NEW YORK – A rainy forecast won’t keep the crowds away from Frieze New York, which occupies its tent on Randall’s Island for its third edition from May 8–12. The preview gets underway May 7th, when VIPs will arrive in BMW-provided courtesy cars with Frieze’s curated audio projects playing on the sound system. Others may have reserved a spot in Marie Lorenz’s Tide and Current Taxi, a rowboat that affords fairgoers an intimate view of the shoreline. When you arrive, you’ll encounter various site-specific projects including an immersive playground-like installation by Czech artist Eva Kotátková, and inside, the main event: 190 international exhibitors. Come for the addictive Momofuku Milk Bar pie, stay for the art. Herewith a roundup of highlights.
To the delight of her ardent admirers (and there are many), the 78-year-old pioneering video and performance artist has been chosen to represent the US at the next Venice Biennale (opening May 2015). If Jonas is unfamiliar to you, stop by the booth of London’s Wilkinson Gallery where works will focus on the artist’s career-long use of mirrors as a prop, medium and metaphor.
Portrait of artist Joan Jonas, New York, New York, 1996. (Photo by Chris Felver/Getty Images).
Haven’t you heard? Camille Henrot has been dubbed art world It Girl by the Wall Street Journal among others, and the 36-year-old’s work has already graced the cover of Artforum. But hype alone doesn’t earn a Silver Lion for most promising young artist at the last Venice Biennale, or a solo exhibition at New York’s New Museum (opening May 7). Paris gallery Kamel Mennour brings a selection of Henrot’s recent sculptures in bronze to Frieze.
Camille Henrot’s The transformation of Ogo into a fox (série "Desktop"), 2014.
Whitney Biennial crossover alert: with her multipart theatrical installation at Barbara Seiler of Zurich, the Los Angeles-based Shana Lutker continues to mine the history of the aesthetic arguments and fistfights between the Surrealists in Paris during the 1920s and 1930s.
Installation view of Protestation!, 2014 by Shana Lutker. Whitney Biennial 2014, Whitney Museum of American Art, New York, March 7- May 25, 2014. Collection of the artist; courtesy Susanne Vielmetter Los Angeles projects. Photograph by Bill Orcutt.
In September the Los Angeles dealer David Kordansky will open a splashy new 20,000-square-foot space designed by Kulapat Yantrasast’s firm wHY. His reach is also expanding beyond the young LA artists he started out showing nearly eleven years ago. At Frieze, he’s devoting his booth to 1960s and 1970s works by Sam Gilliam, the Washington, DC, based Color Field painter. His influence on a younger generation is far reaching; a year ago Rashid Johnson, who shows with Kordansky, curated a show of Gilliam’s Hard Edge paintings from the 1960s.
Sam Gilliam’s Bursting, 1972.
The Frieze Talks program is especially strong this year, with Oukwui Enwezor, the Artistic Director of the next Venice Biennale and composer and performance artist Jason Moran (May 9, 12:00), Act of Killing director Joshua Oppenheimer (May 12, 2:40pm), and a highly anticipated conversation between Nadya Tolokonnikova and Masha Alekhina of Pussy Riot with New Yorker editor in chief and Russia expert David Remnick (May 9 at 4:00pm). The talks are free and tickets can be reserved the day of the program – we suggest queuing up early.
Nadya Tolokonnikova and Masha Alekhina of Pussy Riot.
In an expanding art world – and market – it’s not surprising that dealers and collectors are looking with fresh eyes at artists who have been overlooked and undervalued. There’s a notable concentration of such “rediscovered” names at Frieze, among them Heidi Bucher, known for her haunting latex casts of architectural spaces and wearable sculptures. The late artist (she died in 1993) is the subject of a retrospective at the Swiss Institute in SoHo (through May 11), and at Frieze, London gallery The Approach has a selection of Bucher’s mixed-media works.
Heidi Bucher’s Lingerie, an undated textile and mixed-media work.
New York dealer Derek Eller devotes his entire booth to Karl Wirsum, the Chicago Imagist painter whose influences range from comic books to Japanese prints. Eller’s presentation of boldly colored drawings, paintings and sculptures from 1966 to 2014, amounts to the first substantial survey of Wirsum’s work in New York in two decades.
Karl Wirsum, Untitled Skater (Yellow Hair), 1976.
Also in the ‘what’s old may be new’ category: works by artists affiliated with the 1960s NO! art movement at Los Angeles gallery The Box; the work of Joav Barel, who was a major figure in the Israeli avant-garde of the 1960s and 1970s, on view at Tel Aviv’s Tempo Rubato; and works by the Japanese artist and Gutai group painter Sadamasa Motonaga, at McCaffrey Fine Art of New York.
Sadamasa Motonaga, Sakuhin, 1965.