura and Tim Saltarelli. Frame is supported by COS.

This year, coinciding with Frieze London, Frieze also introduces Frieze Masters, a new fair with a contemporary perspective on historical art. Together the crossover between the two fairs will make London the focus for a broad international art audience.

Frieze Projects

Frieze Projects is a unique programme of artists’ commissions realised annually at Frieze Art Fair. Frieze Projects is curated by Sarah McCrory and supported by the Emdash Foundation with additional support from Maharam.

The artists commissioned to create five site-specific works for Frieze London are: Thomas Bayrle, Aslı Çavuşoğlu, DIS magazine, Grizedale Arts / Yangjiang Group and Joanna Rajkowska. The Projects programme includes an examination of the use-value of art by Grizedale Arts and Yangjiang Group in the form of a structure that will act as a forum for a number of artists who produce food, chaotic dining events, performances, and talks. In contrast, Joanna Rajkowska’s work will invite contemplation and reflection by transforming an area of Regent’s Park into a field of smoking incense. Aslı Çavuşoğlu’s recreation of a crime drama scene will find unlikely parallels between the production of murder mysteries and decisions made whilst making art. DIS magazine’s unique approach to the production of imagery will be a response to the fair, and a design by Thomas Bayrle will be dramatically woven into the fabric of the fair.

The winner of the Emdash Award 2012 is the Belgian/American artistCécile B. Evans, who is based in Berlin. Evans’ winning proposal takes the form of an audio guide to Frieze London accompanied by a holographic ‘host’. The audio guide will feature a panel of notable non-art experts.

Frieze Talks

Brian O’Doherty, Tino Sehgal, Sturtevant, Lynne Tillman, Marina Warner and John Waters are all part of the line-up of international artists, filmmakers, curators and cultural commentators taking part in Frieze Talks 2012.

Alexander Calder at Helly Nahmad Gallery, Frieze Masters 2012
, Image: Linda Nylind
/ Frieze

Sculpture Park

The Sculpture Park at Frieze London 2012 has been selected by Clare Lilley, Director of Programme at Yorkshire Sculpture Park. Lilley has put together an ambitious selection of works, offering a rare opportunity to see a significant group of public-scale sculpture by internationally recognised artists. The 2012 Sculpture Park is the largest-ever presentation of outdoor sculpture at Frieze London.

Lilley’s selection features work by some of the most acclaimed international sculptors working today, both established and emerging. These include new pieces by Hemali Bhuta, Andreas Lolis, Damián Ortega and Maria Zahle. Other artists participating in the Sculpture Park include: Adip Dutta, Hans Josephsohn, Yayoi Kusama, Liversidge, Michael Landy, Peter Jean-Luc Moulène, David Nash, Simon Periton and Alan Kane, Anri Sala, Thomas Scheibitz and William Turnbull. The Sculpture Park at Frieze London is open free to the public.

Public opening dates and hours:

Thursday 11 October: 12-7pm Friday 12 October: 12-7pm Saturday 13 October: 12-7pm Sunday 14 October 12-6pm

Preview

Wednesday 10 October

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FINANCIAL TIMES LONDON

Last updated: October 10, 2012 6:50 pm

Cool, calm and collectable

The new Frieze Masters fair is a dignified partner for the funkier Frieze London
Picasso’s ‘Buste d’Homme’ (1969) sold for $9.5m

Picasso’s ‘Buste d’Homme’ (1969) sold for $9.5m

It’s still in the honeymoon phase, but the marriage between Frieze Masters and Frieze London looks made in heaven. With an inaugural VIP day praised by critics, collectors and dealers alike, Frieze Masters appears calmer and cooler than its contemporary counterpart, as befits a fair that spans the ages from ancient civilisations to the year 2000. Serene grey walls, avenue-wide aisles, VIP guests dressed to impress rather than kill and the presence of so much history in the aisles give this marquee the air of a pop-up museum. It was a thrill to see, for example, a panel by Venetian Renaissance master Bartolomeo Vivarini hanging just metres from a masterpiece by Pierre Bonnard, a trio of medieval gargoyles or prints by 20th-century US photographer Richard Avedon.

Solo shows were always on the menu for the Spotlight section, and even in the first hours it was proving lucrative as well as educational. New Yorker Franklin Parrasch’s decision to focus on Californian abstractionist John McLaughlin was rewarded by the sales of three paintings at around $38,000 each, and one large black-and-white picture priced at $250,000.

The aura of connoisseurship does not detract from commerce. Major early sales included, at New York’s Acquavella Galleries, Picasso’s “Buste d’Homme” (1969) at $9.5m. Gagosian reported sales of several of its Avedon prints; while London’s Lisson Gallery happily exchanged a mixed-media work by British conceptualist John Latham for £150,000.

Perhaps the biggest risk-takers here were the galleries that specialise in Old Masters and antiquities. Off to a “great start”, London’s Sam Fogg, who specialises in medieval and early Renaissance art, sold five works in the first three hours, including two stone sculptures of heads, a St Michael from 14th-century France and a 16th-century head of Christ, for £50,000 each. “We’ve been selling to existing clients, contemporary collectors and contemporary artists,” enthused Fogg, adding that the fair was “very well organised and beautifully arranged”.

Also satisfied were the Salomon Lilian gallery from Amsterdam, which specialises in Dutch and Flemish Old Masters. Here, sales included two diminutive oils, one by David Teniers the Younger (1610-1690), “Old Man Reading” (£250,000), the other a panel by Frans Francken the Younger entitled “Death and the Miser” (£250,000). According to Loureen Lilian, the wife of the gallerist, “We are seeing collectors of contemporary and modern art viewing the Old Masters with real interest.”

Echoing this, London-based dealer Jean-Luc Baroni observed that many contemporary collectors are beginning to “want something more tangible”. A Klimt to go with your Koons, madam?

The following morning, Frieze London (formerly Frieze Art Fair) opened to sparkling sunshine and a funkier mood. One of the non-selling Frieze Projects commissioned by curator Sarah McCrory, German artist Thomas Bayrle’s mesmeric, Pop-style patterns turned the entrance corridor into a space for merriment – or migraine, depending on your state of mind.

Inside, healthy sales suggested that high spirits would prevail. Snapped up within the first 10 minutes was the spectacular sculpture “White Snow Head” (2012) by Californian star Paul McCarthy. Priced at $1.3m, the girl’s shell-pink visage, dripping with McCarthy’s signature goo, came straight from the artist’s studio to the stand of international dealers Hauser & Wirth. Other important transactions included a new silver-on-black scalpel painting by Damien Hirst, “Destruction Dreamscape” (2012), which departed White Cube’s space with an asking price of £0.5m.

On the stand of London gallery Victoria Miro, works by Grayson Perry, Peter Doig, Maria Nepomuceno and Chris Ofili grabbed the eye with their glorious interplay of tropical hues. Bestseller here was one of the signature painterly webs – this time in hot pink and yellow – by Japanese grande dame Yayoi Kusama. Made this year and entitled “Universe RYPK”, it was priced at $0.5m.

The effort by Frieze organisers to reach out to emerging artists, and spaces with curatorial projects and softer commercial sections, appears to be reaping rewards. Introduced at Frieze New York earlier this year, the new Focus section is devoted to galleries established after 2001. Satisfied participants here included Mihai Pop, of Plan B gallery in Cluj, Romania. Pop put together a display that embraced not only fashionable Romanian painters Adrian Ghenie and Victor Man but also unfamiliar, politically-minded installation artist Rudolf Bone.

“Nobody will buy that,” Pop said cheerfully of “Panspermia” (1984), Bone’s gritty grid of glass planes smashed by a rock. “But it doesn’t matter; sometimes it’s about showing the work.” He could afford to be generous: both Ghenie’s and Man’s canvases had sold in the first few hours for €35,000 each.

First impressions suggest that Frieze London’s famously exuberant appetites – both in terms of the art on display and the aura of its guests – may have been tamed slightly by its more dignified new partner. “It’s slightly less frenzied but that’s a good thing,” observed Victoria Miro, who is showing in both spaces. Her words were echoed by Sarah Goulet, public relations associate at Pace gallery, where a flurry of sales had included “System of Display” ($45,000), a silkscreen work on mirror by rising African-American star Adam Pendleton. “This year Frieze London feels like a reunion of old friends,” Goulet commented. “We are seeing a lot of big American and European collectors who have clearly been to both fairs. It’s a symbiotic relationship.” Long may the honeymoon continue.

Frieze London and Frieze Masters both run to Sunday, www.frieze.com

This article has been amended to correct the job title of Sarah Goulet, who is public relations associate at Pace

Posted October 12th by in Art

Jim Lambie ‘Untitled’ (2012) at Sadie Coles HQ at Frieze London 2012. photograph by Linda Nylind

Paul McCarthy At Frieze

Posted October 12th by in Art

Paul McCarthy’s White Snow Head at Hauser & Wirth at Frieze Art Fair, London 2012. Sold for 1.3 million.

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Cutting-Edge Frieze Art Fair Embraces the Past—With Caution

[image] Entwistle Gallery

$305,000 | A Kota guardian figure, used for the protection of ancestral relics, from Gabon and offered by London gallery Entwistle.

Since its founding in 2003, Frieze Art Fair has competed with older fairs like Art Basel by successfully establishing itself as a London venue solely for contemporary artists whose works are often finished just days before the fair.

London’s Frieze Art Fair opens this week to mix the masters with the unknowns. Mary M. Lane will be there, and has a preview of the what to expect on Lunch Break. Photo: Getty Images.

The fair’s success led to New York’s first Frieze, a large-scale event in May. But in London, the 10th Frieze will change the recipe: While 175 exhibitors show fresh works, 101 galleries will sell art created before 2000 at the newly christened Frieze Masters.

Photos: Highlights from the Frieze Art Fair

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© 2012 Estate of Pablo Picasso/Artists Rights Society (ARS)

Pablo Picasso, “Buste d’Homme,” 1969

A number of established galleries will visit Frieze for the first time, many offering works by older household names that may be less risky as investments.

“Nothing’s going to happen over the next five years that will change Picasso’s place in art history. That’s not guaranteed with a lot of newer artists,” said Nicholas Acquavella, director of New York’s Acquavella Gallery, which represents only four living artists.

Acquavella is bringing over 25 mostly 20th-century works, the same number it takes to Art Basel and Art Basel Miami, the gallery’s most important fairs. They include Picasso’s 1969 oil “Bust of a Man,” to be priced from $8 million to $10 million, an 1895 Degas pastel for at least $5 million and a 1978 oil, for $2.5 million, by Pop-Art pioneer James Rosenquist.

The art market has largely avoided the recession plaguing other European sectors, but second-tier works are facing challenges on both the primary and secondary markets as moguls snatch up masterpieces while penny pinchers opt for less expensive art.

“It’s like fashion: The top end like Louis Vuitton and Prada are doing well and the high street has accessible prices. It’s the ones in-between who suffer,” says John Rocha, a fashion designer who has attended Frieze for eight years and bought works there.

Frieze doesn’t release a full list of sales, but prices paid last year—when 60,000 people visited the fair—varied wildly. Modestly priced pieces sold for as little as $80, while “Strip (CR921-1),” a new Gerhard Richter painting, sold for $2.4 million.

Frieze’s main challenge now will be preventing Frieze Masters from eclipsing the edgy reputation of its contemporary counterpart. “It wouldn’t become as big as Frieze London,” at future Friezes, said Frieze Masters director Victoria Siddall.

New York’s David Zwirner has brought his eponymous gallery to Frieze since the fair’s debut and considers it Europe’s most important fair after Basel. Though Mr. Zwirner sold a $1.35 million painting by the German surrealist-influenced Neo Rauch last year, he predicts Frieze Masters will up the ante on prices. “Frieze has always had a little bit of a problem when it came to a higher price point,” compared with Basel, said Mr. Zwirner; he’ll show at both Frieze London and Masters.

Zwirner is one of several blue-chip galleries including Pace and Michael Werner to open spaces in London this autumn as the city, already known as a hub for older art, also takes advantage of its geography (a somewhat shorter trip than to New York) to attract Asian buyers.

The Masters fair has also caught the attention of Sotheby’s, which posted a 16.7% drop in auction sales the first half of 2012 compared with the year-earlier period. The auction house has timed its showing of a drawing by Raphael, to be sold in December, so that collectors coming to see Frieze Masters will drop by to see it. The drawing of an unidentified apostle, estimated between $16 million and $24 million, was drawn circa 1519 for Raphael’s last, nearly completed painting, “The Transfiguration.”

Crossover collecting, where buyers focus on art from different periods, is a slowly growing trend, dealers say. This year, 30% of buyers at Sotheby’s Old Master drawings sales had also bought in their contemporary sales, up from 7% in 2007.

“Drawings can often be read more easily by a contemporary eye. They’re immediate and spontaneous,” said Cristiana Romalli, senior director for Old Master drawings at Sotheby’s, adding that many collectors are more attracted to works without “details that pertain to a specific period.”

New York financier Leon Black, owner of the nearly $120 million pastel “The Scream,” paid Christie’s $47.6 million three years ago for a Raphael chalk drawing, a record auction price for a work on paper at the time.

Frieze Masters dealers are also hoping to harness the fair’s reputation as a contemporary art haven by bringing works with abstract themes.

“Longevity and angst were ideas that artists were also struggling with hundreds of years ago, even if they weren’t getting frequent commissions to paint them,” says David Koetser, whose Zurich-based gallery will be bringing around 22 paintings priced from $50,000 to $4 million. Mr. Koetser will hang four of them, including a still life circa 1630 by Margarete de Heer, in clear suspended cabinets so visitors can walk around them—much like the way one would display contemporary works. The four-day Frieze begins Thursday.

The art fair also will host Frieze Frame, a section for 22 galleries under six years old that hold solo shows in subsidized stands.

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NYTIMES T magazine

Loud and In Tents | Frieze London

  • A collage by the artist Lygia Clark at Alison Jacques Gallery.

In its 10th year, London’s Frieze Art Fair is bigger and more extravagant than ever, with 175 of the world’s leading galleries, and some of London’s hippest restaurants like Hix and Rochelle Canteen, packed under one Carmody Groarke-designed tent. At the entrance visitors are clocked in the face by “Sloping Loafers,” a long corridor feeding into the fair and carpeted with a loud print of overlapping green, yellow and red loafer shoes, a collaboration between the Frieze Foundation, the textile company Maharam and the German artist Tomas Bayrle. Inside, the usual power brokers, like Gagosian and Victoria Miro Gallery, hog the prime real estate, showcasing a giant carbuncular sculpture by Franz West and Grayson Perry’s brilliantly colored and intricate tapestry work, respectively. But not to be overshadowed were smaller installations at Herald Street Gallery that included a sketch by Pablo Brownstein of London’s Liberty Department store being demolished or the Alison Jacques Gallery, where Lygia Clark’s relatively diminutive black and white collage works were on view. A sign of the economic times? On the whole, there were few showoff behemoth installations in favor of paintings, prints and sculptures on a more domestic scale.

Many visitors took advantage of the mild weather and milled around Regent’s Park where the Frieze is held, taking in the beautiful flower gardens and turning leaves, but also the scattering of sculptures like the giant spotted, dragon-necked flower by (surprise, surprise) Yayoi Kusama and Anri Sala‘s tall, warped “Clocked Perspective.” A 10-minute walk to the opposite end of the park revealed a second enormous tent (this one designed by the architect Annabelle Selldorf), dedicated to Frieze Masters, a new fair for art created before the year 2000. The masters fair aims to send a jolt into the market for work that wasn’t born yesterday. But admittedly it was a bit of struggle to leave the Frieze tent, buzzing as it was with exciting new artworks, cultivated eccentrics and unwashed asymmetrical hair sculptures, and move into a different tented world populated by Picasso prints and Andy Warhol drawings. Also in the jumble at Frieze Masters were exquisite Persian rugs, Roman statuary from the first and second centuries, and, my favorite, Giovanni Stanchi’s “An Allegory of the Four Seasons” — anthropomorphic portraits composed from painted flowers, fruits and vegetables.

Two off-site exhibitions not far from the Frieze tents are definitely worth a peek. Toby Ziegler’s “The Cripples,” concealed 14-floors below street level in an underground parking lot, is dazzling. Five large sculptures make reference to a work of the same name by the Flemish painter Pieter Bruegel and six enormous light boxes featuring thickets of horse legs glow and dim in the large concrete room (3-9 Old Burlington Street; through Oct. 20). And down the road at the Marlborough Contemporary, a new offshoot of Marlborough Fine Art, is Angela Ferreira’s exhibition “Stone Free”: sketches, photographs and installations connecting the Cullinan Diamond Mine in South Africa with Chislehurst Caves in South East London, ground zero of ’60s counterculture. (The title of the show comes from song by Jimi Hendrix, who performed there.)

The after-party, tonight at the Scotch, is a joint production with The Gentlewoman Magazine. Aside from a V.I.P. Frieze pass, it’s the hottest ticket in town.

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FINANCIAL TIMES LONDON

October 12, 2012 8:44 pm

The Art Market: Spoilt for choice

Fairs are multiplying madly. Is all this sustainable, and isn’t it leading to over-production?
Portrait of James Lord by Alberto Giacometti

‘Portrait of James Lord’, 1964, by Alberto Giacometti

The biggest buzz surrounded Frieze Masters, the latest addition to the Frieze stable, which opened on Tuesday in a separate tent near London Zoo, offering art from antiquity to the end of the 20th century. In a spacious tent elegantly fitted out by starchitect-to-the-artworld Annabelle Selldorf (three shades of grey were the only colours allowed, triggering many “50 shades” jokes), traditional dealers offered Renaissance gold ground paintings, Dutch still lifes, tribal art, Egyptian antiquities, modern art – and even contemporary art, as long as it was made before 2000.

The fair garnered praise for the high quality of the works on show and the cool minimalist presentation. Among the standouts was the stunning show of Calder and Miró at Helly Nahmad: one giant Calder, “Triumphant Red” (1959-63), bought just this June at Christie’s London for £6.2m (about $9.6m) and now being offered for an equally triumphant $20m, with a Miró painting (“The sorrowful march guided by the flamboyant bird of the desert”, 1968) at the same amount. An unconfirmed rumour held that both had gone to a Russian buyer.

Thomas Gibson was serenely showing a mainly not-for-sale group of Giacometti sculptures, drawings and paintings; McCaffrey Fine Art fielded a solo show of William Scott while Gagosian focused on Richard Avedon portraits. Sam Fogg showed a remarkable group of three 13th-century church gargoyles, at £2m.As the fair started sales were uneven, with modern art doing better than the Old Masters; but as adviser Lisa Schiff said, after looking at a 17th-century Dutch painting with a client, “These are not purchases you hurry into, you need to do some research before you pull the trigger.” This is exactly the sort of crossover collecting the Frieze organisers were hoping for when they created the new fair.

Frieze Masters did not steal the thunder of the contemporary Frieze London (now open to works made after 2000), which attracted the usual hordes of VIPs on Wednesday. This fair has shed its gritty, edgy image to become far more generic, and some collectors said it no longer contained any surprises. Its younger gallery “Frame” and “Focus” sections may be a little weakened by Masters’ “Spotlight” section, which slightly overlaps. We shall see how that plays out next year.

Nicholas Hlobo sculpture

Nicholas Hlobo sculpture

Sales at Frieze London started off sedately, but Stevenson from South Africa was happy to see a Nicholas Hlobo sculpture bought for Tate by the Outset fund for €50,000; Cheim and Read sold a Louise Bourgeois sculpture for $1.5m, while Sprueth Magers found a European buyer for Condo’s “Red Profile” (2012) at $325,000.

. . .

In the midst of all this, the price data site Artprice reported that the market for contemporary art actually shrank 6 per cent between July 2011 and July 2012. The market is worth $1.1bn, it estimates, based on auction results. Asia, which includes mainland China and Hong Kong, Malaysia, Indonesia, Korea, Japan and Taiwan, represent a chunky 43 per cent of the market. The Chinese figures are to be treated with caution; Artprice maintains they are carefully checked, although I don’t quite see how. Basquiat was the highest grossing artist with $103m in sales, followed by Zeng Fanzhi and Christopher Wool.

. . .

In another counter-intuitive turn, when Phillips de Pury opened the auction week on Wednesday night with a £12.2m sale, it fell well short of the £15m-£22m expectations and saw a bleak 34 per cent bought in. The top lot was a Basquiat at £2.6m. While the auction house does not confirm this, it will be moving into huge new quarters next year at 30 Berkeley Square, just acquired for over £100m by its owners, Russian luxury goods company Mercury.

. . .

13th-century gargoyle

13th-century gargoyle

On the subject of crossover collecting, the hedge-fund mogul Christian Levett has joined forces with gallery owner Toby Clarke of Vigo, launching the new venture – which retains the name of Clarke’s old gallery – in the former Blain|Southern space in Dering Street this week. Levett collects in a number of areas, notably antiquities and modern art, as well as buying contemporary art. In 2011 he opened the Musée d’Art Classique de Mougins in the south of France, which displays Roman, Greek and Egyptian sculpture, vases, coins and jewellery as well as ancient arms and armour. He also collects living artists represented by Vigo such as Leonardo Drew, Biggs and Collings, Kadar Brock and Boyle Family, from whom he has commissioned a world series installation. “It is exciting to partner with a collector with such varied tastes, who is open to different forms of art,” said Clarke.

. . .

Many visitors to Frieze, almost overwhelmed with events, were questioning whether the whole art fair phenomenon is spiralling out of control. Hardly a week goes by without another art fair being created: the latest is Art Istanbul (September 2013), launched by Sandy Angus, one of the founders of the Hong Kong fair, now part of the Art Basel group. Is all this sustainable, and isn’t it leading to over-production? At a debate entitled “Does Size Matter?” this week a representative of Gagosian gallery affirmed, straight-faced, that “there is no over-production” – and went unchallenged. Considering that White Cube is showing Kiefer in Hong Kong, and both Gagosian and Ropac are launching their new spaces in Paris with Kiefer, it seems difficult not to believe that many artists might be overstretching their creative capacities.

Georgina Adam is editor-at-large of The Art Newspaper

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Sam Fogg, London Frieze Masters 2012 Photograph by Linda Nylind Courtesy of Linda Nylind/ Frieze

So, Frieze is over. Or, rather Frieze London and Frieze Masters are over. And thus the most self-aware art festival closes its 2012 London extravaganza. It was quite a year, starting with the usual Nathan Barley moments: when I went to pick up my press pass, the queue at the press office was longer than the queue to get in the fair. Surely Andy Warhol would have enjoyed it: in 2012, everyone will be an art critic for fifteen minutes. At first, I was mildly concerned, that this might be the year that everyone who claims they’ll never go to Frieze again finally decides not to, but once inside, things were packed to the usual crowd-surfer-only levels.

I’m always suspicious of journalists who turn up with eerily perfect quotes in their articles, but when I heard someone saying “There’s so much to buy and so little time”

at one of the Frieze Masters‘ stalls, I suddenly had a tiny bit more faith in journalism as a profession. In many ways, the sheer incongruity and fundamental appropriateness of “so much to buy so little time” is what drives Frieze, both economically, of course, and creatively. When this review opened I said Frieze was self aware but that’s probably why Frieze inevitably ends up being more enjoyable than other art fairs, it knows what it’s there to do (i.e. sell art), but somehow avoids making that fact obvious. Sweaty dealers fretting over sales may make the art market what it is, but who wants to see that? Surely, Frieze reasons, a live, three-act murder mystery by Asli Cavusoglu is more fun to watch. Damn right it is.

What were the highlights? Frieze Masters certainly rates, not least for the sensitivity to

presentation of the participating galleries. The Frieze Masters‘ stalls were rather more like little art kiosks which you could duck into to escape both the pummel of London rain and the frenetic atmosphere of the contemporary fair across the park. A number of galleries chose to make their stalls essentially “mini-exhibitions” which focussed on the work of a single artist. Hauser and Wirth showed off a dazzling array of Eva Hesse drawings, Pace Gallery had a row of transcendent Kurt Schwitters collages, Wienerroiter-Kohlbacher brought out the Egon Schieles. It was almost too much to take in, but the difference with Frieze Masters was that there was enough space and time to return and look again rather than being pumped along by human peristalsis as in Frieze London, and you could buy a gargoyle if you had the extra cash.

Frieze-London-2012-Phototgraph-by-Linda-Nylind-Courtesy-of-Linda-Nylind-Frieze

Frieze London 2012 Phototgraph by Linda Nylind Courtesy of Linda Nylind/ Frieze

Not that there’s anything wrong with being pumped along by human peristalsis, it’s just about context. Returning to Frieze London, I did my damnedest to focus, especially on the Frieze Projects which always sound so great conceptually, but somehow underwhelm. I’m generally sorry to say it was another one of those years. The only one of the Frieze Projects which really managed the kind of otherworldliness I was hoping for was the project by Grizedale Arts and Yangjiang Group titled Colosseum of the Consumed, a modest wooden “colosseum” in which various artists and performers created works tailored to the surroundings and which was dotted with food stalls from the kind of organic and sustainable range of producers art-beings frequent — I must say, the kimchi on offer was a work of art in its own right. I only caught one of the performances, Bedwyr Williams’ autopsy of a humanoid curator fashioned from cake. His performance had the verve and poetry-

comedy linguistic flair he’s known for, and managed to rhyme “sambuca” and “puker” to a standard of which any MC would have been proud.

Joanna Rajkowska’s Frieze Projects piece was also worthy of note. You’ve heard of “sound pieces” no doubt, not least after Susan Phillipsz Turner Prize victory in 2011, but Rojkowska ventured into the lesser plumbed world of the “smell piece”. The idea was that Rajkowska would have incense burning near the entrance of the fair and this would have a transformative effect for all the fair goers and G4S security folks, perhaps turning the queue experience into a form of transcendental meditation. Rain, unfortunately, made it impossible to fully engage with the work, but the dry moments, were more interesting for how routinely life went on, incense or no incense. Perhaps we’re all so accustomed to bizarre odors in public, not least parks, that we’re rather

more likely to be reminded of Camden High Street than Xanadu when the incense does its thing.

For me, Frieze ended after a magisterial talk titled, On Stupidity, by John Waters in which the self-styled Pope of Trash explored the value of stupidity and the limits of intellect. The audience had dozens of questions, “Is art stupid?” “Is sex stupid?”, “Is the internet stupid” — no one was dumb enough to ask if talks on stupidity were stupid — Waters’ responses were all far too witty to condense (and many, this being Waters, were gloriously unprintable) but broadly the answers seemed to be yes, and long may such stupidities continue. Convert it to Latin and you’ve got a creditable motto for Frieze.

friezelondon.com

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Servet Kocyigit, Everything (2012)

Mark Handforth, Colour Phone (2012)

Geoffrey Farmer, Casey Kaplan

Yayoi Kusama, Flowers That Bloom Tomorrow (2011)

Michael Landy, Self-Portrait as Rubbish Bin (2012)

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The Telegraph London

Frieze Art Fair 2012: busier and buzzier than ever before

Ten years since its beginning, the Frieze Art Fair is still bringing all the glamour of the art world to the capital, writes Florence Waters.

Arthur Kennedy 2012: A work by Caragh Thuring, who had a piece purchased by the Tate at Frieze Art Fair

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Arthur Kennedy 2012: A work by Caragh Thuring, who had a piece purchased by the Tate at Frieze Art Fair Photo: Tate Photography. Courtesy of Thomas Dane Gallery, London

Ten years on and Frieze Art Fair, London’s international contemporary art bazaar, is just one organ in what is now a city-wide festivity, an excuse for galleries to flaunt their best new art in a heady long weekend that brings collectors, dealers, scholars and all the glamour of the art world to the capital.

One of the most exciting things to observe on VIP day at Frieze, apart from the intoxicatingly light-handed exchange of cash and Tatinger, is the pace of the changing mood. One always notices the changes, and this year there are many. In typical austerity-defying fashion one New York gallerist told me yesterday that the first day this year was “busier and buzzier” than she had ever seen it, another told me that there was quite a different crowd than normal – and an unusual number of new collectors.

The biggest change is in the presentation of the wares themselves. On the whole, galleries have opted for restrained curation and honestly crafted pieces over big statements. Bombast is out, and art on a domestic, thoughtful scale is in. Precious Objets d’Arts with a contemporary twist were the order of the day; Matthias Merkel Hess’ glazed porcelain oil cans (‘Bucketry’, 2011-12) were selling like hot cakes at ACME; the French artist Jean Luc Moulène’s vase-sized gorgeous ornamentally entwined glass sculpture that requires three highly-skilled glassblowers in a costly high-risk process, was barely visible for the mob at the Thomas Dane Gallery. There was plenty of tapestry, crochet, gold, jewelry, a painting simply called ‘Baskets’, 2012, by Sigrid Holm Wood, painted in natural dyes all naturally sourced by the artist in Chinese healing plants.

Perhaps this conservative shift is in part due to the advent of the first Frieze Masters, which takes place across Regents’ Park this week (Ed Miliband has been among high profile guests), and the rising popularity of rival design fair, the Pavilion of Art and Design. This week sees the opening of more heavyweight satellite events than ever too, among them a major exhibition of new works by the master of refashioned formalism Anish Kapoor, at Lisson Gallery, and the crowd-pleasing “outsider” art wagon Museum of Everything which has landed at Frieze Masters.

But shifting interests reflect the times too. Last year, one of the artworks getting the most attention was a private “superyacht” (it cost €65m to buy as boat, and €75m to buy as an artwork, authenticated by the German artist Christian Jankowski). This year, in the same spot was erected one of the more memorable of this year’s “Frieze Projects”, experimental audience-participatory artworks designed to punctuate and enliven the monotony of the aisles. The Chinese artist collective, the Yangjiang Group, have teamed up with Cambrian organization Grizedale Arts to erect ‘Coliseum of the Consumed’, a plywood scaffold for food stalls and performances, which operates on the simple basis that “art should be useful”. I spoke to one of the stall owners who was selling juniper juice in plastic baggies and had raised £40 for Youth Group UK doing so.

For all the superficial changes, a decade after it first opened remarkably little has changed at Frieze, given how much has changed outside the marquee walls. Why, for instance, has it taken ten years for the first African art gallery to land at London’s international art fair?

Stevenson Gallery from Cape Town and Johannesburg had many reasons to celebrate yesterday. Not only were they a welcome addition to the contemporary art market bazaar, but the Tate had chosen to buy one of their works too. ‘Balindile I’ by young rising South African star Nicholas Hlobo is a long phallic hosepipe sculpted out of inner tubes which grow into a rubbery plant slumping like an undignified dead animal and sewn together with ribbon. It was among four new acquisitions the Tate made at Frieze yesterday, including a wonderful Seventies canvas by the underrated American painter Jack Whitten who was making sweeping cloth abstracts long before Gerhard Richter.

In terms of new artists, it’s always interesting to see who has been put out by dealers – and who is selling. Thomas Dane had almost completely sold a whole wall of nine works by British painter Caragh Thuring, one of them to Tate. Reminiscent of Hockney’s early stuff, she interprets environments such as a New York subway station by isolating symbols and patterns in architecture and arranging their forms onto linen in a simplified and flat manner that play tricks with our memory of a place. Overall, a Frieze year to enjoy.

Frieze Art Fair runs until Sunday in Regents Park

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Untitled, 2012 by Maria Nepomuceno at Victoria Miro

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Frieze Week, various venues, round-up

As Frieze London draws to a close, Alastair Sooke gives his verdict on the exhibitions run in tandem with the contemporary art fair, including the National Gallery’s Richard Hamilton: The Late Works.

Richard Hamilton's painting Lobby, from the Richard Hamilton - The Late Works exhibition at the National Gallery.

Richard Hamilton’s painting Lobby, from the Richard Hamilton – The Late Works exhibition at the National Gallery.  Photo: EPA/ANDY RAIN

An enormous flower is sprouting from the lawns of Regent’s Park. Crawling with black polka dots, it writhes and rears its head like something from The Day of the Triffids. Of course, it isn’t a real flower, but a sculpture by the Japanese artist Yayoi Kusama greeting visitors to Frieze London, the annual contemporary art fair that ended on Sunday.

Alluring yet dangerous-looking like a Venus flytrap, Flowers That Bloom Tomorrow (2011) made an appropriate gatekeeper for the fair. Inside the hothouse of the nearby marquee, the rarefied ecosystem of the art market offered up artists like exotic plants. Dealers and their clients were like Dutchmen in the grip of tulip mania. Frieze is by turns exhilarating and maddening. Nowhere else is the cross-fertilisation of art and money so flagrant.

Still, a welcome side effect of the fair’s success is that London’s galleries mount exciting exhibitions to coincide with it. One such show is Richard Hamilton: The Late Works at the National Gallery (until Jan 13; four stars). Having accepted the invitation to exhibit there in 2010, Hamilton, who pioneered British Pop art in the Fifties, worked on the show until his death last year aged 89.

The exhibition contains almost 20 riddling paintings, full of allusions to art history as well as the artist’s earlier work. Many of the pictures were designed using a computer, and their precise style, presenting nude women inside modernist interiors, is part Old Master, part Ikea catalogue.

The contemporary world looms large: we see vacuum cleaners — an obsession of Hamilton’s since his Pop collages of the Fifties — as well as mirrors and modish furniture. There are references to Hamilton’s hero, Marcel Duchamp.

But there is an awareness of older traditions, too. In several pictures, Hamilton draws upon religious painting. In An annunciation (b) v2 (2005), a curly-haired, naked Virgin receives divine news by telephone. Hamilton, who has a reputation as a cerebral artist, was no stranger to sensuousness and jokes.

Lobby (1985-7) replicates a Seventies postcard of the foyer of an upscale hotel in Berlin. It is a large, perplexing oil painting, in which mirrored pillars complicate the convincing representation of space. In the distance, we glimpse an expressionless attendant, but otherwise the scene is empty, anodyne, absurd. An Escher-like staircase leads nowhere. We can practically hear the “plink” of an elevator, and the dirge of piped music.

Hamilton called Lobby a “metaphysical” painting, since it presents “a kind of purgatory”. It offers a chilling vision of an excessively corporate world in thrall to shiny surfaces. Everything feels numb and hollow.

Hamilton once told me that for most of his life he felt “rejected”. I suspect he may be the most underrated British artist of the 20th century — the opposite of, say, his near-contemporary David Hockney. In recent years, Hockney has won acclaim for doodling on an iPad, whereas Hamilton, who was always at the forefront of using technology to make art, garnered none. In advance of a retrospective opening at Tate Modern next year, the National Gallery’s exhibition should start securing Hamilton the recognition he deserves. Better late than never.

There is one reason to see Mel Bochner: If the Colour Changes at the Whitechapel Gallery, and that is the American artist’s so-called “thesaurus paintings” (until Dec 30; three stars). In this recent series, Bochner, who is often described as one of the founding fathers of conceptual art, paints synonyms of words in bright capital letters.

In Sputter (2010), the title sparks a list of 20 related words (“stutter”, “stammer”, “sniffle”, “snort”, “yap”, “yelp”, and so on), culminating in the brutal monosyllable: “croak”. Here is a Beckett-like prose poem condensing existence to its grim essentials. But it is funny as well as bleak: the tasteless, Sesame Street colours clash with the pessimistic message that life is a struggle before we kick the bucket.

Master of the Universe (2010), which ends with the sting in the tail of “Gotcha by the Balls”, is a slangy satire upon Western capitalism. It is hard to resist paintings with such sly wit. In comparison, Bochner’s earlier work, some of which is on show at the Whitechapel, feels boring.

Franz West: Man with a Ball, an exhibition at the Gagosian Gallery of work by the influential Austrian artist who died this summer, is full of infectious, rough-hewn energy (until Nov 10; four stars). Intestinal forms in baby pinks and blues wriggle and quiver like serpents hypnotised by a snake charmer — though arguably the fibreglass supports detract from the effect.

Amorphous lumps of papier-mâché and polystyrene splashed with bright acrylic paint levitate on slender steel sticks. (In some cases, West’s boulder-like forms balance on cheap ironing boards.)

Everywhere, there is a sense that the work — a jab in the eye of classical sculpture — is still in flux. This must be the most exuberant, freewheeling show in town.

Valkyrie Crown, a patchwork fabric structure by the Portuguese artist Joana Vasconcelos currently nesting like an alien life form in the upper gallery of Haunch of Venison, has a festive quality, like a massive piñata (until Nov 17; three stars). With its sprawling tendrils and tentacles, it is pleasingly unruly.

The same can be said for the humanoid sculptures of the Leeds-born, LA-based artist Thomas Houseago at Hauser & Wirth (until Oct 27; four stars). With their gloopy surfaces smeared onto jerry-built supports, these figures have an awkward, lumbering quality that imbues them with personality.

By contrast, Rothko/Sugimoto at the new Pace London gallery feels insufficiently anarchic (until Nov 17; three stars). Glowering late paintings by the Abstract-Expressionist Mark Rothko are paired with silvery-grey seascapes by the Japanese photographer Hiroshi Sugimoto. The juxtaposition is superficially successful, in that the sea-versus-sky divisions of Sugimoto’s images echo the bands of Rothko’s canvases, which are dominated by dark colours.

But Rothko’s expressive, stormy brushwork feels much more exciting than Sugimoto’s numb, bleached-out vistas, which are the visual equivalent of mood suppressants. Still, sometimes a dose of tranquillity amid the turmoil of Frieze is just what the doctor ordered.

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The Telegraph London

The best anti-Frieze in London

Colin Gleadell looks six of the best exhibitions with shows opening that aren’t part of Frieze art fair.

Issues of womanhood: 'Full Steam Ahead’ by Joana Vasconcelos is on sale at the Haunch of Venison gallery<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
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Issues of womanhood: ‘Full Steam Ahead’ by Joana Vasconcelos is on sale at the Haunch of Venison gallery  Photo: CUnidade Infinita Projectos

Not all of London’s top galleries are taking part in this week’s art fair jamboree in the capital. For a variety of reasons, some are staying at home and mounting significant exhibitions. Here are six of the best that open to the public tomorrow, all within walking distance in Mayfair.

Frieze won’t accept the Haunch of Venison gallery because it is owned by an auctioneer, Christie’s, but the gallery will continue to apply on the basis of its excellent exhibition programme. In its New Bond Street galleries is a solo show for Joana Vasconcelos, who will represent Portugal at the next Venice Biennale and whose recent exhibition at the Château de Versailles was a sensation. A series of eye-catching sculptural installations that address issues of womanhood and nationality are composed of everyday objects such as tiles and textiles. Full Steam Ahead is a 2m construction in the shape of a water lily made from steam irons in which the petals open and close, emitting steam. Prices range from £8,000 to £400,000.

A surprising absence from the Frieze Masters line-up is Richard Green, with his enviable range of art from Old Masters to modern. But with his new gallery next to Sotheby’s proving a big draw, Green opted to play away last month at the Paris Biennale des Antiquaires and was rewarded with a handful of million-pound sales. For Frieze week, he has dipped into his collection for a broad survey of Britain’s leading 20th-century modernists, Henry Moore, Ben Nicholson and Barbara Hepworth. Shelter drawings, family groups and reclining figures by Moore are juxtaposed with abstracts and carved reliefs by Nicholson, and bronze, metal and carved alabaster sculptures by Hepworth. Only half the works on view are offered for sale, priced from £125,000 to £2 million.

The last time Berkeley Street dealer Simon Lee showed at Frieze, he spent too much time in a taxi between the fair and his gallery trying to service clients at each. So this year, in addition to a gallery exhibition of Picasso-inspired paintings by Austrian artist, Heimo Zobernig, he has taken over a floor in a nearby underground car park for an installation by widely collected young British artist Toby Ziegler. In a nod to the aspirations of Frieze Masters to bridge the old and the new, Ziegler has rendered the subjects in Brueghel the Elder’s painting The Cripples as giant aluminium, three-dimensional, cubistic figures, looped around supporting timber frames instead of crutches. Prices for Ziegler’s Cripples are up to £50,000 each.

A star in the firmament of late-19th-century artists sometimes dubbed as British Impressionists, Sir George Clausen’s highest prices (around £500,000) have been for his 1880s scenes of rural peasant life, flecked in sunlight. For Frieze week, the Fine Art Society in New Bond Street, another surprising absentee from Frieze Masters, is presenting a Clausen retrospective in which his later landscape and still-life paintings are reassessed. Priced from £20,000 to £100,000.

Blain/Southern is the latest incarnation of a partnership that began 10 years ago, was bought by Christie’s, but has been independent for the past two years, not quite long enough to apply for the main Frieze fair. In that time, founders, Harry Blain and Graham Southern, have been rebuilding their stable of artists, and launch their new gallery in Hanover Square with a show for artist/punksters Tim Noble and Sue Webster, who last showed in London with the Gagosian Gallery five years ago. Entitled Nihilistic Optimistic, the exhibition comprises five new self‑portrait shadow sculptures composed from arranged debris and projection lamps, together with a splendidly teetering, unlit tower of junk, My Beautiful Mistake, priced between £60,000 and £300,000. The pair has also released a limited edition vinyl record priced at £200. Don’t buy it for the music, though, because there isn’t any.

Shizaru is a new gallery in Mount Street founded by Benjamin Khalili, the son of the Islamic art collector Nasser Khalili. So far, it has been feeling its way into the contemporary art market, but makes a major breakthrough this week with a vast exhibition curated by the renowned American collector Beth Rudin DeWoody, who sits on the board of the Whitney Museum of American Art in New York.

Bad for You is what it says it is – an exhibition about the relationship between art and human vices through the eyes of 67 American artists, from Andy Warhol to in-vogue photographer of uninhibited youth, Ryan McGinley. Prices range from £1,200 to £625,000.

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Frieze Masters art fair reflects fashion for all things old

Frieze – a byword for modern and cool – is to be joined this year by a fair selling Old Masters and ancient artefacts

Frieze art fair

Last year’s Frieze art fair in Regent’s Park, central London. This year it will be joined by Frieze masters. Photograph: Sarah Lee for the Guardian

Since 2003, the autumnal trees and clipped grass of Regent’s Park in London have been the scene of the annual Frieze art fair, the most important contemporary art fair in Britain and temple to all that is hyper-modern and cool. But this year it will be joined by something quite different – a new fair, Frieze Masters, that will be selling everything from ancient Egyptian statuettes and Old Masters to artwork made up to the year 2000.

If the emergence of Frieze art fair heralded, or confirmed, the hegemony of the modern in fashionable taste, then now we are being told something different: old is cool again.

The “Frieze effect”, as it is called (though you might argue about how far it is symptom, or cause, of the fashion for the modern) has not simply been about the predilections of the oligarchs, hedge-funders and Qatari magnates who have been hoovering up contemporary art. The taste for the new also filtered into style magazines, TV design shows, the way we furnish our homes. “It was the Wallpaper* magazine generation and the Blair generation,” says the Frieze co-founder Matthew Slotover, who argues that fashion in art is inextricably connected to trends in wider taste.

“There was a feeling in the late 1990s and early 2000s that we need to be younger, more international looking. In the 1980s and early 90s, people aspired to houses that looked like mini-stately homes, with swagged curtains and antiques.” But, he adds: “Now both that 1980s look and the austere, minimalist look seem a little backward-looking.”

The idea that the arch-marketeers of the brand-new should now be urging the monied to buy medieval stonecarving and Tiepolos may seem a little startling, but Frieze Masters has not emerged from nowhere.

Slotover and his business partner Amanda Sharp, along with the fair director Victoria Siddall, have been impelled by what they are seeing around them: by what artists are saying and doing, by what kind of shows they see curators mounting. The worlds of contemporary and historic art – often institutionally sealed off from each other both in the academic and the commercial worlds – are opening up towards one another.

“It feels like a zeitgeist thing,” said Siddall. She ticked off a list of exhibitions where the old and the new had mingled. At last year’s Venice Biennale, Tintorettos were shown in the official main exhibition, generally regarded as the contemporary artworld’s most important state-of-art-now statement. Works by Poussin were paired with canvases by Cy Twombly, who died last year, for a show at Dulwich Picture Gallery. Ed Ruscha, the hyper-cool, pop-inflected Californian painter, has curated a show from the magnificent collections of the Kunsthistorisches Museum in Vienna; at the same institution Jeff Koons had given a talk about medieval wood-carving.

In the UK, the Turner prizewinner Grayson Perry last year became the first contemporary artist to curate a show at the British Museum. This summer, brand-new works by Chris Ofili and Mark Wallinger were shown in the Sainsbury wing of the National Gallery – a space more accustomed to Leonardos than edgy installation art. The current Bronze exhibition at the Royal Academy in London – with Tony Cragg and Koons shown along with ancient Etruscan sculpture – is yet another example of the tendency.

According to Siddall, “to have all these events more or less at the same time feels like we are being offered a new way of looking at art. It’s something of course that artists have always done – to look at their own work in relation to that of the past – but the rest of us are catching up.”

According to Rupert Thomas, editor of the World of Interiors magazine, which covers art and antique fairs as well as taste in decoration, said: “Non-contemporary art, if you like, is what artists have been buying for years. Jeff Koons has been buying up old work, Corot and the like, for a fraction of the price of what his own work sells for. Frieze is picking up on what its own artists have been doing for a long time. They are brilliant at finding the right current, picking up on what works commercially.”

The message of Frieze Masters is not about a move away from the contemporary, but about seeing it in the light of history; the historic art, meanwhile, is given a cool edge by association with Frieze. It is significant that the exhibitors at Frieze Masters are obliged to show their work against a choice of four backgrounds: white, or three shades of grey. No red damask or swagged curtains allowed.

Xavier Bray, an Old Master curator at the Dulwich Picture Gallery, has just been hanging a show that pairs portrait heads by Lucian Freud and the 16th-century Bolognese artist Annibale Carracci for a new show at the Ordovas gallery. He has practical views on what he hopes Frieze Masters can do: “jumpstarting”, he hopes, the market for Old Masters, and helping draw attention back to the historic work that has recently taken second place to the excitement of the new. “We want to attract the hedgefunders to buy Old Masters and of course, eventually give them to us and regenerate our collections,” he said. People have, he said, “forgotten how to look at Old Masters” – which are seen as “not as edgy, not as exciting” as contemporary work.

While Bray finds himself working with contemporary art, recent years have also seen a burgeoning of contemporary curators appointed to museums with historic collections – the Louvre, the Hermitage and the Kunsthistorisches Museum. Jasper Sharp works at the last, and invited Ruscha to work with the Viennese collection. As with Perry’s exhibition at the British Museum, the exhibition is about an intuitive, non-academic but fiercely intelligent eye revealing art in a way that no academically trained art historian would do. “The Brueghels he hung looked as if they had been painted 10 minutes ago,” Sharp said. “Sure, with some of these projects there’s a little tokenism: it has sometimes felt as though historic collections have needed a little stardust sprinkled over them.” But, he added: “Artists are the most articulate advocates of historical art. They can bring it alive.”

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Frieze art fair – review

As frenetic and irreverent as ever, this year’s Frieze also launched its first ‘historical’ art fair, featuring everything from medieval gargoyles to, er, David Hockney…

miranda sawyer william eggleston

Miranda Sawyer admires a William Eggleston at Frieze Masters: ‘They cost “185 US”, says the gallery owner, which means $185,000.’ Photograph: Katherine Rose for the Observer

I’m standing on a wooden balcony. It forms a square: slightly rickety, not too wide, not too high. Standing here is a bit like hanging in a tree house, except that where the tree should be there’s a space. A space for art to take place.

Here’s some now. Below us, a big man in red shoes, a red hat with floppy ears and a butcher’s apron is performing an autopsy. The corpse lies on a metal trolley. It appears to be naked – you can see the sparse hairs on its chest, its spud-like genitalia – but it’s wearing brown shoes and serious specs.

The man in the apron – artist Bedwyr Williams – addresses the corpse.

“Curator. Cadaver. Cake,” he announces solemnly, and wields his knife.

Williams has a problem with curators and has decided to address it by cutting up a curator cake. He talks as he does so (“They celebrate their eyes with unusual spectacles because their eyes is their business…”), gradually slicing the cake to reveal its brain and other organs. It’s funny, engaging, chaotic. He has a great way with words. And at the end, everyone gets a cup of tea and whichever bit of corpse they want to eat. Tim Marlow, curator and broadcaster, chows down on the penis. It looks tasty.

Tea and cake – whether art cake or just the ordinary kind – is always nice, and a welcome relief within the strange hall-malls of Frieze. It’s not just that looking at art is tiring, but Frieze itself somehow sucks up your energy and replaces it with an anxious jitteriness. Am I missing something? What’s going on there? Should I wait in this corner where an artistic murder mystery appears to be developing or should I try to get into a talk? Even when you slump, on groovy benches covered in laughing cows, you find yourself consulting your map, planning your next foray. Frieze is a fair in all senses: it exists to sell work, but it’s also a collection of entertainments. A festival; like Edinburgh, like Glastonbury.

This year, the 10th Frieze, is accompanied by the now familiar big gallery openings. London’s art orgasms are timed to chime with Frieze. There are great shows at the Serpentine (Thomas Schütte), the South London Gallery (Rashid Johnson), Tates Modern and Britain (William Klein and Daido Moriyama; the Turner prize and pre-Raphaelites), as well as interesting events happening all over the capital. The Rain Room at the Barbican. Lindsay Seers’s installation at the Tin Tabernacle in Kilburn. Sunday Fair, for smaller galleries that can’t afford Frieze’s prices. Arrrggh! Too. Much. Culture.

But my job here is Frieze, and its new companion, Frieze Masters, which promises non-contemporary art displayed in a contemporary manner. Meaning: no stripy wallpaper, no scary doormen and not much context. Instead, the art – from ancient Egyptian sculptures to medieval friezes, from old masters to (cough) ethnic art – is shown Frieze-styley: within white or grey boxes, easily entered, easily left.

It’s an enjoyable show: smaller and easier to negotiate than its big sister. Though it seems weird to see Warhol and Basquiat, Avedon and Hockney among the Rubenses, the Picassos. There’s even a series of Thomas Schütte photographs on display as you walk in. I thought this was the oldies’ section? I ask, and apparently the cut-off point for Frieze Masters is 2000, so Masters is essentially all art except that made in the past 12 years. Everything and everyone, from teenagedom onwards, is a potential master, it seems.

There are odd juxtapositions: one gallery shows Annie Leibovitz photos next to Watteau sketches, which looks… I think the technical word is shite. Better are the galleries that have the courage of their convictions. At Cheim & Read/Victoria Miro there are some gorgeous William Eggleston photographs, previously unprinted, carefully blown up into amazing large-scale pieces. Editions of two, one kept by Eggleston. They cost “185 US”, says the gallery owner, which means $185,000. Cheap when compared to a million-plus Turner.

The Museum of Everything is showing the cute, closed sculptures of William Edmondson, the manual labourer who became the first African-American artist to be given a one-man show at New York’s Moma. Opposite, at Alison Jacques, are some lovely paintings from Dorothea Tanning, who died in January this year at the age of 101. And I’m a fan of the three gargoyles at Sam Fogg, a gallery that specialises in medieval art. Almost all gargoyles were taken down from churches in the 19th century and replaced; these were once part of Notre Dame cathedral in Strasbourg. They’re displayed at an angle so they spring out at you, clawing camply at the air with a single paw apiece. Miaow!

Back in Frieze I wander and wonder. Sadie Coles has an arresting all-star display, including a familiar but still great Sarah Lucas piece called Mumum, which shows stuffed tights, like milky tits, packed together as a hanging chair. Nearby, the Lisson’s stall is equally showy. I like Ryan Gander‘s parade of squashy faux-designer objets. And I especially like the commentary on them from author Ned Beauman, in which he discusses the future of designer accessories: logo-laden pill boxes, overpriced OAP gifts.

I hear Beauman’s opinion courtesy of an audio guide, an artwork from young Belgian artist Cécile B Evans. You are guided to pieces to hear talks by Lionel Blue, Mary Beard, Patrick Moore, Grace Dent. I talk to Evans, who is lovely, and she tells me that she approached around 120 people to take part, and “I’ve never been rejected so many times”. Even luminaries such as Malcolm Gladwell and Adam Curtis demurred because “they didn’t feel qualified, they were scared”. It’s astonishing how intimidating art can be to people. They feel there is a “right” response, a respect that is due, a knowledge that’s needed before any opinion can be given.

Yet art doesn’t have to be anything. It can be a joke, a sentiment, a memory trigger, a cake. The art is often contained in the viewer’s response. It’s hard to free ourselves from the idea that art must be viewed reverently, in quiet contemplation of its beauty. Frieze, with its madding crowds, its fizz and daftness, its clutter, goes some way to liberating us from our fear. But I wish it would do more; let the humanity in, alongside all those paying humans. It has the hordes, why not give them some fun? As well as cake, of course.

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Art

Frieze Art Fair London 2012 report

Painting and mosaic by Julian Opie at the Lisson Gallery stand at Frieze Art Fair 2012

By Emma O’Kelly

Brothel-creeper patterned walls, a lawn breathing incense and a provocative mix of sculptures greet the long queues of visitors to this year’s Frieze Art Fair. ‘This would absolutely never be allowed in a public park in the US,’ says a well-groomed male couple in response to a white bust of a muscley naked lady by Alan Kane and Simon Periton.

Their reaction flies in the face of what Grayson Perry, in conversation with Martin Parr, said at talk sponsored by Italian lifestyle brand Yoox: ‘Shock is the standard response to art now because people want to be titillated. But it’s hard as people are inured to it.’ Tell that to Mitt Romney’s supporters.

But maybe Perry is right. Inside the tent, it seemed there were fewer genitals, less gore and shock horror than in previous years. The fair felt more grown up as it entered its tenth year. Could this be due to the arrival of Frieze Masters, a sister event at the north end of Regent’s Park, which features everything from ancient Mesopotamian treasures, Giacometti and Richard Avedon prints?

Nicholas Logsdail, founder of the Lisson Gallery, which was exhibiting in both shows says: ‘Masters is quieter than I had hoped, but I have seen more serious collectors in here than in the contemporary fair. It’s the first year, so we will see.’

Over at the contemporary tent – a positive bun-fight compared to the serene Masters show – crowds formed around a chalkboard map of the world by Rivane Neuenschwander on to which people were invited to pin fabric slogans taken from the Occupy movements. Featuring words like ‘debt’, ‘future’ and ‘nature’, printed onto fabric labels, the work – shown by Tanya Bonakdar Gallery – is to be sold as it appears at the end of the fair.

Tanya Bonakdar says: ‘It’s been the best year for me. It feels different and I think its due to Frieze Masters which has brought some serious collectors in to town.’

There was further crowd participation at Grizedale Arts, a farm-cum-arts-organisation from the Lake District, where people in white uniforms were throwing tomatoes at each other. ‘It’s the re-creation of an arcane village sport,’ explains curator Alistair Hudson, whose mission is ‘to show that art can be useful in society.’

To this end, Grizedale set up a model cricket pavilion designed by Chinese artists Yangjiang Group, and hosted a farmers market with a difference. Along with the sale of homemade bread, pickled eggs, kimchi and jam, over the weekend, various chefs appeared to cook unusual fare, the highlight being Sam Clark of Moro and his Vermin Dinner (including the likes of parasitic fungi and squirrel). ‘It’s the only place in the fair where you actually see cash changing hands,’ says Hudson.

Cashless transactions were continuing apace at Brazilian gallery Vermelho, where director Akio Aoki explained: ‘In Brazil, there’s a shortage of art. It’s almost impossible to get post-2008 works by Brazilian greats like Ernesto Neto and Beatriz Milhazes. And where collectors were spending £5000, they are now spending £50,000.’ He is hotly anticipating the opening in December of the White Cube in Sao Paulo where new works by Tracey Emin will go on show.

The Frieze effect sends ripples all across the city that encourage the big galleries to put on blockbuster shows, and smaller spaces to roll out their best artists. At the Zabludowicz Collection, located in a beautifully restored Methodist chapel, British artist Matthew Darbyshire created a fictional dystopian village featuring room sets decorated with furniture from Next, ironic corporate hoardings used by developers to cover repair-work on historic buildings and bad-taste civic architecture. Within the fair, at Herald St Gallery, he created vitrines featuring Avon aftershave bottles. The smell of the aftershave still lingers in his studio.

Over at Sunday, a show featuring works from 20 galleries less than 7 years old, sales and visitor numbers were up. ‘We could have sold Jack Strange‘s work six times over,’ says Rebecca May Marston, director of Limoncello gallery – one of the event’s founding galleries.

Despite its air of chaos and its down-at-heel location, people couldn’t get enough. This was the same everywhere you went; Lisson Gallery held an evening banquet and 700 people turned up. Three hundred more queued outside. At Tim Noble and Sue Websters after party at Tramp, it was one in, one out. A performance evening at David Roberts Art Foundation saw queues round the block.

Perhaps Perry, talking about why Internet art will never work, sums it up best: ‘I want to see different textures, different scales. I don’t want to see all my sculpture through a bit of flat glass. We are human animals. We need our tribal gatherings like Frieze.’

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ART OBSERVED

AO On Site – London: Frieze and Frieze Masters Art Fairs at Regent’s Park, Through October 14th

October 12th, 2012 Toby Ziegler, "The Cripples" via Art Observed
Toby Ziegler‘s The Cripples, image via Art Observed

Back in 2003 in Frieze’s first year, no major international art fair had ever been hosted in London before. Frieze Art Fair, organized by Matthew Slotover and Amanda Sharp, has helped take London from being a city without a focused art scene to its current state at the center of the European art market. Now in its tenth year, Frieze Art Fair in London’s Regent’s Park has seen around 60,000 visitors, with 264 dealers from 35 countries hoping to sell work (valuing an estimated  £230m) created by more than 2,400 artists within 175 of the world’s leading galleries.

Aaron Young at Massimo de Carlo in Milan
An Aaron Young motorcycle burn out work at Massimo de Carlo in Milan, photo via Art Observed

Hauser & Wirth, Frieze London 11-14 October 2012, Jason Rhoades, Shelf (Mutton Chops) with Unpainted Donkey (detail), 2003
Jason Rhoades, Shelf (Mutton Chops) with Unpainted Donkey (detail), 2003 © The Estate of Jason Rhoades Courtesy of Hauser & Wirth and David Zwirner, New York, Stefan Altenburger Photography Zürich

Pace Gallery Booth via Art Observed
David Zwirner Gallery’s booth, with Donald Judd works, photo via Art Observed

This year, the activity has expanded outside the main tent. The biggest addition to Frieze – nearly overshadowing the main fair – is the introduction of a sibling-fair happening simultaneously: just a 10-minute walk to the opposite end of Regent’s Park, Frieze Masters is a second (less boisterous and eccentric – more intimate, hushed and exquisite) tent with 101 stands, 22 of which are solo presentations by singular artists, with art ranging from the late 13th century to 2000.

Notable works at Frieze Masters included “A Vanitas,” a human skull sitting on top of a tome, sculpted from 17th century Italian marble priced at £350,000 at Daniel Katz and Poussin’s “Apollo and Daphne” (ca. 1620), rediscovered by Louvre curator Pierre Rosenberg  in the 1990s, priced at $1.75 million.

Frieze Masters via Art Observed
Frieze Masters via Art Observed

Frieze Masters via Art Observed
Frieze Masters via Art Observed

Buyers at the Frieze Masters have tended to be liberal in spending but conservative in choices, quick to buy (Rupert Wace, dealing in ancient Egyptian and classical art, who was selling megalithic axeheads sold four works in the first 36 minutes of the VIP hour), but leaning towards name brands and easily recognizable value. For lesser-known artists, the outcome has been on the disappointing end.


Nicolas Poussin, “Apollo and Daphne” courtesy Robiland + Voena Gallery

Hauser & Wirth (among others) had booths at both fairs. At Frieze Masters, the gallery dedicated an entire room to museum-quality works on paper by Eva Hesse. It also exhibited works by Alighiero Boetti, Yves Klein, and Atsuko Tanaka of the Gutai Group. At Frieze it presented a radical overview of sculpture by three artists: a sculptures in silicone by Paul McCarthy, Jason Rhoades’s massive neon pieces and a series of smaller, intimate reliefs from the 70s and 80s by Hans Josephsohn.

Nan Goldin Skinhead Dancing London Courtesy Matthew Marks Gallery
Nan Goldin, Skinhead Dancing, London Courtesy Matthew Marks Gallery

Matthew Marks Gallery presented a special installation of Nan Goldin photographs, as well as a group of five Fischli/Weiss flower photographs, new paintings by Gary Hume, and an installation of Ken Price drawings and sculptures, among other works by artists the gallery represents.

London is also full of off site exhibitions to keep fairgoers busy: Toby Ziegler‘s “The Cripples” located 14 floors below street level in a concrete parking structure features herds of dimly lit horse legs, and in the Malborough Contemporary down the street is Angela Ferreira‘s “Stone Free,” an installation in a variety of media, comparing the Cullinan Diamond Mine in South Africa with the Chislehurst Caves in South East London.

Claire Fontaine at Galerie Chantal Crousel
Claire Fontaine at Galerie Chantal Crousel via Art Observed

Nicholas Serota, director of the Tate Gallery, commented that “Frieze continues to be a fair in which we can all make discoveries of emerging and re-emerging artists.” The Tate collection has benefited from these discoveries, receiving 4 works as gifts from The Outset/Frieze Art Fair Fund, whose budget this year was a record-high £150,000 ($240,000).

Frieze Art Fair via Art Observed 2
At the Frieze Fair image via ArtObserved

The works include Hideko Fukushima‘s Ko 8, 1963; Nicholas Hlobo‘s Balindile, 2012; Caragh Thuring‘s Arthur Kennedy, 2012; and Jack Whitten‘s Epsilon Group II, 1977. Since 2003, the Tate has acquired 86 works from the fund – a project in which an international panel of curators annually selects pieces by emerging artists participating in Frieze London to contribute to the gallery’s national collection.

Jean Dubuffet at Waddington Custot Galleries via Art Observed
Jean Dubuffet sculpture at Waddington Custot Galleries, image via Art Observed

There is a marked difference this year in more academic thoughtful curation over attention-getting pieces. Matthias Merkel Hess’ glazed porcelain oil cans (Bucketry, 2011-12) sold well at ACME; Jean Luc Moulène’s glass sculptures were in high demand at the Thomas Dane Gallery.  Fairgoers may remember Christian Jankowski‘s  ”superyacht” from last year, which was an artwork and a commodity – it cost €65m to buy as boat, and €75m to buy as an artwork, authenticated by the artist himself. This year in its place “Frieze Projects”showcased experimental performative works. The Yangjiang Group and Grizedale Arts built ‘Coliseum of the Consumed’, a structure of food kiosks and performance art, stating that “art should be useful”.  The Telegraph spoke to one of the stall owners who was selling juniper juice in plastic baggies and had raised £40 for Youth Group UK doing so.

Hauser & Wirth, Frieze London Sculpture Park, Anri Sala, Clocked Perspective, 2012
Anri Sala, Clocked Perspective, 2012 Courtesy Marian Goodman Gallery, New York; Hauser & Wirth, Zurich/London

The Sculpture Park at Frieze London 2012 features Anri Sala‘s Clocked Perspective seen for the first time this summer at Documenta (13), and a group of Hans Josephsohn‘s reclining figures and torso.  Art Observed will feature a follow up photoset of the Frieze 2012 sculpture park in a later post.

Gillian Wearing, Self Portrait at Twenty-Seven Years Old Courtesy Maureen Paley
Gillian WearingSelf Portrait at Twenty Seven Years Old, 2012 Courtesy Maureen Paley Gallery

Anselm Reyle at Kujke Gallery, Seoul: Tina Kim Gallery
An Anselm Reyle work at Kujke Gallery, Seoul: Tina Kim Gallery, image via Art Observed

Frieze Art Fair via Art Observed
The main fair, image via Art Observed


Carsten Holler sculpture at Gagosian Gallery, image via Art Observed

Frieze Art Fair via Art Observed
A sculptural work, image via Art Observed


Chris Ofili work at Contemporary Fine Arts, Berlin via Art Observed

Sanja Ivekovic at Frieze via Art Observed
Sanja Ivekovic work, image via Art Observed

Frieze Masters via Art Observed
A work by Tomas Saraceno at Tanya Bonakdar at Frieze, image via Art Observed

Darren Lago at Annely Juda Frieze Art Fair London 2012
Darren Lago (a reference to a Mondrian in Lego) at Annely Juda, image via Art Observed


Doug Aitken work at 303 Gallery, image via Art Observed

Rachel Garrard at Jack Hanley Gallery
Rachel Garrard work (left) and a Jessica Rath scultpure at Jack Hanley Gallery


An Eric Wesley work at Bortolami, image via Art Observed


Gavin Turk neon work at Almine Rech Gallery, image via Art Observed

Angela de la Cruz  at Galerie Krinzinger Vienna via Art Observed
An Angela de la Cruz  sculpture at Galerie Krinzinger Vienna, image via Art Observed


Grayson Perry tapestry at Victoria Miro, image via Art Observed


Jason Martin sculpture at Lisson Gallery, image via Art Observed

Image: John Chamberlain at Gagosian via Art Observed
John Chamberlain sculpture at Gagosian Gallery, image via Art Observed


Jonas Wood work at David Kordansky Gallery, image via Art Observed


Katharina Fritsch sculpture at Matthew Marks Gallery, image via Art Observed


Marcel Eichner painting at Contemporary Fine Arts, image via Art Observed

- E. Baker

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HOMEBLOG › London’s Frieze Art Fair & Frieze Masters 2012
Alan Kane and Simon Periton, Eight Fculptures, 2012  Dan Flavin, Four Red Horizontals (To Sonja),1963 Diane Arbus at Timothy Taylor Diane Arbus, Tattooed Female Impersonator Applying Make-up in Mirror, 1959 and Female Impersonator in a Round Mirror, NYC, 1960 Donald Judd, Untitled (Bernstein 80-19), 1980 Giulio Paolini, Idem V, 1975 Lee Ufan, Relatum (Formerly System), 1969:2012. Philip Guston, Untitled, 1970 Walking through Regent’s Park between the Fairs Francis Upritchard, Archer Plate and Gooose Vessel, 2012 Florian Meisenberg, Untitled, 2012  Marcus Coates, British Moths, 2011 Marc Hundley, They Can’t Hear a Word We’ve Said When We Pretend That We’re Dead, 2012 Ross Knight, Form of Togetherness, 2012 Hundley and Knight at the Team Gallery stand Scott King, A Balloon For Britain, 2012 Amalia Pica, Catachresis No. 32 (Neck of the Bottled, Elbow of the Pipe), 2012
London’s Frieze Art Fair & Frieze Masters 2012
This year, for the first time, Frieze Masters is running alongside Frieze Art Fair. With a focus on historical art, this new fair expands the organization’s focus and hopes to create new connections between contemporary and historical art.Undoubtedly a highlight of Frieze Masters is the David Zwirner space. Two of my favorites, Dan Flavin and Donald Judd, are shown alongside Giulio Paolini, culminating in a colorful minimalist dream. London gallery Timothy Taylor has an eclectic mix of works by Diane Arbus, Sean Scully, and Philip Guston. Another notable piece was by Korean artist and philosopher Lee Ufan at the Blum & Poe stand. Titled Relatum (Formerly System), 1969/2012, the work consists of six steel plates elegantly placed in corners, bringing to mind the sculptures of Richard Serra.Walking through Regent’s Park from Frieze Masters to the main event, I came across Eight Fculptures by Alan Kane and Simon Periton in the sculpture park. A collaborative work, the artists re-imagine and subvert historical monuments and sculptures. Other highlights from the fair include London gallery Kate MacGarry, who showed works by New Zealand artist, Francis Upritchard. MacGarry also showed British Moths by Marcus Coates, an artist whose work is often connected to the idea of animal spirits. This piece comprises 24 small headshots of the artist covered in shaving foam, against a black background—his face appearing malformed and sinister.Team Gallery presented a two-person exhibition, showing advertising-inspired paper works by OC family member Marc Hundley and new sculptures by Ross Knight. Both artists employ found materials in their work: in Hundley’s case images and text from the past, while Knight re-contextualizes industrial elements like plastics and foam. The result is an exhibition that is both uncannily familiar and strange at once. I also loved British artist Scott King’s A Balloon for Britain at Herald St Gallery, a work that continues his exploration into the tension between pop culture and politics, questioning and undermining the idea of political symbol. The balloons are shown suspended over black and white images of suburban and working-class Britain, colorful and hopeful against the washed-out background.

Through October 14th, 2012
FRIEZE ART FAIR
Regent’s Park
London, NW14RY

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MON, OCTOBER 15, 2012
10:32
LOLA LOLA LOLA <3
- Rupert

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Frieze London

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