Frieze New York has come to signal the beginning of the major spring sweep of art fairs, gallery and museum exhibitions, and major auctions. This year, our editors distill Frieze New York into 9 of our favorite moments – from solo presentations to individual works that left us inspired.
Andrea Rosen Gallery
One of the tiniest works of art on view, Mika Rottenberg’s, “Lips (Study #3),” 2016, is more than what meets the eye. Visible between the protruding lips is a 1 minute, 28 second video installation that requires viewers to lean in, within inches of the wall, to get a better look. In doing so, audiences unknowingly become a part of the visual experience themselves (get ready to pucker up).
On view at Acquavella Galleries were quintessential examples by modern and contemporary artists including James Rosenquist, Alexander Calder, Ed Ruscha and Wayne Thiebaud. A favorite moment in the booth was the visual conversation between Henry Moore’s “Reclining Figure No. 2” and Andy Warhol’s silver and gold “Dolly Parton,” 1985. Hello, Dolly!
Frith Street Gallery
British artist Cornelia Parker’s hanging suspensions are at once ethereal, mysterious, and haunting. Parker’s “A Side of England,” 1999, is comprised of chalk fragments collected from a cliff-fall at Beachy Head – a breathtaking overlook on the coast of East Sussex, England.
In what was truly a visual feast for Damien Hirst fanatics, Gagosian Gallery’s booth was devoted exclusively to classic examples of the artist’s best-known series. On offer were quintessentially Hirst examples including a vibrant spin and butterfly painting.
Marian Goodman Gallery
South African artist William Kentridge’s powerful solo presentation at Marian Goodman Gallery offered stunning examples of Kentridge’s signature ink drawings and paper cutouts. This spring marks a great moment for the artist, who recently unveiled a colossal mural – approximately the length of 5 football fields – along Rome’s Tiber River to mark the anniversary of the city’s founding.
Op Art at Massimo de Carlo and Mitchell-Innes & Nash
Spellbinding examples of Op art (optical art) were on offer this year at Frieze, including Julian Stanczak’s “Static Blue,” 1973, at Mitchell-Innes & Nash, which contrasted red and blue hues to create a visual vibration. Similarly, John Armleder’s stunning work at Massimo de Carlo combined rosy hues with silver tones to create a warm, radiating glow.
Betty Woodman’s stunning “Aeolian Pyramid,” 2001, was given pride of place in Salon 94’s booth at Frieze New York. The work is comprised of 44 glazed, flat earthenware vases of blush and yellow hues. Woodman is widely known as one of the foremost ceramic artists of her time.
Sean Kelly Gallery
Meanwhile, Sean Kelly Gallery offered beautiful conversations between two- and three-dimensional works, including Antony Gormley’s “DAZE II,” 2014 and Jose Dávila’s “Untitled,” 2014. Another perfect pairing at the booth was Callum Innes’ “Untitled Painting No. 15,” 2013, installed next to Jose Dávila’s “Homage to the Square,” 2016.
Sikkema Jenkins & Co.
In a booth dedicated to (mostly) recent work by Brazilian photographer Vik Muniz, our editors were fascinated by Muniz’s new look at Rouen Cathedral, a homage to Claude Monet’s extensive exploration of the same subject matter in the late 19th century.