! ! ! ! ! HIGHLIGHTS! FAIR!WEEK!! CLIPPINGS!BOOK! ! ! ! ! Prepared!by !
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The Times UK |Print 14 October 2015 Circulation: 392,572
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The Guardian UK | Print 17 October 2015 Circulation: 166,977
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Financial Times UK | Print 13 October 2015 Circulation: 206,813
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The Guardian UK |Print 14 October 2015 Circulation: 166,977
! The Wall Street Journal US | Online 14 October 2015 MUV: 17,026,886
As collectors and art enthusiasts descend on London for the Frieze Art Fair, one of the biggest events in the global art market calendar, and the smaller but no less glamorous Pavilion of Art & Design, here’s a look at some of the things you won’t want to miss. FRIEZE FRAME While the main tent showcases the best in contemporary art, a short walk through the Frieze sculpture park takes you to Frieze Masters, where prices range from under £1,000 to several million. Combined, the two offer what Director Victoria Siddall describes as “an enormous amount of range and diversity.” With 164 galleries from 27 countries clamoring for attention, the commercial aspect of Frieze is paramount. But the fair is also, according to Hauser & Wirth Senior DirectorNeil Wenman, an opportunity to try something new. “Frieze allows a space for innovation, to be creative,” he says. “It’s an opportunity to experiment.” !
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This year, Hauser & Wirth presents “Field,” a checkerboard of plinths dedicated to sculptures by artists such as Paul McCarthy, Jason Rhoades and Louise Bourgeois. At Frieze Masters, Collections, a new section curated by Norman Rosenthal, showcases curiosities ranging from Egyptian sculpture to Pacific island fish-hooks. And the Lisson Gallery, in celebration of Carmen Herrera’s 100th birthday, has dedicated its Masters booth to the Cuban-American artist’s colorful forms. Jostling for space alongside heavyweight dealers are young upcoming galleries and a series of talks on eclectic subjects. Solo artists feature prominently; Camille Henrot(Galerie Kamel Mennour, Paris) and Ken Okiishi ( Pilar Corrias, London) are two notables. Experiential art is also enjoying a spotlight. Tokyo-based Ken Kagami invites visitors to sit for a live portrait session with a secret, humorous twist; Brazilian artist Tunga’s “Siamese Hair Twins” (tied by their long braids) provides an entertaining processional performance; and Frieze Artist Award winner Rachel Rose offers an animal-eye-view of Regent’s Park with her scale-model tent for Frieze Projects. OFF-FRIEZE Frieze may be the biggest art fair in town, but it’s not the only show in town. And two in particular shouldn’t be missed. In Berkeley Square, the stylish PAD is primarily devoted to 20thcentury art and design. Now in its ninth year, the fair features 63 galleries with wares ranging from Islamic and Asian art to cutting-edge glass and ceramics. 1:54 Contemporary African Art Fair at Somerset House, meanwhile, returns for its third edition. Founding Director Touria El Glaoui, who says the fair “offers something different in this crazy market,” is particularly excited by nonprofit and younger gallery collaborations and the Forum talks. Watch out for Tiwani Contemporary’s first showing.
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THE GALLERY SCENE Museums and commercial galleries put on their best shows to coincide with Frieze. Hyundai’s first commission in the Tate Modern’s Turbine Hall by Mexican artistAbraham Cruzvillegas is a must-see for Ms. Siddall, as is ”Goya: The Portraits” at the National Gallery. Damien Hirst returns to the fray as curator at his recently opened Newport Street Gallery, while Gagosian’s new high-tech space in Mayfair will be inaugurated with a Cy Twombly show. East End Night on Wednesday sees galleries staying open late, and will be replicated Thursday night in the West End. AFTER HOURS When the art has been exhausted, there’s plenty happening after dark. The ICA will be hosting a Frieze bar nightly, which Ms. Siddall hopes will be a gathering point for Frieze regulars. And on Thursday, The Store with Vinyl Factory will host a Frieze Music night at the Brewer Street Carpark. !
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! T Magazine US | Online 14 October 2015 MUV: 1,631,672
Certain as ever — even as Europe continues to slide into economic uncertainty — the Frieze Art Fair and Frieze Masters, its sister event devoted to 20th-century art, opened to packed crowds today in Regents Park. They close on Saturday and Sunday, respectively, and between now and then, here are some highlights from the very big and busy tents. Cheers to hometown gallery Stuart Shave/Modern Art, which won the Stand Prize sponsored by Pommery Champagne. The two-person booth is lined with ! ambient, pixelated paintings by Mark Flood inspired by Booths on view at the Frieze Art Fair this week, from left: the meditative compositions of Mark Rothko. It also Stuart Shave/Modern Art; Kurimanzutto gallery; a work by Mary Weatherford on view at David Kordansky features a row of sculptures by Yngve Hollen Gallery. Credit Kevin McGarry combining models of commercial jetliners and melted ! plastic prints of infrared images taken from a Lufthansa factory — balanced upon washing machines, which seem to nod to the whole presentation’s spin-cycle logic. In keeping with latter-day abstract expressionism, Mary Weatherford’s outsize canvases accented with strokes of (actual, electrical) neon at the Los Angeles-based David Kordansky Gallery flew off their temporary walls within the first half-hour of yesterday’s V.I.P. preview. Mexico City’s Kurimanzutto gallery has a double bill of artists with prominent London museum shows coinciding with the art fair — the American-born sculptor Jimmie Durham, whose work is on view at the Serpentine Gallery, and Abraham Cruzvillegas, with a large-scale installation at the Tate Modern’s massive Turbine Hall — plus the Mexican master Gabriel Orozco. Durham and Orozco were in fact mentors to Cruzvillegas, and the interplay of the trio’s sculptures and paintings riffing on geometry and reappropriated materials demonstrate that it’s possible to make a miniature exhibition inside the zoo-like environment of an art fair. Another art the Brits are known to be gifted in is conversation. In reverse chronological order, the Frieze Talks series will conclude on Saturday with a keynote address by the legendary designer and bona fide activist (if driving an alabaster anti-fracking tank up to the prime minister’s home is credential enough) Vivienne Westwood. The talks kicked off earlier today with a chat between “Generation X” progenitor Douglas Coupland and Emily Segal of K-Hole, the collective best known for coining the term “normcore.” Aptly for a roundup of this nature, Coupland introduced their conversation on moment-defining buzzwords with a quote by the Canadian laureate Malcolm McLuhan: “The oversimplification of everything is always very exciting.”
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! Bloomberg US | Online 14 October 2015 MUV: 17,523,885
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Le Monde France | Print 18 October 2015 Circulation: 298,529
Handelsblatt Germany | Print 16 October 2015 Circulation: 122,939
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Neue Z端rcher Zeitung Switzerland | Print 17 October 2015 Circulation: 124,043
La Figaro France | Print 15 October 2015 Circulation: 314,144
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Les Echos France | Print 15 October 2015 Circulation: 126,813
Die Welt Germany | Print 17 October 2015 Circulation: 400,077
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Evening Standard UK | Print 14 October 2015 Circulation: 870,835
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! Time US | Online 14 October 2015 MUV: 17,899,757
It appears Frieze London and Frieze Masters are at the pinnacle of popularity as far as art fairs go. Today even the VIPs were happy to queue round the vast Universal Design Studiodesigned building in order to get into the preview, although one lady was overheard saying, “But the princess doesn’t know how to stand in line,” as the lesser-known royalty traipsed her way through the autumnal grass to the end of the long row of eager art buyers. Photography lovers will not be disappointed, as various galleries have made it a focus of their booth. Attempting to see it all in one day is a gargantuan task. It’s doable, but only if you give yourself at least 45-minutes of down time in Rachel Rose’s phenomenal installation in the Focus section of the fair. The 2015 winner of the Frieze Artist Award has built a scale model of the fair, which visitors must crawl into on their hands and knees – a beautifully democratizing effect – in order to sit on a thick-piled carpet and listen to eight speakers play an enchanting loop of tracks. These and the cosy hutch effect immediately transported me to my teenage years, brought back memories of falling asleep on speakers in clubs, having a crush on other people’s older brothers, going through record collections at sleepovers and secret kisses in attic rooms. I wanted to stay
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forever, but then again I had to get you my ten favorite images. So here they are in no particular order… David Goldblatt at the Goodman Gallery The Spotlight section at Frieze Masters is dedicated to 20th century solo positions from all over the world. This year, one of the pearls within it is the Goodman Gallery’s selection of original handprints by David Goldblatt, produced in his darkroom between 1940 and the late 1990s. Many silver gelatin handprints caught my eye, but the most striking image was Fifteen-year old Lawrence Matjee after his assault and detention by the Security Police, Khotso House, de Villiers Street (1985): a teenage boy stares into the camera, his arms confined to gleaming white plaster casts – a visual constriction of the injustices he had to face. Catherine Opie at the Lehmann Maupin At the Lehmann Maupin stand, Catherine Opie’s abstract landscapes, diluted and intangible but for the bursts of color and shade, drew me into the booth. I was particularly transfixed by the hypnotic pigment printUntitled #5 (2012) – an “Alpenglühen” of sorts, perhaps a setting sun or the reflection thereof, above a darkening mountain-scape. The artist, whose nonfigurative landscapes were exhibited at the Wexner Center For the Arts in 2015, says of these works, “Nature is a dream state at this point… I’m asking people to go back to the sublime and to a place of beauty.” It came down like an apparition, a much-needed inspirational interval during the busy hubbub of the fair. Modern classics at the Bruce Silverstein gallery If you want fun fair style excitement, like you experienced as a kid in front of the confectionary stall at the county fair, there’s only one place to go: the Bruce Silverstein gallery stand at Frieze Masters. This booth has the rarest of treats in the form of modern photographic masterpieces. Every year, I stare and ogle at the mouth-watering goods on display, which this year include the cotton candy of photographs: the Portrait of Dorothy Normanby Alfred Stieglitz (1931), the candied apples of photographic collages: an early Robert Mapplethorpe self-portrait, Untitled (1971) as well as my favorite: the luscious lollipop of an image: The Necklace, Lee Miller (1965) by Man Ray, a gelatin silver print of a sensuous, strained neck, with a remarkable necklace made from coiled string.
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Richard Hamilton at the Alan Cristea Gallery The Alan Cristea Gallery is this year presenting a solo booth dedicated to the late Richard Hamilton, who is widely acknowledged as having created one of the first pieces of Pop Art with his 1956 collage Just what is it that makes today’s homes so different, so appealing? Although the booth’s main focus are some never before seen paintings, I was drawn to Citizen(1985), an image of IRA member Hugh Rooney, who due to his beard, naked torso, long hair and robes bears a striking resemblance to traditional depictions of Christ. The print, a hybrid of three 35mm transparencies Hamilton had selected from cine-film footage, also features swirls of brown reminiscent of the excrement smeared on the walls of inmate’s cells during the ‘dirty protest’ at Maze Prison in Northern Ireland. Surf Movie at the Christoper Grimes Gallery Allan Sekula’s Surf Movie (San Diego) 1973/ 2012 at the Christopher Grimes Gallery provides a delightful mini-break at Frieze Masters: six photographs of a bleach-blonde dude holding up an image from a surf magazine in various unlikely scenarios, such as at the wheel and outside a suburban house. The double sense of irony is not lost on the viewer as nobody is actually surfing here and six photos does not a movie make. As such the images provide a lighthearted departure from Sekula’s usual concern: the consequences of the economic changes arising from globalization. Eileen Quinlan at the Campoli Presti Gallery At the Campoli Presti gallery booth, the viewer is confronted with rubbish of the most sublime kind. Artist Eileen Quinlan’s large close-ups, Twinned Mitsouko (2008-2015) offer up 12 abstract images of the indentations, subtle changes of light, even a poetic sense of movement in the airtight, claustrophobic space of sealed black refuse sacks. The result is sculptural and enticing, leaving the viewer with a strange longing to caress a lifeless, twodimensional object generally intended for waste. Boris Mikhailov at Sprovieri I am forever delighted by Boris Mikhailov’s photographs as each and every time I come across one of his works, I discover new, exciting components within it. This time, whilst perusing the Sprovieri booth in the Spotlightsection of Frieze Masters, dedicated to his series Yesterday’s Sandwich(conceived in the late 1960s), I realised that in his untitled image of the nude woman kneeling on a mattress, which I have seen numerous times before, the mattress had a subtle concentric fish-scaly, floral pattern which mirrored the peacock feather shapes. I wonder what I’ll discover next time…
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Yto Barrada at the Sfeir-Semler Gallery Over the last few years, the Sfeir-Semler gallery booth has become one of my favorites at Frieze London, showcasing works by Akram Zaatari, the Atlas Group and Walid Raad in the past. This year, it was the Moroccan-French born Yto Barrada’s photographs of colourful patch-worked circus felt Untitled (2013-2015), which grabbed my attention. Part of her seriesFaux Guide, a sort of personal museum dealing with the original and the fake, with the loss and the winning back of cultural identity, these photographs are the poetic residue of a story imagined, but not told. Cheaper prints at Allied Editions For someone like me, who can’t drop hundreds of thousands on a Jeff Wall or a Thomas Struth photograph at the fair, reaching the Allied Editions booth is always a true delight, as these are prints mere mortals can afford. So if you want to go to Frieze and head home with something, stand B22 is your best bet, unless you’re a Kardashian, in which case you’ve probably already bagged a Koons at the pre-pre-preview. But I digress, at the Allied Editions, you can browse through unique artist editions from various galleries including the Chisenhale Gallery, the Institute of Contemporary Arts, the Camden Arts Centre and the Serpentine Galleries among others. Better still, the proceeds go directly towards supporting the organisations’ exhibitions and education programs. It’s a win, win situation. I particularly liked Mark Leckey’s Grasping and Gasping (2014), but the print that really stole my motherof-three heart was Jürgen Teller’s Wildschweinmutter, Kolkata, Indien (2014), a Telleresque picture of a wild boar feeding its boar piglets. If only dinner time was that easy… Zanele Muholi at Stevenson For me the self-titled South African visual activist Zanele Muholi stole the show at the Deutsche Börse Prize this year, despite having not been awarded the prize in the end. So it was with great joy that I stumbled across several black and white self-portraits by the artist at the Stevenson gallery stand. To date, Muholi’s portraits have mostly focused on black LGBTI identity and politics in post-apartheid South Africa. Here she turns the camera on herself and experiments with different characters, referencing the history of black and white fashion photography. My favorite:Somnyama IV, Oslo (2015), a Marie-Antoinette style portrait, where Muholi sports a cavalcade of black hair – or perhaps wool to suggest a sense of fashion futility – which almost conceals her face.
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The Week UK | Online 14 October 2015 MUV: 381,690
! Forbes US | Online 14 October 2015 MUV: 44,082,753
Frieze London, one of the world’s largest contemporary art fairs, opens today and runs through October 17. With more than 160 leading galleries from around the world participating and featuring work from more than 1000 leading artists, along with art installations, lectures, films and a sculpture garden, the fair is quite a behemoth. Luckily Nicole Kluk, Senior Consultant at Quintessentially Art shared her best bets and can’t-miss booths with us for Frieze London 2015. Here are her picks. 1. Victoria Miro (B3) “Always a stand out booth, this year we are treated to works by two particularly brilliant artists Do Ho Suh and Secundino Hernández. Spanish artists Hernández’s large canvases are a perfect blend of minimalism, representation, expressionism and abstraction. The thick impasto markings he scatters over his works are full of energy, yet the minimalist aspect of the works make them completely non aggressive and beautiful. Korean artist Do Ho Suh presents a selection of his reconstructed everyday objects that border on beautiful and hilarious. His fabricated buildings, rooms
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and fixtures are technically brilliant and questions identity, individuality and community.”
2. ”At Lehmann Maupin (A19), you can actually experience the space of one is Do Ho Suh’s reconstructed rooms. Lehmann Maupin also presents us with a largeTracy Emin stitched work on paper and a lovely Billy Childish painting tucked away behind the large sculptures.” 3. ”Toby Ziegler is an artist whose work never ceases to mesmerise. A full stand atSimon Lee (A2) showcases the artist’s three new paintings and a selection of sculptures. Re-configured landscapes that are worked into aluminium appear as abstract scenes, but upon closer reflection we are reminded of a familiar place. Truly magical.” 4. ”Stevenson Gallery (G11) always brings us interesting pieces from South Africa, this year we have amongst a few other fascinating pieces two particularly outstanding Zander Blom paintings.”
5. ”In the ‘focus’ section of the fair there are some particularly great pieces by some emerging younger artists that are worth looking out for. At Callicoon Fine Arts(H29) there is a solo display of works by James Hoff who cleverly infects his paintings with virus-ridden computer files. The software he has created for his practice prints out these psychedelic images which he then thermally heats onto aluminium creating a glowing surface of brilliant colours. They are absolutely worth going to see.” Petersham Nurseries offers a wonderful refuge from the hectic environment of the fair where you can enjoy a glass of wine and a beautiful meal.
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! Forbes US | Online 18 October 2015 MUV: 44,082,753
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The Telegraph Luxury UK | Online 15 October 2015 MUV: 46,715,850
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The Guardian UK | Online 16 October 2015 MUV: 76,718,940
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! CNBC US | Online 16 October 2015 MUV: 7,949,526
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! ! Every!October,!Frieze!welcomes!art!connoisseurs!and!investors!to!London's!Regent's!Park!in!the! hope!they'll!spend!thousands!on!contemporary!and!modern!art.! !
! ! Investors!with!a!place!to!show!off!a!rare!masterpiece!have!more!than!enough!to!choose!from,! with!both!Frieze!London!and!its!upmarket!sister!fair,!Frieze!Masters,!offering!pieces!that!range! from!as!little!as!£100!($155)!to!several!millions.! ! "The!work!the!galleries!make!available!is!not!just!of!outstanding!quality,!but!also!represents!an! extraordinary!breadth!–!alongside!prestigious,!established!contemporary!galleries!with!iconic! names,"!Abby!Bangser,!artistic!director!for!the!Americas!and!Asia!at!Frieze!Art!Fairs,!told!CNBC!by! email.! With!the!China!slowdown!putting!investors!on!edge,!investors!may!think!art!sales!at!upmarket! fairs!could!dwindle,!but!people's!love!for!art!overall!still!seems!to!grow.! ! Hundreds!of!art!pieces!have!already!sold!for!millions!in!2015,!including!Picasso's!"Les!femmes! d'Alger!(Version!'O'),"!which!became!the!most!expensive!artwork!sold!at!auction.!The!global!art! market!itself!smashed!an!allYtime!record!high!in!2014,!topping!$53.7!billion!in!sales.! !
! ! ! ! And!this!appetite!hasn't!withered!at!Frieze!either.!From!paintings!to!sculptures,!the!first!two!days! of!both!fairs!have!sold!art!pieces!for!high!amounts,!from!the!$10,000s!to!way!over!a!million.! "With!Frieze!Masters!opening!at!the!same!time,!both!fairs!bring!together!thousands!of!years!of!art! history!in!a!singular!structure;!allowing!us!to!truly!present!an!experience!for!collectors!at!all! levels!and!of!diverse!interests."! !
! ! While!Frieze!is!often!perceived!as!an!exclusive!event,!Bangser!says!the!art!fair!is!trying!to!be!more! than!just!"a!platform!for!buying!and!selling!art"!by!incorporating!free!events,!like!its!Sculpture! Park.! To!boost!London's!art!industry!even!further,!auction!houses!set!up!contemporary!art!sales!during! the!week!to!boost!the!local!economy!and!art!energy.! ! Phillips!auction!house!raked!in!millions!in!two!contemporary!art!day!sales,!with!the!Cy! Twombly's!"Untitled!(2006)"!selling!for!ÂŁ7.9!million!($12.2!million)!and!Mark!Bradford's! "Constitution!IV!2013"!sold!at!ÂŁ3.78!million.!This!week!alone,!four!Christopher!Wool!paintings! have!sold!for!over!a!million,!with!one!selling!for!ÂŁ4.9!million!($7.5!million)!at!Christie's.! ! And!that's!good!news!for!London's!economy!!Frieze!estimates!that!it!generates!"tens!of!millions! of!pounds!every!year"!from!visitors!coming!to!the!capital,!with!2015!being!no!exception,!Bangser! said.! ! "The!energy!this!influx!generates!is!palpable,!both!at!Frieze!London!and!Frieze!Masters!and,! moreover,!across!the!city,!with!events!and!major!exhibition!opens!all!timed!to!coincide!with!the! week!of!Frieze."!
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The Art Newspaper UK | Print 13 October 2015 Circulation: 23,000
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Evening Standard UK | Print 13 October 2015 Circulation: 870,835
The Art Newspaper UK | Print 13 October 2015 Circulation: 23,000
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The Art Newspaper UK | Print 13 October 2015 Circulation: 23,000
 
ArtNet News UK | Online 15 October 2015 MUV: 381,510
! Artnet News US | Online 19 October 2015 MUV: 1,250,000
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Artsy US | Online 17 October 2015 MUV: 196,088
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.
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.
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 Scheibitz—Portrait 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 byRyan 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.
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.
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 the same series that’s on view at mennour. 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, andKatharina 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.
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.
Huffington Post US | Online 15 October 2015 MUV: 46,029,910
The World's Art In One City: In London for Frieze Week 2015 London is one of the most international cities on the planet. With one third of its population foreign born, over 300 languages spoken in its streets, and residents representing nearly every nation, religion, and ethnicity on Earth, London truly holds the world in one city. As a major hub of international finance and business, and one of the global art capitals of the world, London is also a premiere destination for collectors--particularly in October, when Frieze Art Fair stakes its claim in Regent's Park and the London auction houses stage their modern and contemporary sales. The depth and diversity of art on offer at the fairs, auctions, and in exhibition spaces throughout the city, form a portrait of an increasingly globalized world, and its microcosm is reflected in the city of London itself. In the run-up to the fair, MutualArt spoke with a number of curators and consultants about Frieze Week, and how it captures a glimpse of the geographic diversity of the art world.
Collectors, curators, critics, and other art world professionals travel from far flung locations to London for Frieze Week--a convergence that forges camaraderie and new connections. Curator Bjรถrn Geldhof, for instance, is traveling to London all the way from Baku, Azerbaijan, where he was recently appointed the Artistic and Strategic Director of the non-profit contemporary art center YARAT. "Together with Art Basel, Frieze facilitates a place to meet with many colleagues, artists and collectors from around the world," he says. The opportunity to meet with many people in one location is certainly a valuable one for the curator, who currently juggles his new position in Baku with one in Kiev, Ukraine, where he holds the role of deputy artistic director at the Pinchuk Art Centre until the end of the year. "That aside," Geldhof continues, "there are, during Frieze Week, always really exciting exhibitions on throughout London, allowing someone like me to see many people and a lot of good exhibitions in a short time and with minimum of travel."
London's many art spaces ensure that their finest exhibitions are on view for the influential and international audience of Frieze Week, from its prestigious museums and worldrenowned galleries, to its upstart artist-run ventures and non-profit exhibition spaces. Visitors to London in October can take in a huge variety of exhibitions and events across the city, featuring art from around the world, such as: the first UK exhibition of South African artist Kemang Wa Lehulere at Gasworks' newly renovated space, in South London; a sound sculpture by Chinese artist Zhang Ding at the ICA; a feature-length film by Berlin and Jerusalem-based artist Jumana Manna at Chisenhale Gallery, in Hackney; an exhibition of abstract art from Belgium, curated by Luc Tuymans, at the non-profit Parasol Unit, in East London; Broken English, an exhibition of contemporary African art, at Mayfair's new Tyburn Gallery; the hugely popular Ai Weiwei exhibition at the Royal Academy of Arts; and many, many others. One hundred sixty galleries representing 27 countries are exhibiting at this year's Frieze London fair (October 14-17), offering work by artists from around the globe--and not just the usual art centers of New York, Los Angeles, Berlin, or Paris. Every continent is represented at Frieze London (except Antarctica of course), from first-time exhibitor Hopkinson Mossman from Auckland, New Zealand, to repeat Frieze exhibitor, Beirut-based Sfeir-Semler. Contemporary African art is represented at Frieze at Johannesburg's Goodman Gallery with artists from the continent likeKudzanai Chiurai, Misheck Masamvu and others, while satellite fair 1:54 Contemporary African Art Fair (October 15-18) further expands the market for art from Europe's southern neighbor, and deepens the conversation with FORUM, its series of talks and discussions. Collectors' tastes for international perspectives go beyond contemporary art, too. This year Frieze Masters (October 14-18) exhibitors draw from diverse international movements that diverge from the canonical Western narrative. As Clara M. Kim, curator of the Spotlight section of Frieze Masters, stated in a press release earlier this year, "In our globalized world, the gap between the mainstream and the periphery should be ever more bridged - creating complex, nuanced readings of art making and contributing to an expansive view of art histories from all corners of the globe." Spotlight's solo presentations of 20th century work will include artists Hyunki Park (Gallery Hyundai, Seoul), Tomie Ohtake (Galeria Nara
Roesler, S達o Paulo), Keiichi Tanaami (Nanzuka, Tokyo), and Jess (Anglim Gilbert Gallery, San Francisco), among others.
Indeed, it may be a great time to invest in the market for non-Western 20th century artwork. Arianne Levene Piper, a London-based art consultant who advises major collectors in Zurich, London, Stockholm and Dubai, spoke to us about the prevalence of Japanese Gutai and Korean Dansaekhwa monochrome works at Frieze Masters this year. "I think the growing international interest in these works is down to a number of factors which have affected the market," she says. "The fragility of the economy alongside the boom of the contemporary art market, as well as the very volatile careers of some of the young artists whose prices have reached record highs in the space of a few years, alongside the severe correction in certain sectors such as the Chinese, Indian and Middle Eastern art scenes, has led to collectors across the board becoming more discerning." These collectors, she asserts, are resisting the tendency to look for the "next young artist," instead looking to artists with longer careers "but whose works may have been overlooked." She points to similar trends in Italian art, as well as with works by the Zero Group, adding "I also think the Cobra movement is worth reconsidering when visiting Frieze this year."
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ARTnews US | Online 14 October 2015 MUV: 138,000
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Every October Frieze London delivers all sorts of extracurricular action around the city—openings, cocktails, dinners, and the like—but this year the scene feels particularly frenetic, with two grand new arrivals on the scene: Gagosian’s third and largest gallery in the capital, in Mayfair, and Damien Hirst’s Newport Street Gallery, which is to showcase his private collection. Ultimately, though, everyone is here for the fair, which opened to invited guests on Tuesday. Those VIPs took in work from 164 galleries from 27 countries, a sprawling sculpture park, and even an AirBnB-style pavilion where weary patrons could rest on mattresses under blankets printed with soothing messages like “Sleep with Me” or “I Touch You While You Sleep.” Dreamed up by the fourman art collective ÅYR and titled Comfort Zone, this odd space was one of Frieze’s special projects.
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Frieze is now in its 13th year, and the ambitions of its organizers have always been to create something weighty, something that transcends being a mere shopping event, the “Ikea for millionaires.” And indeed, wandering into the massive white pavilion in Regent’s Park, which looks like a cross between a wedding tent and an airport hangar, you might think you’d stumbled into something much more clever—the London biennale, maybe, if there were such a thing. Artists like Ellen Gallagher and Lawrence Weiner are sitting on panels with critics and art figures likeGuardian’s Adrian Searle, the Whitney’s Donna De Salvo and Tate Modern’s Mark Godfrey as they make pronouncements on the state of contemporary art. And more are on hand working the aisles, like Grayson Perry, Ryan Gander, and Cornelia Parker. Curators are not just milling about, they’ve actually designed spaces and exhibits with works that are not necessarily meant to be sold. There are funny conceptual gambits and a few multi-room installations of the kind you’d expect to see in Venice or Documenta. Artists like Anicka Yi and Tania Bruguera are giving lectures on such subjects as “Aesth-ethics: Art with Consequences.” !
! ! It’s all a strong example of how the art market—self-conscious about its own vulgarity, blushing at its own excess—has decided to take on the airs of academia. It doesn’t want to be just a market anymore. It’s not content to be mere entertainment. It wants gravitas, substance. It wants status, the kind of status money can’t buy but it’s going to try anyway, with a frankly impressive lineup of art talks, expert panels, and films that would inspire envy in the curatorial department of any kunsthaus in the world. This aspiration for intellectual heft has been creeping into top-echelon art fairs for years now, but nowhere has it become clearer than at Frieze 2015. “I think [the organizers] are trying to distinguish themselves a bit from the other art fairs. They’re taking a more considered, more curatorial approach,” said Maureen Paley, owner of the London gallery of the same name, whose stand was showing a new painting by David Salle. “The lines between art fairs and biennales are blurring,” said Mario Cader-Frech, a Miami collector. “The fairs are trying to become institutions, and then you go to Venice and most of the national pavilions are sponsored by galleries. The distinction is breaking down.” ! ! ! !
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! ! At heart, however, Frieze is still about buying and selling art. And if you don’t mind the perfumed crowds of tech billionaires and business titans, it can be marvelous fun. There are few places on earth with more fantastic paintings on sale in such a small area. At the stand operated by the New York and London gallery David Zwirner, you can sink into the luscious beauty of a Chris Ofili painting in black and flecks of yellow called Midnight Cocktail (2015). Turn around and you’ll see Kerry James Marshall’s painting of a woman painting her toenails, which, despite its garish colors and the woman’s smile, feels strangely bleak. At the stand of Mexico City gallery Kurimanzutto, the artist Abraham Cruzvillegas (whose Turbine Hall commission at Tate Modern also opened Tuesday) has papered over a corner with hundreds of pieces of consumer detritus—newspaper clippings, coupons, yogurt lids, bus tickets—that have been painted over with silver acrylic paint to create a work of glittering, delicate beauty. !
! ! At the fourth edition of Frieze Masters, a sister fair in a separate pavilion across Regent’s Park, its roughly 130 galleries are offering work primarily by Old Masters and modernists, with at least half a dozen stands selling pieces by the Argentine-born Italian postwar artist Lucio Fontana. The stand run jointly by Luhring Augustine of New York and Galería Franco Noero of Turin has six works by the Brazilian artist Tunga, who, being born in 1952, is on the younger end of artists at Frieze Masters, which has gradually welcomed in more contemporary work with each edition. His
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works include a great, sensual sweep of copper-wire hair being combed by a copper comb the size of a sofa, like a blingy version of a Claes Oldenburg. ! !
! ! Amid all the good, there is a surprising number of duds and retreads. Back over at Frieze, at the stand run by the London and Hong Kong gallery White Cube (they have shuttered their São Paulo location), there is a 2015 piece in pink neon by Tracey Emin that reads, “You Made Me Feel Beautiful Again!” It looks indistinguishable from work she was doing in the YBA days of the 1990s, but then some artists make a good business going in circles. And there are whole areas of contemporary art, whole mediums, that are almost completely absent from Frieze, as they are from so many fairs. Video and sound art get little play, and even photography doesn’t have much of a presence. Big-ticket artists making edgy, political work, from Kara Walker to Theaster Gates to Ai Weiwei, seem to be also almost completely missing. (I saw only one work by Ai Weiwei, and a pretty harmless one at that, a purple-painted model of a tree trunk called Iron Root,2015, at the stand run by Lisson Gallery.) !
! ! At the end of the day, Frieze would seem to be about painting. That’s not a bad thing—there’s lots of good painting under the tent. But it’s in indication that no matter how much the organizers try to adopt the airs of a cultural institution, they know their market.
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Artinfo US | Online 16 October 2015 MUV: 82,489
LONDON — I don’t know what the actual acreage of Frieze is, but — even with map in hand — it’s not hard to get disorientated. One finds oneself slipping into a time warp, wandering for hours and then suddenly stumbling on a whole quadrant that seems quite unfamiliar. It is not unlike the Venice Biennale, except with price lists — and a few crucial differences.
Notably, for instance, there is not much film and video, an exception being a nice installation by Amie Siegel at Simon Preston, featuring a swan; the swan is black, as the image is negative. On the other hand, there is a lot of (fairly) old-fashioned painting and sculpture, which suits me well and presumably is what the market wants.
It was in fact sculpture that often caught my eye. Lisson has a massive tree root cast in iron and sprayed with purple car paint by Ai Weiwei, who is also all over the Royal Academy at the moment. Gary Webb’s compellingly wacky combinations of this and that — as if Claes Oldenburg and Anthony Caro had formed an improbable collaboration in the ’60s — look good both outside in the Sculpture Park, where “Dream Bathroom,” 2014, is installed, and indoors in The Approach Gallery’s stall. Tom Friedman’s witty “Cocktail Party,” at Stephen Friedman, is a life-sized figurative group containing many figures eerily similar to the Frieze visitors who are looking at them.
The Korean Do-Ho Suh is another artist who scores with — if not sculpture as Rodin knew it — work in 3D. Examples of his semi-transparent full-sized replicas of rooms and fittings such as a washbasin in colored polyester gauze are on view at both Lehmann Maupin and Victoria Miro. I loved these, but wasn’t so sure about Rachel Rose’s one-scale model of the Frieze tent itself (a Frieze project). Inside this, one can relax to canned music and colored lights. The claustrophobic might feel more at ease outside.
On a smaller scale, Hauser & Wirth have put together 42 table-topped sized sculptures by just about everyone from Paul McCarthy and Martin Creed to Louise Bourgeois and Phyllida Barlow. This is a useful reminder that sculpturally-speaking, small can be just as beautiful as big. Among the masses of paintings on show, I was taken by a group by Lynette Yiadom-Boakye — currently a bit of a favorite of mine — at Corvi-Mora. And also by “Tracy,” a big figurative canvas by Michael Borremans at Zeno X. Both Yiadom-Boakye and Borremans contrive to give a contemporary twist to an idiom that goes back to Manet and Velazquez.
Glenn Brown, given a monographic display by Gagosian, is an artist I can never decide if I truly like or not. This time around it was his sculptures, paradoxically seeming to be formed out of masses of thickly towelled oil paint, that caught my attention.
Gestural, doodle-y abstraction in an idiom that brings to mind Cy Twombly is given a fresh recycling by the Spanish painter Secundino Hernández at Victoria Miro. A more mystic variety of abstract painting is offered by Shirazeh Houshiary’s “The Last Gasp,” 1992, at Lehmann Maupin, almost all-black monochrome with just the faintest breath of grey in the center.
Both at Frieze and Frieze Masters one can observe the resurrection of the late John Hoyland (whose work is also featured in the first exhibition at the new Damien Hirst Gallery). Pace brought out a big, strong early Hoyland abstract — in a style of loosely painted color patches — which does indeed make one think he was a more important figure than he was considered in his later lifetime.
Frieze London 2015 runs through October 17 at Regent’s Park.
! Artinfo US | Online 14 October 2015 MUV: 82,489
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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
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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”
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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.
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TimeOut UK | Online 16 October 2015 MUV: 5,304,300
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Vogue Italy | Online 16 October 2015 MUV: 840,090
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Vogue Italy | Online 17 October 2015 MUV: 840,090
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Vanity Fair US | Online 14 October 2015 MUV: 3,761,197
Frieze Masters and Frieze London Various galleries London, England October 14 through 18 Frieze London and Frieze Masters take the U.K. capital by storm this week, combining forces to create an artistic mega-fair turned global attraction. Although they bear the same first name, the fairs are distinctly different, with London focusing on contemporary art and Masters featuring works from the ancient era to the end of the 20th century. There’s already buzz around upcoming artist Samara Scott’s water installation at Frieze Focus, Jon Rafman’s solo debut at the Zabludowicz Collection, which makes use of ball pits, water beds, and Oculus Rift, and the works at the English Gardens’ Sculpture Park. And if your looking to drop the big bucks, head over to Sotheby’s, where they are auctioning off works by Daniel Buren, Yayoi Kusama, Damien Hirst, Roy Lichtenstein, and more.
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Wallpaper* UK | Online 16 October 2015 MUV: 324,060
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The Korea Times UK | Online 18 October 2015 MUV: 610,020
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Harper’s Bazaar UK | Online 11 October 2015
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MUV: 89,460
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Harper’s Bazaar UK | Online 04 October 2015 MUV: 89,460
Link to the video:
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http://www.harpersbazaar.co.uk/culture-news/bazaar-art/the-extraordinary-world-of-art-navigating-afair
! Artsy US | Online 14 October 2015 MUV:!196,088
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 ofVictoria 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.”
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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. 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; anEdmund de Waal went to a French collection for €75,000; and aRaymond Hains to a European for €70,000. An above-sevenfigure 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.
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“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 photographerAnne 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.
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.”
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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.
“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 fromShangART’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.
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! Artsy US | Online 13 October 2015 MUV: 196,088
Visitors to Frieze London this week would be excused for missing the fair’s single biggest change to its 13th edition. With Matthew Slotover and Amanda Sharp stepping back from the fair side of their Frieze empire to focus on other parts of the business, Victoria Siddall, who helped launched Frieze Masters in 2012, now directs all three Frieze fairs.!
Several notable changes and additions are in store for visitors to Frieze London and Frieze Masters this week, at least in part thanks to Siddall’s influence. A new curator, Clara Kim, leads Frieze Masters’s Spotlight section, where participating galleries focus on a single artist from the 20th century. Sir Norman Rosenthal launches a new section at Masters, titled Collections and aimed at expanding the fair outside of a strictly fine art context. And, a new publication, Frieze Week Magazine, guides collectors and enthusiasts alike through the fray.
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Artsy caught up with Siddall as dealers began setting up their stands to hear more about those changes, the growth of the London art scene, and how Frieze is evolving along with—and in some cases in anticipation of—major market shifts. Alexander Forbes: Has directing both fairs in London, as well as Frieze New York, allowed for any increased perspective or for adjustments to be made to unify, or for that matter, differentiate the three? Victoria Siddall: Having an overview of all three fairs really helps to improve the others. Knowing what it takes to do a fair in London versus New York, even just working with different architects on each fair, you learn something new every time. Frieze London now looks better than it ever has. And a big part of that was incorporating things that we had learned from doing Frieze New York and Frieze Masters, and beginning to work with Universal Design Studio to make major changes to the layout in London last year. At Frieze New York this year, we brought in a set of galleries who have only traditionally participated in Frieze Masters, like Acquavella, Skarstedt, and McKee Gallery. We had Picassos and Dubuffets in the fair for the first time. That came both out of developing relationships with those galleries at Frieze Masters and seeing that there was a demand for that kind of work in New York. It was slightly experimental but it ended up going really well. And a couple of Dubuffets actually sold at the fair. AF: There’s a lot of chatter in the art world at the moment around the cooling of the emerging, or at least the very young emerging, segment of the market. How, if at all, do you react to that as a fair? VS: The important thing is to present the best young and emerging galleries and artists in the fair. For Focus, we have two curators working with us year–round to make sure we have the right artists and galleries represented, Jacob Proctor from the University of Chicago and Raphael Gygax from the Migros Museum. From many, many applications they help the committee select the galleries and artists who eventually show in Focus. It is a challenge, but we strive to present a selection of edited highlights that also reflects a certain geographical diversity and range of work being presented. I think it makes us one of the best places in the world to discover emerging artists.
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One thing that we’ve really encouraged the past two years is for galleries to present ambitious performance and participatory works. We introduced the Live section last year, which is also advised by Proctor and Gygax. It’s free space for the galleries to show this kind of work. If a gallery is among the six that we select, then they don’t pay for any stand. So for example, Ken Kagami, who’s being shown by Misako & Rosen, will be doing portraits of visitors throughout the fair. They’re quite unexpected. There’s also the recreation of a seminal work by Tunga, a Brazilian artist who started this work in the ’70s called Siamese Hair Twins. They are young twin girls who are joined together by their hair and will be walking around the fair. It should be a wonderful, ethereal sight. It’s something that we started with Frieze Projects, but we’re encouraging it even further with Live, trying to help create a more commercial platform for that kind of work. And giving the space free of charge helps the six galleries selected take that step to show performance.
AF: One thing that impressed us when polling galleries over the past weeks is a quite positive shift in the balance of female artists and geographical distribution being presented. Has there been an active curatorial effort on your part to even the gender distribution and increase diversity? VS: I think it’s a combination. I hope, optimistically, that the art world is becoming more balanced in that way. Much of it is run by women, after all, including this fair. But with Frieze Masters, from the beginning, it was something that was very important but also very challenging when you’re talking about Old Masters and 20th–century art. There weren’t as many women making art then. The Spotlight section was key in that regard, giving the opportunity to show solo presentations of 20th–century artists who may have been overlooked or were from different geographies. But we’re always striving for there to be a 50/50 split, which is quite unusual and reflective of an active desire to present things in a balanced way. At Frieze Masters this year, we have three solo presentations of African–American artists: Sam Gilliam, Jack Whitten, and Melvin Edwards. Certain U.S. museums have been showing these artists’ work, but they haven’t gotten all that much exposure in Europe. I think they’ll prove to be a great discovery for many who are coming to the fair from this part of the world. Two of the African– !
American artists’ solo presentations are in Spotlight, which also includes pop artists from Japan and Eastern Europe. It’s high time to do that. A lot of these artists will be discovered by people visiting the Tate’s “World Goes Pop” exhibition, but it’s nice to give them a commercial platform, too.
AF: The new Collections section at Frieze Masters, curated by Sir Norman Rosenthal, is a particularly interesting addition this year, offering a selection of work previously unseen at Masters—like Egyptian carvings and Paleolithic stones. What drove its development? VS: We have a lot of curated sections at our fairs, but they’re often focused on young or emerging art. I was keen to introduce a curated section for historical art, but it couldn’t be a solo presentation of an Old Master because no one has that amount of work by one artist. We also wanted to show people the different ways that you can collect. It doesn’t have to be paintings, and it doesn’t have to be sculpture. These are exquisite collections that dealers have put together themselves. And often it’s their private passion rather than their business. For example, Daniel Blau typically deals in photography, but in Collections, he’s showing his personal collection of fish hooks from the Pacific Islands, some of which are thousands of years old. They’re incredibly beautiful. It really adds to the diversity of work that you find in the fair and opens perspectives of what you can collect. Norman was an obvious choice when we thought of who to work with: he has such broad interests and is quite good at convincing people to do things. His vision for the section is eight presentations that could each be the beginning of a museum exhibition. It’s a different kind of discovery on offer there. Even though most of the work on view was made hundreds, if not thousands of years ago, most people won’t have come across it before. There will be something to learn, talk to dealers about, and maybe start collecting. AF: Of course a lot of it could be bluster, but as confidence in the continued growth of the market seems to have tapered off in recent months, it seems particularly important to open up ideas around what a collection can look like and how we can make that process more accessible to people who haven’t necessarily collected in the past. !
VS: Absolutely. And it’s not just with Collections that we’re addressing that. People tend to read about auction prices and get scared off by what they assume art costs. But actually, there’s a huge range of prices for works shown across the fair, starting with Allied Editions, which is a free space for the London nonprofit to sell their artist editions, which start at £50. Then you have Focus, with work for a few thousand pounds, and Collections, again, where you can buy historical pieces for a few thousand pounds. And then, of course, it goes up to the millions. But I think it is important to get the message across that there are many different ways you can collect, that it’s not just for the super high-echelon, very wealthy group of people. AF: Frieze was fairly prescient of the shifting market when adding Masters in 2012. Now we’re seeing the secondary market take a similar approach of combining eras and genres in single sales. Do you have any sense of a leading factor among collectors that’s driving this trend? VS: I think what drives it, if anything, is a quest to find works of great quality. If they are fantastic works, it doesn’t really matter when they were made; they can all belong in the same collection. It’s something we see more and more of in museums—that things are not just separated by when they were created but are mixed together and juxtaposed in interesting ways. It’s something that artists are interested in as well. When you talk to a painter about what their inspirations and references are, quite often it’s Goya rather than someone working at the same time as them. These things all cycle together. AF: A lot has changed since you attended Frieze’s first edition. Sales in 2003 reportedly tallied £20 million. Now, it wouldn’t be entirely surprising to have a single work sell for that sum at the fair. Aside from the launch of Frieze Masters and Frieze New York, what would you say have been the most prominent developments for the fair? VS: I think it’s a combination of many things. It’s understanding that we need to keep striving to make things new and fresh and improve every year, especially with a calendar, which is very crowded— there is so much to choose from. But I think it’s also partly the cities that we’re in. London has changed so much since 2003. It’s become a really serious art capital and a place that people come to from all over the world. It’s become a much wealthier city than it was. And there are so many galleries; the city almost rivals New York now in its number of galleries. There’s a tremendously thriving and exciting art world in London, as there is in New York too, which made New York the obvious choice of where to do the second fair.
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Financial Times UK | Print 13 October 2015 Circulation: 206,813
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International New York Times Int’l | Print 14 October 2015 Circulation: 295,288
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The Art Newspaper UK | Print 14 October 2015 Circulation: 23,000
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The Guardian UK |Online 14 October 2015 MUV: 76,718,940
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AnOther Magazine USA | Online 14 October 2015 MUV: 135,780