Frieze London 2016 Sales Reports

Dealers Report a Flurry of Sales at Frieze London 2016

Despite Brexit-related concerns, dealers sold well in all sections of the fair.

Frieze London 2016. Photo by Linda Nylind, courtesy of Linda Nylind/Frieze.
Frieze London 2016. Photo by Linda Nylind, courtesy of Linda Nylind/Frieze.

The 14th edition of Frieze London previewed on Wednesday to what was described by most dealers as a “flurry of sales” and a much more dynamic first day than at the 2015 edition.

This was particularly evident for blue-chip galleries, those occupying the areas near the fair’s entrance, which this year—after yet another re-design by Universal Design Studio—has two different access points instead of just one, preventing the bottle-neck that used to clog the front aisles.

In the first hours, David Zwirner sold a new $1 million painting by Kerry James Marshall that will go to a major American museum, and another work by Marshall for $600,000 to a private collection. A new painting by Yayoi Kusama also sold for over $1 million, while a 2016 Bridget Riley painting worth £700,000 was bought by an Asian collector.

Related: What Sold So Far at Frieze Masters 2016?

Additional sales at Zwirner included two new oil and charcoal on linen works by Chris Ofili, worth $380,000; two new sculptures by Carol Bove for $375,000 each; a Thomas Ruff photograph for €85,000; and a number of photographs by Wolfgang Tillmans ranging from $8,000 to $80,000, which also sold on day one.

View of the Hauser & Wirth booth at Frieze London 2016. Photo by Linda Nylind, courtesy of Linda Nylind/Frieze.

View of the Hauser & Wirth booth at Frieze London 2016. Photo by Linda Nylind, courtesy of Linda Nylind/Frieze.

Hauser & Wirth sold a number of works from its eye-catching and crowded (featuring a whopping 46 artists) “L’atelier d’artistes” booth, including sculptures by Fischli / Weiss and Thomas Houseago (for $75,000); a Rodney Graham lightbox; several works by Phyllida Barlow, including a small sculpture for £50,000; and a Jack Whitten work on canvas for $45,000, all of which changed hands on day one, alongside works by Henry Moore and Louise Bourgeois, among others.

Related: Phyllida Barlow to Represent Britain at 2017 Venice Biennale

“It was a great start to the opening,” Neil Wenman, senior director at Hauser & Wirth told artnet News on Thursday morning. “I think the thematic booth got a lot of attention which drew lots of people in, and we did make quite a lot of sales. The atmosphere is really different this year, it was really jovial, also because our booth had such a strong theme, and even music.”

Overall, this year’s edition felt more pared down and elegant, with more galleries choosing to show modern artists. Could this be influenced by Frieze London’s successful younger sibling, Frieze Masters, also evidenced in the higher number of curated booths and throwback presentations?

“I think so,” said Wenman. “I think The Nineties section was a great example of that cross-historical look. There’s definitely a sense of contemporary art galleries looking back, but questioning it through a modern lens.”

Related: Frieze London Is All Grown Up This Year

Contemporary works, however, were high in demand. Over at Timothy Taylor, the London-based gallery reported strong sales at its solo booth of work by Brooklyn-based artist Eddie Martinez, selling 14 sculptures on the first day for prices ranging from $12,000 to $15,000.

Maureen Paley sold a £150,000 sculpture by Rebecca Warren, dated 2005-2016, to a British collector, as well as an installation by Paulo Nimer Pjota, titled Vaporware, some samples (2016), to a New York-based collector for $24,000. On the first day, Wolfgang Tillmans’s photo Kleine Welle (2015) sold to a US collector for $120,000.

Grayson Perry poses in front of one his works at the Victoria Miro booth at Frieze London 2016. Photo by Linda Nylind, courtesy of Linda Nylind/Frieze.

Grayson Perry poses in front of one his works at the Victoria Miro booth at Frieze London 2016. Photo by Linda Nylind, courtesy of Linda Nylind/Frieze.

Victoria Miro reported strong sales in the very first hours, during which a number of works by Grayson Perry, including sculptures and tapestries changed hands for prices ranging from £50,000 to £450,000. A series of recent paintings by Yayoi Kusama (with prices ranging $400,000 to $1 million) were also a hit with collectors, as were a series of paintings by Chantal Joffe depicting strong Jewish women, including Betty Friedan, Hannah Arendt, Claude Cahun, and Gertrude Stein, with prices between £10,000 and £30,000, a number of which sold in the first morning.

Related: See the Top 15 Booths at Frieze London 2016

Over at Galerie Thaddaeus Ropac, the first day brought sales of blue chip works by Robert Longo, Tony Cragg, Daniel Richter, Sigmar Polke, and two paintings by Georg Baselitz. Nearby, Berlin’s Peres Projects had sold all its paintings by Donna Huanca, priced between $17,000 and $22,500.

Pace Gallery sold a new LED light work by Leo Villareal entitled Radiant Wheel, (2015) for $100,000. The gallery also sold a new marble bust by Kevin Francis Gray for £80,000; a small minimalist painting made of copper wire and gesso by Prabhavathi Meppayil for $20,000; and two life size works by Kohei Nawa priced at $380,000 and $230,000.

Ryan Gander’s bronze sculpture Elevator To Culturefield (2016). Photo ©Andrea Rossetti, courtesy the artist and Esther Schipper, Berlin.

Ryan Gander’s bronze sculpture Elevator To Culturefield (2016). Photo ©Andrea Rossetti, courtesy the artist and Esther Schipper, Berlin.

Simon Lee sold works by Hans-Peter Feldmann between €50,000 and £90,000 on day one, and paintings by Paulina Olowska for around $80,000 on day two. Meanwhile, Berlin’s Esther Schipper reported a number of sales, including Ryan Gander’s bronze sculpture Elevator To Culturefield (2016) which sold for well over £80,000.

Related: Ryan Gander Talks Art, Curation, and Politics for His ‘Night in the Museum’ Exhibition

“The fair has been great to work with as every year and has managed to attract more collectors from Asia and Middle East than previous editions. First day sales have been very strong and I am particularly happy to present Dominique Gonzalez-Foerster’s historical work R.W.F. in The Nineties section,” Schipper told artnet News.

Meanwhile, Sprüth Magers sold two 2009 Craig Kauffman acrylic and glitter sculptures for $125,000 each on the first day, while the second day brought the sale of the seminal Sylvie Fleury at its booth over at The Nineties section, presented in collaboration with Salon 94 and Mehdi Chouakri.

Sylvie Fleury, A Journey to Fitness or How to Lose 30 Pounds In Under Three Weeks (1993) ©Sylvie Fleury. Photo Kris Emmerson. Courtesy of the Artist and Mehdi Chouakri, Salon 94, Sprüth Magers.

Sylvie Fleury, A Journey to Fitness or How to Lose 30 Pounds In Under Three Weeks (1993) ©Sylvie Fleury. Photo Kris Emmerson. Courtesy of the Artist and Mehdi Chouakri, Salon 94, Sprüth Magers.

New York galleries also did extremely well. Casey Kaplan sold out the majority of its stand in the first hours, including works by Kevin Beasley, Giorgio Griffa, Garth Weiser, N.Dash, and Sarah Crowner, while P.P.O.W. reported strong sales including several Betty Tompkins paintings for $3,000 to $3,500; photographs by Portia Munson at $15,000; and works by Martin Wong, ranging from $25,000 to $200,000.

Related: Portia Munson Talks Color and Empowerment at Frieze

David Kordansky Gallery sold the majority of its booth in the first hours, with most of the interest coming from non-British collectors. A new painting by Harold Ancart sold for $85,000 to an American collector. Mary Weatherford’s Spike Driver’s Moan (2016) sold to an Asian collector for $185,000, and Kathryn Andrews’s Black Bars (Dejeuner No. 1) from 2016 sold for $68,000 to an American institutional collector.

South Africa’s Goodman Gallery also reported a strong start, with early sales including William Kentridge’s drawing Observer (2016) for $450,0000; a Mikhael Subotzky photo from 2006 for $15,000; and a recent work by ruby onyinyechi amanze on graphite, ink, and photo transfers, for $8,000.

William Kentridge, Observer (2016). Courtesy Goodman Gallery.

William Kentridge, Observer (2016). Courtesy Goodman Gallery.

The top galleries from São Paulo couldn’t complain either. Galeria Fortes Vilaça sold two new works by Erika Verzutti, with prices ranging from $45,000 to $50,000; and two new works by Leda Catunda, for prices ranging from $25,000 to $60,000. Galeria Luisa Strina sold three works by Leonor Antunes, acquired through the Frieze Tate Fund to join the Tate collection, as well as works by Fernanda Gomes, Laura Lima, Marcius Galan, Tonico Lemos Auad, and two drawings by Anna Maria Maiolino.

Related: Participants in Laura Lima’s Controversial Show at ICA Miami Claim Abuse

Mendes Wood, also from São Paulo, sold works by Lucas Arruda, Sonia Gomez, Patricia Leite, Luiz Roque, Daniel Steegmann Mangrane, and Mariana Castillo Deball, while Galeria Vermelho sold a 2014 work by Dora Longo Bahia for $25,000.

A piece by Leonor Antunes. Photo Nick Ash. courtesy the Kunsthalle Basel.

A piece by Leonor Antunes. Photo Nick Ash. courtesy the Kunsthalle Basel.

The works by Leonor Antunes sold at Luisa Strina weren’t the only pieces that have been bought through the £150,000 Frieze Tate Fund, supported for the first time by WME | IMG. The six-person international jury, composed of four Tate curators and two guest curators, also selected six artworks by the Turkish artist Hüseyin Bahri Alptekin, acquired from Rampa, Istanbul; and one work by the Malaysian artist Phillip Lai, acquired from Stuart Shave/Modern Art, London.

Related: Frieze Tate Fund Announces 2016 Acquisitions

London’s Laura Bartlett sold a unique photograph by Elizabeth McAlpine for £15,000, as well as two works by Lydia Gifford for £6,200, a painting by Sol Calero for £11,000, and a wall-based work by Maria Lund for £5,200.

Younger galleries, those located more towards the back of the tent, also had an exciting start. Vienna’s Galerie Emanuel Layr sold a number of paintings by Nick Oberthaler, priced at €20,000. Athens’ The Breeder sold a brilliant installation by Angelo Plessas, who’s participating in the forthcoming Documenta 14, for $34,000 to a European collector; as well as a delicate bead curtain by Zoë Paul to a London-based collector, for $15,000.

Works by Angelo Plessas and Zoë Paul at the booth of The Breeder at Frieze London 2016. Photo Lorena Muñoz-Alonso.

Works by Angelo Plessas and Zoë Paul at the booth of The Breeder at Frieze London 2016. Photo Lorena Muñoz-Alonso.

So what about the dreaded Brexit and the depreciation of the pound? Has the uncertainty been harmful for the British art market at all, as speculators were quick to predict?

“I think it might have come out as a positive at the moment,” Neil Wenman, senior director at Hauser & Wirth, told artnet News. “Sales have been really strong at Frieze London but particularly strong at Frieze Masters this year, with some of the really high value works we’ve put on display selling, so perhaps this is a particularly strong time for works priced in pounds, as the currency is weak at the moment. If you are an international collector, the pound is weak, so things are cheaper. We’ve definitely seen a strong start to the season. It was a very long summer with lots of uncertainty, politically, with terrorism, Brexit… But now we are up and running, and we are excited,” he added.

Related: Christie’s London Contemporary Art Sale Soars Over Estimates to $42.5 Million Thanks to Ghenie, Schütte

Although it’s too early to say, judging by the excitement of dealers across the fair and the encouraging results of the London auctions this week, it might seem as if, after the doom and gloom of previous months, the market could be perking up again. All eyes will now be on the sales results at Paris’ FIAC and Art Basel Miami.

Follow artnet News on Facebook.



London still leads the way – for now

The rich legacy of Leslie Waddington | Solo booths set the tone | New galleries in London | Adrian Ghenie and Pino Pascali lead at Christie’s | Frans Hals forgery sets tongues wagging

9 October 2016

Apollo’s regular round-up of art market headlines and comment. Visit Apollo Collector Services for expert advice on navigating the art market.

The rich legacy of Leslie Waddington | Amid talk that market contraction and post-EU referendum jitters would hit London’s autumn season, Frieze Week kicked off in confident style with a white glove sale of the Leslie Waddington Collection at Christie’s. The 100 per cent sold rate and £28,285,525 total was testament to the late art dealer’s reputation as tastemaker and collector in his own right. It started with a portrait of Waddington by Peter Blake, which sold for double its estimate at £81,250. The plum lot, as expected, was Jean Dubuffet’s Visiteur au chapeau bleu (‘Visitor with Blue Hat’) from 1955, which also doubled its estimate and sold for £4.81 million.

Meanwhile, Waddington Custot gallery (which Waddington Galleries became in 2011 when Stephane Custot bought the late Lord Bernstein’s share) exhibited at Frieze Masters for the first time, its stand hung with the raw, ravaged canvases of the Spanish painter Manolo Millares (1926–72). The abstracts, dating from 1956 to 1970, were priced between £170,000 to around £900,000, and the earliest, Composición con dimensión perdida, sold on preview day. Other early sales at the fair included Elements V (1984) by Brice Marden, which had an asking price of $5 million, and a painting by Wayne Thiebaud (asking price £1.5 million), both at Acquavella Galleries (New York).

Solo booths set the tone | ‘Our artists love this fair. Lots of them visit, because they all collect, but not the obvious things. You find the unusual here’. So said David Cleaton-Roberts, director of Alan Cristea Gallery, sitting on the gallery’s stand at Frieze Masters devoted to the prints of Anni Albers, one of numerous stands at both this fair and Frieze London to concentrate on female artists. Solo artist presentations, traditionally seen as putting all one’s eggs in one basket, are increasingly popular and Cleaton-Roberts is pleased with the gallery’s single-artist format; last year it presented Richard Hamilton; in 2014, Josef Albers. By Friday afternoon of this year’s fair, it had sold more than 20 Anni Albers prints, priced between £2,000 and £6,000. At the moment they’re still affordable,’ Cleaton-Roberts said, adding that the artist will be the subject of a major exhibition in the UK, yet to be announced, in the next few years. She may not be so cheap for long.

New galleries in London | Alan Cristea Gallery also opened a large new space on Pall Mall last week, one of a gaggle of new galleries to open spaces in London during, or in time for Frieze Week. Others included Cabinet Gallery in Vauxhall and, in St James’s and Mayfair, Colnaghi, Skarstedt Gallery, Carpenter’s Workshop Gallery, Limoncello, Cardi Gallery, and Almine Rech Gallery, which opened with a divisive Jeff Koons show. Brexit or not, London seems only to gain in appeal as an essential gallery hub.

Adrian Ghenie and Pino Pascali lead at Christie’s | This has been Adrian Ghenie’s year; the 39-year-old Romanian painter is the market darling of 2016. At Christie’s 6 October evening sale of post-war and contemporary art, which totalled just shy of £34.3 million, the vast, brooding Nickelodeon (2008) made an artist record at £7.11 million, four times the £1.5 million estimate.

(2008), Adrian Ghenie.

Nickelodeon (2008), Adrian Ghenie. Image courtesy Christie’s

‘The Ghenie market had been growing, growing, growing,’ said Francis Outred, European head of post-war and contemporary art. ‘This was the culmination, and it is widely acknowledged as one of his best works.’ Nickelodeon was guaranteed by a third party who ‘proactively approached’ Christie’s, said Outred, a phenomenon they find is ‘increasingly common’ on desirable high-value works.

A sign of a contracted but hardened market, this was another ‘tightly curated’ (or small) auction of 41 lots, more conservative in content than the larger, more speculative contemporary sales of old. However, Christie’s sale did offer works by several up-and-coming artists under 40; alongside Ghenie, records were set for Lynette Yiadom-Boakye, Lucy McKenzie, and Henry Taylor.

(1966), Pino Pascali.

Coda di delfino (Tail of a Dolphin) (1966), Pino Pascali. Image courtesy Christie’s

Immediately afterwards, in the 59-lot Italian sale, seven new artist records were set, including for the Arte Povera artist Pino Pascali, whose joyful Code di Delfino (‘Tail of a Dolphin’) sold for £2.7 million.

Frans Hals forgery sets tongues wagging | Art fairs love a scandal. After all, what better way to fill those long dull hours on a stand than with a little gossip. Talk of Frieze Masters has been the story of a fake Frans Hals , following Sotheby’s revelation that a portrait by the Dutch artist that was sold to a US buyer by private treaty for £8.4 million in 2011 has been reassessed as a fake (as reported in the Financial Times). Sotheby’s refunded the buyer in full for the work after pigment tests showed the work was ‘undoubtedly a forgery’. A forger of exceptional talent, it seems – and other works are now under suspicion.

What Sold at Frieze London and Frieze Masters

Installation view of Lisson Gallery’s booth at Frieze London, 2016. Photo by Benjamin Westoby for Artsy.

Uncertainty has been the chorus to each of this year’s major art market events—and the pervading sentiment across the wider economy as well. Brexit, the U.S. election, and concerns about the underlying fundamentals of a global economy propped up by low, and in some cases negative, interest rates have weighed on collectors’ minds and lightened dealers’ wallets. As Frieze London and Frieze Masters readied to kick off this week in tandem with London’s major fall auctions, the political and economic climate got a bit more certain—but not in the way many had wished.

At the U.K.’s Conservative Party conference this week, Prime Minister Theresa May quashed any lingering hopes among Londoners that their government would simply never invoke Article 50, the provision of the Lisbon Treaty that starts a two-year clock for Britain to officially leave the EU. That process, the PM declared, would begin in March 2017. Next on the list of crushed dreams was the prospect of a so-called “soft Brexit,” in which the U.K. government would aim to negotiate lenient immigration policies with the EU in order to be able to more greatly benefit from the Union’s single market. No, May’s statements suggest, immigration restrictions outweigh the importance of low-friction trade with the EU, where 44% of British exports are currently sent.

Both moves have been cast by business leaders, collectors at Frieze among them, as yet another indication that the British political apparatus is more interested in populist sentiment than in the fundamentals of its economy—and intends to continue to enact policies anathema to the business and financial community at large. This populism is of course rife across the political scene of the world’s major economies and art market behemoths at present, from the rise of Germany’s Frauke Petry-led far-right party, AfD, to the potential U.S. presidency of Donald J. Trump. In the U.K., concerns about the implications of May’s comments caused the pound to plunge to a new 31-year low. It closed out the week at just $1.24, after recovering from a flash crash early Friday morning when the pound was priced momentarily for as low as $1.18. By some measures, this now places Britain’s economy behind that of France.

To the credit of Christie’s, Sotheby’s, and Phillips, London’s auctions succeeded in painting a picture of the market in rebound against this backdrop, thanks to a handful of record-setting sales and many more above-estimate results. But, in many cases, those estimates were set very low. And it would be premature to make too much of a connection between what happened in the secondary market this week and the current state of play for gallerists and dealers like those exhibiting at Frieze.

Installation view of Kujke Gallery / Tina Kim Gallery’s booth at Frieze London, 2016. Photo by Benjamin Westoby for Artsy.

For example (at the risk of being overly didactic), when a work hits the auction block, you have a few minutes to purchase it, locking in what might be a favorable price and, in the case of this week, a very low exchange rate. In most cases at a fair or in a gallery you have days, if not months, to pull the trigger on a purchase—particularly in the current climate. And with these prices negotiable, it’s less likely the pound’s sway one way or another will end up strongly affecting your outlay. Spot a painting you love along Frieze’s aisles? It can probably wait until November 9th. Better yet, hold up until Q2 of next year when we have a clearer picture of how well the global economic engine is actually purring along.

At Frieze, Women Artists Benefit from Art Market Woes
Read full article

There is little debate that serious collectors were still buying at Frieze, and that many dealers made out quite well. But there is equally little debate that this is a very different market than we’ve experienced in the past few years. A number of dealers typically eager to publically report sales were mum this year. According to both major blue-chip players and young gallerists, this is due in part to pressure being placed on them by artists whose works traveled to the fair and haven’t sold—more so than to increased confidentiality around actualized transactions. That should give some indication of a financial squeeze being felt not just by some gallerists but by artists, too.

Like many markets at this moment of unsteadiness, the art market is heavily focused on underlying fundamentals. That means scrutiny of an artist’s CV, the collections in which his or her work is held, and, for secondary market pieces, provenance. And it’s good news for certain sectors of the market that had more recently languished while attention focused only on the new and young. “It’s great to see artists getting attention like Steven ClaydonEvan Holloway, and Kathryn Andrews,” said David Kordansky Gallery partner and director Mike Homer. “They’re mid-career artists and have the critical support and the CV to back it up but are also at a reasonable price point; the market is not inflated.” He cited sales of a new painting by the London-based Claydon for $30,000, three sculptures by Holloway for $50,000 apiece, and two paintings from Andrews’s “Black Bars” series, selling Black Bars: Dejeuner No. 1 (Girl with Napkin, Visor, Lemon, Lighter and Shuttlecock) (2016) for $68,000.

“Considering the turbulent economic climate, especially here in London, we didn’t know what to expect going in,” said Homer. The Los Angeles-based director added that while that climate means people were by no means clamoring to buy work in the first few minutes and hours of the fair, the outing could still be considered a success. Kordansky further sold an untitled Harold Ancart painting from this year for $85,000, Mary Weatherford’s Spike Driver’s Moan (2016) for $185,000, and one edition of Torbjørn Rødland’s Cake (Studio 798) (2008–16) for $13,000.

Installation view of Hauser & Wirth’s booth at Frieze London, 2016. Photo by Benjamin Westoby for Artsy.

Collectors’ increasing desire to buy works with a proven track record continues to push dealers to acquire more artists’ estates. And even at Frieze London, technically meant to be a fair for contemporary art, historical work cropped up in a number of booths. By far the most prevalent—indeed, almost overflowing—with works sourced from estates was Hauser & Wirth’s stand, modeled after a fictional artist’s studio and hung with some 140 works by 47 artists, priced between $3,000 and $3.5 million. According to senior director Neil Wenman, who curated the booth, around half of those works are from estates. “Because the concept is contemporary, it allowed us to pull out works from the ’40s and ’50s to add fuel to the fire,” he said.

The 20 Best Booths at Frieze London
Read full article

Among the gallery’s sales made at Frieze London were a Francis Picabia work on paper; a Henry Moore bronze maquette for CHF 48,000; sculptures by Phyllida BarlowBerlinde De Bruyckere, and Thomas Houseago for £50,000, €130,000, and $75,000, respectively; and two Richard Jackson neons for $20,000 apiece. “It’s important to let people understand the similarities between older art and contemporary,” Wenman said of the idea behind the booth, pointing to a pair of David Smith works on paper, which flanked a Moore work and a drawing by a gallery technician named Gary McDonald. “Of all of them, Gary’s sold. He’s an artist in his own right, just not the stature of David Smith or Henry Moore—yet.” The director said that “sales, especially at Masters, have been very high,” the gallery having placed a number of works—including an over half-million-dollar Dieter Roth cheese painting, a $600,000 stabile by Alexander Calder, a Fausto Melotti sculpture for €300,000, and a Picabia painting for $220,000—early in the fair.

The blurred lines between modern and contemporary could be seen at the number of dealers like Hauser & Wirth with stands at both Frieze fairs this week. Another was London’s Timothy Taylor. “Over the last 18 months there’s been a movement away from the new, fast, and young and onto great modern artists who, when seen in the right light, look contemporary and relevant. Maybe there’s an inherent value in that maturity and a conservatism creeping into the market,” said Taylor, who pointed to the wall of works by Hans Hartung that make up the back of his stand at Masters but could just as easily have been made by a young artist showing at Frieze London’s Focus section.

Installation view of David Kordansky Gallery’s booth at Frieze London, 2016. Photo by Benjamin Westoby for Artsy.

Taylor nonetheless reported having sold best thus far from his solo booth of Eddie Martinez’s bronze sculptures at Frieze London. (Frieze Masters is a longer game, the dealer noted.) Around three-quarters of the sculptures, which were made in an edition of five but are individually painted, had sold by Friday evening for between $12,000 and $15,000. Martinez was one who gained particular prominence during the speculative boom of 2013 and 2014 but has been able to maintain his presence, according to Taylor, because “he’s handled himself very well. He’s been very careful about what he’s released.”

The conservative market has also led dealers and collectors alike to comb back through art history to look for artists who have enduring relevance and touchpoints to major art-historical moments but haven’t yet fully made it into the market. “Our goal is to discover artists who have been overshadowed or forgotten in the same way that a young gallery looks to find a new emerging artist,” said Roxana Afshar of Waddington Custot. Late gallery founder Leslie Waddington’s collection was the talk of the start of Frieze Week when it achieved a white glove sale (or 100% sell-through rate) at Christie’s on Tuesday night.

At the fair, Waddington’s gallery, now run by Stephane Custot, was presenting a solo booth of work by Manolo Millares. His Composición con dimensión perdida (1956) sold on day one of the fair. “He’s an artist that we’ve been following and gathering work from for two years now,” said Afshar. “We just think he’s completely underrated, but we see that things are shifting slowly.” The market seems to agree, with a work from 1959 having sold at Christie’s in June for £842,500 (est. £300,000–400,000) and another,  at double the low estimate, for £605,000 on Thursday night.

Installation view of Cardi’s booth at Frieze London, 2016. Photo by Benjamin Westoby for Artsy.

As the week began to wind down, Adrian Ghenie’s £7.1 million record-setting result for Nickelodeon (2008) at Christie’s on Thursday night was a hot topic of conversation—and another data point being put forward for the case of a market rebound. According to Ghenie’s gallerist Mihaela Lutea of Galeria Plan B, the result is perhaps not so surprising, given her estimation that Nickelodeon is among the artist’s three most iconic works, and the fact that the artist, who only ever produced a handful of works each year, has cut back even further on his production. At Frieze London, Lutea was particularly enthusiastic about the reception she had received for the paintings by new artist to the program Iulia Nistor, all three of which had sold for €4000–10,000, along with others back in Berlin. Two drawings on the stand by Achraf Touloub had been purchased by the Deutsche Bank Collection (clearly undeterred by worries last week that Germany might have to step in to bail it out amid a regulatory settlement in the U.S.) and a third went to a Chinese collection.

Today’s Young Dealers Could Learn a Lot from the ’90s
Read full article

Lutea’s take was that of most galleries I spoke with this week. “The times are difficult,” she said. “You have to invest a lot of money in the gallery and traveling. But you also need time to go and discover new artists.” She suggested, as had been a takeaway from Frieze London’s newest section The Nineties, that galleries need to be more rigorous in defining a model that works for their particular program and goals. To the extent that they haven’t yet accomplished that, it may explain some of the dissonance currently felt on the primary side. As market commentator Josh Baer put it particularly well, “Business here and [in] general is “normal”—neither fast and furious nor cowardly. ‘Normal’ just feels different.”

Part of that sentiment, I’d venture, is that the expectations built up over the past few years—whether of gallerists, artists, collectors, or fair directors—don’t quite work when things are “normal.” One hopes that the uncertainty clouding U.S. politics will soon wane, that a dose of reality will hit the rhetoric cleaving the U.K. from the continent, that the central banks can agree on measures to make our markets and underlying economic indicators better match up, and that this “different”-feeling “normal” can subside. In the art market, collectors returning to spend from their current respite would then find a more equally distributed—and frankly more interesting—group of artists leading the conversation. In the meantime, it’s a good occasion for the art world to sit back and make sure its structures and conventions are all currently to the benefit of the end goal here: facilitating the creation and propagation of culture.
—Alexander Forbes

Simon Fujiwara’s Latest Film Draws Attention to the Crucial Mentorship Art Teachers Provide

Simon Fujiwara, Joanne, 2016. Image courtesy of FVU and The Photographers’ Gallery.

A woman, supine, her face partially concealed by her pillow, stares intensely at the camera. Wearing little or no makeup, her hair is brushed back, unkempt. As this 12-minute film plays out, we see the woman, Joanne Salley, tell her story. She has been the victim of a scandal in the press, and she is concerned it portrays her unfavorably. This film by Simon Fujiwara, we are told, will redress this balance—and that it does. It follows her as she discusses her childhood, her personality, her weaknesses, and her brand. The hope is that we see her as an empowered, multifaceted personality, as she twirls in couture, rips up flowers, and films herself through her daily routine.

Within days of the initial publicity material appearing for Fujiwara’s “Joanne,” debuting October 7th at The Photographers’ Gallery, London, the battle Salley faces for a nuanced depiction in the public sphere was thrown into relief. “Joanne Salley sets pulses racing with shower trailer for film,” ran the headline in the Belfast Telegraph.

Such British tabloid-style journalism on Salley began several years ago, due to a scandal that erupted while she was teaching art at the elite Harrow School in north-west London, around a series of private photographs that students stole and distributed. Now Fujiwara, who was taught by Salley several years before the incident—and whose work often draws on biographical themes—hopes to depict a more complex truth about his former teacher, revealing the artificiality of her portrayal in the media. In doing so, he sheds light on themes including the multifaceted relationship between artist and mentor, one of the oldest and most profound pairings in artistic history.

The artist met Salley when he was a 17-year-old scholarship student. “My refuge was the art department,” he says. “Joanne arrived in my final year.” He adds that part of what drew him to her was that “she had come from a completely different system as well”—she had trained as a ballet dancer, and was a former beauty contest winner, which informed her art practice’s obsession with aesthetics, surface, and skin. “We connected,” he says. “I was one of these teenagers who wanted to explore his sexuality, and she was one person who’d had some life experiences that weren’t just ‘I’ve been to another boarding school.’ It was encouragement from a voice that I valued.”

Simon Fujiwara, Joanne, 2016. Images courtesy of FVU and The Photographers’ Gallery.

The resultant work allows Salley the chance to recount her experiences of the aftermath of her scandal in her own words. In the film, Fujiwara and Salley are shown meeting professionals from public relations, advertising, and fashion companies as they seek to construct a new public image for her. Alongside the film, light boxes display fashion photographer Andreas Larsson’s pictures of Salley, which were taken as part of the project to rebuild her profile. While the show tackles public identity, female iconography, and Salley’s voice as an artist, the pair’s close working relationship—one in which the conventional power relationship has been overturned—no doubt aided their collaboration.

Necessarily, such teamwork between artists and teachers has a long, storied presence in art history, from Classical apprenticeships, to European academies of art, and the artist-teachers of the 19th century in Britain such as George Wallis, to this century, where there have been a plethora of successful artists spawned from successful teachers. In British art colleges, for example, there’s Michael Craig-Martin teaching at Goldsmiths, and Frank Martin at what is now Central St Martins School of Art and Design.

If we track back earlier in an artist’s career, the condition of arts education in the state school sector has been a common source of criticism in Britain, and is one of the reasons why Labour leader Jeremy Corbyn’s recent proposals for an “arts pupils premium”—extra funding for arts in state schools—was so popular. In a cash-strapped state education context, artistic mentoring might depend on class size. Harrow’s average is 13 students per class, under half the local average. There, at A-Level, when Salley and Fujiwara met, the student-teacher ratio was even better. Such conditions are perfect for artistic mentoring relationships to thrive.

“Harrow’s a boarding school, you’re with your teachers all the time,” says Fujiwara. “But it was more that the art that she had made herself was more interesting than what the other teachers had done.” He describes some of Salley’s work as resembling that of British painter Jenny Saville. “She introduced me to Cindy Sherman and the idea of taking on characters and roles. She was the most inspiring voice around me at the time.”

Simon Fujiwara, Joanne, 2016. Image courtesy of FVU and The Photographers’ Gallery.

Fujiwara says his school’s all-boy environment meant an attractive woman appearing was a “gift,” though Salley tried hard to undermine her image as a “beauty queen” at the school. “She’s never really been the caricature of a beauty queen, she’s very active and very sporty,” he adds. “I know the male students in the art department respected her a lot and it was a very difficult position to get.”

While the show specifically tackles the reconstruction of Salley’s identity, it seems as though the seeds for its obsessions with beauty and the image might have been sewn when the pair first met. In that sense, it is as much about how artist-mentoring relationships provide inspiration, as it is about the pair’s longstanding friendship.

“I’ve always wanted to be an artist, so it was about having someone who was encouraging who could introduce me to other artists who I hadn’t discovered,” concludes Fujiwara. “To help me focus my interests. In that sense, all of my art teachers have been more mentors than technically teaching me. Everyone has one or two amazing teachers when they grow up and they are the people they remember forever. There’s always in that a feeling of connection.”

—Rob Sharp

London Auctions Bound Past Expectations—But Is the Art Market Really Back?

Photo courtesy of Christie’s.

The white glove sale at Christie’s of 44 works from the personal collection of the respected art dealer Leslie Waddington on Tuesday set the pace for a successful week of contemporary sales in London. After a difficult summer consigning works against a backdrop of Brexit, a tumbling pound, and uncertainty over the impending U.S. presidential election, the auction houses approached the season with caution—in many cases offering works with enticingly low estimates.

For the most part, the move paid off. Specialists at Christie’s said that 80% of works in the Waddington auction sold above their estimates, something that had not been witnessed since the single-owner sale of another legendary art dealer, Ernst Beyeler. Bidders from 37 countries pushed the total well above the pre-sale estimate of £11.9–£18.5 million to fetch £28.3 million (all prices and totals include buyer’s premium).

Conservative estimates also lured bidders at the auction house’s contemporary evening sale two days later. Last October’s sale at Christie’s carried double the estimate of this year’s auction, but achieved a very similar result. “We were chasing unusual material during a difficult summer and we always felt we had to keep the estimates attractive to galvanize bidding,” said Francis Outred, the house’s head of post-war and contemporary art, Europe. The auction flew above its estimate (£14.9 million–£21.8 million), making £34.3 million with fees, and sported a robust sell-through rate of 90%.

Adrian Ghenie, Nickelodeon, 2008. Image courtesy of Christie’s.

Rebuffing speculation that the bottom has dropped out of the market for young and emerging artists, two of the seven records at Christie’s were for artists under 40: Adrian Ghenie and Lucy McKenzie. Ghenie’s Nickelodeon (2008) sparked a bidding contest among at least six hopefuls, rising to almost five times its high estimate of £1.5 million to sell to a European buyer for £7.1 million, a new record for the artist. The Austrian dealer Thaddaeus Ropac was an underbidder. Outred says the key with young artists is to keep the estimates attractive. “People have got tired of the estimates for some of the young and more fashionable names,” he says.

Speculation continues as to whether Brexit will harm or help the London trade, but the consensus is that foreigners were incentivized to bid at this week’s auctions as the pound slumped to a 31-year low. “If the Ghenie had sold last year for £7 million, it would have converted to $12 million; this year it was $9 million,” Outred points out. Christie’s, Sotheby’s, and Phillips all noted strong bidding from Asia, the U.S., and Europe.

Damien Hirst was one of the hits of the week; some in the trade have predicted that his market is poised for a comeback. Prices for the YBA’s works hit rock bottom during the recession, but the opening earlier this year of Hirst’s Newport Street Gallery in south London to display works from his collection appears to be boosting his own career.

Two Hirst canvases—one, Salvation (2003), covered in butterflies, the other, Damnation (2004), covered in flies—both doubled their estimates at Christie’s to sell for £665,000 and £485,000, respectively. The Los Angeles-based dealer and artist agent Stefan Simchowitz bought both works on behalf of a client. “Damien’s market has found its bottom as people have had the opportunity to collect him at more affordable prices, as it should be,” Simchowitz says. “It can now stabilize and regain its strength.” An early spot painting from 1992, painted by Hirst himself rather than one of his assistants, sold at Phillips on Wednesday for £509,000 (est. £300,000–500,000).

Photo courtesy of Sotheby’s.

Further boosting market confidence, Sotheby’s contemporary evening sale also vaulted over its pre-sale estimate of £24.1–32.7 million to fetch £48 million with fees on Friday. The sell-through-rate was a strong 91%. The result was largely buoyed by a trio of high-flying paintings, including a garish oil stick and acrylic canvas by Jean-Michel Basquiat that failed to sell at Sotheby’s in New York 11 months ago. Hannibal, painted in the artist’s golden year of 1982, was the most expensive work sold at auction this week, going to a telephone bidder for £10.6 million (est. £3.5–4.5 million). Dealers said the work was around 25% cheaper in sterling than it was six months ago.

The other two paintings to soar above estimate on the night were Peter Doig’s Grasshopper (1990), which sold on the telephone to Sotheby’s Asia-based specialist Jasmine Chen for £5.9 million (est. £2.8–3.5 million), and an early and unusual Gerhard Richter painting in two parts, Garten (1982), which went for £10.2 million (est. £3–4 million). Alex Branczik, head of contemporary art for Sotheby’s in Europe, says there are pocket of Richter’s oeuvre, such as works from the early 1980s, that are still undervalued. “Garten found the right level on the night,” he says.

Phillips was the only auction house to not surpass its upper pre-sale estimate. Its Wednesday sale mustered a decent total of £17.9 million (est. £14.2–20.5 million), with 94% sold by value. The result represents an almost 50% drop in value from last year’s sale. Phillips is known for specializing in emerging art, but the market for a type of quasi-minimalist abstract art—coined “zombie formalism” by the critic Walter Robinson—dried up towards the end of last year when prices, which had been astronomical in 2014, crashed back down to earth. The auction house has followed suit and artists such as Dan Colen and Lucien Smith have duly dropped off its books.

Photo courtesy of Phillips.

Indeed, there were few emerging artists in this week’s sale at Phillips. A 2004 work by Alex Israel was withdrawn prior to the auction, while a 2008 spray painting by Sterling Ruby was bought in at £340,000 (est £400,000–600,000). The top lot was Andy Warhol’s 20 Pink Mao’s (1979), which sold for £4.7 million (est £4–6 million). The work was one of four in the sale to be backed by an anonymous third party guarantee. “The froth that was in the market that was driving optimistic estimates has gone,” said Ed Dolman, the chief executive of Phillips.

Meanwhile, the Italian sales declined dramatically at both Christie’s and Sotheby’s this year. Christie’s had a tough act to follow after a record auction last October, when 90% of lots sold for £43.2 million including premium, the highest-ever total for an Italian sale and £7.6 million more than the post-war and contemporary evening sale the same night. This year’s 59-lot sale achieved a total of £18.7 million. The equivalent sale at Sotheby’s made £23.3 million (est £19.7–27.9 million).

All in all it was a reassuring week for the trade in London, with many noting the market is moving in the right direction. “The market is healthy and no longer overweight. It was back to business as usual under more normal conditions,” Simchowitz says.

—Anny Shaw

What It Takes to Recover a Stolen Work of Art


Last week’s highly publicized announcement that two stolen van Gogh paintings had been recovered after 14 years was a welcome surprise. Axel Rüger, director of Amsterdam’s Van Gogh Museumwas ebullient in a statement, saying, “The paintings have been found! That I would be able to ever pronounce these words is something I had no longer dared to hope for.” He had reason to be joyous: According to the FBI, fewer than 10% of stolen works are estimated ever make it home safely. And while it may have seemed shocking that the works turned up during an Italian police raid on a Mafia-affiliated safehouse, this link to organized crime actually fits with who it is that steals art. Unlike Hollywood’s dramatic portrayals, art thefts are generally not commissioned by wealthy art patrons with a penchant for the finer things in life. Rather, art is stolen by people already involved in petty criminal enterprises or with organized syndicates such as the Mafia.

So how do thieves make off with a painting? And what should a victim do after realizing they’ve been robbed? Why are only a tiny percentage of works recovered?

Simple Theft, Difficult Sale

At its origins, art theft is primarily a crime of opportunity and simple burglary. To steal the two van Gogh paintings, a pair of thieves used a ladder to climb up to the roof of the Van Gogh Museum and broke into the building. The 1911 theft that rocketed the Mona Lisa (1503–19) to international fame involved a Louvre employee hiding in a closet overnight, then taking the painting off the wall when no one was around and walking out of the museum. In 1994, two thieves broke into the National Gallery in Oslo, nabbing Munch’s Scream (two different versions of which have been stolen.) An alarm that went off was ignored by a guard, and the grateful criminals left a note stating, “Thanks for the poor security.”

8 Art Thefts That Went Wrong
Read full article

After a theft, artworks typically enter the black market. But criminals looking to cash in will likely experience some difficulty. Generally under U.S. law, neither the thieves nor anyone they subsequently sell the work to can acquire good title. This means illicit owners can admire the piece in private, but they cannot truly own the work in the eyes of the law or sell it again in a legitimate marketplace since it remains perpetually vulnerable to seizure. In fact, even if the buyer of a stolen painting is acting in good faith, believing their transaction totally above board, authorities may seize ill-gotten property from thieves and unsuspecting purchasers.

The challenges associated with selling looted art can diminish the work’s value, to the point it drops so low that thieves abandon the piece. In some cases, the works are so famous that they become entirely impossible to sell at full value or on the open market. But this doesn’t prevent art from acting as a kind of currency within organized gangs. Indeed, one expert noted that the two recovered van Gogh paintings “were most likely used in what we call ‘art-napping’ — the Mafia often steals work of art and uses them as a kind of payment within their own families.” And despite publicity, a stolen work can find an unscrupulous or unknowing buyer.

What To Do after a Theft

When art is stolen, victims should first report the theft to law enforcement authorities, including local police and the FBI (if you’re American) which has an art crime team. By reporting the theft, international law enforcement agencies like Interpol can work to recover the object no matter where in the world the thief tries to sell it. Second, victims should report thefts to a stolen art database, such as Art Recovery Group’s database, Art Claim. Reputable private buyers, museums, and auction houses search stolen art databases when completing their due diligence before purchasing a work of art. If a piece appears on a registry such as Art Claim during this process, then the buyers are notified that it is stolen or has a disputed title. Buyers may refrain from purchasing the art, or in some cases, government authorities may be able to seize the property and return it to the rightful owner.

This happened in a recent case, in which I represented the rightful owners of a stolen 13th-century Italian painting by a follower of Duccio (although some believe it was by the master himself). The Madonna and Child was stolen in 1986 and went missing for over two and a half decades. Then, in early 2014, it appeared at Sotheby’s. The sale of the work was halted by the auction house after the Art Recovery Group matched the painting to an item on its database. The work was then pulled from the auction catalog, and federal authorities seized the panel and initiated a legal proceeding for its return. I represented the owners, filing an ownership claim such that my clients eventually succeeded in regaining their property. Reporting thefts and diligently seeking restitution often allows victims to more easily claim title to property in a lawsuit.

As is typical in stolen property matters, looted items sometimes disappear as time passes. The trail goes cold as thieves and black market buyers lay low, hoping that the crime is simply forgotten and that they might resell the work once that happens. And indeed, it can be more difficult to prosecute art thefts as the years tick on, as witnesses may pass away and evidence of the crime is lost. This is why reporting a theft is so important: It prevents works from ever being sold on the legitimate market (such as at a major auction house or gallery) by creating a record of the theft that follows the art.

The Risks and Rewards of Going Public

Hard work and perseverance are often required for the lengthy hunt that can follow a theft. A well-known restitution case involved 6th-century Cypriot mosaics. The rightful owners were the Autocephalous Greek-Orthodox Church of Cyprus and the Republic of Cyprus. The nation was able to recover the looted mosaics from an American dealer, Peg Goldberg, in 1990 because it contacted numerous international cultural heritage organizations and informed museums, auction houses, universities, and research institutions about the missing pieces. Well-known Cypriot antiquities experts also disseminated information about the mosaics to their colleagues and scholars throughout the world. In addition, the Embassy of Cyprus in Washington, D.C., distributed press releases and information to journalists, Members of Congress, legislative assistants, and heritage professionals. As a result, the Republic of Cyprus located the mosaics when Goldberg tried to sell the works to some of the same people who knew they were missing. After a legal process, they were eventually returned.

Sadly, the number of successful restitutions is low because there are many challenges facing rightful owners—some even created by the very attempts to recover the work. Some victims broadcast the theft more publicly, hoping that a subsequent owner may return the stolen goods. But publicizing a theft can cause the value of stolen works to plummet to zero or cause a sale to carry too many risks. In such instances where profit is impossible, the thieves and their associates may choose to dispose of the evidence by destroying the works (though that is a rare occurrence). In the case of prolific art thief Stéphane Breitwieser, his mother destroyed paintings by old masters including Lucas Cranach the ElderPieter Brueghel the Younger and other artists by cutting them up and forcing them down a garbage disposal. She threw other art objects into a river. The mother of one of the gang members involved in the Kunsthal Rotterdam theft of 2012  also destroyed evidence—she incinerated the stolen paintings from the museum. This didn’t prevent some of the criminals involved with the thefts from being caught, however.

Facing all these challenges, recovering a work can sometimes be a badge of honor. The publicity surrounding international restitution cases can even cause the piece in question to rise in notability and potentially even in price. The Mona Lisa, although valuable before the theft, became the most famous painting in the world only after it was snatched. But when a work is stolen from a museum, it is the public who benefits from a recovery. After criminal proceedings end, the recovered van Gogh paintings will go back on view (hopefully with a little better security) for all to see and enjoy.

—Leila Amineddoleh

Today’s Young Dealers Could Learn a Lot from the ’90s

Wolfgang Tillmans with his work at Buchholz & Buchholz, The Nineties, Frieze London, 2016. Photograph by Linda Nylind. Courtesy of Linda Nylind/Frieze.

Whispers have turned to shouts around the doom and gloom of the art market following a period of rife speculation. Galleries are closing their doors; others contemplate calling it quits. Artist prices are plummeting. Buyers from emerging markets are disappearing from auction salerooms.

This situation could be a dramatized snapshot of 2016—but the year is actually 1991. The bubble of the late ’80s has burst; the art market is reeling. But, in the midst of this chaos, a group of dealers who now dominate the discourse around contemporary art are getting their start. “The ’90s was the decade which really created the environment we find ourselves in now,” said Jo Stella-Sawicka, artistic director of Frieze, which launched a new section this week, The Nineties, recreating 11 seminal exhibitions from this era under the curation of Nicolas Trembley.

The 20 Best Booths at Frieze London
Read full article

“We had no money at the time. Young people keep asking if this was my office—no, it was my gallery,” laughed Daniel Buchholz in the 3-by-3-meter gallery space he’s recreated for Wolfgang Tillmans’s first-ever solo in 1993. At Frieze, some 70 photographs and magazine spreads are scattered across the walls of a replica of the tiny space behind Buchholz’s father’s Cologne bookshop where the show was originally mounted. For the now hugely influential German dealer, who keeps galleries in Cologne, Berlin, and New York, it’s a reminder of an era when fewer funds meant fewer expectations. “It’s good to remember that it’s not necessary to have a $20,000 production,” he said. (Though he noted this install wasn’t cheap.) “It’s not always about the money.” In its original installation the photographs sold for £200 a pop. As of Thursday afternoon, the photographs at the fair, now on offer as a single work (Buchholz & Buchholz Installation), were on reserve with a German museum.

Installation view of work by Pierre Joseph at Air de Paris’s booth, The Nineties, Frieze London, 2016. Photograph by Linda Nylind. Courtesy of Linda Nylind/Frieze.

“There was certainly a different type of relationship between artists and galleries at the time,” said Florence Bonnefous, founder of Air de Paris, who noted that galleries didn’t need to put the same pressure on artists to make the right number of works—or the right type of works—for art fairs. Perhaps in a nod backward for the French gallerist, her presentation at Frieze is not so much monetarily driven: two of the three “living sculpture” works on view by Pierre Joseph had sold in the ’90s. (Characters portrayed by actors in the booth include a policeman, a leper, and a Cinderella.) “It allowed some kind of liberty,” Bonnefous continued. “We didn’t have much but we didn’t need much. It was not about making big objects that are very expensive to produce, it was about producing ideas.”

In this spirit, Bonnefous recalls the gallery’s first show in 1990, “Les Ateliers du Paradise,” where Philippe Perrin, Philippe Parreno, and Pierre Joseph turned a summer holiday into a month-long live-in exhibition, with chefs, artists, and writers passing in and out—now considered a key moment in the start of relational aesthetics. “The gallery was open when we didn’t want to go for a swim at the beach,” she recalled. “But we could also go swim for a couple of hours.”

There were of course two schools of thought here, as alongside the gallerists carving out their programs, New York’s mega-dealers began to build up stables and commercial brands marked by high production costs and the emergence of art-world stars, YBADamien Hirst being the poster child. But Frieze, a fair famed for its support of artists and gallerists, appears to have focused its gaze for The Nineties on the former.

Installation view of work by Sylvie Fleury at Mehdi Chouakri, Berlin/Salon 94, New York/Sprüth Magers, Berlin’s booth, The Nineties, Frieze London, 2016. Photo by Benjamin Westoby for Artsy.

With the route to market for work not always so pronounced, when collectors did buy, they bought with passion, not speculation. “There was never a question of price and value, is the price going to double soon—auctions didn’t play a role at all,” said Mehdi Chouakri, standing amongst 14 ’80s–’90s-era television sets broadcasting aerobic lessons by Cindy Crawford, Jane Fonda, and Raquel Welch. The work, A Journey to Fitness or How to Lose 30 Pounds In Under Three Weeks (1993), restages Sylvie Fleury’s pioneering installation from Aperto ’93 at the Venice Biennale and sold on Thursday to a European collection. It sits within the artist’s wall painting, Modulateur Ombres et Lumières, Welcome to the World of Chanel Beauty (1993), which sees three hues of Chanel makeup cover the booth’s respective walls. This sounds eerily similar to the trend we’re seeing amid today’s softened art market: Across Frieze, dealers have reported that when people are buying, they are spending more time researching and contemplating the artists they want to support.

According to Chouakri, the more thoughtful pace seen amongst collectors was also a tenet of the era’s artistic production. “A young artist of the ’90s was perhaps older than 30, while a young artist nowadays is 23 or 24,” he said, noting that Pierre Huyghe and Parreno, while both extremely active in the ’90s, took some 20 years to reach the success they’ve seen today. The dealer attributes this rhythm to the early stages of the Information Age—with limited access to email and internet—when a letter between the United States and Europe would easily take a week and FedEx was still on the rise. “Even within the velocity in our time, sometimes stepping back and thinking, being more careful in doing things is in fact much better whether you are an artist or a gallery,” he said.

In 2016, it’s hard to imagine a gallery or artist possibly surviving without email. (Even Buchholz, who famously writes all communication by hand, still has his assistant type up his notes and hit send.) The quickened pace of commerce afforded to galleries by technology and globalization allows more to thrive—and more artists to show. But considering the similarities of our current times to those of the groundbreaking era The Nineties encapsulates, it’s instructive to dig deeper about what may be more easily applied.

Installation view of work by Dominique Gonzalez-Foerster at Esther Schipper’s booth, The Nineties, Frieze London, 2016. Photograph by Linda Nylind. Courtesy of Linda Nylind/Frieze.

How could young galleries today find themselves in the shoes of dealers like Esther Schipper, who some two decades after mounting Dominique Gonzalez-Foerster’s solo exhibition R.W.F. in 1993 (an apartment-turned-film set which is restaged at Frieze) ushered her roster to stardom? (This week in London sees no fewer than five of her artists open major exhibitions: Roman Ondák at South London GalleryMartin CreedUgo Rondinone, and Gonzalez-Foerster at the Hayward Gallery; Philippe Parreno at the Tate’s Turbine Hall.) These dealers emerged during a difficult market, and amid social and political upheaval—the AIDS crisis and the Gulf War playing no small part. But our decade has its own set of issues. What could we do to be able to look back in 25 years time and recall the 2010s as the time when art once again took a new and groundbreaking tack?

Ultimately, it seems clear that galleries are in need of greater opportunities to define what works for their own businesses in regards to output, programming, and fair participation. “I’m not sure [today’s] young galleries know much about this time, because they’ve started out with a series of constraints and rules which are so firm,” Bonnefous said. We’re just starting to see these rules be broken: Last year, younger galleries diverted from FIAC initiated Paris Internationale; others, rumored to have been displeased with their performance at Frieze and other fairs began the online-only Dream art fair, put forth as a free-of-charge platform for small, young galleries unable to afford the hefty overhead of the top-tier fair circuit. Looking at The Nineties, it’s clear that there are benefits for galleries being allowed to chart their own path, whatever that means for each individual gallery.

“It’s just about what you stand for,” said Chouakri. “Quality and good work is the most important thing—and not speed, money, value.” This, he said, is what we learned from the artists of the late ’80s and the ’90s, like the Guerrilla Girls or Fleury. “You stand for your passion. It’s your life. And you’ve got to be able to do it over years and years and years. And the ’90s were for that.”

—Molly Gottschalk




The Art Market: London hosts Frieze and 1:54 African art fair

Buyer found for Zak Ové’s masked men installation; Ordovas expands in New York

The Art Market
Zak Ové’s ‘Black and Blue: The Invisible Man and The Masque of Blackness’ (2016), a courtyard installation made for the third edition of the 1:54 African art fair in London’s Somerset House © Victor Jules Raison

The 14th edition of Frieze London and fifth outing of Frieze Masters opened in an uncomfortable economic environment — a situation made stark by the coinciding turmoil surrounding the fairs’ lead sponsor, Deutsche Bank. While the mood was yet upbeat at the busy VIP openings on October 5, the optimistic thirst for cutting-edge contemporary works has given way to a more sober environment.

New this year at Frieze London is a minimal and largely conceptual section dedicated to works from the 1990s. Not so long ago, perhaps, but the new focus contributes to a different, gentler feel in a tent that previously stipulated that works had to be made after 2000.

Other works from the 1990s feature in the main sections of the fairs. “People now want to look back a bit,” says Wendy Olsoff, the co-founder of New York’s PPOW gallery. At the Frieze London opening, crowds were circling around a striking table of pink plastic goods by the feminist artist Portia Munson on the PPOW booth (“Pink Project: Table”, 1994, $225,000). Early sales at the fair included some of Munson’s accompanying photographs ($15,000 each, edition of six). Newer works also sold on the first day, including a 2016 painting by one of this year’s hot names, Harold Ancart, for $85,000 (David Kordansky gallery).

The Frieze fairs are open until Sunday evening.

A buyer quickly emerged for Zak Ové’s impressive site-specific courtyard installation made for the third edition of the 1:54 African art fair in London’s Somerset House this week (“Black and Blue: The Invisible Man and The Masque of Blackness”, 2016). Modern Forms, a contemporary art platform founded by Hussam Otaibi, managing partner of the investment group Floreat, and Nick Hackworth, the curator who previously ran London’s Paradise Row gallery, bought one of three editions of the 40 identical, life-size sculptures of Nubian masked men, priced at £300,000, through London’s Vigo gallery. The plan is for Ové’s installation to be part of a sculpture park that Modern Forms is creating at a property in Berkshire. Modern Forms was founded this year and draws on Otaibi’s 500-plus collection of mostly emerging art. Floreat is also sponsoring the fair (open until Sunday).

The modern and contemporary art dealer Pilar Ordovas has proved that art fairs are not the only way to succeed in today’s market. She instead focuses much of her creative energy on mounting three high-quality exhibitions a year in her London space, while dealing privately. Now Ordovas has decided to commit to an additional exhibition a year in New York, having tested the waters with an Eduardo Chillida exhibition last year. Rather than open a dedicated space stateside, Ordovas plans to choose a different venue for each show. “We are the opposite of a supermarket for art, one space doesn’t fit all,” she says. The first formal pop-up is in a townhouse on the Upper East Side, near the Mark Hotel, for which she is taking the Artists and Lovers exhibition currently on show in London. She opens in New York on November 7 (until January 7).

The Fine Art Group, previously known as the Fine Art Fund Group, has become the latest business to launch an art loans operation. Founder and chief executive Philip Hoffman says that the rebrand reflects the firm’s broader offering, including the seven investment funds that he continues to manage. The group has also been running an art advisory service for the past few years. The new art lending business is headed by Freya Stewart, who has worked as a finance lawyer, and as senior legal counsel at Christie’s. Stewart says she expects to offer relatively low rates — and a loan-to-value level of up to 50 per cent, which is high for the art market — because the group will be using its own invested equity capital, and because it already has an in-house team of art experts. She expects to lend against works valued between $250,000 and $20m.

Hoffman would not comment on the individual performance of his funds (two of which provide third-party guarantees to auction houses), but says that his company has been involved in transactions worth $325m at Christie’s and Sotheby’s over the past two years.

The Frieze Week auctions opened in style at Christie’s on October 4 with the sale of works owned by the respected art dealer Leslie Waddington, who died last year. The 44 works all sold — a so-called “White Glove” auction — for a total £23.8m hammer (£28.3m with premium), comfortably ahead of their presale upper estimate of £18.6m.

The sale’s success shows the marked difference between selling a single collection that has been amassed over a lifetime versus the hurried, seasonal gathering of available material. Waddington bought many of the works directly from the artists (including Peter Blake, Michael Craig-Martin and Patrick Caulfield) or their foundations; only two works had been on an auction block before. Several works sold above mostly attractive estimates, including Francis Picabia’s “Lampe” (c1923), which went to a telephone bidder for £3.1m (£3.6m with fees, est £800,000-£1.5m).

It was a rather more hurried auction at Phillips the following night. With two works withdrawn (by Robert Longo and Alex Israel), the 28-lot sale felt thin but managed to squeeze within its revised £14.2m-£20.5m estimate to make a total £15m (£17.9m with fees). High points deservedly included Mark Bradford’s “Rat Catcher of Hamelin III” (2011), which sold for £3.2m (£3.7m with fees, against an estimate of £1.5m-£2m).

Christie’s and Sotheby’s contemporary auctions and Italian sales were still to come as this column went to press.

Photograph: Victor Jules Raison



At Frieze Art Week, All Eyes on the Pound



“Nickelodeon” by Adrian Ghenie sold for 7.1 million pounds, or about $9 million. Credit Hannah McKay/European Pressphoto Agency

“Great price, great picture!” exclaimed the auctioneer Jussi Pylkkanen, under a screen that showed “GBP 6,200,000” above conversions into a range of currencies that had strengthened against the pound in the last few months — and days.

Mr. Pylkkanen, the global president of Christie’s, had just sold the star lot of his auction house’s Thursday night “Frieze Week” sale of contemporary art. Adrian Ghenie’s almost 14-foot-wide canvas of an octet of sinister figures in an interior, titled “Nickelodeon” and dating from 2008, was pushed by at least six bidders to a final fee-inclusive 7.1 million pounds, or about $9 million. The price, given by an anonymous telephone bidder, was seven times the low estimate and a new salesroom high for Mr. Ghenie, a 39-year-old Romanian artist.

What might be called the “Brexit Discount” was the talk of Frieze Week, the logjam of fairs, auctions and gallery shows clustered around the contemporary Frieze Art Fair in Regent’s Park. (On Tuesday, the pound slumped to a 31-year low of $1.27; on Friday it momentarily fell as low as $1.20.) Christie’s kick-started the week’s auctions on Tuesday with its £28.3 million sale of the private collection of the renowned London gallerist Leslie Waddington, who died in November. All 44 lots sold.

“It’s a dollar market. It has to have an effect,” Mr. Pylkkanen said on Thursday after Christie’s deftly curated sale of 41 lots raised £34.3 million, or $43.5 million, with 90 percent of the works sold. The total at the company’s equivalent sale last year was £35.6 million, which was then $55 million.

This year, because of a lack of growth in major economies and the volatility of geopolitical events, international collectors have been more cautious at auctions and fairs. But the weakness of the pound gave a boost to Frieze Week— certainly at Christie’s, where bidders hailed from more than 35 countries.
Continue reading the main story

Stefan Simchowitz, a collector and adviser based in Los Angeles, was an active bidder, buying about a dozen big-ticket lots for clients over the two evenings of Christie’s sales. These included a 2003 Thomas Schutte sculpture, “Bronzefrau Nr. 13,” which he purchased on Thursday for £3.7 million.


“The pound is certainly attractive in these sales to collectors. 100 percent,” Mr. Simchowitz said in an email.

Christie’s was careful to pack its Thursday night sale with fresh works by artists who are now in demand with collectors. The American figurative painter Henry Taylor, for example, is currently the subject of a sold-out exhibition at the Los Angeles gallery Blum & Poe. Mr. Taylor’s 2008 painting “Walking With Vito,” showing two boys walking a dog, was a timely offering at Christie’s. Four bidders pushed the price to £137,000. Gallery prices for paintings at Blum & Poe range from $25,000 to about $100,000.

It had been a rather different story the previous evening at Phillips’s sale of 20th-century and contemporary art, which was weighted with familiar names that have been heavily traded — and speculated — over the last decade. The slender 28-lot auction raised only £17.9 million with fees, 43 percent down on the £31.5 million Phillips achieved at its equivalent London sale last October.

Only two lots sold for hammer prices above their high estimates. Most prominent of these was the large 2011 word-splattered abstract “Rat Catcher of Hamelin III” by Mark Bradford, who will be representing the United States at next year’s Venice Biennale. With a high estimate of £2 million, it was bought by the London dealer Inigo Philbrick for £3.7 million with fees.

Works by reputed contemporary artists whose markets have not been “burned” by speculation was the commodity most in demand at the Wednesday preview of the 14th annual Frieze Art Fair, the centerpiece of Frieze Week.

“It’s the one week of the year in which you get the chance to take the pulse of the whole market,” said Wendy Cromwell, an art adviser based in New York. According to Ms. Cromwell, Frieze, which this year featured 166 international gallerists, has “fallen off the map” for many American collectors, in spite of the falling pound.
Josef Albers, study for “Homage to the Square.” Credit 2016 the Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York, via Christie’s Images Ltd. 2016

“I’ve seen a bunch of advisers, but not many collectors,” she said. “The fair has lost its buzzy edge. It’s now a commercial entity, but it still affords opportunities to buy exciting work,” she added, after buying one of two new triangular paintings on linen by the British artist Chris Ofili, priced at $380,000, at the Frieze booth of David Zwirner.


The New York dealer David Lewis was among 37 “emerging” galleries in the main Frieze fair’s “Focus” section. Underlining the fair’s commercial maturity, Mr. Lewis was showing nine new abstract paintings and a sculpture by Lucy Dodd, 34, an artist based in New York State, who this year had a solo show at the Whitney Museum of American Art in New York. The works ranged in price from $7,000 to $60,000, and all had been sold or on reserve by the end of Wednesday.

Frieze’s sister fair, Frieze Masters, whose fifth edition previewed on Wednesday, remains an enigmatic event. Supremely elegant in design and pleasant to visit, the fair is dominated by fully-priced modern and postwar art, with a shrinking representation of historic material to appeal to “crossover” buyers. Data quantifying whether the fair works commercially for dealers remains fragmentary.

It is a sign of these post-boom times that arguably the commercially “hottest” artist of the moment isn’t a 20- or 30-something in New York or Los Angeles, but the German-born American Josef Albers (1888-1976). The market for his work has been transformed since May, when the New York mega-gallerist David Zwirner took over representation of his estate. Zwirner, who will have solo Albers shows in New York in November and in London in January, sold a gray 30-inch “Homage to the Square” from 1964 to an American collector for $1 million at the preview of Frieze Masters.

The previous evening at Christie’s Waddington auction, Mr. Simchowitz, the Los Angeles-based adviser, had to pay £665,000 each, or about $849,000, for two 16-inch “Homage” paintings, respectively graded in shades of red and orange-to-burgundy and dated 1969 and 1973. Last year, Albers’s 16-inch abstracts were selling for $150,000 to $250,000 at auction.

The London dealer Dickinson was showing a small-scale 1949 version of René Magritte’s painting “L’Empire des Lumières” (The Dominion of Light) at a spectacular booth devoted to Surrealism. Formerly owned by Nelson A. Rockefeller, the Magritte was one of 17 oil versions of the subject and had been consigned for sale by another American private collector with a Rockefeller-size asking price of $25 million. The “Surrealist Revolution” display offered 50 works, starting at $35,000 for an Yves Tanguy ink drawing.

As of Friday morning, the gallery had not reported any confirmed sales.

“Healthy, robust, contracting, healthy, robust and contracting like a lung that breathes in and then out,” said Mr. Simchowitz, describing the current state of the art market. “Sometimes it has oxygen and sometimes not.”


Miami Art Basel 2015 – Must See Exhibitions, Best Parties and Events – Updated Dec. 2, 2015

Changes abound for the upcoming Miami Art Basel week 2015. The NADA Art Fair has a new home – the spectacular billion dollar upgraded historic Fontainbleau Hotel. In all previous locations the fair was free to enter – no more; it now $20 a head. The Rubell Family Collection stays in the forefront of the pulse of the artworld with an all woman artists exhibition that will rotate works over the duration of the show. The Marguiles Warehouse will feature a massive four custom built room exhibition of the work of Anselm Kiefer, whose retrospective I saw at the Royal Academy in London in the fall of 2014. The ICA Miami will be getting its new building in 2017 – meanwhile it will have a show of the NYC video artist Alex Bag. The de la Cruz Collection is doing a survey show loaded with art stars working in abstraction. With NADA, Scope, Pulse all having returned to Miami Beach, the major art fair action on the Miami side is now Art Miami and its Context Art Fair. Miami Projects has also moved to Miami Beach into the Deauville Hotel, which NADA just left after last year. Also up will be three stellar shows at Mana Contemporary – including the Frederick Weisman art foundation in Los Angeles, a selection of the Jorge Perez collection, and a selection of Latin America art. There will also be work from artists working in Bushwick. The other major offering will be the exhibition of representational and realist art curated by Jeffrey Deitch and Larry Gagosian that will be in the Moore Building in Miami’s white-hot Design District, and the Nari Ward retrospective at the Perez Art Museum, now under the direction of Franklin Sirmans. Isaac Julien’s 15 screen video project commission for Rolls Royce makes its North American debut at Young Arts in Wynnwood.
Miami has a couple of new gallery districts – Little River and Little Haiti, that offer warehouse sized exhibition spaces.
Up the road we can look forward to the opening of the Faena Arts Center in Miami Beach, the new ICA Miami building, and the Museum of Latin American art by Miami gallerist Gary Nader.
Vincent Johnson is an artist and writer in Los Angeles. he recently interviewed William Pope L. at MoCA in Los Angeles for the November 2015, 15th Anniversary issue of FROG magazine.

Art Basel 2015 Sketch Book: 8 Artists to Watch

Mega Guide To Art Basel Miami Beach 2015: Tuesday

Gary Pini

Yves Behar is the recipient of the 2015 Design Miami “Design Visionary Award” and he’ll be honored with a special exhibit in the D/M venue behind the convention center through December 6. The VIP preview is today, December 1st. A student team from Harvard was chosen to design the fair’s entrance for their submission, “UNBUILT,” a collection of foam models of unrealized design projects. Expect thirty five exhibitors inside including Firma Casa from Brazil, showing new works by the Campana Brothers, and Italian gallery Secondome, with hand-crafted limited editions.

The Miami Project is also launching a new spin-off this year called SATELLITE that will show various “experimental” projects in unoccupied properties up near their 73rd Street base. One of those, “Artist-Run,” will fill the rooms in the Ocean Terrace Hotel (7410 Ocean Terrace, Miami Beach) with different installations from 40 artist-run spaces, curated by Tiger Strikes Asteroid. It’s open from December 2nd to 6th, with a VIP/media event today, December 1st, from noon to 10 p.m. ALSO: Trans-Pecos, the music venue out in Queens, New York, and Sam Hillmer from the band Zs, are putting together a 5-day music program in the North Beach Amphitheater, emphasizing “musical practitioners with some form of art practice.”

X Contemporary launches their inaugural fair in Wynwood running from December 2nd through Sunday, and a VIP opening on December 1st from 5 to 10 p.m. Twenty eight exhibitiors will be on hand, plus special projects including “Grace Hartigan: 1960 – 1965” presented by Michael Klein Arts; a look at the “genesis of street art” curated by Pamela Willoughby; and “Colombia N.O.W.” presented by TIMEBAG.

Target Too InstallationPULSE Miami Beach returns to Indian Beach Park (4601 Collins Avenue, Miami Beach) starting with a big “Opening Celebration” at 4 p.m. today, December 1st, featuring a panel discussion put together by Hyperallergic; an interactive piece by Kate Durbin called “Hello, Selfie!” and a live performance by Kalup Linzy. On December 5th, PULSE celebrates the City of Miami via a talk at 5 p.m. on “Future Visions of Miami” and a “Sunset Celebration” from 5 to 7 p.m. Fair visitors can check out “TARGET TOO,” an installation referencing items sold at the stores, originally on view in NYC last March. There’s a complimentary shuttle from the convention center, and the fair is open daily from 10 a.m. to 7 p.m. through Saturday.

Wynwood Walls (2520 NW 2nd Avenue, Miami) has a lot planned this year including “Walls of Change” with 14 new murals and installations and the debut of a new adjacent space called “The Wynwood Walls Garden.” The walls are by Case, Crash, Cryptik, el Seed, Erenest Zacharevic, Fafi, Hueman, INTI, The London Police, Logan Hicks and Ryan McGinness. Over in the “garden,” the Spanish art duo Pichi & Avo are doing a mural on stacked shipping containers and in the events space, Magnus Sodamin will be painting the floors and walls. The VIP opening is on December 1st in the early evening, but then it’s open to the public from 11 p.m. to 2 a.m. Goldman Properties’ CEO Jessica Goldman Srebnick talks about how art transformed the Wynwood neighborhood in THIS Miami New Times piece. We also hear that New York developer (and owner of Moishe’s Moving, Mana Contemporary etc.) Moishe Mana is planning a new mixed-use development on his 30 acres of land in the middle of Wynwood.

Jeffrey Deitch and Larry Gagosian are co-presenting an exhibition of figurative painting and sculpture called “UnRealism” at 191 NE 40th Street, Miami. The opening is on Tuesday, December 1st, but it will be on view all week. According to the NYT, artists featured in the group show will include Urs Fischer, Elizabeth Peyton, John Currin and David Salle. In conjunction with the exhibition, the artist Rashaad Newsome will lead an “art parade” starting at 6:30 p.m. today at 23 NE 41st Street, Miami and ending at 4001 NE 41st Street.

CONTEXT Art Miami will feature 95 international galleries this year, along with several artist projects and installations including 12 listening stations dedicated to sound art; areas dedicated to art from Berlin and Korea; solo exhibitions by Jung San, Satoru Tamura, Mr. Herget and four others; and a “fast-track” portrait project of workers at Miami International Airport. Context and Art Miami — celebrating its 26th year — open with a VIP preview benefiting the Perez Art Museum Miami on Tuesday, December 1, 5:30 to 10 p.m., at 2901 NE 1st Avenue in Midtown, Miami. The fair is open to the public from December 2nd through the 6th.

ICA Miami (4040 NE 2nd Avenue, Miami) opens a major survey of works by the video and performance artist Alex Bag — including her interactive installation “The Van” — on December 1st. The museum recently announced the appointment of Ellen Salpeter, Deputy Director of NYC’s Jewish Museum, as its new director and they’ve just broken ground on a new, permanent home in the Design District. The 37,500 -square-foot building was designed by the Spanish firm Aranguren & Gallegos Arquitectos and is scheduled to open in 2017. Shannon Ebner also has a show, “A Public Character,” on view in the museum during AB/MB and up until January 16, 2016. This is the inaugural program in the museum’s new performance series.

The fourth edition of UNTITLED Miami is on the beach at Ocean Drive and 12th Street from December 2 to 6, with a big VIP preview on December 1st from 4 to 8 p.m. They’ve got 119 international galleries along with non-profit orgs from 20 countries. New this year will be an UNTITLED radio station broadcasting via local Wynwood Radio with interviews, performances and playlists by artists, curators etc.

PAPER Magazine is hosting (and participating in) several events during AB/MB. On Tuesday, December 1st, 6 p.m., David Hershkovits will be “in conversation” with Fab 5 Freddy and David Koh on the topic, “Art On Film,” followed by a special screening of Koh’s film “Peggy Guggenheim: Art Addict.” The Tribeca Film Festival Shortlist is presenting the event at The Miami Edition (2901 Collins Avenue, Miami Beach) and SOTO sake sponsors. On Tuesday night (late) and also at the EDITION, PAPER, Silencio, A Hotel Life and One Management host the one year anniversary of the hotel’s BASEMENT nightclub with DJs Seth Troxler, Nicolas Matar and Orazio Rispo.

The Wolfsonsonian FIU Museum (1001 Washington Avenue, South Beach) is open all week with several exhibitions including “An Artist on the Eastern Front: Feliks Topolski 1941,” “Margin of Error,” “Orange Oratory,” “Philodendrum” and “Miami Beach.”

Moishe Mana’s Mana Contemporary (318 NW 23rd Street, Miami) in Wynwood plans several exhibitions during AB/MB including “Made in California,” featuring selections from L.A. collector Frederick R. Weisman’s Art Foundation; “A Sense of Place,” with over 60 works from the collection of Jorge M. Perez; and “Everything You Are Not,” key works of Latin American art from the Tiroche DeLeon collection. All are up from December 3rd thru the 6th, with a VIP preview on December 1st. Mana Urban Arts is also doing a collab with The Bushwick Collective at the former RC Cola Plant (550 NW 24th Street, Miami) that includes over 50 artists — so far the list includes Ghost, GIZ, Pixel Pancho, Case Maclaim and Shok-1 — plus skateboarding, DJs, live music etc.

Bortolami Gallery is opening a year-long exhibition called “Miami” by the French conceptual artist Daniel Buren on December 1st in the M Building (194 NW 30th Street, Miami). The show marks the 50th anniversary of his works with fabric and the 8.7 cm stripe. By periodically installing new works, Buren will also alter the exhibition during the year.

Previewing their upcoming South Beach studio, SoulCycle will pop-up poolside at the 1 Hotel (2341 Collins Avenue, South Beach) starting on Tuesday, December 1st. They plan to open permanently in the hotel in January 2016. The 1 Hotel also offers a fitness and wellness line-up for guests and visitors all week.

Miami gallery Locust Projects (3852 N. Miami Avenue, Miami) returns with their “Art on the Move” series of artists’ projects in public spaces around Miami during December. This year’s work, “NITE LIFE,” by LA-based artist Martine Syms, includes a series of prints displayed on the backs of buses and at bus stops, based on “Chitlin’ Circuit” concert posters by Clyde Killens. There’s a reception for the project, curated by PAMM’s director Franklin Sirmans, on December 1st, 7 to 10 p.m. Also check out the gallery’s site-specific installation “PORE” by Martha Friedman and “Beatriz Monteavaro: Nochebuena” in the project room.

Brickell City Centre (750 South Miami Avenue, Miami) is giving a sneak peek at their work-in-progress development in downtown Miami with an invite-only event, “Illuminate the Night,” on December 1st featuring the unveiling of “Dancers,” a sculpture by UK artist Allen Jones; () music from Wooden Wisdom DJs (Elijah Wood and Zach Cowie) and a 150,000 square-foot glass, steel and fabric structure called “Climate Ribbon” by Hugh Dutton.

The Bass Museum (2100 Collins Avenue, South Beach) is closed for renovations until next year, but they’re still hosting “outdoor activations” in the surrounding park including the AB/MB PUBLIC sector and the display of a neon sign, “Eternity Now,” by Swiss artist Sylvie Fleury. They are co-hosting a private dinner with Salon 94 Gallery on Tuesday in the Miami Beach EDITION Hotel.

Zurich’s Galerie Gmurzynska hosts an invite-only cocktail party at The Villa Casa Casuarina (1116 Ocean Drive, Miami Beach) on December 1, with Sylvester Stallone and Germano Celant. The gallery will be showing a retrospective of works by Karl Lagerfield in their stand at AB/MB, curated by Celant.

The DREAM South Beach (1111 Collins Avenue, South Beach) hooked-up with Brooklyn-based artist — and new GQ “style guy” — Mark Anthony Green for an exhibition of, according to Green, “what 2015 meant to me in both a macro and micro sense…wins, losses, heartbreak and promotion.” The hotel will have a pop-up shop curated by the artist, and guests will get a complimentary print. There’s a welcome reception on Tuesday, a private dinner and afterparty with the Green and A$AP Rocky on Friday and a pool party hosted by YESJULZ on Sunday afternoon.

FLAUNT Magazine and Guess host a private dinner at the Nautilus Hotel in December 1 in honor of their latest cover stars Zaha Hadid, Rem Koolhaas and Julie Mehretu. After dinner, there’s a poolside party with a screening of “ME” and music by the Martinez Brothers and Pusha T. Expected guests include “ME” writers Susan Taylor & Jefrey Levy and Gina Gershon.

The 2015 edition of Elle Decor’s Modern Life Concept House premieres with a VIP breakfast on December 1st at 250 Wynwood (250 NW 24th Street, Miami). Visits from December 2 to 4 are open to the public with a $35 donation to pediatric cancer research and a reservation via The 6,000 square-foot home will showcase 4 leading designers selected by ED editor-in-chief Michael Boodro.

An exhibition called “LAX – MIA: Light + Space” opens on Tuesday, December 1st, 5 to 8 p.m., at the Surf Club (9011 Collins Avenue, Miami Beach). The show was curated by Terry Riley, Joachim Pissaro and John Keenan of PARALLEL and is hosted by The Surf Club and Fort Partners. It’s on view until December 12th, 11 a.m. to 5 p.m. daily, closed on Sunday.

Art Basel Basecamp (46 NW 36th Street, Miami), hosted by HGABmag, returns with a space to “re-group, re-fresh and re-energize” featuring charging stations, information booths, giveaways and art installations. Stop in from December 1 to 6, 4 p.m. to midnight daily; and don’t miss their “Alice in Wynwood” closing party on Saturday night.

The first edition of the Curatorial Program for Research Film Festival takes place on December 1, 11 a.m. to 2 p.m. at Cannonball (1035 North Miami Avenue, Suite 300, Miami). The program, “Earthbound,” was curated by Niekolaas Johannes Lekkerkerk in collaboration with Dwelling Projects. There will also be a silent auction.

New York-based developer Robbie Antonio debuts his REVOLUTION collection of pre-crafted structures during Design Miami/2015. The limited edition homes and pavilions have been designed by 30 noted architects and designers including Zaha Hadid, Richard Gluckman and the Campana Brothers. The VIP launch is in the Design Miami tent on Tuesday evening.

NYC club No.8 pops-up in the Rec Room at the Gale Hotel (1690 Collins Avenue, South Beach) with DJs including JusSke, Fly Guy and Ross One; the hotel’s Regent Cocktail Club features live jazz, Cuban cocktails, Samba and soul tunes. They’ve also got a digital art installation by Aerosyn Lex.

White Cube’s kick-off party is tonight at Soho Beach House with Giogio Moroder spinning and lots of Moet.

NYC/LA art collective Collapsing Scenery presents “Metaphysical Cops,” a one-night-only video installation on December 1st, 5 to 10 p.m., in the Surf Med Pharmacy (7430 Collins Avenue, Miami Beach). It’s a part of the new Satellite Art Fair.

Chloe Sevigny by Pamela Hanson“ICONS,” an exhibition of photos by Pamela Hanson opens at the Shore Club.

BOHO Hunter (184 NW 27th Street, Miami) hosts Monica Sordo’s SS 2016 collection with music from Bea Pernia on December 1st, 7 to 10 p.m.

Miami’s Diana Lowenstein Gallery (2043 N Miami Avenue, Miami) is showing new works by Udo Noger in a show called “Geistlos.” On view all week.

Alejandra Von Hartz Gallery (2630 NW 2nd Avenue, Miami) has their second solo show by Marta Chilindron, “Temporal Systems,” on view during AB/MB. The multi-dimensional sculptures “explore basic geometric forms, color, transparency, light, space, time and perspective.”

When you pass through Art Miami, look for copies of Jerry Powers’ new Art Miami Magazine, that fair’s first dedicated publication,

STK Miami (2311 Collins Avenue, South Beach) hosts The Drip Factory pop-up gallery featuring artist Louis Carreon doing live painting and music by DJ What on December 1st, 8 to 11 p.m. Invite only.



Must-See New Media at Miami Art Week

Yesterday Kate Durbin’s ‘Hello!Selfie’ performance at PULSE Miami Beach, Photo: Rollin Leonard, 2015

This time of the year, the whole art scene gathers in Miami to—let’s be honest—enjoy the beach, often more than the overwhelming art-filled fairs. Many of our longtime favorite creators converge at this year’s festivities, so to support their efforts, we’ve compiled a coup d’oeil of some quality digital art happenings.

Swapping its successful one-shot hypersalon satellite project for a PULSE Miami Beach booth, TRANSFER gallery offers a more streamlined way to reach a wider audience. “The collaborative experiment that was hypersalon set in motion so many amazing exhibitions and exchanges that unfolded in the past year. But in the end, we managed to create a mostly non-commercial format amidst the biggest feeding frenzy of the commercial art world—not a sustainable project in the ABMB environment,” Kelani Nichole, founder and director of TRANSFER tells The Creators Project.

Transfer gallery’s booth under the massive PULSE Miami Beach tent, 2015

“This year, I went for the exact opposite, securing a white cube in a tent on the beach. TRANSFER is quite fortunate to have the support of PULSE to open their fair to a challenging format of social-media based performance, and their Conversations curated section gave us the perfect opportunity to present two artists working with issues of technology and the body,” Nichole adds. TRANSFER showcases recent works by Faith Holland and Kate Durbin with support from Giovanna Olmos. Both artists will be taking part in panels and screenings.

Faith Holland ‘Sub/emissions’ 2015 40″ x 40″ Digital Painting on Canvas, Edition of 3 + 1AP, Transfer gallery, 2015

Kate Durbin’s Hello!Selfie performance yesterday at PULSE Miami Beach, Photo: Rollin Leonard, 2015

Holland brings her orgasm-inspired and cumshot-generated bodies of works—including her figurative and dynamic Visual Orgasms GIF series and juicy abstract Ookie Canvas paintings, comprising a never-seen-before composition called Peter North. Kate Durbin will present video pieces created from footage of previous iterations of Hello!Selfie, a social media-rooted performance that explores and questions selfie culture in public spaces.

DiMoDa VR installation at Satellite Projects fair, 2015

Alfredo Salazar-Caro and William James Richard Robertson offer Satellite Projects, giving fairgoers the chance to experience DiMoDA, an Oculus Rift-powered VR installation. Filled with delightful digital works by artists Claudia Hart, Tim BerresheimJacolby Satterwhite, as well as Aquanet 2001 by Salvador Loza and Gibran Morgado, the nonlinear virtual exhibition opens new perspectives in terms of curation and museum experiences.

On the other side of the bay, Wynwood-located X-contemporary provides viewers with a bunch of activities ranging from panel discussions, art, and DJ performances, to one-of-a-kind projects in addition to the many artworks showcased by the 30 or so worldwide exhibitors.

Dye sublimation on aluminum, Sara Ludy, Fin (Heat sander), 2015, bitforms gallery

Taking over the beach with its huge tent designed by architects John Keenen and Terence Riley of K/R, the new edition of UNTITLED features many international exhibitors—including the NYC-based bitforms gallery—who explore contemporary curatorial cohesion through today’s wide-ranging art practices.

“bitforms gallery has been a part of the contemporary art world for 14 years,” Steven Sacks, director and owner of bitforms gallery tells us.“We have a very specific focus on new media artists covering a wide range of generations and media types.” His booth brings an impressive roster of artworks by artists such as Manfred Mohr, Daniel Canogar, Jonathan Monaghan, Rafael Lozano-Hemmer, Sara Ludy, and Quayola, artists who all strongly contribute to the solidification of new media art within the ruthless contemporary art landscape.

Inkjet print mounted on Dibond, Jonathan Monaghan, Dorilton, 2015, bitforms gallery

“The art fairs are an amazing place to reach thousands of art-centric people and introduce and educate them about our unique program, which typically does stand out amongst more traditional galleries. UNTITLED art fair is a smaller, curated fair with more experimental artists, compared to the larger Art Basel fair, which has a lot more traditional art,” Sacks concludes.

Computer, Kinect, display, Rafael Lozano-Hemmer, 1984×1984, bitforms gallery, 2014

bitforms gallery’s booth at UNTITLED, 2015

Most of the fairs will run through the December 6, 2015.

Click here for more details about PULSE, and here for more on UNTITLED. Click here to check out TRANSFER booth, and here to check out the bitforms booth.



The Definitive Guide to Art Basel Miami 2015, Part One

By  | December 1, 2015

So you’ve made it to MIA for Art Basel 2015, but have you secured a coveted spot on the event’s hautest guest lists? Fear not—we’ve got intel on all the can’t-miss pop-ups, star-studded bashes, and gallery celebrations of the week. Check back for part deux, tomorrow. We hope you remembered to pack your VIP card with your sunnies…

Tuesday, December 1

PAPER Magazine & The Miami Beach Edition Bash
Intel: Celebrate PAPER magazine’s December cover girl Paris Hilton at an intimate, seated dinner.
Location: 2901 Collins Ave., 9:30 p.m. RSVP to

Bello Magazine Kicks Off Art Basel
Intel: The fashion and entertainment mag, with BRAVOTV philanthropist and art gallerist Adriana De Mourainvites Art Basel, invites visitors to join stars from Pretty Little Liars and America’s Next Top Model) for a celebration.
Location: Suitsupply Penthouse, 1000 17th Street., Miami Beach, FL 33139, 6:30 p.m.

W Magazine and Roberto Cavalli Party
Intel: W mag and Roberto Cavalli celebrate the opening of No Man’s Land: Women Artists From the Rubell Family collection.
Location: Rubell Family Collection, 95 NW 29th Street, 7:30-9:30 p.m.

Locust Projects Celebrates “Martha Friedman: Pore”
Intel: The nonprofit space Locust Projects is hosting a cocktail reception celebrating Martha Friedman’s new site-specific installation Pore, which includes four sculptures made from 1,000 pounds of rubber (they’re attached to costumes that will be activated during an experimental performance by dancer Silas Reiner).
Logistics: 3852 North Miami Avenue, 7-10 p.m.

MANA Contemporary VIP Dinner
Intel: MANA Contemporary is hosting an exclusive dinner (Zaha Hadid, Dasha Zhukova, Salman Rushdie, etc.) to preview its new exhibitions. Also on tap is a performance by the Miami Symphony Orchestra.
Location: Mana Wynwood Convention Center, 6-8 p.m. Invitate only.

Galerie Gmurzynska Dinner
Intel: Galerie Gmurzynska hosts a cocktail dinner with Germano Celant and Sylvester Stallone.
Location: 1116 Ocean Drive, 8:30 p.m. Invite only.

Faena Hotel Unveiling Party
Intel: This exclusive unveiling of the hotel owned by art collector, developer, and hotelier Alan Faena promises a start-studded crowd.
Location: Faena Hotel, 10:30 p.m. Invite only.

SLS South Beach Gallery and Pop-Ups
Intel: The building transforms into a mixed-media gallery for hotel guests, collectors, and tastemakers showcasing artists and collaborations. The series of installations will vary from public art displays to pop-up retail shops. Par example: Laura Kimpton Property-Wide Installations, Africa Aycart Portraits at The Bazaar by José Andrés, Never-Before-Seen Andy Warhol Pieces at Sam’s Lounge, J. Open HeART Installation at Katsuya & Hotel Pool Duck, Poolside Retail Pop-Up Shops.
Location: 1701 Collins Ave.

Brickell City Centre Bash
Intel: Brickell City Centre is transforming one block of its three-block construction site into an event space. Wooden Wisdom (Elijah Wood + Zach Cowie) will set the vibe. VIPs and local influencers will join Brickell for a lighting ceremony of its newly completed Climate Ribbon (150,000-square-foot glass, steel and fabric by designer Hugh Dutton).
Location: Brickell City Centre, 67 SW 8th St., 7 p.m. RSVP to

Boho Hunter Basel Kick Off
Intel: Monica Sordo invites those in MIA to visit Boho Hunter for cocktails, music by Bea Pernia, and a selection of her collection with sales to benefit The Duerme Tranquilo Foundation.
Location: Boho Hunter, 184 NW 27th St., 7-10 p.m.

Tribeca Shortlist “Art on Film”
Intel: The movie streaming service from Lionsgate and Tribeca Enterprises hosts “Art on Film” with hip hop pioneer, visual artist and filmmaker Fab 5 Freddy (Fred Brathwaite), independent producer David Koh (Submarine Entertainment) and moderated by PAPER Magazine founder/editor David Hershkovits. Following will be a special screening of the film Peggy Guggenheim: Art Addict.
Location: The Miami Beach EDITION, 2901 Collins Ave., 6 p.m. RSVP to

SoulCycle Pop-Up
Intel: Get your fitness fix at the SoulCycle pop-up studio, which features live art by Brooklyn-born, L.A.-based Gregory Siff.
Location: 1 Hotel South Beach (2341 Collins Ave., Miami Beach), December 1-4

Architectural Digest “Refuge” Preview Party
Intel: Margaret Russell, editor in chief of Architectural Digest, is throwing a preview party with 1 Hotel’s founder Barry Sternlicht and CEO of the LeFrak Group Richard LeFrak.
Location: 1 Hotel South Beach, 6-9 p.m. Invite only.

The Surf Lodge x Art Basel Miami Beach
Intel: Hamptonites, find solace in Miami this week—The Surf Lodge pop-up offers artist-hosted dinners, poolside cocktail parties, pop-up shop, and wellness classes from Equinox Wednesday through Friday at 10 a.m. Expected guests include Jeremy Scott, Rocky Barnes, Rosario Dawson, Daniel Arsham, André Saraiva, Shepard Fairey, and Jayma Cardoso. Pop into the Surf Lodge Pop-Up Shop to peruse brands including Studio 189 from Rosario Dawson and Abrima Erwiah, Reds, and Del Toro shoes, each day from 10 a.m. – 9 p.m.
Location: The Hall South Beach (A Joie de Vivre Hotel), December 1-6, 8-10 p.m. Invitation only.


Wednesday, December 2

Jeremy Scott Party
Intel: Jeremy Scott hosts his annual exclusive bash.
Invite only.

W Magazine and Faena Art’s Roller Disco Beach Party
Intel: Stefano Tonchi and Ximena Caminos celebrate the opening ofAngeles Veloces Arcanos Fugaces, an immersive roller-disco installation by Assume Vivid Astro Focus at Faena Beach.
Location: Faena Beach, 36th Street and the Ocean, 7:30-9:30 p.m.

VH1’s The Breaks Lounge
Intel: Join for a private press preview and a VIP performance by Mack Wilds.
Location: The Breaks Lounge, 801 Ocean Drive at 8th Street. Press preview 4-8 p.m., performance 8-9 p.m.

Burberry + Art Hearts Fashion Miami Art Basel Week at Spectrum Opening Night Gala Presented by Planet Fashion TV
Intel: Join for a VIP cocktail reception before a Burberry fashion show, an artistic runway presentation by Art Hearts Fashion featuring designers Amato Haute Couture, House of LiJon Sculpted Couture and Mister Triple X by Erik Rosete. Stick around for a performance by Island Def Jam recording artist Cris Cab.
Location: Spectrum Miami, 1700 NE 2nd Avenue (NE 2nd Ave. at NE 17th St.), 6-9 p.m.

Kim Hastreiter and PAPER Magazine Party
Intel: Grab a drink and crash some cymbals with Kim Hastreiter, Pink Martini’s Thomas Lauderdale and China Forbes, and PAPER’s Mr. Mickey at a singalon featuring accompanying percussion and singing by art and design luminaries.
Location: Meridian Ave. and 19th St., 5-7 p.m. RSVP to


Thursday, December 3

PAMM Presents: Dimensions, by Devonté Hynes and Ryan McNamara
Intel: Flock to Pérez Art Museum Miami (PAMM) for a one night only performance by Ryan McNamara and Devonté (“Dev”) Hynes, including an original multi-part composition by Hynes, an internationally-acclaimed musician and producer, and sculptural elements and choreography by McNamara, a celebrated performance artist
Location: 1103 Biscayne Boulevard, 9 p.m. to midnight

Brown Jordan and Sunbrella
Intel: The two join photographer Gray Malin for a celebration of art, design and travel, for a first look at the new Miami Design District flagship, an 8,600 square-foot, three-level store of re-imagined native Florida materials, which officially opens January 2016. The event will serve as a “first look” and the store will officially open in January 2016.
Location: 3650 North Miami Avenue

El Tucán
Intel: EL Tucán hosts an exclusive performance by actress and singer Cucu Diamantes, amid trompe l’oeuil murals designed by artist Happy Menocal.
Location: December 3-5, 8 p.m.

The Four Seasons Hosts Antonio Dominguez de Haro
Intel: A retrospective of 17 paintings by Spanish painter Antonio Dominguez de Haro.
Logistics: Four Seasons Hotel, December 3, 6-9 p.m.

EDITION Gallery Pop Up
Intel: EDITION Hotel hosts a pop-up with Bill Powers’ Half Gallery & Harper’s Books and Louis B James Gallery, including book signings by Justin Adian and Sue Williams. On the second floor, virtual artist Jeremy Couillard offers an otherworldly experience with an interactive exhibition.
Location: Bungalow 252, Miami Beach EDITION, 2901 Collins Ave. December 3-6. By appointment only.


Friday, December 4

Wall at the W Hotel: Paris Hilton
Intel:Paris Hilton spins alongside Mr. Mauricio for an evening presented by Belvedere Vodka.
Location: 2201 Collins Ave, 11 p.m. RSVP to

Partner \
A Guide to Art Basel: The Must-see Shows and Showcases
Now in its 14th year, Art Basel is bigger and swankier than ever before
Presented By //
T.M. Brown // December 1, 2015

Every year around this time, thousands of dealers, buyers, artists, and scenesters descend on South Florida for Art Basel Miami. Now in its 14th year, the stateside spinoff of the Swiss art fair—and let’s be honest, calling Art Basel an art fair is like calling the Pope a priest—is bigger and swankier than ever before, attracting galleries from all over the globe and providing one of the world’s biggest stages for upcoming artists.

Before we get to all the shows you should be heading to while you’re in Miami, we here at SPIN want to hook you up with an exclusive invitation to K-PAX, a launch event to showcase the collaboration between PAX + K-HOLE, on the rooftop of the Gale South Beach this Friday, December 4th at 5:00 PM, brought to you by the folks at PAX vaporizers.

III Points Art Basel Concert Series (Thursday, December 3 — Saturday, December 5 at Mana Wynwood)

If SXSW moved to Berlin for a year, started wearing a lot of Acne and Gosha Rubchinskiy, and got really into DJ Rashad and Rødhåd, you’d have III Points. The three-year old art, tech, and music festival is quickly becoming a compulsory event for people who have traditionally flocked to Austin in March, so when they decide to throw a three-night concert series in the middle of Art Basel, you know it’s going to be good.

Life and Death Showcase with Richie Hawtin (Thursday, December 3 at 9:00 PM)

III Points Art Basel’s opening night brings iconic label Life and Death to Miami for the fourth time in as many years and the Italian powerhouse did not disappoint with its lineup. The showcase at Mana Wynwood brings Tale of Us, Mind Against, and Thugfucker to the DJ booth, providing a collection of artists that weave the worlds of pop, house, funk, and disco into a singular soundtrack. Oh, and techno legend Richie Hawtin just announced he’ll be joining the Life and Death crew as a special guest so those tickets are going to be hard to come by.

Jamie XX and Four Tet (Friday, December 4 at 9:00 PM)

Jamie xx and Four Tet combine forces once again to provide the centerpiece of III Points concert series. If you haven’t heard what these boys can do when they’re in the booth together, listen to their exceptional BBC One Essential Mix from March and prepare to be blown away by the effortless combination of everything from jungle to electro pop to soul into one smooth set. Both are finishing years filled with international acclaim so this set will be something of a victory lap and we’re all the richer for it.

A$AP Rocky and Kaytranada (Saturday, December 5 at 9:00 PM)

A$AP Rocky and Kaytranada close out the III Points concert series but this Saturday night set is anything but a come down. Rocky is fresh off a huge year including his sophomore release At. Long. Long. Last. ASAP and rumors that he’s working on a project with Kanye West, while Kaytranada has been pounding the DJ circuit, plying his funky house trade at every club worth its salt the world over. Both should be in rare form at Mana Wynwood.

Fuck Art Let’s Dance (Thursday, December 3 at The Electric Pickle at 10:00 PM)

By far the best name of any party happening in Miami during Art Basel week—or any party in any city during any other week—the yearly shindig is bringing Kim Ann Foxman, Justin Strauss, and Miami Players Club to the Electric Pickle in Wynwood for a suite of DJ sets mixing deep house tracks with just the right amount of tropical groove. To cap the night off, Miami staples Psychic Mirrors will be playing one of their legendary live sets, mixing together soul, funk, and psychedelic sounds into something singularly South Beach.

Superfine! Jet Set Jubilee (Thursday, December 3 at 8300 Northeast 2nd Avenue at 7:00 PM)

Ever wanted to see Shamir perform while surrounded by an “immersive” 3000 square foot chandelier designed by the Miami-born, Brooklyn-based artist Diego Montoya? Yeah, that’s what I thought. The minds at Superfine! have put together another expertly curated series of concerts in tandem with their impeccable for contemporary art and design. This time around they’ve brought in Shamir—fresh off his acclaimed debut album Ratchet—for a performance that is larger than life. Literally. That chandelier is going to be huge.

Green Velvet and Tiga (Friday, December 4th at Trade at 11:00 PM)

Any show featuring Green Velvet promises to be as strange as it is fantastic. Techno’s resident oddball is ready to take on Miami alongside Tiga, a 1-2 punch that will satisfy hardcore techno purists and newcomers alike. This show is flying slightly under the radar but don’t sleep on it, these two are the real deal.

DJ Mustard and Fabolous (Saturday, December 5th at Toejam Backlot at 9:00 PM)

DJ Mustard’s fingerprints have been all over the pop and hip-hop landscape for the last year and change so it makes sense that he’s the headliner at this Saturday night show. He’ll be joined by rap stalwart Fabolous for a night of throwback hits mixed with Mustard’s signature sound. RSVP at CLSoundtrack[at]


Fashion, Featured

The Fabulous 5.5: Art Basel Planning Guide #3

December 1, 2015

Under the Radar 2015

With dozens of places to go, thousands of things to see, and a million elbows, here are a few special spots. For those of you who make a career at this, or a career out of bragging about this, or travel to go where fewer have gone, here are 5.5 selections.

#5: Ai Weiwei pops up at Basel more than a pop-up. Why 2015? Colored vases from the Mary Boone Gallery at Art Basel. Protesters: please leave Mr. Wei’s vases alone.

Colored Vases

#4: Say my name; say my name: Warlimpirrnga Tjapaltjarri. New York’s Salon 94 brings this Aboriginal Australian’s oil paintings to life mirroring textiles and mimicking sand sculpture. If you know about dreamtime, here it is in reality. Also at Art Basel.


Warlimpirrnga Tjapaltjarri


#3: Joris Van de Moortel: This Belgian artist from Antwerp will present his solo work for the first time in the USA presented by the Denis Gardarin Gallery at UNTITLED. The art teacher’s question, “What is going on in this picture?” earns a lengthy response with works from Rotten Sun, Van de Moortel’s sculpted, painted, musical installation.


Jan Van de Moortel image by WeDocumentArt

#2: Larissa Bates at NADA in the Fountainebleau. Out of Vermont, Costa Rica, St. Augustine’s Monya Rowe Gallery and ARTADIA, there is something of Italy 1450, Ubud 1980, and Tokyo 2005 in one painting, then outback, desert, and prep school in the next.


Larissa Bates

#1: Jennifer Rubell is always on point. Over the years, she has fed Miami’s Art Basel crowd breakfast a dozen times – things like oatmeal, Sun Maid raisins, yogurt, dripping honey, and massive portions of delicious creativity. This year’s food-based installation: Devotion – bread, butter, and a couple to be married later. 9-11am on December 3 at The Rubell Family Collection 95 NW 29th Street.

Jennifer Rubell


.5: The weather forecast is bad, on the radar, not under it.



The North American Premiere Of Isaac Julien’s Commission For The Rolls-Royce Art Programme To Be Shown During Art Basel In Miami Beach

PHOTO (select to view enlarged photo)

GOODWOOD, England, Nov. 17, 2015 — Rolls-Royce Motor Cars, in partnership with the National YoungArts Foundation, will present the North American debut of Isaac Julien’s work Stones Against Diamonds (Ice Cave) during Art Basel in Miami Beach 2015. The work by the Turner Prize nominated artist, commissioned as part of the Rolls‑Royce Art Programme, will be shown from 1-5 December 2015 at the National YoungArts Foundation ­– located at the nexus of Miami’s Wynwood Arts District, Arts and Entertainment District and Edgewater. The video installation will fill the interior of the magnificent YoungArts Jewel Box across 15 screens, the largest and most impressive presentation of the work to date.

UBS Art Collection Highlights

This year’s annual presentation of work from the UBS Art Collection explores the theme of Inside:Out, complementing and drawing inspiration from the bright, airy and sophisticated redesign of the UBS Lounge and its new hanging garden. The installation features approximately 30 works of art by 15 artists that reflect the notion of bringing the outside in, breaking down barriers between fiction and reality and between public and private space to create images inspired by fantasy, pleasure, sensation, nature and alternative landscapes. A highlight is the newly acquired Native Land (2014), a lightbox by Doug Aitken. Filled with a mosaic of colorful roadside signs, this work highlights the intrusion of advertisements in the American landscape. Additional featured artists include Vija Celmins, Francesco Clemente, Carlos Cruz-Diez, Gilbert & George, Andreas Gursky, Catherine Opie, Marc Quinn, Caio Reisewitz, Gerhard Richter, Pipilotti Rist, David Schnell, Simmons & Burke, Xaviera Simmons, Thomas Struth and Corinne Wasmuht. The works, selected by UBS Art Collection Curator for the Americas Jacqueline Lewis, represent a globally diverse range of artists, themes and media, including installations, kinetic sculpture, painting, drawing and photography.

Miami Herald |


Unrealism: Exhibition of figurative art organized by mega-dealers Jeffrey Dietch and Larry Gagosian. The Moore Building-Elastica, 191 NE 40th St., Design District. 11 a.m.-8 p.m. Free.


Gallerist Anthony Spinello launches his Little River space with the fourth Littlest Sister, a “faux” invitation art fair featuring 10 unrepresented women-identified Miami artists in a presentation curated by Sofia Bastidas. Each artist has a solo booth; the fair also includes a sector on sound and performance presentations and a series of critical panels exploring arts and real estate, writing, design and collecting. 7221 NW Second Ave.; 8-11 p.m. Monday; noon-7 p.m. Tuesday-Sunday. Free.

 Sean Kelly X Chrome Hearts: Work by Marina Abramović, Los Carpinteros, Jose Dávila, Robert Mapplethorpe, Mariko Mori, Alec Soth and Kehinde Wiley. Chrome Hearts, 4025 NE Second Ave., Second Floor. Free.

100+ Degrees in the Shade: A Survey of South Florida Art: Work by South Florida artists. 3900 N. Miami Ave., Design District. 11-9 p.m. daily. Free.



Your All-Encompassing Guide to Miami’s Sprawling Art Scene

By Alexxa Gotthardt

To the contemporary art set, Miami is a place of annual pilgrimage, where productivity and decadence play nice. Each December, gallerists, collectors, artists, and curators make their way to the palm-studded metropolis to sell their wares, mount exhibitions, and party in duds that would make Miami Vice’s Crockett and Tubbs proud. Art Basel in Miami Beach might be considered the nucleus of this activity, but with satellite fairs and ephemeral exhibitions opening in Art Deco monuments and beach bungalows alike, it’s high time to take a comprehensive look at what’s happening across the city’s sprawl, from South Beach to Little Haiti.

Diana Nawi, photo by Mylinh Trieu Nguyen; Emmett Moore, photo by Gesi Schilling; Nina Johnson-Milewski, photo by Gesi Schilling; Jorge Perez.

With guidance from four Miamians—gallerist Nina Johnson-Milewski, artist Emmett Moore, curator Diana Nawi, and collector and philanthropist Jorge Perez—we highlight the art spaces and watering holes of a city where beaches and swamps, American and Latin American traditions, and collections of rare palm trees and blue chip art collide. Our take away: even after the art-crowd’s dust settles, Miami is a mysteriously enchanting place where cultural output of all persuasions churns.


Miami Beach

Photos by Gesi Schilling.

Edged by sherbet-hued high-rises and beaches dotted with hotel lounge chairs, this skinny strip of land—some call it a sandbar on steroids—is where Miami’s more flamboyant character traits originate. Separated from the mainland by Biscayne Bay, this is the sandy ground on which the holiest Art Deco edifices, flashiest clubs, and the smallest bathing suits consort. It’s also home to sprawling art fairs, beachside pop-up projects, old-school restaurants, and dive bars heralded by glowing neons that look like they were forged in the ’50s.

A. Art Basel in Miami Beach

Miami Beach Convention Center, 1901 Convention Center Drive

After Art Basel expanded to Miami in 2002, settling into the Miami Beach Convention Center (between the beach and the Botanical Garden), the city quickly became an annual stop for collectors and artists. As the parent of an ever-growing brood of art fairs that crop up during the first week of December, this mainstay is the first stop for many people, thanks to its mix of booths from the biggest, bluest-chip galleries and ambitious younger spaces, curated projects, and a constant flow of programming.

B. Design Miami/

Meridian Avenue & 19th Street, adjacent to the Miami Beach Convention Center

Across the street from Art Basel, this sophisticated fair hosts a robust cohort of galleries focused on contemporary and historic design, from immersive architectural environments to jewel-like light fixtures that fit in the palm of your hand, created by the world’s most inspired designers—Giò Ponti, Maria Pergay, and Julie Richoz among them.

Rendering of UNBUILT: Design Miami/ Harvard GSD Pavilion. Courtesy of Harvard Graduate School of Design.

Insider tip: Don’t miss Kengo Kuma’s nomadic tearoom, rendered completely in plastic, at Galerie Philippe Gravier, or Jean Prouvé’s 1939 military hut—the only one of its kind still in existence—at Galerie Patrick Seguin.

C. Bass Museum of Art


Though this museum, founded in 1963 and housed in an impeccably preserved Art Deco structure, is currently under renovation, conceptual artist Sylvie Fleury is hanging her site-specific Eternity Now on the building’s facade from December 1st through May 31st, 2016.

The glowing neon sign is a part of Art Basel and the Bass’s five-year-running public art collaboration in Collins Park, which is adjacent to the museum. This installment, curated by Public Art Fund’s Nicholas Baume, brings works by Sam FallsKatharina GrosseJacob Kassay, and Hank Willis Thomas to the lush lawn.

D. Nautilus, a SIXTY Hotel


Two blocks away and right off the beach, a shiny renovation of this hotel is accompanied by activations from “Greater New York” breakout artist Mira Dancy (with a sprawling mural), Katherine Bernhardt (with a plucky fresco on the floor of one of the pools), Eddie Peake (with a mirrored rooftop installation), and other works tucked playfully into idiosyncratic spaces throughout the compound. Curated by Artsy’s Elena Soboleva, Artsy Projects: Nautilus is a collaboration between Artsy and the hotel.

E. The Standard Spa Miami Beach


Swing by the swank Standard hotel, just off Miami Beach on Belle Isle, for a snack on its expansive deck, or pick up one of Miami-based artist Jim Drain’s limited-edition posters, released for fair week.


South Beach


Ocean Drive and 12th Street

This curatorially driven satellite fair on the beach boasts booths by The Hole, Taymour Grahne, Steve Turner, and even Aperture Foundation. Throughout the week, performances move through the tent and its surrounding landscape. Don’t miss artist and choreographer Madeleine Hollander’s MILE, beginning each day on the east side of the structure at 4 p.m. Also on our radar is UNTITLED Radio, a series of daily radio shows that replace traditional art fair panel discussions.

B. Scope

801 Ocean Drive

This year marks Scope’s 15th anniversary in Miami. They bring 120 exhibitors along with curated sections Juxtapoz Presents, the Breeder Program, and FEATURE, the last featuring 10 booths that highlight new approaches to photography.

C. La Sandwicherie

229 14th Street

For a much needed dose of sustenance after a long day of fair hopping, grab a stool at La Sandwicherie’s counter, where you’ll likely devour one of their signature sandwiches—all available on a croissant in lieu of bread or bun. Wash it down with a smoothie or early evening beer. Or come back late night for a snack and hazy conversation with the post-party art crowd. It’s one of the few places in South Beach that’s open very late—until 5 a.m.

D. Mac’s Club Deuce

222 14th Street

Miami’s oldest bar, Mac’s Club Deuce is also the city’s greatest dive, offering a swirl of whiskey and jukebox tunes to colorful regulars, pool sharks, and wobbling newbies alike. Last year, its Hawaiian shirt-sporting owner, Mac Klein, turned 100.

Exterior of The Wolfsonian-FIU. Courtesy of The Wolfsonian–FIU.

E. Wolfsonian-FIU

1001 Washington Avenue

This museum is one of the crown jewels of Miami curiosities. Founded by Miami philanthropist and passionate collector-wanderer Mitchell Wolfson in 1986 to house his ever-growing collection of decorative art and propaganda—his collecting habits famously began with a stockpile of treasured vintage hotel keys—this wunderkammer is housed in a boxy, stunningly beautiful Mediterranean Revival building. Up now, don’t miss “Margin of Error,” which takes a look at “cultural responses to mechanical mastery and engineered catastrophes of the modern age—the shipwrecks, crashes, explosions, collapses, and novel types of workplace injury that interrupt the path of progress.”

F. Puerto Sagua

700 Collins Avenue

Insider tip: For a quick, low-key, and delicious bite (don’t miss the flan), take a seat at this Cuban diner—and take home one of their fantastic paper placemats, complete with a vintage Miami map. Take note: after a kitchen fire, Puerto Sagua has temporarily closed its doors but is set to reopen on November 30th, just in time for fair week.

G / H / I. Joe’s, Milo’s, and Prime 112

11 Washington Avenue; 730 First Street; 112 Ocean Drive

Insider tip: For a longer, more luxurious meal, try one of Jorge Perez’s favorites: Joe’s for stone crabs, a local delicacy (everyone wears bibs); Milo’s for fresh fish; and Prime 112 for a nice big steak.


North Beach

A. Faena Hotel

3201 Collins Avenue

Collector and hotelier Alan Faena’s newest complex fuses a freshly minted hotel with an ambitious art space called Faena Forum, designed by Rem Koolhaas’s OMA. While the Forum won’t open until spring 2016, its programming kicks off—and into the streets, during the first week of December, when assume vivid astro focus installs a kaleidoscopic roller-disco on the beach. It’s open to the public, who can take a spin to DJ sets.

Rendering of assume vivid astro focus’s roller rink. Courtesy of FAENA ART.


2901 Collins Avenue

While it might be best known for the long lines that amass outside its club (cool-kid magnet BASEMENT), EDITION hosts a set of diamond-in-the-rough projects in its poolside bungalows. If you can find them through the long marble lobby and stand of towering potted banana plants, Louis B. James (Bungalow 262) shows virtual reality-laced works by Jeremy Couillard, and Harper’s Books (Bungalow 252) hosts a signing with artist Sue Williams of her new, gorgeous monograph on December 2nd.


The Fontainebleau Miami Beach, 4441 Collins Avenue

Making a move from the charmingly retro Deauville Beach Resort way uptown to the high-gloss Fontainebleau marks a big shift for the New Art Dealers Alliance (NADA) fair, which is focused on younger galleries. From L.A.’s Anat Ebgi to Berlin’s SANDY BROWN to New York’s Karma, its exhibitors are known for bringing an inspired mix of new work into the fold.


Indian Beach Park, 4601 Collins Avenue

A couple of blocks north is another fair that’s carved a place for itself on the main drag. From mainstay galleries like Yancey Richardson to groundbreaking nonprofits like Visual AIDS and RxArt, most booths here mount focused presentations of works of two to three artists. Don’t miss the fair’s curated section, PLAY, surfacing innovative video and new media selections from idiosyncratic New York-based curator Stacy Engman.

E. Miami Project and Art on Paper

Deauville Beach Resort, 6701 Collins Avenue

Take a cab a few minutes north, and you’ll find satellite fairs Miami Project and Art on Paper, taking NADA’s place at the Deauville Beach Resort. Also filling this hub is a dynamic selection of performance, installation, and new media interventions from SATELLITE, a multipart curatorial effort. We’re especially excited that Brooklyn bar and concert venue Trans Pecos is setting up shop there with sets by Fade to Mind and Michael Beharie, among others.

F. Sandbar Lounge

6752 Collins Avenue

Insider tip: Across the street, visit Sandbar Lounge, a sand-covered dive bar for a drink and game of pool after a long day trekking up the beach.


Design District

As you pass across the causeway that traverses Biscayne Bay, Downtown Miami’s skyline comes into focus. Behind it lie some of the city’s most dynamic cultural spaces. You might first land in the city’s Design District, just north of highway 195, where boxy warehouses and parking garages have, in recent years, been converted into sharp design shops, art galleries, and restaurants.

A. ICA Miami

4040 NE 2nd Avenue

While its new Aranguren & Gallegos Arquitectos-designed building begins construction, the one-year-old ICA brings a strong assortment of contemporary exhibitions to its temporary home. This season surfaces a solo exhibition by radical video artist Alex Bag, which Diana Nawi is keenly anticipating. For his part, Emmett Moore is looking forward to future programming: “I’m excited to see the new ICA building. They’ve managed to put on some great shows in their temporary space so I can only imagine what’s in store.”

B. de la Cruz Collection Contemporary Art Space

23 NE 41st Street

Around the corner, visit one of Miami’s acclaimed private art collections, brought into the public sphere by Rosa and Carlos de la Cruz. This year, the group show “You’ve Got to Know the Rules…To Break Them” promises irreverent highlights from the couple’s encyclopedic holdings of today’s most influential work.
Insider tip: “The private collections in Miami are amazing troves of contemporary art,” says Diana Nawi.

Installation view of “Beatriz Monteavaro: Nochebuena.” Courtesy of Locust Projects.

C. Locust Projects

3852 North Miami Avenue

Since its founding in 1998, this artist-run nonprofit space has produced a steady stream of experimental projects. This month, it’s a platform for ambitious work by a bevy of young artists—sculptor Martha Friedman, choreographer Silas Riener, installation artist Beatriz Monteavaro, and conceptual artist Martine Syms.

Insider tip: And as you traverse the city, look out for Syms’s NITE LIFE—graphic prints, emblazoned with phrases like “Darling It Won’t Be The Same Always” plastered on city buses and bus stops. They resemble mid-1900s “Chitlin’ Circuit” posters, which advertised shows at venues where black musicians could perform freely and securely during segregation.

D. Jeffrey Deitch and Larry Gagosian’s “UNREALISM” at the Moore Building

191 NE 40th Street

Sometime rivals Jeffrey Deitch and Larry Gagosian embark on their first collaboration over four floors (about 28,000 square feet) of this Design District architectural gem. Their joint curatorial project, “UNREALISM,” brings together artists—from John Currin to Elizabeth Peyton to Jamian Juliano-Villani—representing a renaissance in figuration.

Larry Bell’s 6 x 6 An Improvisation. Copyright of Larry Bell. Photo by Alex Marks, 2014. Courtesy of Chinati Foundation.

E. Larry Bell’s 6 x 6 An Improvisation at the Melin Building

Suite #200, Melin Building, 3930 NE Second Avenue

White Cube brings Larry Bell’s 6 x 6 An Improvisation—an ethereal installation built from towering, reflective glass panels—to Miami. The Light and Space pioneer’s masterwork promises a quiet, contemplative reprieve from the teeming fairs and sprawling collection shows.

F. Mandolin

4312 NE 2nd Avenue

Insider tip: For lunch or dinner, try one of Nina Johnson-Milewski’s favorites, Mandolin: “It’s such a lovely atmosphere, owned and operated by the nicest people.” It also serves some of the city’s best seafood, on a hidden patio dotted with sky blue chairs and fresh flowers.

G. Michael’s Genuine

130 NE 40th Street

Insider tip: Or for heartier fare in an equally unhurried environment, grab a seat at Michael’s Genuine, opened by James Beard-honored Michael Schwartz. It’s one of Jorge Perez’s favorites. You’ll have no regrets after devouring the Harris Ranch black angus burger (don’t dare skimp on the brioche bun).


Little Haiti / North Miami

In the 1800s, this area, north of downtown Miami, was covered with lemon groves, from which it drew its first nickname, “Lemon City.” Today, it’s defined by its Haitian immigrant population and burgeoning art scene.

A. Gallery Diet

6315 NW 2nd Avenue

Founded by impresario Nina Johnson-Milewski in 2007, this Miami mainstay recently moved north from Wynwood to a four-building, 15,000 square-foot compound in the heart of Little Haiti. “I’m loving our new home,” says Johnson-Milewski. “For the first time in nearly ten years I have windows and outdoor space. Who knew Vitamin D was so essential?” “Trees in Oolite,” the gallery’s first design exhibition, uses this fresh air to its full advantage. In the complex’s courtyard, brutalist furniture by Emmett Moore, Katie Stout, and Snarkitecture sits among lush mango, avocado, and oak trees. Inside, don’t miss Ann Craven’s solo show of lush skyscapes she painted en plein air in Maine, with the moon and the occasional candle as her only light sources.

B. Spinello Projects

7221 NW 2nd Avenue

This experimental space is up to its old boundary-pushing tricks during fair week with “Littlest Sister,” a conceptual exhibition that calls itself a “faux” art fair, with the tagline “Smallest Art Fair, Biggest Balls.” The project gathers “booths” by 10 women-identified artists, all unrepresented and working in painting, installation, new media, and performance.

C. Michael Jon Gallery

255 NE 69th Street

This gallery’s roster is chock full of up-and-coming artists from across the country—Paul Cowan, Math Bass, and JPW3, to name a few. This month, Sofia Leiby brings bright, active paintings that resemble letters and words breaking out of alphabetic confines and wiggling their way to abstraction.

D. Fiorito

5555 NE 2nd Avenue

Insider tip: Travel south past Little Haiti Park and you’ll find Fiorito, a small Argentinian restaurant that’s “a good local spot for a low key dinner,” says Emmett Moore. “I have dreams about their grilled octopus.”



Haas & Hahn mural in progress at Wynwood Walls. Courtesy of Wynwood Walls. Photo by Martha Cooper.

Wynwood has become the poster child for the rampant expansion of Miami’s art scene to the mainland, and likewise into the city’s streets. Over the last six years, murals have spread across the concrete walls of the district’s abandoned factories and warehouses. Galleries and private collections have followed suit, marking a cultural renaissance for this formerly industrial neighborhood, nicknamed “Little San Juan” for its still-vibrant Puerto Rican community.

A. Wynwood Walls

2520 NW 2nd Avenue

Pioneered by vociferous street art advocate Jeffrey Deitch, along with late real estate developer Tony Goldman, the murals that make up Wynwood Walls were some of the first carrots to draw the international art set to Wynwood in 2009. Every year, new murals are added to the colorful cohort that includes street art’s most influential names—and some of its undisputed masterworks—from Aiko to Shepard Fairey to Futura to Os Gemeos. This year, 14 new murals and installations (by Fafi, Crash, Logan Hicks, and more) are unveiled.

B. Rubell Family Collection

95 NW 29th Street

Amassed by charismatic patrons Donald and Mera Rubell, this expansive collection is housed in a monumental 45,000-square-foot space that was once owned by the Drug Enforcement Agency. This year, they present “NO MAN’S LAND,” focused on the influential output of female artists ranging from Michele Abeles and Jenny Holzer to Shinique Smith.

Insider tip: Don’t miss Jennifer Rubell’s Devotion, one of the artist’s signature interactive food-based installations that, this year, explores buttering bread as an act of intimacy and interpersonal connection, on December 3rd from 9–11 a.m.

C. The Margulies Collection at the WAREhOUSE

591 NW 27th Street

Housed in a repurposed Wynwood warehouse, this must-see private collection belongs to Miamian Martin Z. Margulies. This year, don’t miss new exhibitions of work by Anselm Kiefer and Susan Philipsz, as well as recent acquisitions of pieces by Mark Handforth, Lawrence Carroll, and more.

D. Spencer Finch’s Ice Cream Truck

3401 NE 1st Avenue

Insider tip: While strolling through the neighborhood, drop by artist Spencer Finch’s ice cream truck. “His solar-powered truck will provide anyone in the area with edible frozen works of art free of charge,” explains Jorge Perez.

Mana Wynwood’s facade. Image courtesy of Mana Contemporary.

E. Mana Wynwood

318 NW 23rd Street

This year, Mana Contemporary unveils a 30-acre campus—every corner devoted to contemporary art and culture—that rivals its much talked-about New Jersey compound. Large-scale exhibitions highlighting three influential private collections (the Frederick R. Weisman Art Foundation, the Jorge M. Pérez Collection, and the Tiroche DeLeon Collection) herald this new mainstay on the Wynwood circuit.

F / G. Art Miami and CONTEXT Art Miami

3101 NE 1st Avenue

These sister art fairs, the 26-year-old Art Miami and the four-year-old Context, are must-see stops in Wynwood.

H / I. Panther Coffee, Gramps

1875 Purdy Avenue; 176 NW 24th Street

Insider tip: For a caffeine boost, pass through a the doors of a Barry McGee mural-swathed building to Panther Coffee. Or for a stiff drink among creative Miamians, try Gramps, “pretty much the only bar I got to,” says Emmett Moore. “It has a lot of the qualities of old Miami dive bars with some silly artsy stuff mixed in.”


Park West/Downtown

Taking the southern route from Miami Beach to the mainland, across the MacArthur Causeway, you’ll land in Park West, with Downtown Miami just south of you. Here, skyscrapers house big business and club culture alike. In recent years, the adjacent waterfront, formerly monopolized by the run-down Millennium Park, has transformed into Museum Park, an impeccably manicured landscape of gardens and cultural centers.

A. The Perez Art Museum Miami (PAMM)

1103 Biscayne Boulevard

This stunning museum, which opened its Herzog & de Meuron-designed doors in 2013, recently brought star curator Franklin Sirmans on as director to helm its ambitious program. This fall, don’t miss Nari Ward’s mid-career retrospective, “Sun Splashed,” curated by Diana Nawi, and Miami-based artist Nicolas Lobo’s “The Leisure Pit,” which showcases large-scale concrete sculptures, festooned with the occasional flip-flop, that he forged in a swimming pool.

B. Cisneros Fontanals Art Foundation

1018 North Miami Avenue

This stunning building, its facade covered in over one million tiles that together resemble a verdant junglescape, houses patron Ella Fontanals-Cisneros’s comprehensive collection of primarily Latin American art. Up now, don’t miss Cuban artist Gustavo Pérez Monzón’s “Tramas.”

C / D / E. The Corner, NIU Kitchen, and Zuma

1035 N. Miami Avenue; 134 NE 2nd Avenue; 270 Biscayne Boulevard Way

Insider tip: For a cocktail (we recommend their Hurricane, complete with passion fruit shrub and pineapple) pop into The Corner, Diana Nawi’s “go-to bar.” For dinner, head south to NIU Kitchen’s beautiful nook for delicious Catalan fare. Or for a more dramatic dining experience, make a reservation at Zuma for elegant Japanese plates enjoyed from a perch overlooking the water.

Photo by Gesi Schilling.

—Alexxa Gotthardt

A Short List of Miami Art Week Events

Gagosian, Stallone and even Edvard Munch are bringing it this year

Isaac Julien’s Stones Against Diamonds (Ice Cave) at Art Basel in Miami Beach 2015. (Photo: Courtesy of Rolls-Royce Motor Cars)

ven Isaac Julien’s Stones Against Diamonds (Ice Cave) at Art Basel in Miami Beach 2015. (Photo: Courtesy of Rolls-Royce Motor Cars)

Miami Art Week gets a bad rap for being a nonstop rager, what with the Cristal, the caviar and the unicorn rides (trust me, Peter Brant can make that happen). But, in salute to the fact that what’s on view (I’m talking about art, not bikini models) can be just as intoxicating, we picked out just a handful of events that put the emphasis on art.
For a huge and updating list of events, see


Isaac Julien | Commission for Rolls-Royce Art Programme in Miami for Art Basel in Miami Beach
Jewel Box, National YoungArts Foundation
2100 Biscayne Boulevard
And we’re off! Rolls-Royce, the choice car of haughty old Englishmen and ’90s rappers, has commissioned a new work by influential British artist Isaac Julien titled Stones Against Diamonds (Ice Cave) to be shown at the YoungArts Jewel Box as part of Art Basel Miami Beach 2015. Covering 15 screens, Mr. Julien’s tour-de-force was shot inside isolated glacial ice caves in the Vatnajökull region of Iceland. The artist interpreted this remote landscape as a metaphor for the subconscious, a place of rich beauty that can only be accessed through psychoanalysis and artistic reflection. Damn that’s deep! So if you’re rollin’ through Miami’s Wynwood District this year in your souped up KIA, maybe stop into this exhibit for a much-needed ego (and id) check.

A moon painting by Anne Craven. (Photo: Courtesy of Maccarone, New York)

A moon painting by Anne Craven. (Photo: Courtesy of Maccarone, New York)

Gallery Diet
Ann Craven’s I Like Blue 
Opening reception
6315 NW 2nd Avenue
5-8 p.m.
A teacher’s influence lasts a lifetime. Prime example: One of painter Ann Craven’s former students from a class in 2004 eventually decided to open a gallery in the Basel host-city of Miami. That student was Nina Johnson-Milewski, owner/director of Contemporary art collector favorite, Gallery Diet. Cut to 2015, and that student is about to open a show of her former teacher’s work at her new location in the up-and-coming neighborhood of Little Haiti. Ms. Craven’s painterly goodness is reason enough to see this show—she has serious chops—but this will also be the best place to find crusty die-hard Miami locals, the art lovers who run this city for more than just one week out of the year.


Jarry Deigosian.

Jarry Deigosian.

Organized by Gagosian Gallery and Jeffrey Deitch
Moore Building
3841 NE 2nd Avenue, Miami
Opening reception 5-8 p.m.
This is kind of like when the Penguin and the Riddler teamed up for the very first time: it was fearsome yet wildly entertaining. But what has finally brought former art world foes Larry Gagosian and Jeffrey Deitch together under one Design District roof? Figurative painting, of course. You just know it will be a humdinger, too, with works from both the older guard like John Currin, Elizabeth Peyton and David Salle and the very new guard, which includes young hotshots like Jamian Juliano-Vilani and Ella Kruglyanskaya. It’s all part of the evil duo’s diabolical plot to reallocate collector funds to their secret offshore lair, part of a grander scheme to take over the world… Can nothing stop them?

Yo! Adrian, Picasso, et al.

Yo! Adrian, Picasso, et al.

Galerie Gmurzynska ‘dinatoire’ for Germano Celant and Sylvester Stallone
Villa Casa Casuarina
1116 Ocean Drive
8:30 p.m. Private
Guest curator Germano Celant organized the Art Basel Miami booth for this Zurich gallery with some top-notch artists (Picasso, Dubuffet, you know, the usual masterworks) and there’s a party in honor of this fact. It will be held at the sumptuous Villa Casa Casuarina, better known as the former castle-like home of the late fashion designer Gianni Versace, a.k.a. the Versace Mansion. Oh and the star of such mega-hits as Stop or My Mom Will Shoot! and Rhinestone should be making the scene…Mr. Stallone is an accomplished painter himself, f.y.i. Sadly, the event is invite only, but if you Netflix Rocky in your hotel while drinking little bottles of booze from your mini-fridge, you can convince yourself it’s more or less the same thing.


NADA Miami Beach 2012 Photo by Andrew Russeth)

NADA Miami Beach 2012 (Photo: Courtesy of Andrew Russeth)

NADA Miami Beach art fair
Private preview
Fontainebleau Miami Beach 
4441 Collins Avenue
10 a.m.-2 p.m.
The market for emerging art is as dead as Dean Martin, right daddio? Wrong. That’s exactly what these fat cats want you to think so they can get all the primo goodies for themselves. Well, we can’t let that happen, can we? This is what you do: set four alarm clocks the night before. Print out your list of potential emerging art targets. I suggest you wear something that you can move well in (a track suit maybe) and show up to the Fontainbleau a few hours early. You might even want to wear some elbow and kneepads. The Horts are not afraid to throw an elbow or two when jockeying for position in front of the Canada gallery booth, and you shouldn’t be either. Okay, deep breath… Let’s do this.


8d609ec7922ef783ea8a71772a967092 A Short List of Miami Art Week Events

Miami meet Munch.

Edvard Munch Art Award
Shelbourne Hotel South Beach
1801 Collins Avenue
By invitation, or Art Basel First Choice
VIP card
Now this is a big deal. The Edvard Munch Art Award is back after an almost 10-year hiatus, and the winner will be announced in Miami during Basel Week (yes, that thud is the sound of  Munch rolling over in his grave.) The 500,000 NOK award (roughly $58,000) is given to “an emerging visual artist, no older than 40 years of age, who has demonstrated exceptional talent within the last five years.” The award also includes a solo exhibition at the Munch Museum in Oslo, Norway. Not a bad haul. That, plus the fact that the reception should be filthy with good-looking Scandinavian models, has us considering this party a rather hot ticket.

What to Expect at Art Basel in Miami Beach This YearBy Matt Stewart | November 20, 2015 | Culture

Art & Culture

The Fabulous 5.5: Art Basel Planning Guide #2

November 17, 2015

Top Art Basel Bar Escapes 2015

Walking around during Art Basel exhausts everyone. Feet hurtin’, eyes burnin’, throat in need. Like a European museum tour, it doesn’t take long for one to burn out. If you are of age, liquid respite beckons.

Who has what it takes near the venues?

Consider these 5 places to escape, and a few semi-non-suggestions.


Do Not Sit5. Do Not Sit On the Furniture is not a command, but a location at 423 16th Street and the premier beach club for the subterranean set. It’s dark, tight, and a global DJ hideout/paradise. It’s designed like Europe — unpretentious and built for dance.

Regent4. The Regent Cocktail Club: On the corner of 17th and James right in the thick of all things on the Beach rests the regent in the rear of the Gale. No place on the Beach feels this much like the famous old-time, pricey, classy New York City barrooms like the King Cole in the St. Regis or Bemelman’s at the Carlyle. If Cleaveland Jones and his Trio are playing like they often do on Thursday nights, settle in for a few delightful, stirring Brazilian-tinged sets. They got skills.

Radio Bar3. Radio Bar South Beach: All those burnt sienna, earthy tones minus any vestiges of natural light make for a good post-modern, post-apocalyptic vibe. It’s both contemporary and sci-fi Twilight Zone – if something happens outside, you might drink your way through it. Easter Island mugs, a pool table, and stylish cocktails contribute. 814 1st Street and looking very different outside from inside.

Broken Shaker2. Broken Shaker: The old Indian Creek Hotel became the Freehand Hostel and these Bar Lab dudes, Gabriel Orta and Elad Zvi got semi-famous and started making freaky cocktails and suddenly, yeah like, you know, the place got very hip. Amid the gorgeous patio garden are serious cocktails making waves like this one a while back: Kale and Pineapple Caipirinha. 2727 Indian Creek Drive. You can also chill upstairs at 27.

Repour1. Repour: Established in 2015, Repour has developed serious rapport going as far as the bar in Miami Beach least likely to reveal photos showcasing it. Laid back on the beach, lots of handwritten stuff, rarely overcrowded, and beautiful drinks make this locally popular spot in the lobby of the Albion a champion.

.5 Less than worthy: Take your pick. Cool bad-secret is out backroom Bodega, gorgeous view/too tight dresses at Juvia, UFC/NRA/armed to the teeth/hidden entrance Foxhole, no one can stand it but Anthony Boudain Club Deuce, but none of which could ever be worse than rock-bottom Clevelander (except maybe Mangos).



Art Basel Miami Beach 2015 Party Guide

Art Basel Miami Beach 2015 Party Guide

Photo by Nate “Igor” Smith/

Spring break forever.

Yes, art world, Art Basel in Miami Beach is almost here. And you can pretend all you want that you’re coming to Miami exclusively for the high-brow art and lectures, but nobody’s going to judge you if you manage to get some serious partying done while you’re in town. This is Miami, and if there’s one thing we’re really good at, it’s partying.

And rest assured, there will be tons of parties during Miami Art Week. From the completely free to invite-only, here is the most complete collection of musically driven, nightlife events — with a dash of art thrown in, because, you know, we aren’t savages. And thanks to a generous 5 a.m. closing time — 24 hours in Miami’s Park West district — there’s plenty of time for you to make an Art Basel mistake. (Good news is that mistake probably has a flight back to New York to catch on Sunday.)

Check back often for updates, because we will continue to update this list as more events get announced. Don’t see your event listed here? Send us an email.

Tuesday, December 1

Slap & Tickle Art Basel with Dave1. 10 p.m. Tuesday, December 1, at Bardot, 3456 N Miami Ave, Miami; 305-576-5570; Tickets cost $15 to $20 plus fees via

Favela Beach with Mr. Brainwash, Jus-Ske, Ruen, and Reid Waters. 11:30 p.m. Tuesday, December 1 at Wall Lounge, 2201 Collins Ave., Miami Beach; 305-938-3130; Tickets cost $50 to $70 via

Wednesday, December 2

Behrouz & Friends Art Basel Edition with Damian Lazarus, Behrouz, and Bedouin, Wall Lounge, 2210 Collins Ave., Miami Beach. Tickets $50 via

A Very Superfine! Kickoff Party with Baio (of Vampire Weekend) and Lauv, presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $25 via

Thursday, December 3

PAMM presents “Dimensions” by Devonté Hynes (Blood Orange) and Ryan McNamara, Pérez Art Museum Miami, 1103 Biscayne Blvd., Miami. Open only PAMM Sustaining and above level members as well as Art Basel Miami Beach, Design Miami, and Art Miami VIP cardholders.

Life and Death Art Basel with Tale Of Us, Mind Against, Thugfucker, and special guest Richie Hawtin, Mana Wynwood, 318 NW 23rd St., Miami. Doors 9 p.m.; tickets $15 to $66 via

Connan Mockasin, Bardot, 3456 N. Miami Ave., Miami. Doors 10 p.m.; tickets $15 to $20 via

A Jetset Jubilee with Aeroplane with a super special guest (TBA), presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $25 via

Immortal Technique with Hasan Salaam, DJ Static, and El B. 7 p.m. at Churchill’s Pub, 5501 NE Second Ave., Miami; 305-757-1807; Tickets cost $25 plus fees via Ages 18 and up.

Friday, December 4

When Pigs Fly presented by Link Miami Rebels with artists TBA, Trade, 1439 Washington Ave., Miami Beach. Tickets $15 to $35 via

tINI and Bill Patrick, Heart Nightclub, 50 NE 11th St., Miami. Tickets $20 to $30 via

Safe Off/Basel 2015 with Martyn, the Black Madonna, and Diego Martinelli, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $18.35 to $21.15 via

Miami Nice Art Basel, All-White Yacht Party, South Beach Lady, Hyatt Dock, 400 SE Second Ave., Miami. Tickets $60 via

Jamie xx and Four Tet, presented by III Points and Young Turks, at Mana Wynwood, 318 NW 23rd St., Miami. Doors 9 p.m. Tickets $25 to $400 via

Miami Hearts Design, hosted by Karelle Levy with a KRELwear living installation, with Afrobeta and Millionyoung, presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $15 via

Avey Tare (Animal Collective) DJ set with Byrdipop and Uchi (live), Bardot, 3456 N. Miami Ave., Miami. Doors 10 p.m.; tickets $15 to 20 via

Nakid Magazine Issue Release Party celebrating Jen Stark. 10 p.m. Friday, December 4, at Libertine, 40 NE 11th St., Miami; 305-363-2120; Admission is $10.

Saturday, December 5

Danny Howells, Do Not Sit On the Furniture, 423 16th St., Miami Beach. Doors 10 p.m.; tickets $20 via

Crew Love Art Basel with Soul Clap, PillowTalk (live), Nick Monaco, Navid Izadi, Jeremy Ismael, and Miami Players Club, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $15 to $35 via

Big Times in Little Haiti with Jeffrey Paradise (of Poolside), Gilligan Moss, and Krisp, presented by Superfine! House of Art and Design, the Citadel at 8300 NE Second Ave., Miami. Tickets $25 via

David Squillace. 11:30 p.m. Saturday, December 5, at Wall Lounge, 2201 Collins Ave., Miami Beach; 305-938-3130; Tickets cost $40 to $70 via

Sunday, December 6

The Visionquest Experience with Visionquest (Lee Curtiss, Ryan Crosson, Shaun Reeves), DJ Three, Behrouz, and more, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $20 to $30 via

Dark Basel with Necro and Madchild. 7 p.m. at Churchill’s Pub, 5501 NE Second Ave., Miami; 305-757-1807; Tickets cost $20 plus fees via Ages 18 and up


Market News

NADA Miami Beach Will Move to the Fontainebleau Hotel


The Fontainebleau lobby.


NADA Miami, the New Art Dealers Alliance’s fair during Art Basel Miami Beach in December, will be moving to the Fontainebleau Hotel on Collins Avenue for its 2015 edition. NADA opened in Miami in 2003, and in 2009 moved to the Deauville Beach Resort, in North Miami Beach, where the fair remained through last year.The de la Cruz Collection is doing a survey show loaded with art stars working in abstraction.

The ICA Miami


On view December 1, 2015 – January 31, 2016

ICA Miami will present a solo exhibition dedicated to video and performance artist Alex Bag during Art Basel Miami Beach in 2015. On view in ICA Miami’s Atrium Gallery, The Van (Redux)* centers around one of Bag’s key videos, The Van, 2001, and features a dramatic new site-specific installation. This exhibition marks the first major U.S. presentation of the artist’s work since 2009.



The Rubell Family Collection

Genzken I Schauspieler
Isa Genzken, Schauspieler, 2013


Women Artists from the Rubell Family Collection

December 2, 2015, through May 28, 2016


The Rubell Family Collection/Contemporary Arts Foundation is pleased to announce its upcoming exhibition, NO MAN’S LAND: Women Artists from the Rubell Family Collection, on view in Miami from December 2nd, 2015 through May 28th, 2016. This exhibition will focus on and celebrate work made by more than a hundred female artists of different generations, cultures and disciplines. These artists will be represented by paintings, photographs, sculptures and video installations that will entirely occupy the Foundation’s 28-gallery, 45,000-square-foot museum. Some galleries will contain individual presentations while others will present thematic groupings of artists. Several installations have been commissioned specifically for this exhibition.

In order to present the exhibition’s scope and diversity the Foundation will rotate artworks on view throughout the course of the exhibition, presenting different artists at different times. All of the artworks in the exhibition are from the Rubells’ permanent collection.

Other exhibitions organized by the Foundation include 30 Americans, which is currently on view at the Detroit Institute of Art through January 18, 2016 and 28 Chinese which is currently on view at the San Antonio Museum of Art through January 3, 2016. 30 Americans has now been presented at 9 institutions and seen by over one million people.

A fully illustrated catalog with essays will accompany the exhibition. A complimentary audio tour will also be available.

To celebrate the opening of NO MAN’S LAND, Jennifer Rubell will be presenting Devotion, her 12th annual large-scale, food-based installation on December 3, 2015 from 9 to 11 a.m. Devotion will explore the everyday gesture as a medium for the expression of love. Using bread, butter, and a couple engaged to be married as her media, Rubell will transform the simple act of cutting and buttering bread into a poetic exploration of repetition as devotion


List of artists:

Michele Abeles
Nina Chanel Abney
Njideka Akunyili Crosby
Kathryn Andrews
Janine Antoni
Tauba Auerbach
Alisa Baremboym
Katherine Bernhardt
Amy Bessone
Kerstin Bratsch
Cecily Brown
Iona Rozeal Brown
Miriam Cahn
Patty Chang
Natalie Czech
Mira Dancy
Karin Davie
Cara Despain
Charlotte Develter
Rineke Dijkstra
Theo Djordjadze
Nathalie Djurberg
Lucy Dodd
Moira Dryer
Marlene Dumas
Ida Ekblad
Loretta Fahrenholz
Naomi Fisher
Dara Friedman
Pia Fries
Katharina Fritsch
Isa Genzken
Sonia Gomes
Hannah Greely
Renée Green
Aneta Grzeszykowska
Jennifer Guidi
Rachel Harrison
Candida Höfer
Jenny Holzer
Cristina Iglesias
Hayv Kahraman
Deborah Kass
Natasja Kensmil
Anya Kielar
Karen Kilimnik
Jutta Koether
Klara Kristalova
Barbara Kruger
Yayoi Kusama
Sigalit Landau
Louise Lawler
Margaret Lee
Annette Lemieux
Sherrie Levine
Li Shurui
Sarah Lucas
Helen Marten
Marlene McCarty
Suzanne McClelland
Josephine Meckseper
Marilyn Minter
Dianna Molzan
Kristen Morgin
Wangechi Mutu
Maria Nepomuceno
Ruby Neri
Cady Noland
Katja Novitskova
Catherine Opie
Silke Otto-Knapp
Laura Owens
Celia Paul
Mai-Thu Perret
Solange Pessoa
Elizabeth Peyton
R.H. Quaytman
Aurie Ramirez
Magali Reus
Marina Rheingantz
Bridget Riley
Cristina Lei Rodriguez
Pamela Rosenkranz
Amanda Ross-Ho
Jennifer Rubell
Analia Saban
Lara Schnitger
Collier Schorr
Dana Schutz
Beverly Semmes
Mindy Shapero
Nancy Shaver
Cindy Sherman
Xaviera Simmons
Lorna Simpson
Shinique Smith
Lucie Stahl
Jessica Stockholder
Sarah Sze
Aya Takano
Fiona Tan
Mickalene Thomas
Rosemarie Trockel
Kaari Upson
Hannah Van Bart
Paloma Varga Weisz
Marianne Vitale
Kara Walker
Mary Weatherford
Meg Webster
Carrie Mae Weems
Jennifer West
Sue Williams
Haegue Yang
Anicka Yi
Lisa Yuskavage



2015 16 sponsors 2


OCTOBER 28, 2015 THROUGH APRIL 30,, 2016


What are the new acquisitions on exhibition this year?
Anselm Kiefer, Susan Philipsz, Meuser, Lawrence Carroll, Mark Handforth, Liat Yossifor

Who are the artists new to the Warehouse collection?
Susan Philipsz, Mark Handforth, Liat Yossifor

What artists have permanent installations at the Warehouse?
Pier Paolo Calzolari, Anthony Caro, Willem de Kooning, Donald Judd, Olafur Eliasson, Peter Fischli and David Weiss, Flavin, Michael Heizer, Donald Judd, Amar Kanwar, Kiefer, Jannis Kounellis, Sol LeWitt, Joan Miró, Isamu Noguchi, Michelangelo Pistoletto, George Segal, Richard Serra, Tony Smith, Franz West

Checklist of Artists in this year’s Exhibitions
Magdelena Abakanowicz, Ronald Bladen, Martin Boyce, Pier Paolo Calzolari, Anthony Caro, John Chamberlain, Willem de Kooning, Willie Doherty, Ursula Schultz Dornburg, Olafur Eliasson, Peter Fischli and David Weiss, Dan Flavin, Kendall Geers, Antony Gormley, Mark Handforth, Michael Heizer, Pieter Hugo, Hans Josephsohn, Amar Kanwar, Anselm Kiefer, Jannis Kounellis, Sol LeWitt, Richard Long, Meuser, Domingo Milella, Jackie Nickerson, Joan Miró, Isamu Noguchi, Michelangelo Pistoletto, George Segal, Richard Serra, Tony Smith, Simcha Shirman, Alec Soth, Michael Spano, Franz West, Pavel Wolberg, Manabu Yamanaka


Miami’s art museums are grabbing headlines with splashy staff hires and well-heeled additions to their boards. Yet when it comes to actual artwork, the city’s marquee collectors — and their personally run exhibition spaces — continue to steal the show. The latest example of “The Miami Model”? A sprawling retrospective from the German blue-chip artist Anselm Kiefer that fills nearly a quarter of the 45,000-square-foot Margulies Collection at the Warehouse — a garment factory transformed into a showcase for art holdings of the real estate developer Martin Margulies.The exhibit opens Wednesday, but “it will be up forever,” Mr. Margulies said. “If you think I ever want to go through this again … .” he trailed off, motioning to the flurry of activity throughout the Warehouse this week. Mr. Kiefer directed a small army of art handlers whirring about on hydraulic lifts, racing to install an array of 25,000-pound detritus-filled sculptures, 10-feet-high neo-runic paintings, and charcoal wall inscriptions, just hours before a dinner benefiting the Lotus House homeless shelter. The works include the new sculpture, “Ages of the World,” a 17-foot stack of 400 unfinished canvases, lead books, rubble and dried sunflowers.Mr. Margulies played down the show being any kind of aesthetic shot across the bow of the Pérez Art Museum Miami, despite his public feud with that institution over its continuing to receive millions in tax dollars from a struggling community rather than relying solely on private contributors. Instead, Mr. Margulies hoped visiting schoolchildren would learn from Mr. Kiefer’s handiwork: Don’t let meager materials limit your vision. “They should realize this is the creative process of an artist.”Mr. Kiefer, 70, remains a controversial figure within the art world, alternately lionized and denounced for artwork invoking both World War II Germany and the kabbalah. Some see transcendent statements, others a reduction of the Jewish experience to kitsch. Both factions will find plenty of grist at the Warehouse, where Mr. Kiefer’s works refer to everything from the poet and Nazi labor camp survivor Paul Celan to the Old Testament’s Lilith.“Important work always creates polarization,” Mr. Kiefer explained. “The victims understand. Those people who see in me a glorifier of fascism — when you look into them, you find they have something to hide themselves.” As for the distinction between having his work shown in a “private” versus public museum, Mr. Kiefer hoped the former would proliferate. Collectors should be free to bypass museum curators, he said, and lavishly pursue their own tastes. He compared the phenomenon with the early 20th-century construction of public libraries by moguls like Andrew Carnegie: “I think it was J. P. Morgan who said, ‘If you die rich, it’s a mistake.’ ” BRETT SOKOL

The de la Cruz Collection

The de la Cruz Collection presents their 2016 exhibition “You’ve Got to Know the Rules…to Break Them.” Rosa and Carlos de la Cruz have selected a group of artists from their personal collection who have been associated with defining 21st century practice. Self-aware of the influence that technology and the rise of consumerism has had on their work, artists exhibited follow the cool forms of Minimalism, Conceptualism and Abstract Expressionism, while injecting their works with subtle negations of their own process. Looking at traditional techniques behind painting and sculpture, these works co-exist timelessly as strategies of stylistic appropriation raise questions of subjectivity and originality.

“You’ve Got to Know the Rules…to Break Them” contextualizes New American Abstraction with German Neo-Expressionism, revealing earnest explorations of the artists technical acumen.Through experimentation, they antagonize accepted practices by drawing upon a variety of themes including cultural, historical and sociopolitical modes.

Per contra, the third floor contains a study in portraiture and memory with the works of Félix González-Torres, Ana Mendieta and Rob Pruitt. By transforming everyday objects and using energetic gestures and repetition, González-Torres, Mendieta and Pruitt accept diverse ideologies and reject the notion that art has a single vantage point.

By merging a variety of styles and mediums, the works selected for this year’s exhibition mirror contemporary culture while allowing an open-ended conversation of various interpretations and possibilities. Artist in the exhibition: Allora & Calzadilla, Tauba Auerbach, Walead Beshty, Mark Bradford, Joe Bradley, Dan Colen, Martin Creed, Aaron Curry, Peter Doig, Jim Drain, Isa Genzken, Félix González-Torres, Mark Grotjahn, Wade Guyton, Rachel Harrison, Arturo Herrera, Evan Holloway, Thomas Houseago, Alex Israel, JPW3, Alex Katz, Jacob Kassay, Martin Kippenberger, Glenn Ligon, Michael Linares, Nate Lowman, Adam McEwen, Ana Mendieta, Albert Oehlen, Gabriel Orozco, Jorge Pardo, Manfred Pernice, Sigmar Polke, Seth Price, Rob Pruitt, Sterling Ruby, Analia Saban, Josh Smith, Reena Spaulings, Rudolf Stingel, Cosima von Bonin, Guyton/Walker, Kelley Walker, Christopher Wool.


Mana Contemporary Announces Its 2015 Miami Art Week Program

Presenting exhibitions from three of the most prestigious private art collections in the United States.

Nov 03, 2015, 16:01 ET from Mana Contemporary

MIAMI, Nov. 3, 2015 /PRNewswire/ — Mana Contemporary is pleased to announce its second edition of programming during Miami Art Week, taking place from December 3 to 6, 2015. Held at Mana’s 30-acre campus in the Wynwood arts district, this event will inaugurate the central 140,000-square-foot building’s new role as the Mana Wynwood Convention Center.

Mana Contemporary will present a diverse roster of exhibitions and programs, including:

Made in California: Selections from the Frederick R. Weisman Art Foundation
Made in California—a phrase popularized in Ed Ruscha’s groundbreaking text/image works—will be a must-see exhibition during Miami Art Week. Frederick R. Weisman was a pioneering Los Angeles collector of California art as it emerged as a center for contemporary art in the 1960s. He built a collection that includes many of the artists that rose to prominence under the legendary Ferus Gallery, and who went on to define art movements such as Light and Space, Finish Fetish, Postmodernism, and beyond. Under the direction of Mrs. Billie Milam Weisman, the foundation continues to amass a substantial collection of Los Angeles and California art. On view will be works by John Baldessari, Mary Corse, Ron Davis, Sam Francis, Joe Goode, Tim Hawkinson, Robert Irwin, and Ed Ruscha, among many others.

A Sense of Place: Selections from the Jorge M. Pérez Collection
Co-curated by Patricia Hanna and Anelys Alvarez
Including a selection of over 60 works from the collection of Jorge M. Pérez, A Sense of Place is an exhibition that explores cultural identity by way of the collection’s recent acquisitions of works by artists from Latin America. Despite the fact that these artists are working in a globalized world, where technology and communication transcend physical boundaries, many of these artists continue to construct personal and cultural identities by exploring ideas that are specific to their contexts of origin. The show will examine the idea of building cultural identity, and how artists use abstraction, architecture, politics, and memory to carve out a sense of place, and how those concerns are reflected in Pérez as a collector and Miami as a developing city. Pérez, named one of the most influential Hispanics in the U.S. by TIME magazine, is considered a visionary for incorporating the arts into his South Florida real estate developments.

Everything you are I am not: Latin American Art from the Tiroche DeLeon Collection
Curated by Catherine Petitgas
Everything you are I am not presents a selection of key works of Latin American contemporary art from the Tiroche DeLeon Collection. Borrowed from a piece in the collection by Argentine artist Adrian Villar Rojas, the title of the exhibition alludes to the common practice among contemporary artists from the region to subvert the canons of mainstream art to produce thought-provoking, often humorous works. With 55 pieces by 30 artists, the exhibition will explore several different facets of this approach. The Tiroche DeLeon Collection was established in January 2011 by Serge Tiroche and Russ DeLeon with a focus on the up and coming art scenes of Asia, Latin America, Africa, the Middle East, and Eastern Europe. London-based Petitgas is one of the world’s most respected collectors of Latin American art, as well as a writer, lecturer, and art historian.

Mana Urban Arts x Bushwick Collective
Mana Urban Arts Project is collaborating with Bushwick Collective to bring live graffiti painting by 50 influential artists to Mana Wynwood’s RC Cola factory. Renowned artists include: Ghost (New York), GIZ (New York), Pixel Pancho (Italy), Case Maclaim (Germany), and Shok-1 (England). The industrial space adjacent to Interstate 95 will transform into a vibrant scene featuring a skateboarding exhibition, breakdancing, DJ performances, and live music.


PINTA Miami is the only curated boutique art fair with a specific geographic focus that looks to be an international platform for Ibero-American art identities and issues. The fair will showcase the best of abstract, concrete, neo-concrete, kinetic, and conceptual art movements. PINTA has updated its format to present a fully curated fair, featuring an international team of recognized curators chosen to direct each of the five newly designated sections of the fair.


VIP Preview Reception
An exclusive preview dinner will feature a performance by the Miami Symphony Orchestra.

III Points Music Festival
In partnership with III Points, Mana Contemporary will present a series of after-hours music events in Mana Wynwood’s 36,000-square-foot sound stadium.


Mana Contemporary
December 3-6, 2015
Mana Wynwood Convention Center
318 NW 23rd Street
Miami, FL 33127

Preview Reception
Tuesday, December 1: 6pm9pm: By invitation only

Public Hours
Thursday, December 3: 11am – 8pm
Friday, December 4: 11am – 8pm
Saturday, December 5: 11am – 8pm
Sunday, December 6: 11am6pm

Admission to Mana Contemporary’s events at Mana Wynwood is complimentary, unless otherwise noted. For tickets and information regarding PINTA Miami, please visit


Art Basel is just a month away. Last year the fair attracted 73,000 visitors to the Miami Beach Convention Center and this year’s 14th edition looks to be even bigger and better, with 267 galleries from 32 countries exhibiting from December 3rd to the 6th — plus the former head of NYC’s Armory Show, Noah Horowitz, is now running the fair.

Rendering of the new Miami Beach Convention Center
Work on the $615 million renovation of the convention center is scheduled to begin as soon as AB/MB ends, so look for big changes next year. The $20 million re-do of Lincoln Road is also moving along with NYC’s James Corner Field Operations, the firm that did The High Line, winning the contract to update the original Morris Lapidus design from the 1950s.

All the AB/MB side-sectors return, including SURVEY with 14 booths showing “historically informed” works; NOVA, where you’ll find 34 younger galleries showing new works; and sixteen POSITIONS galleries focusing on emerging artists, including Villa Design Group‘s installation of 10 doorways derived from the scene of the 1997 murder of Gianni Versace on Ocean Drive and, “Polyrhythm Technoir,” a filmed “allegory to contemporary electronic music” by Henning Fehr, Danji Buck-Moore and Phillip Ruhr, presented by Galerie Max Mayer.

UNBUILTYves Behar is the recipient of the 2015 Design Miami “Design Visionary Award” and he’ll be honored with a special exhibit in the D/M venue behind the convention center from December 2 through 6. A student team from Harvard was chosen to design the fair’s entrance pavilion for their submission, “UNBUILT,” a collection of foam models of unrealized design projects. Expect thirty five exhibitors including Firma Casa from Brazil, showing new works by the Campana Brothers, and Italian gallery Secondome,with hand-crafted limited editions.

Several changes and new editions are coming to the numerous — 18 and counting — satellite fairs: Miami Project and Art on Paper move into the Deauville Beach Resort (6701 Collins Avenue, Miami Beach), the former site of the NADA fair; while the 13th edition of NADA heads down the street to the Fontainebleau (4441 Collins Avenue, Miami Beach).

The Miami Project is also launching a new spin-off this year called SATELLITE that will show various “experimental” projects in unoccupied properties up near their 73rd Street base. One of those, “Artist-Run,” will fill the rooms in the Ocean Terrace Hotel (7410 Ocean Terrace, Miami Beach) with different installations from 40 artist-run spaces, curated by Tiger Strikes Asteroid. It’s open from December 2nd to 6th, with a VIP/media event on December 1st from noon to 10 p.m. ALSO: Trans-Pecos, the music venue out in Queens, New York, and Sam Hillmer from the band Zs, are putting together a 5-day music program in the North Beach Amphitheater, emphasizing “musical practitioners with some form of art practice.”

Grace HartiganX Contemporary also joins the crowd with their inaugural edition in Wynwood running from December 2nd through Sunday, and a VIP opening on December 1st from 5 to 10 p.m. Twenty eight exhibitiors will be on hand, plus special projects including “Grace Hartigan: 1960 – 1965” presented by Michael Klein Arts; a look at the “genesis of street art” curated by Pamela Willoughby; and “Colombia N.O.W.” presented by TIMEBAG.

Kate Durbin’s “Hello Selfie” / Courtesy of the Artist/Photographer Jessie AskinazPULSE Miami Beach returns to Indian Beach Park (4601 Collins Avenue, Miami Beach) starting with a big “Opening Celebration” at 4 p.m. on December 1st featuring a panel discussion put together by Hyperallergic, an interactive piece by Kate Durbin called “Hello, Selfie!” and a live performance by Kalup Linzy. On December 5th, PULSE celebrates the City of Miami via a talk at 5 p.m. on “Future Visions of Miami” and a “Sunset Celebration” from 5 to 7 p.m. Fair visitors can check out “TARGET TOO,” an installation referencing items sold at the stores, originally on view in NYC last March. There’s a complimentary shuttle from the convention center, and the fair is open daily from 10 a.m. to 7 p.m. through Saturday.

Wynwood WallsWynwood Walls (2520 NW 2nd Avenue, Miami) has a lot planned this year including “Walls of Change” with 14 new murals and installations and the debut of a new adjacent space called “The Wynwood Walls Garden.” The walls are by Case, Crash, Cryptik, el Seed, Erenest Zacharevic, Fafi, Hueman, INTI, The London Police, Logan Hicks and Ryan McGinness. Over in the “garden,” the Spanish art duo Pichi & Avo are doing a mural on stacked shipping containers and in the events space, Magnus Sodamin will be painting the floors and walls. The VIP opening is on December 1st in the early evening, but then it’s open to the public from 11 p.m. to 2 a.m. Goldman Properties’ CEO Jessica Goldman Srebnick talks about how art transformed the Wynwood neighborhood in THIS Miami New Times piece. We also hear that New York developer (and owner of Moishe’s Moving, Mana Contemporary etc.) Moishe Mana is planning a new mixed-use development on his 30 acres of land in the middle of Wynwood.

The Patricia & Phillip Frost Art Museum at FIU (10975 SW 17th Street. Miami) will have 5 exhibitions featuring 4 Miami-based artists: Carola Braco, Rufina Santana, Carlos Estevez and Ramon Espantaleon. Plus there will be a show called “Walls of Color” with murals by the post-war NY artist Hans Hofmam and, this year, the annual “Breakfast in the Park” on Sunday, December 6th, 9:30 a.m. to noon, honors American sculptor Alice Aycock.

Pauchi Sasaki’s speaker dressThe Mandarin Oriental Miami (500 Brickell Key Drive, Miami) and Peru’s gallery MORBO host an exhibition called “Pure Abstraction” by Peruvian artist Alex Brewer, aka HENSE, in the hotel’s Peruvian restaurant, La Mar by Gaston Acurio. There’s a VIP preview in the restaurant on December 3rd featuring a violin performance by Pauchi Sasaki who’ll be wearing her dress made from speakers.

A previous food installation by Jennifer RubellThe Rubell Family Collection (95 NW 29th Street, Miami) will present a big exhibition called “No Man’s Land” featuring women artists from their extensive collection. It’s up from December 2nd until the end of May and will include paintings, sculptures, photos and videos by over 100 female artists. Because of the large number of works, artworks will be rotated throughout the course of the show. Jennifer Rubell will present her twelfth large-scale, food-based installation,”Devotion,” on December 3rd, 9 to 11 a.m. She’ll be using “bread, butter, and a couple engaged to be married” as her media.

Robert Smithson’s “Spiral Jetty” from the air.

“Our Hidden Futures” is the overall theme for this year’s AB/MB film program. Over 50 films and videos will be screened on the giant projection wall outside of the New World Center (500 17th Street, South Beach), plus over 80 more can be accessed in the convention center film library. The Colony Theater (1040 Lincoln Road, Miami Beach) will be showing director James Crump’s Troublemakers: The Story of Land Art on Friday, December 4, 8:30 p.m., followed by a panel discussion with Crump and Basel film curator Marian Masone. The evening screenings in SoundScape Park include short films with program themes ranging from “Speak Easy” to “Vanishing Point.”

Rachel in the Garden (2003), by John Currin; © John Currin. Photography by Rob McKeever. Courtesy Gagosian Gallery

Jeffrey Deitch and Larry Gagosian are co-presenting an exhibition of figurative painting and sculpture in the Moore Building (3841 NE 2nd Avenue, Miami). The opening is on Tuesday, December 1st, but it will be on view all week. According to the NYT, artists featured in the group show will include Urs Fischer, Elizabeth Peyton, John Currin and David Salle.

Since 2005, the KABINETT sector of AB/MB has invited galleries to display curated installations. This year, there are 27 exhibitions including a new work by L.A. artist Glenn Kaino called “The Internationale” that re-interprets the iconic Pierrot character — and his “only friend,” the moon — interacting with visitors via “seminal texts on post-colonial theory.” Galerie Krinzinger will be showing Chris Burden’s “Deluxe Photo Book 1971 -1973,” documenting the first three years of his performances. And Galerie Lelong will present a selection of shaped, “erotic” canvases by the Puerto Rico-based artist Zilia Sanchez.

CONTEXT Art Miami, the sister fair to Art Miami, will feature 95 international galleries this year, along with several artist projects and installations including 12 listening stations dedicated to sound art; areas dedicated to art from Berlin and Korea; solo exhibitions by Jung San, Satoru Tamura, Mr. Herget and four others; and a “fast-track” portrait project of workers at Miami International Airport. Context and Art Miami — which is celebrating its 26th year — open with a VIP preview benefiting the Perez Art Museum Miami on Tuesday, December 1, 5:30 to 10 p.m., at 2901 NE 1st Avenue in Midtown, Miami. The fair is open to the public from December 2nd through the 6th.

“Coven Services” (2004) by Alex Bag

ICA Miami (4040 NE 2nd Avenue, Miami) presents a new theatrical performance called “Artist Theater Program” by Erika Vogt, Shannon Ebner and Dylan Mira on Thursday, December 3rd at 4 p.m. Ebner also has a concurrent show, “A Public Character,” on view in the museum during AB/MB and up until January 16, 2016. This is the inaugural program in the museum’s new performance series. Also opening on December 1st is a major survey of works by the video and performance artist Alex Bag, including her interactive installation “The Van.” The museum recently announced the appointment of Ellen Salpeter, Deputy Director of NYC’s Jewish Museum, as its new director and they’ve just broken ground on a new, permanent home in the Design District. The 37,500 -square-foot building was designed by the Spanish firm Aranguren & Gallegos Arquitectos and is scheduled to open in 2017.

Installation by Alan SonfistMiami’s “art hotel” The Sagamore (1671 Collins Avenue, South Beach) has a new installation by environmental/landscape sculptor Alan Sonfist on view all week, along with their incredible Cricket Taplin Collection of contemporary art. The hotel’s annual VIP brunch — featuring a new Electronic Arts Intermix installation — is on Saturday, December 5th, 8:30 a.m. to 1 p.m.

“Subway Station” by Louis Lozowick

The INK Miami Art Fair celebrates their 10th anniversary and maintains their exclusive focus on printmaking and works on paper. They’re back in the Suites of Dorchester (1850 Collins Avenue, South Beach) from Wednesday, December 2nd, through Sunday. Highlights include a lithograph by Louis Lozowick called Subway Station, NYC (1936) at Susan Teller Gallery’s booth and A World in a Box (2015) by Mark Dion published by Graphicstudio/U.S.F.

New York-based branding and event collective FAME is popping-up in Miami from December 2 to 6 with their ” Superfine! House of Art & Design” (8300 NE 2nd Avenue, Miami) in Little Haiti. They’re promising “the arty party of the year” with a big opening night December 2nd, 6 to 10 p.m, featuring a gigantic chandelier installation by Diego Montoya and music all week from Gilligan Moss, Lauv and more TBA. Plus, Afrobeta plays on Friday at a party hosted by PAPER fave, textile artist Karelle Levy.

The fourth edition of UNTITLED Miami is on the beach at Ocean Drive and 12th Street from December 2 to 6, with a big VIP preview on December 1st from 4 to 8 p.m. They’ve got 119 international galleries along with non-profit orgs from 20 countries. New this year will be an UNTITLED radio station broadcasting via local Wynwood Radio with interviews, performances and playlists by artists, curators etc.

Mega Guide to Art Basel Miami Beach 2015: Part 3


Things are really starting to come together at Argentine developer Alan Faena’s new residential and arts district between 32nd and 36th Streets on Collins Avenue. By the time AB/MB rolls around, the Faena Hotel Miami Beach should be up and running, and construction is now complete on the Foster + Partners residential tower. The Faena Forum (above), designed by OMA Rem Koolhaas, should be open in April 2016. For Basel Miami 2015, they’ve planned a series of cool events including: A roller-disco installation by assume vivid astro focus that will be open to the public daily on the beach and feature local and international DJs; a “theater curtain” installation called “A Site To Behold” by Spanish artist Almudena Lober that lets visitors play alternate roles of “actor” and “performer”; and a site-specific “sand and light” installation by Jim Denevan.

The Perez Art Museum Miami (aka PAMM) — designed by Pritzker Prize-winning architects Herzog & de Meuron — had it’s big debut in 2013 in downtown Miami’s Museum Park. On December 3rd, 2015, 9 p.m. to midnight, they’ll be premiering a collab performance by Devonte Hynes of Blood Orange and Ryan McNamara called “Dimensions” that includes elements of dance, music and sculpture. Also, during this open house for members and VIPs, you can check out their current exhibitions including Nari Ward’s “Sun Splashed,” Firelei Baez’ “Bloodlines,” and a show of Aboriginal Australian abstract painting.

Moishe Mana’s Mana Contemporary (318 NW 23rd Street, Miami) in Wynwood plans several exhibitions during AB/MB including “Made in California,” featuring selections from L.A. collector Frederick R. Weisman’s Art Foundation; “A Sense of Place,” with over 60 works from the collection of Jorge M. Perez; and “Everything You Are Not,” key works of Latin American art from the Tiroche DeLeon collection. All are up from December 3rd thru the 6th, with a VIP preview on December 1st. Mana Urban Arts is also doing a collab with The Bushwick Collective at the former RC Cola Plant (550 NW 24th Street, Miami) that includes over 50 artists — so far the list includes Ghost, GIZ, Pixel Pancho, Case Maclaim and Shok-1 — plus skateboarding, DJs, live music etc.

Lots of music events and parties are starting to come in, including a show with Jamie xx and Four Tet on Friday, December 4th, in the Black Room at Mana Wynwood (318 NW 23rd Street, Miami), presented by III Points and Young Turks. Tickets are available HERE. At the same venue, Life & Death records presents Tale of Us, Mind Against, Thugfucker and “special guest” Richie Hawtin on December 3rd. Tickets are HERE. We also hear that Danny Howells will be spinning at Do Not Sit On The Furniture (423 16th Street, Miami Beach) on Saturday, December 5th; and Marco Carola and Stacey Pullen are at Story (136 Collins Avenue, South Beach) on Saturday, December 5th.

Photo via

Two young London-based artists, Walter & Zoniel, will set up a large, hand-built camera in the Delano Hotel (1685 Collins Avenue, South Beach) from December 2nd to the 5th for a performance piece called “Alpha-Ation.” They’ll be creating exclusive, hand-colored portraits of “high-profile” figures all week and have already shot Lindsay Lohan and Tinie Tempah. The work is presented by the UK gallery Gazelli Art House. There’s also an invite-only reception with the artists at the Delano on Saturday night.

Hans Ulrich Obrist

AB/MB’s Conversations and Salon series brings together artists, curators, gallerists, historians, critics and collectors for 23 talks and panels all week. Jenny Holzer and Trevor Paglen kick things off on December 3rd, 10 to 11 a.m., in the Hall C auditorium. Other “conversations” include London’s Serpentine co-director Hans Ulrich Obrist on Friday morning and Genius Grant winner Nicole Eisenman on Sunday. In the Salon series, Obrist will also moderate a conversation between artist Alex Israel and author Bret Easton Ellis on “the evolution of the L.A. art scene.”

L.A. painter and installation artist Lisa Solberg will preview her latest project, “Mister Lee’s Shangri-La,” at Soho Beach House (4385 Collins Avenue, Miami Beach) on Saturday, December 5th. The work — “an immersive exotic dance club sheltered inside a greenhouse” — will then be on view at MAMA Gallery (1242 Palmetto Street, Los Angeles) in L.A. as of December 19th.

Photo by Julian Mackler/

Adrien Brody isn’t just a great actor. He’ll be showing several of his paintings during AB/MB in a show called “Hot Dogs, Hamburgers and Handguns” at Lulu Laboratorium (173 NW 23rd Street, Miami) in Wynwood. The show was curated by Spanish-American artist Domingo Zapata and the big opening party starts at 10p.m. on December 2nd.

Calypso St. Barth Beach Boutique pops-up in the Soho Beach House (4385 Collins Avenue, Miami Beach) all week from 11 a.m. to 6 p.m. daily. They’ll also be hosting VIP events for artists including Jen Stark and Mira Dancy.

The National YoungArts Foundation‘s (2100 Biscayne Blvd., Miami) current show, “The Future Was Written,” features an interactive work by Daniel Arsham that asks visitors to use any of 2,000 chalk objects to draw on the gallery walls. On view until December 11th.

Chrome Hearts celebrates their new collaborators, Laduree and Sean Kelly Gallery, on December 2nd, 8 to 11 p.m., in the Chrome Hearts (4025 NE 2nd Avenue, Miami) shop in the Design District with a private, VIP party featuring works by Sean Kelly artists including Marina Abramovic, Los Carpinteros, Jose Davila, Robert Mapplethorpe and many more. Also there’s a special performance by Abstrakto and DJ set from Atlanta de Cadenet Taylor.

The MoMA Design Store and online skate deck site, The Skateroom, will open a pop-up in the Delano Hotel (1685 Collins Avenue, South Beach) from November 30th to December 6th. The “immersive installation” will sell limited-edition skateboard decks featuring Andy Warhol artworks including his Campbell’s Soup cans, Guns, Car Crash etc. A portion of the proceeds will go to Skateistan, a non-profit org that uses skateboarding to empower youth. The private VIP opening is December 2, 8 to 11 p.m.

Louis Vuitton (140 NE 39th Street, Miami) will be presenting “Objets Nomandes” — a new collection of foldable furniture and travel accessories — in their new store in the Design District during AB/MB, as of December 3rd. The pieces are collabs with international designers including the Campana Brothers, Maarten Baas and Nendo. You can also check out the world-exclusive unveiling of a lounge chair designed by Marcel Wanders.

ArtCenter/South Florida has an “off-site” installation called “D.O.A.” by the Israel-based artist Dina Shenhav over in Miami’s Little River District at 7252 NW Miami Court. Shenav will create a hunter’s cabin filled with “hunter” paraphernalia sculpted from yellow foam. Up from November 29th until the end of January.

Mega Guide to Art Basel Miami Beach 2015: Part 4

Gary Pini

One of our fave AB/MB sectors, PUBLIC, just announced this year’s list of 26 artists who’ll be doing site-specific installations and performances all week in Collins Park. Several caught our eye: a jemstone-encrusted “Healing Pavilion” enhanced with “metaphysical properties” by Sam Falls; a group of tall chairs from the original production Robert Wilson’s “Einstein on the Beach;” a giant set of red lips by Sterling Ruby; and a monumental deer lawn ornament by Tony Tasset. Opening night is Wednesday, December 2nd, 7 to 9 p.m., and it features a female tai chi master, male bodybuilders, men on skateboards, a dandy hobo and an evening performance by Yan Xing.

Tony Tasset, Deer, 2015Photo cred. Kavi GuptaSCOPE returns to South Beach from December 2 to 6 (VIPs get in on the 1st) with 120 exhibitors from 22 countries, plus several special sections including Juxtapoz Presents, the Breeder Program for new galleries and FEATURE, showcasing photography. For a fourth year, the fair collabs with VH1 on a music series featuring up-and-coming artists. There’s also an invite-only party with recording artists Mack Wilds and Lil’ Dicky on Friday night at Nikki Beach, sponsored by SCOPE, VH1 and BMI.

As usual, there are lots of cool things happening at The Standard Miami (40 Island Avenue, South Beach) during the week including: The Standard X The Posters launch of their collab poster by Miami-based artist Jim Drain to celebrate the hotel’s 10th anniversary (available in the hotel’s gift shop), a VIP-only cocktail party hosted by Andre Saraiva, a book signing with Cheryl Dunn for her “Festivals Are Good,” a “chopped art” party with the Bruce High Quality Foundation and, of course, there’s the annual Lazy Sunday BBQ hosted this year by Creative Time on December 6th.

The design team of George Yabu & Glenn Pushelberg return to the BASEMENT nightclub in the Miami Beach EDITION Hotel (2901 Collins Avenue, Miami Beach) for an invite-only party with London’s Horse Meat Disco crew and special guest Giorgio Moroder on Thursday, December 3rd. They’re also hosting a private luncheon in the hotel’s Matador Room on Friday and launching a biannual “bookazine” called YP: Transformation, with the first issue available exclusively in the EDITION Hotel during AB/MB.

The EDITION also hosts pop-up exhibitions by NYC galleries in two of their fab bungalows: Half Gallery and HarperCollins Publishers will feature paintings by Daniel Heidkamp, an installation by Tom Sachs and book signings by Justin Adian, Sylvie Fleury and Sue Williamson; Salon 94 will have an installation by Jeremy Couillard.

JJeremy Couillard, Bowery Video Wall, 2014PULSE Miami Beach (4601 Collins Avenue, Indian Beach Park) just announced their 2015 series of special projects including: a neon installation by Texas artists Alicia Eggert and Mike Fleming, a sculpture called “Trees” by Gordon Holden, a faux apartment building by Chris Jones, “Over and Under” by Francis Trombly and a small architectural piece inspired by Corbusier by New York artist Jim Osman. The fair’s PLAY section for video and new media will be curated by Stacy Engman.

Francis Trombly, Over and Under, 2015Bortolami Gallery is opening a year-long exhibition called “Miami” by the French conceptual artist Daniel Buren on December 1st in the M Building (194 NW 30th Street, Miami). The show marks the 50th anniversary of his works with fabric and the 8.7 cm stripe. By periodically installing new works, Buren will also alter the exhibition during the year.

Daniel BurenSpanish luxury fashion house LOEWE (110 NE 39th Street, Miami) opens a group show called “Close Encounters” on Wednesday, December 2nd, 6:30 to 9 p.m. The artists are Anthea Hamilton, Paul Nash, Lucie Rie and Rose Wylie; and the hosts for the evening are Jonathan Anderson, creative director of Loewe, with Don and Mira Rubell. Invite only.

Anthea Hamilton, Dance, 2012

Previewing their upcoming South Beach studio, SoulCycle will pop-up poolside at the 1 Hotel (2341 Collins Avenue, South Beach) starting on Tuesday, December 1st. They plan to open permanently in the hotel in January 2016.

Absolut Elyx, Sean Kelly Gallery, Paddle8 and Water For People celebrate WATER, “the most important drink in the world,” with a private charity auction and party at the Delano Hotel (1685 Collins Avenue, South Beach) on Thursday, December 3rd, 7 to 10 p.m. Look for a live performance by the Swedish singer Elliphant and a DJ set by Jasmine Solano.

ElliphantPhoto Cred. Corey OlsenRicardo Barroso and Eva Longoria celebrate the launch of “Ricardo Barroso Interiors” at Casa Tua (1700 James Avenue, South Beach) on December 3rd. The book includes 240 color photographs of his past and present work, with an accompanying text by Barroso and Fionn Petch and a foreword by Longoria. Invite only.

Ricardo BarrosoMolteni (4100 NE 2nd Avenue, Miami) celebrates their 80th anniversary on December 3rd, 7 to 10 p.m., with a VIP soiree featuring “Amare Gio Ponti,” the first film about the legendary Italian architect and designer.
Libertine, one of the new clubs in downtown Miami’s 24-hour party district, hosts a release party for Nakid Magazine‘s latest issue and their cover artist Jen Stark on Friday night, December 4th. Stark recently collab’ed with Miley Cyrus on MTV’s VMA Awards and has a new installation at Miami International Airport.

Jen StarkCorona brings their “Electric Beach” to the Clevelander Hotel (1020 Ocean Drive, South Beach) on December 5th, 3 to 8 p.m., with a live performance by Chilean artist DASIC, and tons of music from Craze, Astronomar, Ape Drums and TJ Mizell.

DasicBrown Jordan and Sunbrella are getting together to showcase photographs by Gray Malin at a sneak-peek preview of Brown Jordan’s new store in the Design District. The invite-only opening is on Thursday, and the store should be open at the beginning of the new year. Some of the photos from the show will be on view there permanently and others are from Malin’s personal collection.

Gray Milan, A La Plage, 2012The Surf Lodge pops-up all week at The Hall South Beach Hotel (1500 Collins Avenue, South Beach) with a series of invite-only artist dinners, events and performances.

Frieze London 2015 Sales Reports




The Little Black Book of Billionaire Secrets

Damien Hirst Goes For $1.2 Million At Frieze London

I bring creativity and culture from around the globe to you.

Frieze London and Frieze Masters saw numerous million-dollar sales over the past week. At Frieze London, 2015 Damien Hirst went for over $1.2 million at Frieze London this week. The piece, “Holbein (Artist’s Watercolours),” was sold at White Cube’s booth within the first hour of the art fair, and depicts the hues of the renowned Japanese watercolor manufacturer. Lisson Gallery sold Ai Weiwei’s “Iron Root” for €500,000, while at Kurimanzutto, a Gabriel Orozco went for $900,000. At David Zwirner, British artist Chris Ofili’s “Midnight Cocktail” painting went for $750,000.

Over at Frieze Masters, Marlene Dumas’s “Magdelena” went for £3.5 million at the Hauser & Wirth/Moretti Fine Art booth. Other million dollar sales include a $2.27 million Gunther Uecker, called “Weibe Spirale,” a latex-and nails-on-canvas piece, at Cardi. David Zwirner sold Bridget Rilley’s (2009/1970) work “Vapour 3” for $1.4 million. At John Gunther Rare Books, a Simon Bening went for €3.8 million.



What Sold at Frieze London

By Alexander Forbes

Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

The 13th edition of Frieze London comes to a close today. With the economic forecast hazy, especially for increasingly important art market centers in Asia, worry was rife ahead of the London fair’s opening that 2015 would be a slow year for collecting. But despite sales not being the feeding frenzy that not so long ago characterized several fairs across the art market calendar, a steady stream of five- and six-figure acquisitions left Frieze dealers more than satiated as the week’s action wound down.

With Frieze London and Frieze Masters opening on the same day for the first time since Masters was introduced in 2012, new artistic director for the Americas and Asia Abby Bangser told Artsy, “Attendance on preview day of VIPs was record-breaking, and that’s continued throughout the rest of the week.” Exact opening day figures for Frieze London remain pending. However, the fair did report a whopping 260% increase in collectors and VIPs attendance to Frieze Masters on opening day, including Eli and Edythe Broad, Benedict Cumberbatch, Diana Picasso, and Budi Tek.

Installation view of David Zwirner’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

And indeed, as is the norm, Tuesday’s sales led the pack where price was concerned. White Cube partner  Daniela Gareh reported continued success with “two new bodies of paintings by Damien Hirst,” including the $1.2 million sale of Holbein (Artist’s Watercolours) (2015). (Bangser confirmed via telephone on Friday evening that such levels were representative of the high end of transactions reported to the fair thus far.) “Sales across the board were good throughout the week,” added Gareh on Saturday morning, noting further sales of works by Andreas Gursky, Tracey Emin, Theaster Gates, Imi Knoebel, Christian Marclay, Cerith Wyn Evans and Eddie Peake, among others.

David Zwirner placed Chris Ofili’s Midnight Cocktail (2015) in a collector’s hands for $750,000 on Tuesday. Among other sales, Kerry James Marshall’s Untitled (Toe Painter) (2015) also went on opening day for an unreported sum, ahead of a retrospective next April at the Museum of Contemporary Art Chicago, which will then travel to the Met Breuer, and MOCA L.A.

Installation view of Sprüth Magers’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

L.A., London, and Berlin’s Sprüth Magers placed Jenny Holzer’s LED sign sculpture All Fall (2012) in a U.S. collection for $500,000. The artist’s redaction painting TOP SECRET NOFORN 11 (2011) also sold, this for $250,000. The booth presents several mini-solo exhibitions, from which two works by Thomas ScheibitzPortrait Marco Dente (2015) and GP 160 (2011)—found takers for €63,000 and €35,000, respectively; as did four pieces by Thea Djordjadze for between €24,000 and €28,000. The gallery also sold their striking selection of pieces by Ryan Trecartin, ranging from $18,000–45,000.

Lehmann Maupin had a banner start to the fair. The gallery sold no fewer than six works by YBA Tracey Emin (price: £15,000–225,000), a pair of panel paintings by Mickalene Thomas from $125,000–175,000, and Nicholas Hlobo’s Chwetha (To Poke) (2015) for $80,000–120,000 and Isilima sesinambuzane phezu kwechibi (2015) for $40,000–60,000, among others. Do Ho Suh was the star of the booth, however, with four of the artist’s thread works on paper and fabric installations finding takers. Hub, London Studio (2015) was the pinnacle of the group, selling on the range of $350,000–450,000.

Installation view of Victoria Miro’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

Suh is also prominently showcased at Victoria Miro’s stand. This Frieze, the gallery presents just three artists: “We wanted to do a more focused presentation this year, going in-depth to give a much better sense about what each artist is up to,” said Oliver Miro, who described the response as “really fantastic.” Sculptures by the Royal Academy’s youngest artist, Conrad Shawcross, were a particular hit, priced at £30,000–70,000. Each of the gallery’s five monumental canvases on view by Spanish painter and rising star Secundino Hernández had sold, priced from £25,000–75,000. Several of those pieces went to museums, one in the U.K. and one “in the southern Hemisphere,” a discrete Miro offered.

Installation view of kamel mennour’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

Paris’s kamel mennour saw huge success with works by Camille Henrot. “The show is sold out,” said the gallery’s Helena Mierzejewska on Friday afternoon. All eight editions of the booth’s central sculpture, Retreat From Investment, were spoken for, priced at €150,000 each. “It’s the first time she worked in such a big scale,” said Mierzejewska of the work, which is redolent of Henry Moore. Numerous watercolors on paper, mounted on dibond, ranged in price from €22,000 to €60,000. “They explore the everyday indignities that we encounter: nail biting, virtual sex, situations that remind us of our human side,” added Mierzejewska.

“There’s a real moment for Camille right now,” said KÖNIG GALERIE’s Sarah Miltenberger, who was also showing new works by Henrot. The French artist’s exhibition “The Pale Fox” runs through November 1st at KÖNIG, which sold both ceramics (now sold out at €45,000 apiece) and large-scale works on paper by Henrot from her 2014-2015 series, “The Tropics of Love.” Kiki Kogelnik’s painting Woman and Scissors (1964) also sold for $82,000, building on momentum from her inclusion in Tate Modern’s current show “The World Goes Pop.” A number of pieces by Jeppe Hein, Jorinde Voigt, Alicja Kwade, and Katharina Grosse had also found their way into collectors’ hands by Friday afternoon.

mennour wasn’t the only gallery to sell out its booth. Shanghai’s Antenna Space, which presents a solo installation of Guan Xiao, quickly saw the three-part work Documentary: From National Geographic to BBC (2015) sell to the Zabludowicz Collection. “This is a sequel to the work shown at the New Museum Triennial,” said director Simon Wang. “This is the third edition. The others were collected by Adrian Cheng and another very prominent private Chinese collection,” out of their concurrent show of Guan at the gallery, Wang added. “But we wanted to place one into an influential European connection.” Price? On the range from €30,000–40,000.

Installation view of Koppe Astner’s booth in the Focus section at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

Sales across the fair’s Focus section were a mixed bag, reflecting a current tendency away from very young, and thus potentially financially risky, work. Several gallerists cited that a lack of urgency in purchasing was indeed making itself felt. But nonetheless, works from many, such as High Art’s solo presentation of Pentti Monkkonen were finding their way to collectors. High Art co-founders Romain Chenais and Jason Hwang, and fellow galleries Crèvecoeur, Antoine Levi, High Art, Sultana, and Gregor Staiger, will launch their own fair next week—Paris Internationale, an event hotly anticipated among several of Frieze Focus’s hipper exhibitors. “It’s really going to be young, emerging art,” said Chenais. “We don’t know how people will react, whether they will just visit or if they will buy, but there is a lot of excitement around it at the moment.”

One imagines Frieze might be surprisingly pleased that a group of Focus exhibitors would be starting an art fair themselves. It’s one more event to add to the already nearly-300-line-long tally of fairs on the annual calendar. But the London fair’s lifeblood (at least where branding is concerned) and roots remain its unparalleled selection of young dealers and new practices. And that which contributes to the health of the emerging market will, ultimately, be to Frieze’s benefit.

—Alexander Forbes


Frieze and Frieze Masters Open With Steady Sales

Frieze and Frieze Masters Open With Steady Sales
Left to right: Chung Sang-hwa’s “Untitled,” 1987, and Albert Oehlen’s “Untitled,” 1991, both on view at Frieze Masters.
(Courtesy Hakgojae Gallery/Courtesy Skarstedt Gallery)

LONDON — The 13th edition of Frieze London in Regent’s Park opened to V.I.P. cardholders on Tuesday morning, the same moment as its younger sister fair, the four-year-old Frieze Masters, opened its doors far across the manicured park.

Since it’s impossible to be in two places at once, choices were made and it appeared the bigger queue was at the contemporary fair where visitors were greeted in the entry hallway by rather grim collaborative sayings painted in white on black backgrounds, including “Overcome your challenges or they will reappear” and “Don’t Stop Now—The End is Near.”

That sobering, black on black hallway, dotted with what appeared to be reclaimed prisoner benches, complete with stationary metal hoops to accommodate handcuffs or chains, wasn’t exactly inviting. But things perked up once in the central meeting point of the grandly proportioned and bespoke tent, as the more familiar rituals of art commerce slowly kicked into gear.

At London’s White Cube, a brand new Damien Hirst, “Holbein (Artists’ Watercolours)” from 2015 in couch enamel and sign writing paint on canvas, sold right away for £750,000 to a US collector. The piece could be viewed as a very distant cousin to the stunning “Gerhard Richter Colour Charts” exhibition at London’s Dominique Levy, which includes nine paintings from the original 1996 series. Hirst’s mammoth chart at 94 by 158 inches consists of rectangular shaped color swatches running nine rows across and nine rows down the busy canvas.

At New York/London’s David Zwirner Gallery, Kerry James Marshall’s exuberant figurative painting “Untitled (Toe Painter)” from 2015, in acrylic on PVC panel and measuring 60 by 60 inches, sold to another American collector, but the gallery declined to disclose the price. The gallery now represents Marshall in London. Also at Zwirner, Chris Ofili’s large-scale painting “Midnight Cocktail” sold for $750,000.

At London’s Lisson Gallery, a vibrantly colored and patterned abstraction by New York painter Stanley Whitney, “Inside Out” from 2013, scaled at 96 by 96 inches in oil on linen and representing his debut at the gallery, sold for $85,000. At least three of the artist’s six untitled smaller works, each measuring 12 by 12 inches, sold for $15,000 apiece during the first hour of the V.I.P. preview.

Lisson also sold Ai Wei Wei’s purple hued “Iron Root,” in cast iron and auto paint from 2015, for around half a million euros to a Middle Eastern client, according to the gallery. The artist is currently featured in a survey exhibition at the Royal Academy, including an inviting ensemble of sculpted trees installed in the courtyard.

New York/London/Zurich/Los Angeles’s Hauser & Wirth presented small scale sculptures by gallery artists on identically sized pedestals, affording pleasurable, 360 degree views of the little forest of sculptures that gallery partner Paul Schimmel described as “field of dreams.” A coated glasswork by Larry Bell, “Cube #10-1-92” from 1992 and standing 10 inches high, sold for $135,000.

At Paris/Salzburg Thaddaeus Ropac Gallery, a huge Robert Longo diptych, “Untitled (Holy Tree/Cedar)” in charcoal on paper from 2015 and measuring 102 by 128 by 4 inches, sold to a European collector for $650,000, and a 72 by 72 inch landscape by Alex Katz, “The Road” from 2015 and evocative of the Maine woods and its stellar light, sold for $390,000. Ropac also sold Sturtevant’s appropriated damsel, “Warhol Licorice Marilyn” from 2004, for around $275,000.

“I was very impressed with the energy of the fair this year,” said Polly Robinson Gaer, executive director of Ropac in London, “especially since our price points are very high compared to the other booths, so we’re really pleased with the outcome.”

It was about at this juncture, some 2 ½ hours into Frieze London with its 164 galleries, that I remembered my mission was across the park at Frieze Masters.

A brisk 15-minute walk later, the dirigible-like silver outline of the Masters’ tent appeared and London’s mini-answer to TEFAF, the European Fine Art Fair in Maastricht, but with better 20th-century art, unfolded.

It quickly became evident that last year’s iteration with Helly Nahmad Gallery’s exquisitely entertaining “The Collector” installation has gone viral here, with a number of galleries trying it on, bringing a mix of art and furniture together with a patron saint dealer or character added to the flavorful mix.

London’s Richard Nagy Gallery did it with German Expressionist works and vintage Austrian furniture, Dickinson staged an ambitious “Masters of Cubism” art salon as a homage to Paris dealer Leonce Rosenberg, and cooperating dealers Moretti (London) and Hauser & Wirth combined 14th-century Italian painters with a modernist and contemporary cast of Hauser & Wirth’s deep back room, including a sultry yet somehow religious Marlene Dumas, an ink on paper of a nude girl, “Magdalena (de Pelsie)” from 1996. The Dumas hung alongside the 14th-century Luca de Tomme’s “Madonna and Child with Christ Blessing” in tempera on panel. It doesn’t take long to get the idea that the dealers and Frieze Masters would like you to embrace (and collect) the sweep of those centuries.

The acquiring pace at Frieze Masters appeared slower this year as even top guns, such as New York’s Van de Wegh Gallery, with works by Roy Lichtenstein, Andy Warhol, and Jean-Michel Basquiat, and Acquavella Galleries, armed with a stunning Claude Monet landscape of Monte Carlo from 1883 and a rare and beautiful family portrait by Edgar Degas (“Henri Rouart et sa fille Helene”) from circa 1877, priced at $10.5 and $8 million respectively, had no initial takers.

There was some action at New York/London’s Skarstedt Gallery, usually a hotbed of notable transactions, as Alighiero Boetti’s  “841/ Beige Sahara” from 1967, consisting of industrial spray paint on cardboard and cork lettering at 27 1/8 by 27 1/8, sold in the $500,000 range and Albert Oehlen’s untitled and rather biomorphic abstraction from 1991 sold for around $700,000 to a European collector.

“It’s O.K.,” said Per Skarstedt, shortly after chatting with American painter Eric Fischl, who was visiting the stand. “We’re hoping to sell more art.”

Similarly, at New York’s Sperone Westwater Gallery, an early and rarely seen Joseph Kosuth, “One and seven-Description II” from 1965 and consisting of seven acrylic on canvas panels, each measuring 15 by 15 inches, sold for $300,000.

The hottest sector sales wise appeared to be the so-called “Spotlight” section of galleries hosting one-person stands, led by Seoul/Beijing’s Hakgojae Gallery and the Minimalist, Robert Ryman-esque work of Korean artist Chung Sang-hwa. The booth sold out, with the seven featured paintings from the 1970s and ’80s going for $500,000 to approximately $1 million.

“His prices have jumped five times what they were last year,” said Eunsoo Woo, Hakgojae’s art director. “Still, we were surprised at how quickly they’ve sold.” Buyers for Sang-hwa hailed from the US, Europe, Korea, and China. His name will become more familiar to Westerners soon, as Dominique Levy and New York’s Greene Naftali will mount joint New York shows in 2016.

The Dominique Levy stand here also sold a Chung Sang-hwa, “87-12-7” from 1987 in acrylic on canvas for $540,000, the first work of the artist the gallery has sold.

Back to the Spotlight stands, London’s Stephen Friedman sold New York sculptor Melvin Edwards’s untitled installation from 1970, comprised of hung barbed wire and chains, and installed here for the first time, for $300,000 to an American collector. The gallery also sold a group of Edwards’s spray paint and watercolor on paper works from 1974 at $25,000 each.

In that same rich and relatively undiscovered vein, the late African-American abstract painter Sam Gilliam was featured at Los Angeles’s David Kordansky Gallery with a lyrical presentation of the artist’s Drape series, which sold at prices ranging from $225,000 to $500,000. Of those uplifting works, “Swing Sketch” from 1968, comprised of acrylic on canvas with a leather cord, sold for $350,000.

Frieze and Frieze Masters run through October 18.



What Sold on Day One at Frieze London 2015

Lorena Muñoz-Alonso, Thursday, October 15, 2015

Collector and patron Valeria Napoleone visits the booth of David Kordansky during the preview of Frieze London 2015.<br>Photo: Linda Nylind. Courtesy of Linda Nylind/Frieze

With the queue to access the preview of Frieze London at the coveted 11 a.m. slot stretching all the way towards the entrance of the park, the hotly anticipated 13th edition of the London fair got off to a great start. Or did it?

In terms of attendance at least, there is little doubt that each successive edition of the fair is more successful than the year before. Perhaps even too much so for its own good. Many collectors complained about the queue to the supposedly exclusive early viewing, huffing and puffing as the crowds trundled towards the tent’s doors. Others took a more practical approach. “I saw the queue and decided to start by Frieze Masters instead, and come back to Frieze London later,” Turin-based super collector Patrizia Sandretto Re Rebaudengo told artnet News. Norwegian collectors Venke and Rolf Hoff, from KaviarFactory, also seemed slightly overwhelmed by the crowds.

View of White Cube's booth at Frieze London 2015, with Damien Hirst's Holbein (Artist's Watercolours) to the right.<br>Photo: Courtesy White Cube

But the hordes did translate into a flurry of early sales for many blue chip galleries. London’s White Cube—which barely ten minutes into the preview was packed with people, including actor Benedict Cumberbatch and his wife, Sophie Hunter—sold a new work by Damien Hirst, entitled Holbein (Artist’s Watercolours) and with a price tag above $1.2 million, within the hour. Another canvas by Hirst, Super Centre (2014) also sold during the first hours, proving that the notorious YBA is ripe for a comeback, and that his new museum Newport Street Gallery is helping to rekindle his market. White Cube also sold works of heavy weights like Andreas Gursky, Antony Gormley, Theaster Gates, and Christian Marclay in the first hours.

At Hauser & Wirth, an unusual grid display—in which dozens of sculptures by gallery artists were displayed on plinths—was commanding the public’s attention, distracted only by the presence of Princess Eugenie, trying to fulfil her duties as associate director of the gallery while posing demurely and politely for the paparazzi. Sales during the first hours of the fair included works by Isa Genzken,Martin Creed, Hans Josephsohn,Takesada Matsutani, Gottfried Gruner, and Djordje Ozbolt. A work by Larry Bell changed hands for $135,000, while a new sculpture by Phyllida Barlow sold for £25,000.

Installation View of Hauser & Wirth's booth at Frieze London 2015.<br>Photo: Alex Delfanne

Over at Galerie Thaddaeus Ropac, things were looking rather peachy. By Tuesday afternoon, an Alex Katz painting, Road (2015), had sold for a price in the region of $400,000. A large drawing by Robert Longo changed hands for $650,000, while Tony Cragg‘s sculpture Runner sold for €300,000. Nearby, Sturtevant‘s Warhol Licorice Marilyn (2004) found a new owner for $250,000.

Collectors like Valeria Napoleone, Eskandar and Fatima Maleki, and Anita Zabludowicz were spotted scanning the booths, as were Candida Gertler from the Outset Contemporary Art Fund, the director of Tate, Nicholas Serota, uber-curator Hans Ulrich Obrist, and Simon and Michaela de Pury. The mood on the aisles was enthusiastic, with many dealers waxing lyrical about the diversity of collectors descending upon Regent’s Park from all four corners of the world.

Galerie Max Hetzler reported a slew of sales in the first day, including Raymond Hains‘s Il est recommandé de fermer la pochette avant de frotter l’allumette (1968), which sold for €70,000 to a European collector, Albert Oehlen‘s Untitled (Baum 31) (2015), which sold for €450,000 to London-based collectors, and Günther Förg‘s Untitled (2008), which sold for €300,000 to an Asian collector looking to buy works by established artists from Germany and France.

At London’s Victoria Miro, the irresistible appeal of Spanish sensationSecundino Hernández was in full swing. A couple of hours into the preview, five of his stunning, large-scale abstract paintings, with prices ranging from £25,000 to £75,000, have been sold to public museums and foundations, according to a gallery spokesperson. A significant remark, since it’s been often mentioned that Hernández’s appeal for private collectors didn’t extend to the institutional world.

Installation view of Lisson Gallery's booth at Frieze London 2015.<br>Photo: Linda Nylind. Courtesy of Linda Nylind/Frieze

At Lisson Gallery, Ai Weiwei was benefiting from his fantastic blockbuster exhibition, running concurrently at the Royal Academy of Arts. Ai’s Iron Root (2015) sculpture sold for around €500,000 to a Middle Eastern client. Meanwhile, a large diptych by Richard Long of china clay on linen mounted on plywood sold for £100,000-200,000, while a silkscreen on linen by Allora & Calzadilla sold in the region $100,000-200,000. A large painting by Stanley Whitney sold for around $85K, with other few smaller works left on reserve at the end of the first day.

Nearby, David Zwirner, which had presented a stunning and subtle booth, began the preview selling Chris Ofili‘s Midnight Cocktail for $750,000, as well as a number of works by Carol Bove, Marlene Dumas, and Wolfgang Tillmans. Los Angeles-based David Kordansky sold all the works in its Mary Weatherford dedicated booth by Tuesday noon, with prices in the range of $125,000-215,000. All the works went to institutions, according to a representative of the gallery.

At São Paulo’s powerhouse Galeria Fortes Vilaça, two works by the young Brazilian painter Marina Rheingantz sold in the range of $6,000-10,000, while a 2006 photograph by Mauro Restiffe, Mirante #2, sold for a price between $30,000-40,000. Brazilian galleries were indeed in top form at the start of the fair. Vermelho reported the sale of Lia Chaia’s Transfusion G duplo (3), which was bought by a UK-based collector for $5,000, and of Odires Mlaszho’s book-based piece Martindale – Hubbell, international law directory, 1991 for £10,000.

Neil Beloufa's The Office (2015) at the Mendes Wood DM booth at Frieze London 2015.<br>Photo: Lorena Muñoz-Alonso

Martin Aguilera, head of sales of the Brazilian blue-chip Mendes Wood DM, was positively beaming by lunch time. The generous booth of the São Paulo gallery made a strong bid for French artist Neil Beloufa, and it had certainly paid off. The large-scale video installation The Office (2015) had sold for €40,000, another sculpture had changed hands for the same amount, and two smaller sculptures, also by Beloufa, had found new owners, at €12,000 a pop. A beautiful and subtle wall-based sculpture by Paloma Bosquê also sold for $12,000, while a small painting on wood by the coveted Brazilian artist Celso Renato was on reserve for €65,000. “We want to make sure we place it in a good collection or museum,” Aguilera told artnet News. “Renato’s body of work is small, so it’s important for us to care of it.”

A similar sentiment was echoed by Ricky Manne at Marianne Boesky Gallery, which had a gobsmacking trio of large-scale Frank Stella works on display, Suchowola I, II, and III, superb hybrids of painting and sculpture dating to 1973 and selling together for a combined price tag of $5 million. “We’ve had offers today, but we really want to make sure they go to the right place, whether a public museum or private foundation,” Manne told artnet News. Meanwhile, five works by Donald Moffett, also inhabiting a beguiling realm between sculpture and painting, had sold for prices between $65,000-85,000 each, while another one was placed on reserve. “We’re done here!,” joked Manne halfway through the first day.

Frank Stella's Suchowola I, II (1973) at the Marianne Boesky Gallery booth at Frieze London 2015.<br>Photo: Lorena Muñoz-Alonso

The collector David Roberts, whose space DRAF has one of the most dynamic and respected artistic programs in the city, was also very active during the first hours of the preview via the director and curator of his foundation, Vincent Honoré. Honoré bought works for the collection by Jimmie Durham (at Mexico’s Kurimanzutto, for €35,000), Thea Djordjadze (at Sprüth Magers, for €28,000), Harold Ancart (at CLEARING), Bernd and Hilla Becher (also at Sprüth Magers), and Frank Auerbach (at Marlborough), whose market is experiencing a surge coinciding with his superb retrospective at Tate Britain.

Sprüth Magers had got off to a very strong start. Besides the works sold to David Roberts Art Foundation, the Berlin and London gallery sold a Thomas Scheibitz painting for €35,000 to a US collector, another Djordjadze painting for €28,000, and two additional sculptures by Djordjadze for €24,000 and €26,000, to a US-based collector and a European collector, respectively. The gallery also sold a selection of digital print-based works by Ryan Trecartin, ranging from $18,000 to $45,000.

 Ryan Trecartin,Leash Fest - Pet Send, Don't Hit (2015)<br>Photo: © Ryan Trecartin Courtesy Ryan Trecartin, Sprüth Magers, Regen Projects, Los Angeles and Andrea Rosen Gallery, New York

Parisian gallerist Kamel Mennour certainly pleased the crowds during his London debut with a fantastic booth dedicated to French sensation Camille Henrot. The works on display—gathered under the title “Minor Concerns” and done in preparation for Henrot’s forthcoming takeover of the Palais de Tokyo in Paris in 2017—included a large group of watercolors and a stunning large bronze sculpture of Modernist overtones, which sold for €200,00o to a European collector. “I’m really happy,” beamed Mennour on the second day, when a number of the works had already found new homes, including a large watercolour displayed on an easel for €60,000. “Frieze London is really different to FIAC, there really is an international crowd here, and the response to Camille’s works has been outstanding.”

Kamel Menour at his booth at Frieze London 2015, with works by Camille Henrot.<br>Photo: Linda Nylind. Courtesy of Linda Nylind/Frieze

Amid the blue chip furore, smaller galleries experienced slow (but steady) starts. London’s The Approach sold an eye-catching mirrored glass sculpture by Gary Webb in the shape of a palm tree for £18,000, while Laura Bartlett sold a large painting by Alex Olson for $42,000 and a blackboard work by young Berlin-based artist Sol Calero for £6,000. Madrid’s MaisterraValbuena sold a photo by Maria Loboda, a sculpture by B.Wurtz from 1979 and two works by Néstor Sanmiguel Diest, all in the range of €3,000-15,000.

Meanwhile, at the Focus section, which showcases young galleries, Carlos/Ishikawa had sold a number of cushion-sculptures by Ed Fornieles, in the range of £6,000-12,000, an Instagram-based piece also by Fornieles, for £7,000, and a photograph by Marie Angeletti for £5,500.

Works by Kiki Kogelnik at the Simone Subal booth at Frieze London 2015.<br>Photo: Lorena Muñoz-Alonso

By the second day, New York-based gallerist Simone Subal had sold all the displayed works by the young artist B. Ingrid Olson, with prices ranging between $4,000 and $4,500, and had had a number of conversations with institutions about Kiki Kogelnik, of whom she was exhibiting two paintings, Hi ($32,000) and Green Machine ($78,000), as well as the one of Kogelnik’s brilliant Hangings ($72,000). “It’s going really well,” Subal, who is participating in Frieze London for the second time, told artnet News. “I have sold mostly to new clients, from America, Italy, and France, which is really exciting.”

For more on Frieze Week, see our Top 10 Booths at Frieze London 2015, our Insider’s Guide to the Best and Worst of London’s Frieze Week 2015 and be sure to make use of artnet News’ 5 Tips for Every Art Fairgoer. Also, see photos from Ken Kagami’s saucy fair intervention, as well as the top booths at Frieze Masters. Stay on top of your game with artnet News’ 15 Artists To Watch at Frieze London 2015.



Kordansky in front of Weatherford’s art

Photographer: Linda Nylind/Frieze Art Fair

Now Reading: Billionaires Shrug Off Volatile Markets for Art Shopping SpreeBillionaires Shrug Off Volatile Markets for Art Shopping Spree
Katya Kazakina
October 14, 2015 — 10:00 AM PDT

`You’d think there are no troubles’ in world, Eli Broad says
Murakami sells for $1 million; Stella sought by three buyers

Art dealer David Kordansky checked his wristwatch nervously. It was 45 minutes into the opening of the Frieze Art Fair and his booth, with large abstract paintings intersected with neon light tubes by Mary Weatherford, was mostly empty.

“I am waiting for the individuals these paintings are on reserve for to show up,” Kordansky said on Tuesday, tapping his timepiece. “Is there a line outside?”

Kordansky didn’t need to worry. Neither the 15-minute line snaking through the fair’s Regent’s Park location nor the roiling financial markets could deter the international jet set from its annual art shopping spree in London. The displayed five paintings by Weatherford sold at the VIP preview, with prices ranging from $120,000 to $220,000.

Billionaire Eli Broad, jeweller Laurence Graff, heiress Nicky Hilton Rothschild and actor Benedict Cumberbatch joined the throngs of established and wannabe collectors who descended on Frieze and its nearby sister fair, Frieze Masters, on this crisp October day. The fair is the first test of the art market since auction houses sold a record $2.7 billion of art in New York in May, and after the stock market rout in August and September that rattled global investors.

Broad, who navigated the aisles in a wheelchair following back surgery, said he was cautious about the financial markets and bullish about the art market.

“Russians are in trouble. Brazil is in trouble. Commodities are way down,” Broad, who opened his $140 million private museum in Los Angeles last month, said in an interview. “The art market is very strong. You’d think there are no troubles anywhere in the world.”

Established in 2003, Frieze has become one of the world’s leading art fairs, competing with Art Basel and expanding geographically with a Frieze New York edition in May. The event now anchors London’s biggest art week of the year, with several concurrent fairs, auctions and exhibitions at galleries and museums. Frieze runs through Oct. 17; Frieze Masters until Oct. 18.

“This is the prime time in London,” said Pilar Ordovas, whose gallery on Savile Road organized an exhibition of sea-themed works, ranging from a fragment of a Roman sarcophagus to Damien Hirst’s sculpture of a pickled shark, priced in the region of $10 million.

“Galleries, museums and auction houses are trying to put their best shows,” Ordovas said. “There is a much greater concentration of international collectors in London now than at any other time of the year.”

Frieze, which has 164 exhibitors, shows works by living artists. New York’s Anton Kern Gallery’s booth had a solo show by American artist Chris Martin, including recent paintings made with neon colors and glitter, and drawings dating to 1977. Buyers snapped up three paintings, priced at $45,000 to $55,000 and 10 drawings, at $4,500 and $5,000.

Sculptures by Huma Bhabha
Photographer: Linda Nylind/Frieze Art Fair

Nearby, another New York gallery, Salon 94, had a solo presentation of totem-like sculptures, photo collages and water colors by Huma Bhabha. A carved cork sculpture sold for $195,000; and another totem, cast in bronze though looking like its cork neighbor, sold for $275,000.

Cumberbatch, whose interpretation of Hamlet is drawing crowds to London’s Barbican theatre, strolled with his wife, Sophie Hunter. The couple stopped by Gagosian Gallery to view a $600,000 sculpture by British artist Glenn Brown, which resembled a tower built with brush strokes.

Paintings by Stanley Whitney, who is the subject of a retrospective at the Studio Museum Harlem in New York, were offered by several galleries. London-based Lisson Gallery sold one large, colorful grid painting for $80,000; a smaller canvas sold for $60,000 at Galerie Nordenhake, with branches in Berlin and Stockholm.

“Sold,” Timothy Blum, co-owner of Blum and Poe, based in Los Angeles, Tokyo and New York, kept telling clients inquiring about a $600,000 painting by Yoshitomo Nara. The gallery also placed a new painting by Takashi Murakami for $1 million.

Marianne Boesky Gallery paired the works by mid-career artist Donald Moffett with a 1973 trio by Frank Stella, a 79-year-old American artist whose retrospective opens at the Whitney Museum of American Art on Oct. 30.

The two-person booth paid off as the gallery sold six of the eight cut-out sculptures by Moffett, priced at $65,000 to $85,000. Three buyers — one European foundation and two private collectors — wanted Stella’s “Suchowola I, II, and III,” priced at $5 million.

“It’s a very safe place to go,” said Marianne Boesky. “You are buying quality, not something untested.”

Across Regent’s Park, Frieze Masters offers historic material presented by 130 art dealers. Several Old Master galleries placed marble busts and gold-ground paintings next to fashionable contemporary art icons.

Old Master and contemporary art “belong in the same room,” said Richard Feigen, who hired interior designer Juan Pablo Molyneux to give his booth the feel of an Italian palazzo where Pablo Picasso hangs next to Renaissance paintings. Feigen’s early sales included a $35,000 collage by Ray Johnson and a $75,000 solid gold trash can by Pop artist James Rosenquist.

Several art dealers staged elaborate displays. London’s Helly Nahmad gallery’s booth was a set worthy of a West End production — to complement the gallery’s solo booth of Jean Dubuffet paintings.
Asylum Cells
Asylum Cells
Photographer: Mark Blower/Frieze Art Fair

Designer Robin Brown re-imagined asylum cells Dubuffet visited in France and Switzerland in the 1940s. The artist was inspired by art created by the patients, coining the phrase Art Brut to describe their “primitive” style. The booth’s walls are covered with scribbles, drawings and doodles. A moody 1940s French song plays in the background.

Three of the eight Dubuffet works were sold, with prices ranging from $650,000 to $3.5 million.


Frieze London Vernissage’s Throngs Defy Market Trends

By Alexander Forbes

Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

Frieze London opened to throngs of VIPs on Tuesday, ringing in the 13th edition of the U.K.’s biggest art fair—with 164 galleries from 27 countries. This year marks the fair’s first edition under the direction of Victoria Siddall, who was tapped from her post as director of Frieze Masters to helm all three Frieze Fairs, including spring’s Frieze New York.

By all accounts, Tuesday’s preview was among the busiest in recent memory. “It’s packed this year,” said collector Kamiar Maleki. “I’ve never seen so many people at Frieze.” Maleki was among art–world insiders on the hunt for works by the crème of emerging art, in keeping with Frieze’s long-held dominance in the category. But he was also quick to note pundits’ apprehensions about the health of that market segment as the busy fall season commenced. For Frieze, at least, he speculated only positive results were ahead: “We’ll have to see with the sales later, but it seems like it’s definitely booming.”

Booming in noise-level, at the very least. Such was the din during the peak afternoon hours that works incorporating subtle elements of sound, such as Inge Mahn’s Stuhlkreis (2000), on offer at Berlin and Paris’s Galerie Max Hetzler, could barely make their presence known. The kinetic sculpture created by the relatively unknown, 70-year-old Mahn sees one wine glass placed on each of the 17 plaster-covered wooden chairs placed in a three-meter circle, while two crystals slowly rotate on opposite ends of a motorized aluminum tube, tapping the glasses to create a sonic effect. According to Paris director Samia Saouma (also Hetzler’s wife), the dealer rediscovered the artist at a museum show in Germany and recalled seeing her work years before in Harald Szeemann’s Documenta 5 in 1972.

Works by Glenn Brown at Gagosian’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

The work was unsold as of Tuesday evening. But a large-scale Günther Förg from 2008 had been sold to an Asian collector for €300,000, Albert Oehlen’s U.D.O. 7 (2001/2005) to an American for €250,000; an Edmund de Waal went to a French collection for €75,000; and a Raymond Hains to a European for €70,000. An above-seven-figure painting by Glenn Brown—who’s been given a solo at Gagosian’s front-and-center booth at Frieze’s entrance—was on reserve.

At least one work did crest into the million-dollar range during Frieze’s preview: a $1.2 million Damien Hirst, titled Holbein (Artist’s Watercolours) (2015), from London’s White Cube. It’s a fitting note for the fair. The YBA’s 1988 show “Freeze,” including Sarah Lucas, Gary Hume, and Mat Collishaw, among others, served as inspiration, in part, for Frieze founders Matthew Slotover and Amanda Sharp back in 2003. And just last Thursday, Hirst opened his own private gallery in London’s Newport Street with a show of John Hoyland. Works by Andreas Gursky, Antony Gormley, Theaster Gates, and Christian Marclay were also acquired from White Cube’s stand on opening day.

Stephen Friedman Gallery’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

“It’s going incredibly well,” said fellow London mainstay Maureen Paley. The gallerist was keeping mum on what exactly from her booth had found its way into collectors’ hands (save for saying that “several” had). However, she noted that viewers and exhibitors alike were once again impressed by the “real sense of openness in the fair this year,” and the “generosity in terms of how everything was laid out,” no doubt thanks to continued refinements brought to the fair’s layout by Universal Design Studio, the firm that revamped Frieze London last year.

Paley shows new work by Liam Gillick (currently with a show in her Bethnal Green gallery), David Salle, Wolfgang Tillmans, and current art–world darling Michael Krebber, among others. “I’ve known him for 30 years and I’ve been working with him since the ’90s, but he’s developing in a very strong way at the moment,” said Paley of Krebber. Of particular note of the works on show is a sculpture, Pitch (2014), by photographer Anne Hardy, who is “at an exciting crossroads,” according to Paley. The artist, who has long photographed models and staged environments, recently began displaying these structures as sculptures in and of themselves, as well as experimenting with works employing audio.

Pilar Corrias Gallery’s booth at Frieze London, 2015. Image courtesy Pilar Corrias Gallery.

Outside of Focus, Frieze London’s section for young galleries and emerging artists, new media gets relatively little play in 2015. Pilar Corrias, whose gallery is among a handful to show video, sold most of her solo booth of works by Ken Okiishi. The works—single screens priced at $35,000 and diptychs at $50,000—pull their source material from ’80s VHS tapes and more recent television series, which play on flat screens swiped with expressive brushstrokes. “The simplest way you can record a gesture is by making a brushstroke,” said Corrias. “Another is through video. But both the brushstroke and the footage don’t convey the reality of the movement. Nothing is adequate.”

Corrias’s early success aside, the majority of work at Frieze this year falls well within the dominant art world trends of the moment: loose and line-driven figuration, ceramics, and remixed readymade sculpture perhaps the most prevalent among them. The fair remains undeniably fresh–faced in the works it puts forward. But it’s also high on pedigree—like London, more a young royal than the rough-necked renegade it once was. On one hand, that appearance could be due to the complacency that the art world’s proliferation of highly curated presentations, new young artists, and recently rediscovered old ones can quickly induce. But there is also a demand-side component that—along with the rising tide of the market that pushes prices for young contemporary ever higher—would indicate that this is a real, rather than perceived, shift.

Galerie Buchholz’s booth at Frieze London, 2015. Photo by Benjamin Westoby at Artsy.

“Frieze was very cutting edge in the beginning. I came here to look at things that were so advanced compared to what you would see at Basel or FIAC,” recalls French collector Sylvain Levy, standing across from ShangART’s booth. “But now, the people are asking for something different. In times like we are currently in, which are not so easy, people are looking more to be reassured than to be challenged.” That means artists with a solid lineup of upcoming museum and gallery shows and a certain level of market momentum, among other factors often pitched. “The median price of contemporary art is quite high now. So it’s not just an impulse buy,” Levy continues.

Some would likely want to mark this as a failing on Frieze’s part, but it’s not. Frieze remains the most variegated of the blue chip fairs—by far. It is cutting edge, but it’s cutting edge at a time when everything, from the High Street to Regent’s Park, is a little bit more the same than it once was.

Alexander Forbes



The Art Market

October 16, 2015 4:50 pm

The Art Market: the good, the not so good, and the very, very expensive

The most frantic week of the year in London opened this Monday with a VIP preview for the Pavilion of Art and Design (PAD), the French-organised fair combining mainly modern art and design, and with a strong showing of this year’s hottest ticket, modern Italian art. The fair’s tent is cunningly sited in Berkeley Square, within a wallet’s throw of the Connaught and Claridges, and its opening attracted the hordes of art world denizens in town for Frieze.

“We have seen French, American, Russian and Brazilian collectors,” said Andrew Duncanson of the Swedish gallery Modernity. Among them was Sheikh Hamad Al Thani, who has a home nearby, jeweller Laurence Graff and fashionista Valentino.

Italian art sold well, too: Mazzoleni (with a marvellous Alberto Burri show in its nearby gallery) reported placing the artist’s “Rosso Plastica” (1966) for around €2m. “This fair is very successful commercially; dealers and collectors buy here for their homes, it’s convenient to visit on foot, and it’s on a human scale,” said photography dealer Michael Hoppen, who sold Sarah Moon’s “Fashion 4” (1999) for £35,000. PAD closes Sunday, October 18.

“Welcome to Purgatory” says a slogan scrawled on the blacked entrance corridor to Frieze this year. This is one of the projects at the fair, thanks to US artist Lutz Bacher. On Tuesday, invited guests quickly tripped along the sinister entry and pushed through inky plastic fronds into the brightly lit and spacious fair, which has evolved far beyond its gritty, edgy beginnings.

Today’s Frieze is a slick, professional affair exemplified by the Gagosian stand. Packaged in a smart grey booth is an impressive solo show by Glenn Brown, from highly detailed drawings ($75,000-$120,000) to sculpture ($300,000- $450,000), with a number of the drawings immediately sold.

Some (but not all) admired Sadie Coles’ booth featuring a giant ostrich/ aubergine sculpture by Darren Bader and a large Laura Owens painting that collector Donald Marron, on his first visit to Frieze, just missed out on buying — by five minutes, he said.

“Dealers are definitely making extra efforts to curate their booths, and the market is getting so competitive that they have to — to stand out,” said art adviser Lisa Schiff after trawling the two fairs and making manifold purchases. She admired the Coles stand, as well that of Mary Mary and Hauser & Wirth, with a forest of small sculptures on plinths: the gallery said a number sold in the first hours, citing a Phyllida Barlow for £25,000.

. . .

Unanimity reigned about the marvellous Frieze Masters, which opened the same day as Frieze London — this is the strongest year ever for the classic fair, which features a number of “crossover” displays. Standouts include the collaboration between Hauser & Wirth and Moretti Fine Art, spanning the 14th to the 20th centuries. Helly Nahmad has reimagined the lunatic asylums that inspired Jean Dubuffet and his espousing of Art Brut. Also on the stand are for-sale Dubuffet works, one asking for £750,000. The usually classic Simon Dickinson celebrates Cubism with a re-creation of Léonce Rosenberg’s 1930s “Galerie de l’Effort Moderne”.

Sales at Frieze Masters are inevitably slower, but gallery Eykyn Maclean immediately sold “Propaganda” (1975-78) by Mario Schifano from its “Pop Dialogues” display price in the region of $750,000), while Stephen Friedman found a US collector for a hanging sculpture of chains by the African-American Melvin Edwards, for about $300,000. Frieze London ends today, October 17; Frieze Masters runs until Sunday.

. . .

Despite all this, the sheer number of events on in London this week and the quantity of art for sale rattled dealers — particularly on the second day of Frieze, which was quiet after the storm of the opening. As well as the fairs there were plenty of auctions: on Wednesday Christie’s and De Pury disposed of the rambling Lambert collection, raising just under £15m.

However, Phillips’s apparent triumph with its “white glove” sale of contemporary art on Wednesday night needs qualifying. Of the 36 lots on offer, 18 came from the estate of the “Baron of Botox”, Dr Frederic Brandt, who ended his life earlier this year. The cosmetic surgeon’s tick-the-boxes compilation of brand-name artists was guaranteed by a third party, so in effect the works were pre-sold. Nevertheless, Phillips achieved £31.5m for its sale — double its tally in October last year — and set new price highs for Yoshitomo Nara (£1.9m), Mark Bradford (£3.8m) and Danh Vo (£602,500).

. . .

Chinese collectors were in evidence in London this week — one group even visited 1:54, the African art fair. Retail billionaire and strong promoter of Chinese art Adrian Cheng picked up works at Frieze by Alicja Kwade, Do Ho Suh and Trevor Shimizu. As active was the Indonesian-Chinese Budi Tek, who opened the vast Yuz museum in Shanghai last year. Accompanied by adviser Jeffrey Deitch, he bought three paintings by Mira Dancy at Los Angeles’s Night Gallery, for a project show planned for Yuz. Tek also wanted a number of works by Camille Henrot from new exhibitor Kamel Mennour from Paris. Henrot’s pastel-coloured figurative paintings and a sculpture, priced at €22,000-€150,000, sold out at the opening, with Tek snaffling just one. But he consoled himself later with a wine tasting at the Royal Academy, featuring, among other vintage tipples, a 2006 Romanée-Conti.

. . .

Fiac director Jennifer Flay, who has been awarded France’s Légion d’Honneur©Henri Garat

Fiac director Jennifer Flay, who has been awarded France’s Légion d’Honneur

Renowned art collector, financier and philanthropist Donald Marron, founder of Lightyear Capital, offered advice for collectors in a talk he gave this week. “Firstly, you need to have a passion for art,” he said. “Then you need to do research — lots of it, books, the internet — there is so much information available today. You need to be in touch with knowledgeable people: museum curators, and also dealers. And before buying something, make sure you’ve seen all the available works by an artist. There’s nothing worse than buying something and then later seeing a better work somewhere else.”

. . .

Finally, congratulations to Fiac director Jennifer Flay, who was decorated this week in Paris with the Légion d’Honneur by foreign minister Laurent Fabius. New Zealand-born Flay is acknowledged as the driving force behind the success of the fair, which she has run since 2004. Its off-site event Officielle opens this Tuesday and Fiac proper on Wednesday, running until next Sunday.

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

Photographs: Jason Mandella; Henri Garat


An Insane Asylum inside Frieze Masters Unlocks an Untold Niche of Art History

By Rob Sharp

There are perhaps few better exponents of art at the fringes of sanity than the late French dramatist Antonin Artaud. “Words say little to the mind… But space thundering with images and crammed with sounds speaks,” Artaud famously wrote in 1933.

Helly Nahmad Gallery’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

These sentiments ring true when considering the 2015 Frieze Masters booth of Helly Nahmad London, no doubt the most talked-about sight across both Frieze fairs on their first two days. The stand is split halfway down the middle, presenting works by French painter and sculptor Jean Dubuffet (a friend and contemporary of Artaud’s) opposite a reimagining of three interiors—mocked-up versions of spaces in sanatoriums and asylums that Dubuffet visited while in search of inspiration in 1945. Staring upon the mental wreckage of people’s lives, visitors are invited to take in walls scrawled with impromptu images; textbooks and dolls belonging to imagined patients; medication contained in cabinets; invisible convalescents’ sleeping quarters and bedspreads. Separated from the rest of the fair by tall white walls, viewers also find themselves transported by period music.

Helly Nahmad Gallery’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

The aim is to juxtapose Dubuffet’s work—tessellated, almost cubist renderings of scribbled, segmented figures—with the scenarios that inspired it. “I think it’s fantastic to be able to reconnect the works we wanted to show with the original source of that inspiration,” says gallery spokeswoman Georgia Gilbert. Dubuffet coined the term “Art Brut,” for which he is most famous, after visiting places such as those recreated here. These visits also heightened Dubuffet’s interest in German psychiatrist Hans Prinzhorn’s 1922 book Artistry of the Mentally Ill, which showcases the work of 10 “schizophrenic masters.” This art form, claims the gallery’s official accompanying material, “embraced the outsider, including the ‘primitive,’ the eccentric, and the untrained.” Dubuffet built his career around such sentiments, eschewing painterly tradition for a more frenetic style.

Helly Nahmad Gallery’s booth at Frieze London, 2015. Photos by Benjamin Westoby for Artsy.

“Dubuffet naturally falls into the territory of art outside the mainstream, so we wanted somehow to cover his interest in that,” says production designer Robin Brown, who worked with producer Anna Pank on the booth. “When Dubuffet went to meet Prinzhorn and visited various asylums—that seemed like the perfect time to set our installation, because it was just on the cusp of Art Brut. We didn’t want to just put Dubuffet opposite some outsider art, as it doesn’t explain anything.”

Brown’s aim, he says, was to “create a backstory,” ultimately to entice people to stick around. The designer achieved this at last year’s booth with his staging of a fictional 1968 collector’s apartment, where real art merged with a faked interior. Fontana gaped above a desk and ashtray; Picasso’s sharp elbows tried to make room between socialist-style posters. This year is arguably more conservative. The booth’s art is displayed separately against a white background, with no side-by-side mixing of the factual and fictive.

Helly Nahmad Gallery’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

So how accurate is Brown’s recreation? “We had a picture researcher in Paris and we spoke to some asylums,” he says. “Patients did decorate their cells and it felt appropriate that you should see someone’s vision. The main room is more of a fiction, though, the idea that they expressed themselves all over the walls.”

While its motivation is apparently commercial, the booth asks complex questions about what it is to be inspired by those who lack equal agency. Would it be more acceptable if Dubuffet, like Artaud, was mentally ill, and felt that an appreciation for “the living whirlwind that devours the darkness” (as Artaud wrote) was a necessary part of life and art? And what does it mean to be spectators to this—especially those who are economically buying into it?

Works by Jean Dubuffet at Helly Nahmad Gallery’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

“At some point these artists and the doctors involved sort of exploited the patients,” says Brown. “And some of the patients’ conditions were encouraged by doing mad things. André Breton and Dubuffet were both friends with Artaud, who committed suicide. You could say that encouraging someone like that to produce more tormented art could contribute to his illness.” There is also the flipside, he says, referring to the snobbery among those who don’t believe outsider art should be considered within the art world’s traditional firmament.

Helly Nahmad Gallery’s booth at Frieze London, 2015. Photo by Benjamin Westoby for Artsy.

How should we parse Dubuffet’s influences, then, while looking on ourselves? This year, the booth is less accessible, but arguably more challenging and brave in the uncomfortable questions it poses. “I’m not aware that any of the artists involved in this ever donated money to mental health or helped mental health in any way,” concludes Brown. “But then Dubuffet did spend his entire life promoting and collecting their work. So there is some balance.”

Rob Sharp

World Goes Pop at the Tate Modern – London




World Goes Pop, Tate Modern, review: ‘exhilarating’

Erró, Big tears for two 1963, Oil on canvas, 1300 x 2000 mm, Collection of the artist
Erró, Big tears for two 1963, Oil on canvas, 1300 x 2000 mm, Collection of the artist

Six years ago, Tate Modern staged a major exhibition exploring the legacy of Pop Art. Called Pop Life: Art in a Material World, it took as its mantra Andy Warhol’s notorious pronouncement that “Good business is the best art”, and argued that the soul of the Sixties movement was, in essence, a cold, hard dollar sign. Many of the featured artists working in Pop’s shadow – Damien Hirst, Jeff Koons, Takashi Murakami – were shown to be interrogating moneymaking and capitalism, producing glossy art, precision-engineered for our era of high finance.

Now Tate Modern is examining Pop Art once again – yet the new exhibition is so radically opposed to its predecessor, you’d think it was considering another movement altogether. As a result, I have no doubt that The World Goes Pop will prove divisive: for some it will be a revelation, for others it will be intolerable. Either way, this courageous and enterprising exhibition gleefully rails against the oft-told orthodoxies of Pop Art like nothing I have witnessed.

To understand what I’m talking about, consider two oil paintings, in the final room, produced in 1973 by the Russian artists Vitaly Komar and Alexander Melamid. In each case, an “icon” of American Pop Art appears damaged by an unspecified apocalypse. Warhol’s tin of Campbell’s tomato soup is a sorry-looking, charred and threadbare thing. A fragment from Roy Lichtenstein’s 1964 comic-book painting As I Opened Fire fares little better. These images are as close as the exhibition comes to presenting Pop Art’s big-hitters. The Tate owns Warhol’s Marilyn Diptych and Lichtenstein’s Whaam! (1963), two out-and-out masterpieces of classic American Pop. Yet, surprisingly, there isn’t room for either in the 10 galleries, containing around 160 artworks, of the new exhibition. In a sense, then, Komar and Melamid’s paintings represent the polemical argument of the exhibition as a whole. Incendiary and confrontational, The World Goes Pop puts a torch to everything we thought we knew about Pop Art.

Komar and Melamid, Post Art No 2 (Lichtenstein), 1973 (The Boxer Collection, London)
Komar and Melamid, Post Art No 2 (Lichtenstein), 1973 (The Boxer Collection, London) Credit: Komar and Melamid

Yet if none of the well-known grandees of Pop Art are on show here, then who is? The answer is: a raft of artists you’ve never heard of. The point of this exhibition is to move away from the hoary story of Anglo-American Pop Art, which was invented in London during the Fifties by the Independent Group, including Richard Hamilton (another notable absentee from the Tate show), before exploding in New York in the early Sixties.

Accordingly, The World Goes Pop showcases little-known artists from all four corners of the Earth, from Brazil to Japan, who engaged with Pop’s “spirit” during the Sixties and Seventies.

Hands up if you were already well versed in the oeuvre of the Polish artist Jerzy Ryszard “Jurry” Zielinski (1943-80). I certainly wasn’t. Yet here, in the opening gallery, is his brilliant painting Without Rebellion (1970): a close-up of a sickly white face, with two Polish eagles in front of red suns in place of eyes. From its bottom edge, a scarlet pillow, representing this unfortunate ghoul’s tongue, lolls out into our space, pinned in position by an enormous metal spike.

Like another work by Zielinski on show nearby, The Smile, or Thirty Years, Ha, Ha, Ha (1974), in which three ominous blue crosses stitch shut a pair of red-and-white lips floating against navy, Without Rebellion attacks censorship in the People’s Republic of Poland with great economy and formal poise – and a brutal frisson of menace. As Lichtenstein might say: KA-POW!

Zielinski is typical of the many artists in this exhibition who worked within the Pop mode pioneered in London and New York, but adapted it to their own political ends. In fact politics – in the sense of raging protest and mass demonstration – is an essential part of the curators’ new vision of global Pop. Everywhere we turn we find hard-left dissatisfaction with the political status quo. American imperialism, the Vietnam War, nuclear bombs, the corrosive promises of capitalism: all come in for a drubbing. Jeremy Corbyn would be in seventh heaven.

When it works well, as in Zielinski’s case, this sort of militant Pop is memorable: Norfolk-born Colin Self’s Leopardskin Nuclear Bomber No 2 (1963) is also a good example. This ambiguous artefact – part toy US bomber, part pink phallus – is clad in leopard skin, and sprouts alarming nails from its snout. It’s a Surrealist Object reconceived for the post-nuclear Pop age: horrifying – and great.

Too often, though, the politicised artworks offer little more than one-liners of protest – the sort of thing that would work well as a slogan on a placard, but is less interesting in a gallery. Indeed, some of the pieces in this vein are laugh-out-loud bad: Spanish duo Equipo Realidad’s Divine Proportion (1967), a pastiche of Leonardo’s famous Vitruvian Man as a US soldier, is both so woeful, aesthetically, and blunt, in terms of meaning, that it would barely pass muster as a newspaper cartoon.

Equipo Realidad, Divine Proportion 1967 (Museo Nacional Centro de Arte Reina Sofia, Madrid)
Equipo Realidad, Divine Proportion 1967 (Museo Nacional Centro de Arte Reina Sofia, Madrid) Credit: DACS 2015

Aside from politics, the other, arguably more successful theme is sex – specifically, the way that women are presented in the media. In the past, Pop Art has occasionally been criticised for being sexist. Recently, though, a number of forgotten female Pop artists have been rediscovered. Half a century ago, they were making important work focusing on their own subjective experiences, rather than presenting women as sex objects. The Tate exhibition offers a primer on their output.

Martha Rosler’s punchy photomontages fuse titillating fragments of naked bottoms, bellies, and breasts with white goods, including dishwashers, refrigerators and hobs. French artist Nicola L mines a similar seam in her playful yet acerbic “furniture”: her vinyl Woman Sofa (1968) is a jumble of female body parts.

Feminist Spanish artist Eulalia Grau is represented by her nightmarish but unforgettable Ethnographies series: in Pànic, the boot of a swish pink car opens to reveal the surreally large face of a woman stuffed inside, silently screaming, like the victim of a serial killer. Vacuum Cleaner is just as disturbing: a vacant, doll-like bride lies stiff on a carpet, at risk of being dusted into oblivion by a gigantic suction nozzle above her.

Eulalia Grau, Pànic (Etnografia), 1973 (collection of the artist)
Eulalia Grau, Pànic (Etnografia), 1973 (collection of the artist) Credit: DACS 2015

Judy Chicago, meanwhile, who attended an auto-body school in Los Angeles as the only woman in a class of 250 men, spray-paints vibrant patterns evoking wombs and women’s genitals onto car bonnets with acrylic automotive lacquer – at a stroke deflating America’s macho car culture. Chicago’s work appears in a small section towards the end called “Pop Folk”. This is a deliberately provocative oxymoron, since sleek, mechanical Pop is usually seen as the antithesis of homespun, handcrafted folk art.

For some, this gallery will prove too much – extending an already elastic definition of Pop Art to snapping point. Moreover, while revisionism may be a good thing, full-on regicide – omitting founding fathers of Pop Art such as Warhol and Lichtenstein – is strange. Warhol is a god of 20th-century art because he forged the visual language so readily adopted, consciously or not, by most of the artists in this exhibition. The final room, for instance, showcases German artist Thomas Bayrle’s Laughing Cow wallpaper from 1967, which makes sport of the logo of a famous brand of processed French cheese. Yet there is no mention of the fact that it would have been inconceivable without the precedent of Warhol’s own wallpaper, featuring huge pink cow heads floating against bright yellow, exhibited a year earlier.

Too many of these artists, then, are dressed in borrowed robes. They are the Pop equivalent of the Salon Cubists, who worshipped at the altar of those pioneering explorers of form, Picasso and Braque.

Other objections could be raised too. But, I suppose, this is par for the course with a show like this, which re-imagines Pop Art from top to bottom, transforming it from a nimble, knowing art form, specialising in flip irony with an ambiguous attitude towards capitalism, to a right-on movement of one-note sincerity and radical political beliefs. Such a profound overhaul will not be everyone’s tin of Campbell’s soup.

Overall, though, this raucous exhibition not only provides an exhilarating snapshot of the global counter-culture during the Sixties and Seventies, in all its neon, vinyl, faux-leopard-skin glory. It also refuses to tell the same old story.

And such an original approach – challenging accepted taste, as Pop Art did from the start – deserves respect.

Thurs -Jan 24; info: 020 7887 8888

Alastair Sooke’s Pop Art: A Colourful History (Viking) is out now 

The World Goes Pop at Tate Modern: How pop art was used as dissent

Tate Modern’s autumn show changes ‘the traditional story of Pop Art’


xxx by Andrzej Zieliński Todd-White

Zoe Pilger

Monday 14 September 2015 17:06 BST

In his 1975 autobiography Andy Warhol wrote: “The most beautiful thing in Tokyo is McDonald’s. The most beautiful thing in Stockholm is McDonald’s. The most beautiful thing in Florence is McDonald’s. Peking and Moscow don’t have anything beautiful yet.” Perhaps he was being ironic, which is worse.

I’ve never been taken by the mystique of Warhol, the most famous exponent of Pop Art. Rather, I think the rage of the late art critic Robert Hughes in his 2008 documentary The Mona Lisa Curse was righteous. Hughes hated the cult of wealth and emptiness which is Warhol’s legacy to the art world. Thankfully, there are no soup tins and Marilyns in the new exhibition, The World Goes Pop, at Tate Modern, London, though Warhol’s shadow is everywhere.

The intentions of the exhibition are good: rather than focus on the British and American tradition, the curators have searched hard for lesser-known artists from around the world who made Pop Art in the Sixties and Seventies as a form of dissent against systems of power: military dictatorships in Latin America, the war in Vietnam, the oppression of women. The aim here is not to idealise consumerism, but to “explode the traditional story of Pop Art”. Unfortunately, the exhibition is a mess.

The term Pop Art was coined in Britain in the 1950s. The British artist Richard Hamilton described it as “Popular (designed for a mass audience); Transient (short-term solution); Expendable (easily forgotten); Low Cost; Mass Produced; Young (aimed at Youth); Witty; Sexy; Gimmicky; Glamorous; and Big Business”.

Few works by American artists are included in the exhibition, but the works by international artists often use the visual language of American pop culture to critique American political and cultural domination. In this way, America remains the focus. A lot of the work feels too much in thrall to the charisma of the bully.

The walls are painted in lurid colours: bubble-gum pink and sour yellow. The aesthetic is often migraine-inducing, a frenzied mix of high and low culture, with hysterical montages that rail against their own raw material: the mass media. It’s great that so much feminist art is included, but a lot of it is not very good. This is a shame: the exhibition could offer an important archive of a period of intense female creativity.

A whole room is dedicated to the Czech artist Jana Želibská’s installation, Kandarya-Mahadeva (1969), named after a Hindu temple in India. The walls are adorned with huge, white, female figures and garlands of flowers. The genitals of the figures are covered by mirrors in which the viewer can see herself. It is a mystical homage to female eroticism. This is not a good use of space; it feels dated.

The novelist Angela Carter wrote on this tendency within the women’s movement: “If women allow themselves to be consoled for their culturally determined lack of access to the modes of intellectual debate by the invocation of hypothetical great goddesses, they are simply flattering themselves into submission (a technique often used on them by men).”

More successful is Consumer Art (1972-75), a film fragment by the Polish artist Natalia LL, which plays on a loop. It shows a close-up of a beautiful young blonde woman seemingly experiencing sexual ecstasy as a white foamy liquid dribbles out of her mouth. The film is a parody of the use of pornographic imagery in advertising, which gained force alongside the sexual revolution of the time. But it is not just absurd; it is magnetic. In this way, the artist ensnares the viewer in a trap of desire. She makes you want what she is mocking.

Some of the best works in the exhibition come from Spain. The Punishment (1969) by Rafael Canogar is simple and stark. It is a sculpture of a man in a black suit who has fallen at the feet of an authority figure. The latter is no more than a dark shadow on wood, truncheon raised. The fallen man’s face is hidden. Perhaps the title of the work refers to the possible consequences of making the artwork itself. Franco had not yet died. This is art with much at stake.

A painting which hints at the horror beneath the surface of Franco’s Spain is Isabel Oliver’s Happy Reunion (1970-3). It shows a scene in a middle-class living-room: women are laughing and talking. It’s polite. But outside the window, a Dali-esque landscape of melting forms and swirling colour can be seen; it appears a psychosis, held at a distance. The image is undermined by the inclusion of a giraffe on fire. This makes the whole seem tacky.

Another striking work from Spain is Concentration or Quantity becomes Quality (1966) by the collective Equipo Crónica. The series of nine paintings shows a transformation from isolation to collective strength. In the first painting, a few solitary individuals are surrounded by vast grey space. Over the course of the series, the space fills up with people. In the last painting, there is a dense crowd. This work, too, was made in the last decade of the Franco regime: at that time, it perhaps reflected hope, rather than reality.

One of the worst paintings is Big Tears For Two (1963) by the Icelandic artist Erró. It shows a cartoon version of Picasso’s painting The Weeping Woman (1937) alongside a Disney cartoon of a weeping train. It is awful. The implication is that high art and low art have been levelled; one is no more profound than the other. Both expressions of grief are equally valid. Except that they are not.

Picasso’s painting conveyed the pain of a woman who was living through the Spanish Civil War. Her tears were representative of all those who had lost their loved ones during the fight against fascism. The crying cartoon train is an aberration in this context. It is offensively facile. The painting is quite hateful.

Yet Erró also made the American Interior series (1968), some of the most affecting anti-war images in the exhibition. These paintings on fabric show calm American suburban homes invaded by Viet Cong soldiers. They articulated a primal fear of American society, and reversed the reality: American soldiers were invading the homes of the Vietnamese at the time.

Some of the best works use graphic design in the service of activism. The French artist Gérard Fromanger’s Album the Red (1968-70) includes an image of a “bleeding” French flag. The red stripe drips into the white and the blue. It symbolises the wounding of the French establishment in the era of May 1968. Another imaginative protest work is The Red Coat (1969) by the French artist Nicola L. Made of bright red vinyl, this vast, tent-like coat can be worn by eleven people at once. They share a “collective skin”.

Several feminist works seem ripostes to the British artist Allen Jones’s female furniture, which caused outrage at the time because it showed women in positions of extreme submissiveness. Woman Sofa (1968) by Nicola L is a silver vinyl assemblage of female limbs, designed to be sat on. Whereas Jones’s fibre‑glass female dummies on all fours were grotesque but stylish works of art, Woman Sofa is just ugly. Perhaps ugliness here is a political principle.

Man Chair (1971) by the Czech artist Ruth Francken is a chair in the shape of a headless man. It is sleek and white and elegant, but it does not point to a new dawn of equality. Rather, it reverses the old power dynamic of master/slave. Mattress (1962) by the Argentinian artist Marta Minujín is simply a dirty old striped mattress; it shouldn’t have been included in the exhibition.

While much of Pop Art rejected the idea of “good taste” as elitist, good taste is badly needed in this exhibition. Too many of these works are nostalgic at best.

Tate Modern, London, 17 September to 24 January (


Home Lifestyle Arts & Entertainment Art

Sep 18 2015 at 12:15 AM Updated Sep 18 2015 at 12:15 AM

Tate Modern exhibition reveals the dark side of Pop Art

In a new exhibition at Tate Modern in London, the political, purposeful side of the Pop Art movement comes under the spotlight.

Ushio Shinohara's "Doll Festival" is a surreal, yet prescient, comment on the Americanisation of Japanese culture.
Ushio Shinohara’s “Doll Festival” is a surreal, yet prescient, comment on the Americanisation of Japanese culture.
by The EconomistBernard Rancillac’s At Last, a Silhouette Slimmed to the Waist (pictured) contains a clear visual pun. Painted in 1966 and set against bright green jungle, it shows a soldier plunging a Vietcong prisoner headfirst into a large water vessel. Pushing his boot down on his captive’s back, gripping his twisted leg, the soldier submerges the man to the waist. At the top of the canvas, floating above this scene, five women stretch and pose in body-shaping lingerie. Labels point out their slimming corsets.

The work is at the heart of The World Goes Pop, a new exhibition about the global dimensions of Pop Art that opens at Tate Modern in London on September 17. The painting imitates magazines’ juxtaposition of fashion and news reporting, and pulls them together tightly with the title. The work can be hung either way up, the reversible composition presenting each exhibitor with a difficult decision: highlight the horrors of the Vietnam war or go for the latest fashion fad?

The choice encapsulates the paradox that is Pop Art, a movement that adopted the aesthetic of commercial design and popular culture – with its clear figuration, distinct colour, neat outlines, bold text and humour – for its own ends. Every work can read as eye-candy or erudite criticism; it can show froth or fury or both.

The World Goes Pop addresses this dialectic. Bringing together 160 works from the 1960s and 1970s and from across the world, it contests the idea that Pop was merely an adoring reflection of consumer culture and places the political, purposeful side of the movement under the spotlight. Its geographical range also forces a reassessment of the idea that Pop Art radiated solely from a small nucleus of artists based in New York and London.

"At Last, a Silhouette Slimmed to the Waist" by Bernard Rancillac can be hung either way up.
“At Last, a Silhouette Slimmed to the Waist” by Bernard Rancillac can be hung either way up. Tate Modern

There are works here from Japan, the Soviet Union, Latin America, the Middle East and Europe. Barely any of the names frequently associated with it – Andy Warhol, Roy Lichtenstein and Peter Blake – are included. Filling the colourful rooms instead is work that has never been shown in Britain, by artists whom most visitors will not have heard of (many of them, through ignorance or through active indifference, did not even see themselves as part of a Pop Art movement).

Unified diversity

Despite the diversity, a striking, playful aesthetic unifies the show. There are works that echo Warhol in their use of primary colours, brand logos and press photography. There are also the hard-edged lines, Ben-Day dots and comic-strip figures that frequent Lichtenstein’s work, and three-dimensional collages similar to Blake’s.

But the messages that these artists seek to convey are various, a point made straight away by the work in the introductory room. Among them is Ushio Shinohara’s Doll Festival, a striking triptych, three metres wide, in which blank-faced figures in traditional Japanese dress surround a man in a black Stetson in a surreal, yet prescient, comment on the Americanisation of Japanese culture. There is Evelyne Axell’s Valentine, in which a zip runs down a sinuous, painted silhouette, in a provocative gesture of female sexuality unleashed. Big Tears for Two, 1963, by Erró, an Icelandic artist, transmutes Picasso’s Weeping Woman into a jaunty cartoon, looking to expose the myths behind image making. Each represents a type of protest against the established norms. Passing through themed rooms with titles such as Pop Politics, Pop at Home and Folk Pop, it becomes clear that, across the world, artists were using a particular visual vocabulary, learnt from popular culture and commercial art, to give voice to political, personal and local concerns.

"Bombs in Love", by Kiki Kogelnik, 1962.
“Bombs in Love”, by Kiki Kogelnik, 1962. Tate Modern

This is not a comprehensive exhibition; Pop was not always protest. A lot of it celebrated everyday culture. Tate deliberately underplays these frivolous dimensions – it chooses the Vietnam war, not the underwear models. But this is a timely reassessment, given that works of Pop Art have become astoundingly expensive commodities, representative – cliches even – of a powerful luxury market. By throwing light on the darker side of Pop, Tate reveals its hidden depths.



Tate Modern highlights pop art by women ignored by sexist establishment

Many of the works overlooked in the 1960s and 70s will be seen in public for the first time when they go on display in London

Friends, 1971, by Kiki Kogelnik is part of the World Goes Pop exhibition at Tate Modern.
Friends, 1971, by Kiki Kogelnik is part of the World Goes Pop exhibition at Tate Modern. Photograph: Guy Bell/Rex Shutterstock

Work by female artists from the 1960s and 70s that was marginalised and ignored by a sexist art establishment is finally getting recognition in a major pop art show at Tate Modern.

“It’s never too late,” said Jessica Morgan, curator of the World Goes Pop exhibition, explaining how she and her fellow curators spent five years uncovering the hidden stories from an art movement largely remembered as Anglo-American and male.

The part played by female artists in particular had been “removed and erased” from the story of pop art. One of those artists is Judy Chicago who made her name in 1979 with her installation The Dinner Party, on permanent display at the Brooklyn Museum.

Bez Buntu by Jerzy Ryszard Zielinski.
Bez Buntu by Jerzy Ryszard Zielinski. Photograph: Guy Bell/Rex Shutterstock

Asked how sexist the art establishment was in the 60s, Chicago threw up her arms and exclaimed: “Oh my God! When I left graduate school I was exhibiting in a climate that was unbelievably inhospitable to women. It was a real struggle.”

Chicago, whose work will be displayed at Tate Modern 50 years after she started it, recalled the response of her male teachers to the work. “There were wombs and breasts … eurgh! In the early 60s, I was just emerging from graduate school and making images like this and my male professors hated them – hated them! I had to change what I was doing or I would not have gotten my masters.”

The works are personal stories – represented by imagery that includes reproductive body parts – spray-painted on to car bonnets or hoods, but her teachers’ response meant she did not complete them until 2011.

The Tate Modern exhibition contains about 160 works, most of which are going on display in the UK for the first time. Some of the pieces by both female and male artists are from parts of the world not normally associated with pop art – including eastern Europe, Latin America, Asia and the Middle East.

“This show is fabulous, it’s wonderful,” said Chicago. “You think about pop art, you think about the white boys from America celebrating consumer culture. Who knew that the language was allowing artists around the world to bend it, to critique the policies of America, to critique the use of women in popular culture. Who knew?”

Dorothée Selz.
Dorothée Selz. Photograph: Guy Bell/Rex Shutterstock

Morgan, meanwhile, said the art establishment of the 60s was undeniably sexist and many female artists were often doubly misunderstood because they were thought to be telling the same stories as their male counterparts.

The French artist Dorothée Selz is featured in the show with works from 1973, in which she recreates the poses of three pin-up girls. “It is the only time in my entire career that I used myself,” she said. “Pop art objectified women but I do this … it is another vision. There are excellent male pop artists like Allen Jones and Andy Warhol, but normally the woman is to be nice and beautiful and ready to eat. Here I am questioning that with humour.”

The idea of the exhibition is to show how pop art was far more than a celebration of western consumerism – it was also a subversive international language for criticism and protest.

Most of the works never made it into public collections and the majority are being lent to the gallery by artists or their estates.

Morgan said many of the pieces had a far harder edge than traditional pop art and were ahead of their time. “If you are based in Latin America and living through the junta taking place in Argentina and Brazil, your relationship to news media [and] to US commercial culture has a much more abrasive quality to it than the celebration we associate with most work in the US and the UK.”

She said the curators had been like excavators, discovering little-known works and stories from all over the world. “We encountered such an incredible bounty of work from all these different places. Much of it completely unfamiliar to me and my colleagues.”

The EY Exhibition: The World Goes Pop is at Tate Modern 17 September-24 January.



Tate Modern Tracks Pop Art’s Global Heft

A new exhibit at London’s Tate Modern examines pop art not only in America but around the world. The 67 artists in the show reveal the movement’s spread well beyond headliners like Warhol and Lichtenstein

Mississippi painter Joe Overstreet was flipping through a magazine in 1964 when he spotted an article about a former slave named Nancy Green. At the 1893 Chicago World’s Fair, advertisers had hired Ms. Green to dress up as a servant to promote Aunt Jemima pancake mix, which was named for a fictional black cook. Mr. Overstreet, who is black, viewed the publicity stunt as racially charged and created “The New Jemima,” an oversize plywood pancake “box” portraying Green with a machine gun that shoots out pancakes.

“I liked the idea that she would cook with the machine gun and then if somebody [was] messing with her she’d be shooting them with the machine gun,” says Mr. Overstreet, now 82 years old.

Mr. Overstreet’s piece is one of 160 works in “The World Goes Pop,” an exhibition of 68 artists at London’s Tate Modern. The show, which opens Sept. 17, is the first to explore in-depth how artists in many other countries interpreted the movement dominated by white, male icons in America and the U.K. Works by women artists make up 40% of the exhibition. Previous major museums on the subject have focused on figures such as Andy Warhol, Claes Oldenburg, and Roy Lichtenstein.

“Like everyone, I traditionally associated pop art with those big American names,” says Tate curator Flavia Frigeri.

Scholars characterize the pop-art movement, which began in the mid-1950s and reached its zenith in the 1960s, as preoccupied with politics, the American dream and consumer products, often depicted in sleek styles and bold colors. Ms. Frigeri sees these motifs in the works in the Tate show. But while Warhol and Lichtenstein reveled in ambiguity “about whether or not they were complicit with creating a consumer society or pushing back against it,” most pop artists she discovered opposed consumerism and sexism.

Joe Overstreet’s ‘The New Jemima,’ 1964 ENLARGE
Joe Overstreet’s ‘The New Jemima,’ 1964 Photo: Joe Overstreet

The Vietnam War, which began in the 1950s and concluded in 1975, was another topic for major American artists including the Swedish-born Oldenburg. But it also resonated in Europe and Latin America, where artists watched the conflict unfold on recently purchased televisions and opposed violence in Vietnamese communities.

For “the first time, the brutality of the war, the suffering of their people, was coming directly to me,” says octogenarian Brazilian artist Teresinha Soares who has two works in the show from a 1968 series titled “Vietnam.”

German artist Ulrike Ottinger says she had to retrieve her 1967-68 triptych featuring wars as pinball games from her mother’s storage area when the Tate asked to borrow the piece. Though Ms. Ottinger found success as a filmmaker, she and most pop artists in the show struggled to sell their work. Many of the artists haven’t sold their works at auction. Those who have generally fetched their highest prices between $6,000 and $30,000, according to auction analyst artnet. Some careers were hamstrung by the lack of strong ties between international dealers and the powerful New York pop scene.

“America was absolutely sovereign. There was no doubt already that it was dominating” the market in the 1960s and 1970s, says German artist Thomas Bayrle. His 1967 “Laughing Cow” wallpaper, inspired by Warhol’s 1966 silk-screen of cow heads, drew a cult following in Germany but didn’t take off elsewhere.

Mr. Overstreet, the Mississippi creator of “The New Jemima,” enlarged his work and sold it for $8,000 in 1970 to the Menil Collection in Houston. Andy Warhol’s “Race Riot,” a silk-screen portrait of violence against civil-rights protesters, sold last year at Christie’s for $62.8 million.

Specialists from Christie’s and Sotheby’s plan to see the show. Sotheby’s specialist Cheyenne Westphal says some of her North American clients are hoping to expand their pop art collections beyond famous names.

What’s Up? Check Out Frieze London 2015






What not to miss at Frieze London and Frieze Masters

What not to miss at Frieze London and Frieze Masters
For the last 13 years, Frieze London has been the biggest contemporary carnival in London’s art calendar. It’s the place to see and be seen, taking in all that the international art word has to offer under one roof. Then four years ago it was joined by its sister fair, Frieze Masters that bridged the gap between ancient and mid-century, making the Frieze Fair phenomenon a force to be reckoned with. So with thousands of artworks to see, where do you start? Here are just a few of the exhibits that you don’t want to miss.

Get down like Beyoncé to Frieze Masters

Frieze Masters 2014: Helly NahmadPhoto: Stephen Wells, Courtesy Stephen Wells/Frieze.

Last year, the stand-out booth of Frieze Masters came from Helly Nahmad who worked with a set designer to create a spectacular installation of a fictional collector’s home. Ol’ Beyoncé Instagramed her heart away at this exhibit and the gallery has promised something truly outstanding again this year, but what else can you expect? Lisson Gallery (E7) has dedicated their entire stand to the Cuban-born, New York-based artist Carmen Herrera in celebration of her 100th birthday. Richard Green (E2) will be bringing the Cornish coastline to the capital on his stand showing Barbara Hepworth and Ben Nicholson together. And LA-based David Kordansky (C6) is going all colourful with a solo display of twentieth century American artist Sam Gilliam.

Keep it contemporary at Frieze London

Left: Mira Dancy at Night Gallery. Right: © Frieze London

Each year Frieze London wows audiences with bright, diverse, glitzy, unexpected and Instagrammable presentations of contemporary art. With 164 galleries under one roof, where do you start? Whether you like to strategically follow the grid layout or are more inclined towards an unorthodox approach, make sure you catch Los Angeles-based Night Gallery (G27), a new addition to the fair, with their solo display of Mira Dancy. If unconventional is your thing then seek out Jeremy Herbert’s underground chamber as part of Frieze Projects – there be stairs to we don’t know where! And why not get involved at some of this year’s live events that include a processional piece by Tunga at Galeria Franco Noero and Luhring Augustine (L6). At Arcadia Missa (L3) security guards will be asking for your mobile phones before you can encounter Amalia Ulman’s performance and Ken Kagami will be creating free portraits at Misako & Rosen (G19).

Catch your breath with some free outdoor art

Frieze Sculpture Park 2014: KAWS Galerie Perrotin. Photo: Linda Nylind. Courtesy of Linda Nylind/Frieze.

After you’ve had enough of traipsing up and down the aisles of the fairs, you can take the free Frieze Sculpture Park set within Regents Park’s English Garden. It’s the perfect outdoor autumnal respite, and Claire Lilley of Yorkshire Sculpture Park has once again selected an impressive line-up of new and historical works. There’ll be a major installation by Richard Serra who does monumental like no-one else and Anri Sala presents his ‘Holey Wall’ around which live performances have been programmed.

Read our guide to Frieze London and Frieze Masters.



Frieze Art Fair 2015: There’s a better chance of bagging a bargain this year

Britain’s biggest and blingiest art fair begins next week, with original unique works by younger artists starting under £1,000. These are the artists to look out for and the events to be seen at.

The cliché around Frieze Art Fair is glitz: trophy art collectors with budgets the size of a luxury yacht swoop down on the capital to attend opening parties sponsored by Gucci. It’s a voyeur’s glimpse into a gilded dream life where one might buy a photograph by Jeff Wall, which is on show with a price tag of £1m, or there’s a Wolfgang Tillmans for just over £50,000. A sculpture titled recklessdisasters(1) by Phyllida Barlow is £25,000 from Hauser & Wirth.

For five days the international art world is squashed into a giant tent in Regent’s Park. Like in the television series The Great British Bake-Off, the showstopper is an important part of Frieze. More subtle artworks can disappear in the mass of aisles and booths, which welcomes an audience of 60,000, from the most influential collectors and curators to curious tourists and art enthusiasts. For gallerists, curators and artists, the pressure is on to shine.

Lisson Gallery has imported a sculpture titled Iron Root by Chinese artist Ai Weiwei. It’s a tree root from southern China cast in iron and then painted with custom colours used for the Chinese market by car manufacturers  –this sculpture is purple. The price is a secret but Ai set a record earlier this year with a series of gold- plated animal heads that went for £2.8m.

“There’s a lot of noise around Frieze so we try to do something that excites us, that excites the artists and hope that this then translates to the audience,” says Iwan Wirth, of London gallery Hauser & Wirth. “We try to do it in a way that we enjoy and that artists enjoy and it’s not just bringing stuff to a fair, or work by some hot young artist. You’ve got to be smart and make your booth work for a fair where the attention span is so small. We try to make a difference, raise the bar a bit.”

Hauser & Wirth has organised an exhibition based on the theme of a field for their booth at Frieze London this year. With sculpture by Isa Genzken (around £22,000) and Jason Rhoades (around £100,000) among others, the idea is that the booth becomes a field of carefully selected sculptures, all on pedestals, in which visitors can get lost for a while – rather like the experience of Frieze itself.

“We try to approach it with humour,” says Wirth, “because when you think about it, it’s funny that the fair happens to be in field in the middle of town and we all come to camp out in it. Quite often it’s the worst weather, and the service is lousy.”

This year as part of Frieze Projects there’s a chamber beneath the main tent, which contains a room designed by artist Jeremy Herbert, who as a set designer built stages for Madonna. It’s art as experience rather than object, and Herbert is the pioneer of a silent wind machine. Visitors will be buffeted by soundless gusts, like being hit by the Invisible Man.

Frieze Masters, now in its third year, is usually a cut above, a place where serious money changes hands, and museums scout out important artworks. This year there’s an emphasis on collecting and not just conventional artworks. Sir Norman Rosenthal has curated a section titled Collections in which fascinating oddities such as collection of 19th-century Pacific fish hooks made of shell and turtle shell are on show.

AN81970521BARLO46473 Phylli.jpg
Phyllida Barlow, Untitled: recklessdisasters (1) 2011

There will be an elegant display where Moretti Fine Art and Hauser & Wirth have joined booths to show work by recent greats along with old masters. There’s sculpture by French artist Louise Bourgeois and paintings by Austrian artist Hermann Nitsch whose radical artworks echo the human body with orifices and blood-red drips – his prices at auction have varied from £8,000 to £50,000, which is cheap for such a seminal artist. There’s an opportunity to buy an 18th-century painting by Bernardo Bellotto, which belonged to the Earl of Carlisle at Castle Howard before it was sold for just over £2.5m in auction earlier this year. Top-end sales in both old master and contemporary art grab attention but they are more rare than it might seem.

“It’s a few very hot artists who are expensive,” says Wirth, “and that has always been the case. The primary market is not expensive, and original unique works by younger artists start under £1,000. My advice is unless you can afford it be a contrarian and look in the other direction where you’ll find plenty of great artists that are reasonable.”

For smaller galleries, Frieze is their most important date of the year. Hannah Robinson, director of Mary Mary, points out that there’s no real art market in Glasgow, where her gallery is based. Frieze is a chance to introduce new artists to an international market as well as meet collectors and curators. “It’s not only about sales,” she says, “but touching base with clients or meeting new clients.” For those who can’t make the trek to Glasgow, it’s a chance to see work by less well-known talents such as painters Jonathan Gardner and Helen Johnson, as well as elegant drawings by LA-based Milano Chow. Robinson also shows Jesse Wine, a British artist who works with ceramics. His smaller sculptures of vessel-shaped objects that spew tomato vines are priced at £7,000.

For Wine, Frieze is a chance to get his work seen by a huge audience. His sculpture Let Me Entertain You is a tall thin ceramic tower of shapes based on dried citrus fruit – “with the occasional apple”, as the artist points out. It’ll be on show in the Frieze Sculpture Park, curated by the Yorkshire Sculpture Park’s Clare Lilley, and his smaller ceramics will also be in Limoncello gallery. Wine says: “The tough side is that it is about sales. If it goes well you’re really happy because you’re getting paid and you need to get paid in order to continue your projects. If it doesn’t go well then it’s weird, it’s quite  confusing, and then you begin to wonder why the hell you’re there.”

“Artists can be ambivalent about art fairs,” says London gallerist Maureen Paley, “but if you trust your gallery you know they will make every effort to give the work more space to breath. That’s the challenge.”

This year Paley will show artists Rebecca Warren, Liam Gillick, Anne Hardy, Gillian Wearing and Wolfgang Tillmans in her booth. In a new photograph, titled Me As Ghost, Wearing has projected her portrait on to a puff of smoke.

For most commercial galleries, the best outcome is for work at Frieze to be bought by a museum or foundation .“It’s always exciting,” says Paley, “because it means that work will be taken into the public domain, which makes it available to a broader group of people. However, all collectors and their varied interests make a strong contribution.”

More modest collections might begin with a limited-edition print from Allied Editions – a print of an elegant architectural drawing by Pablo Bronstein is available for £350, or another, by painter Matt Connors, is £1,000.

The signs for Frieze 2015 point to a strong year for sales. Wirth says: “There is some concern as to the effect from China and the slowdown of the emerging economies but the contemporary market is very healthy, very robust and people are very optimistic.’

However, for most people Frieze is simply an opportunity to look at art and have a good time: “You get to see a lot of stuff very quickly,” says artist Ryan Gander, “and get a really good overview of what people are up to, not in terms of their wider practice and big projects but of what they’re interested in and what’s happening in their studio. Most artists are critical of art fairs because it seems overly commercial but it’s a good chance to meet your friends from all around the world. It’s like a school reunion.”

Frieze Art Fair, London NW1 ( 14 to 17 October 

AN29769849Frieze Art Fair R.jpg

Five artists to look out for:

Jonathan Gardner

Chicago-based Jonathan Gardner’s paintings draw from the era of bygone greats (Picasso, Matisse and Léger) to create scenes of languid and long-limbed girls with geometric breasts. (At Mary Mary)

Jesse Wine 

Jesse Wine’s ceramic sculpture follows no logic: red gilets and shorts suspended in the air above ceramic footwear; odd-shaped bulbous forms with surfaces like moss or rust; a tower of giant citrus fruit. Witty and joyful, they embody craft as much as concept.  (At Limoncello)

Carmen Herrera

She celebrated her 100th birthday this year, and Cuban abstract painter Carmen Herrera remains on top form. The Lisson Gallery booth in Frieze Masters is dedicated to her colourful geometric forms. (At Lisson)

Melvin Edwards

A pioneer among artists who engaged with race and the civil-rights movement, Melvin Edwards works with welded steel, chains and barbed wire. Abstract sculpture like cool clean minimalism from the Sixties.  (At Stephen Friedman)

Samara Scott Samara Scott’s installation for The Sunday Painter resembles a pond with a bedazzled surface beneath the water. Titled ‘Lonely Planet’, it contains a mass of materials: noodles, tights, wine, nail varnish, food colouring, insulation foam. A shimmered surface becomes a meditation on consumption and waste. (At The Sunday Painter)


Parties to be seen at:

Institute of  Contemporary Arts

The ICA hosts the first official Frieze bar during Frieze week.

Institute of Contemporary Arts, The Mall, London SW1

East End Night/ West End Night  

On Wednesday evening, East End Night means galleries stay open until 8pm. On Thursday, West End Night, repeats the same idea in the West End.

Royal Academy

On Thursday, the Royal Academy hosts the private view for Ai Weiwei’s exhibition.

Royal Academy, Burlington Gardens, London W1

Delfina Foundation 

Delfina Foundation’s  opening party happens  the Friday before Frieze.

Delfina Foundation, Catherine Place, London, SW1

Maureen Paley gallery

An opening party on Monday of Frieze week celebrates a new body of work by Liam  Gillick, the star of Joanna Hogg’s film ‘Exhibition’.

Maureen Paley, Herald Street, London E2


Art News
 Frieze Week, collateral Art Fairs, Guide
Frieze Art Week & Alternative Collateral Events Guide 2015 - ArtLyst Article image

Frieze Art Week & Alternative Collateral Events Guide 2015


Artlyst is excited to announce the release of their essential, online, Frieze and Frieze Week collateral Art Fair Guide, for London 2015. This includes important information about the main fair and the collateral events launching the week of 12 October, with the main fair opening to the public on the 14th running till the 17th October. 

Each year we curate indispensable information about the best exhibitions and events on offer during Frieze week. This year we are fortunate to be media partners with three must see events: ‘The Future Can Wait’ an exhibition established in 2007 by curators Zavier Ellis and Simon Rumley, launching the Art Bermondsey Project Space  ‘Silent Movies’ in the Cavendish Square Car Park curated by the Artists Vanya Balogh and Cedric Christie and Art Below who provide posters in various underground stations. our capital is over-run with the international art set, who flock to this once a year cultural phenomenon. Frieze and Frieze Masters promises to showcase an up to date overview of the current art market allowing art lovers to pay homage to the best (and some of the worst) in visual art.  Like Art Basel and Art Basel Miami these fairs make no bones about being massive art trade shows. The galleries involved are there to sell and this year the main Frieze fair showcases 160 of the worlds leading contemporary art galleries. What ever you do don’t miss the smaller art fairs and events that are springing up like dandelions all around the capital next week.

We will be updating this page all week, so pop back again for more listings!

The Main Frieze Art Fair

Frieze showcases 160 of the worlds leading contemporary art galleries. Participating Galleries  (PV 13 Oct.) 14-17 Oct 2015 Public openings Closed Sunday –  Regents Park Tube Station

Frieze Masters 2015 (PV 13th Oct.) 14-17 Oct. Public opening –  Camden Town Tube Station and long walk ….

Frieze Masters is described as an art fair that offers a contemporary lens on historical art.  The fair features leading galleries showcasing art made before the year 2000, ranging from the ancient era and Old Masters to the late 20th century.

Frieze Projects 2015

Frieze has announced their 2015 Projects, where they will be presenting seven new commissions for the London fair. Along with the support of the LUMA Foundation, this year’s programme is inspired by Frieze London’s temporary structure in The Regent’s Park and explores propositions for mobile architectures and alternative realities. Nicola Lees, Curator of Frieze Projects, has invited practitioners and collectives from disciplines including architecture, publishing and theatre design to transform, subvert, and interact with the social, structural and cultural dynamics of the fair. Initiated in 2003, Frieze Projects is an unique non-profit commissioning platform for emerging, under-represented and innovative practices within one of the world’s leading contemporary art fairs. The Frieze Projects participants at Frieze London 2015 are: ÅYRBRB, Lutz Bacher, castillo/corrales, Thea Djordjadze, Jeremy Herbert, Asad Raza and Rachel Rose, winner of the 2015 Frieze Artist Award.

Frieze Film 2015 (13th Oct. PV) 14-17 Public

The artists participating in Frieze Film 2015 are: Charles Atlas with Rashaun Mitchell + Silas Riener, Xavier Cha, Gery Georgieva and Thirteen Black Cats.

Frieze Focus 2015: (13th Oct) PV 14-17 Public

Focus continues to evolve into the definitive destination for young galleries, with seven exhibiting at Frieze London for the first time, from Antenna Space (Shanghai) to Hopkinson Mossman (Auckland). Curated by Raphael Gygax (Migros Museum, Zurich) and Jacob Proctor (Neubauer Collegium for Culture and Society, University of Chicago), Focus provides an unparalleled insight into the world’s emerging talents and will include solo presentations by Harold Ancart (Clearing, New York); Stano Filko (Galerie Emanuel Layr, Vienna); Maria Pininska-Beres (Dawid Radziszewski); Samara Scott (The Sunday Painter, London) and Amie Siegel (Simon Preston Gallery, New York).

Frieze Live (13th Oct PV) 14-18 Oct Public opening

‘Live’ is dedicated to ambitious performance-based installations and will include works specially conceived for Frieze as well as the re-staging of a number of important historical pieces. Live Artists include: Arcadia Missa, London Amalia Ulman, Luhring Augustine, New York / Franco Noero, Turin Tunga , Meyer Riegger, Berlin Eva Koťátková

Misako & Rosen, Tokyo Ken Kagami, Southard Reid, London Edward Thomasson & Lucy Beech, Kate Werble Gallery, New York Rancourt / Yatsuk

Frieze Talks 14-17 2015  Oct. Public opening 

Talks include Energy as Clickbait: Douglas Coupland in conversation with Emily Segal, Wednesday 14 October, 1pm, Tania Bruguera: Aesth-ethics: Art with Consequences Wednesday 14 October, 5pm, The New Museums: Coming Soon to a City Near You, Thursday 15 October, 1pm, Anicka Yi in conversation with Darian Leader, Thursday 15 October, 5pm,  Bad. Planetary-scale. Delicious: Metahaven in conversation with Justin McGuirk Friday 16 October, 1pm, Off-Centre: Can Artists Still Afford to Live in London? Friday 16 October, 5pm,  Heart of Darkness in the City of London: Fiona Banner in conversation with Emily King Saturday 17 October, 12pm,  Viv Albertine in conversation with Gregor Muir, Saturday 17 October, 1pm, Keynote Lecture: Vivienne Westwood Saturday 17 October, 5pm

Frieze Sculpture Park next to main fair marquee is Free! 

Frieze Week Satellite Art Fair and Events Guide 2015


THE FUTURE CAN WAIT presents London’s biggest independent curated exhibition.

Established in 2007 by curators Zavier Ellis and Simon Rumley, THE FUTURE CAN WAIT returns for its 9th year as a collaboration with State Media to launch Olympus’ Art Bermondsey Project Space at 183-185 Bermondsey Street SE1 3UW. Located adjacent to White Cube Bermondsey, the exhibition will take place over three floors of the former Victorian paperworks.

13-17 October 2015 at Art Bermondsey Project Space, 183-185 Bermondsey Street SE1 3UW


SILENT MOVIES Cavendish Square Car Park

Patron, Geoff Leong once again joins forces with dynamic artist-curator duo Vanya Balogh and Cedric Christie plus a new team of international guest curators to support one of the highlights of London’s Frieze week. This non profit exhibition featuring over 100 artists in the circular 20000 Sq ft multi storey car park beneath Cavendish Square.

18-19 October runs 24 hours non-stop at Q PARK, Central London Cavendish Square , London, W1G 0PN.



Sixteen of the most dynamic female artists in London together for TAKE! EAT!, an exhibition put together by Artist/Curators Diana Chire & MC Llamas. Situated on the door step of Frieze Art Fair, St Marylebone Parish Church will act as the backdrop for TAKE! EAT! which is anticipated to be one of the most notable guerrilla exhibitions of the year.

14th – 16th October 2015 St Marylebone Parish Church 17 Marylebone Rd, London, NW1 5LT

Sunday Art Fair 

SUNDAY is anything but a Sunday art fair! It is a gallery led art fair created as a platform for an intimate group of like minded emerging commercial galleries to present work by a diverse range of artists within a relaxed environment. The fair will return to London for its sixth edition showing a selection of 20 young international galleries. SUNDAY is recognised as an integral part of the London, UK and international cultural landscape. Housed in Ambika P3, a 14,000 square foot, triple height subterranean space, SUNDAY is free and open to all and last year welcomed over 6000 visitors.

14-18 October 2015, at Ambika P3, University of Westminster, 35 Marylebone Rd, NW1 5LS, Baker St Station.

Sunday Art Fair 

The Other Art Fair

The Other Art Fair takes place at The Old Truman Brewery on 15-18 October 2015. This artist led fair is situated in the heart of London’s cultural East End, The Old Truman Brewery is a landmark arts venue and hosts a hive of creative businesses, galleries and events and provides the perfect new home for the fair during what is London’s most important and internationally renowned art week.

15-18 October 2015 at Old Truman Brewery, Hanbury Street E1 6QR



The Moniker Art Fair returns to Shoreditch from 16-18 October 2015. Moniker 2015 features designated artist project spaces combined with a commercial element. Each space is individually curated presenting a twist to the traditional art fair format. As the contemporary and urban art worlds increasingly overlap Moniker has continued to evolve, resulting in the most diverse array of artists to be showcased at Moniker to date.

16-18 October 2015 at Old Truman Brewery, Brick Lane E1 6QL


MULTIPLIED is the UK’s only art fair dedicated to contemporary prints and editions. The fair is in its sixth instalment; returning once again to Christie’s, South Kensington.

16-18 October at Christie’s South Kensington 85 Old Brompton Road SW7 3LD


Set in the vibrant heart of Mayfair right in the middle of Berkeley Square, PAD is London’s leading fair for 20th Century art, design and decorative arts. From 14-18 October 2015, PAD inspires a unique spirit of collecting, PAD epitomises how modern art, photography, design, decorative and tribal arts interact to reveal astonishing combinations and create the most individual and staggering interiors. Prominent international galleries from major cities across Europe, North America and Asia come together to offer an exceptional panorama of the most coveted and iconic works available on the market today.

14-18 October 2015 at Berkeley Square, Mayfair W1


1:54 Contemporary African Art Fair

Dedicated to the 54 countries that make up the African continent, the fair represents the multiplicity and diversity of contemporary African Art. Now in its third year, the fair takes place from 15-18 October 2015 at Somerset House having returned from a successful New York debut earlier this year.

15-18 October 2015 at Somerset House, The Strand, WC2R 1LA



This autumn the biennial Sluice_fair returns to London with 35 artist/curator-run emerging galleries from around the world. Since its inception in 2011, Sluice’s emphasis has been on open and collaborative practice, with a strong program of education, performance and publishing.

16-18 October 2015,  Bargehouse, Oxo Tower Wharf, South Bank SE1 9PH


Art Below

This October Art Below are showcasing the work of 20 international artists across billboard spaces at Regent’s Park underground station.  This is the fifth year running which coincides with Frieze Art Fair situated right beside Regent’s Park tube. The artists’ work will also be on show at London’s Gallery Different, located in the heart of Fitzrovia, just off Tottenham Court Road.

9-19th October, Gallery Different, 14 Percy St, London W1T 1DR.


Damien Hirst’s Newport Street Gallery

John Hoyland Power Stations (Paintings 1964-82)

A major exhibition of works by the late John Hoyland, one of Britain’s leading abstract painters, is the first show at Damien Hirst’s newly-built London gallery Newport Street Gallery. Well worth a trip to see this impressive new space.

8th October 2015 – 3rd April 2016, Newport Street Gallery, Newport Street, London SE11 6AJ


Zabludowicz Collection

Charles Richardson’s animated videos of male identity and the absurdities of human existence alongside Canadian born artist Jon Rafman’s playful series of installations that immerse visitors within his video and sculptural works.

Until 20th December 2015 at 176 Prince of Wales Road, NW1 3PT.

Frieze ICA Bar in association with K11 Art Foundation

Throughout Frieze week, the ICA partners with Frieze Art Fair and K11 Art Foundation to host London’s first official Frieze ICA Bar. Taking place over a five-day period, special guests will host an evening of music and DJs in collaboration with NTS Radio. Plus daily musical performances from Chinese artist Zhang Ding who transforms the ICA Theatre into a ‘mutating sound sculpture’ with mirrored surfaces and suspended sound panels.

12 Oct 2015 – 16 Oct 2015, ICA, The Mall, SW1Y 5AH


Serpentine Galleries

Last week of Selgascano’s pavilion (closes 18 October) plus a new video by Tabor Robak and exhibition of work by American artist, poet and political activist Jimmie Durham.

Until 8 November, Serpentine Galleries, Kensington Gardens W2 3XA

Whitechapel Gallery:  Emily Jacir: Europ

This first UK survey of artist Emily Jacir focuses on her dialogue with Europe, Italy and the Mediterranean in particular. Known for her poignant works of art that are as poetic as they are political and biographical, Jacir explores histories of migration, resistance and exchange

Until 3 January 2016, Whitechapel Gallery, 77-82 Whitechapel High Street E1 7QX



Frieze London 2015: The Highlights

London’s largest art fair returns to Regent’s Park

Ken Okiishi, gesture-data (feedback), 2015. Oil Paint on flat-screen televisions. Courtesy of the artist and Pilar Corrias Gallery.

The 13th edition of the contemporary art fair returns to Regent’s Park from 14-17 October, with over 160 leading galleries exhibiting at the event. Here’s what not to miss…

The Galleries

Established names such as Cheim & Read, Galerie Kamel Mennour and Hauser & Wirth (who’ll be focusing their attentions on sculpture), will inhabit the same space as newcomers like the Sunday Painter Gallery, part of the burgeoning Vauxhall art scene. At the latter, the upcoming British artist Samara Scott exhibits her intriguing ‘water relief’ installation, Lonely Planet; she is one of seven artists exhibiting for the first time in the Frieze Focus space, so head here for the fresh talent. Elsewhere look out for the Paris-based artist Camille Henrot, another one to watch, whose installation Grosse Fatigue (2013) was awarded the Silver Lion at the 2013 Venice Biennale, and Jeff Wall’s Woman and Her Doctor (1980-81) photograph, largely for the eye-watering €1.4 million price tag.

Camille Henrot, Bad Dreams (Minor Concerns), 2015, Watercolor on paper. Courtesy of the artist & Kamel Mennour, Paris. 

The Performance Art

This year, Frieze has ramped up the focus on performance and participatory art in their curated section Frieze Live. Keep your eyes peeled for the processional performance Xifopagas Capilares (1984), translating as ‘Capillary Siamese Twins’, by the Brazillian artist TUNGA: two twin girls, umbilically connected by long braided hair will be walking around the fair. At the Misako & Rosen stand, the Tokyo-based artist Ken Kagami will be inviting visitors to a live portrait session (with a humorous twist).

Tunga, ‘Xifópagas Capilares’, 1984, fine art. Image courtesy of the artist and Galleria Franco Noero, Torino and Luhring Augustine, New York 

The Sculpture Park

The Sculpture Park returns to the English Gardens, this year curated by Clare Lilley of the Yorkshire Sculpture Park. There will be artwork by Richard Serra of Peter Freeman in New York and Carol Bove of David Zwirner in London, as well as a 11–14th century AD pre-Ekoi monolith from Western Africa, courtesy of the Didier Claes gallery in Brussels. Entry is free so you can visit the beautifully adorned gardens as many times as you wish.

The Projects

This year the seven new commissions for Frieze Projects are by AYRBRB, Lutz Bacher, castillo/corrales, Thea Djodjadz, Jeremy Herbert, Asad Rasa and Rachel Rose. On entering the fair you’ll be greeted by the work of the American conceptual artist Lutz Bacher. The enigmatic artist (he’s renowned for never making a public appearance) has transformed the entrance hall using found objects from film sets. The space underneath the fair will be occupied by Jeremy Herbert, best known for his experimental theatre sets; he has built a sensory space inspired by the Valley of the Kings and the experience of entering a tomb. Those interested in the increasing impact of technology should visit the stand of AYRBRB. The London art collective are exploring the concept of the ‘smart home’ and raising questions about privacy and control. Taking kids? They’ll love this year’s Frieze Artist Award winner, Rachel Rose. Rose has created a scale-model of the fair structure, including sonic and visual depictions of the animals that live in Regent’s Park.

The Talks

This year’s Frieze Talks programme features speakers Tania Bruguera, Prem Sahib, Adrian Searle, Dame Vivienne Westwood and Anicka Yi, among others. On Wednesday, the artist and author Douglas Coupland will talk with Emily Segal of trend-forecasting group K-HOLE about how we generate personal and interpersonal energy, alone and together, and on Saturday, the keynote lecture will be held by Vivienne Westwood. The designer will be speaking about the changing relationship between art and her practice, the influence of children’s art on her work and her commitment to environmental and social activism. For those unable to visit the fair, an archive of Frieze Talks, including speakers such as John Baldessari, Boris Groys and Yoko Ono is available online at and on iTunes.