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HIGHLIGHTS!FAIR!WEEK!!

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Financial Times UK |Print

14 October 2015 Circulation: 206,813

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Financial Times UK | Print


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!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 20th-

century 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

13 October 2015 MUV: 1,631,672

A purer form of connoisseurship — for pleasure, not profit — is on the rebound.

I was once invited to a party at the New York apartment belonging to the philanthropists Shelby White and Leon Levy. Who was there hardly matters, but what I will never forget is the mile-long entrance hall lined with ancient Roman busts and statues. And it wasn’t just the hallway: The entire place resembled nothing more than the antiquities gallery at the Metropolitan Museum (where, actually, most of their collection now resides). That night, along with the champagne and quail eggs, our hosts had kindly laid on something else that could have been borrowed from a museum: a real live scholar, their own private curator, should any of their guests have wished to learn more about the astonishing objects on view.

Seeing this, I was transported back to my visit to the three connected Georgian London townhouses-turned-museum that belonged to Sir John Soane, the famous English Regency architect. Soane spent a lifetime accumulating (among other things) 17th-century prints, medieval masonry and Egyptian antiquities. Eccentric and deeply personal, the works of art contained in his houses aren’t just fascinating — they are truly one man’s autobiography.

It’s easy to assume, looking at Soane’s collection, that he possessed a great fortune. He didn’t. What he had instead was a deep and abiding sense of passion, a hunger for knowledge and an infallible eye for quality. Together, these qualities — not money — are what define a true connoisseur.

A connoisseur, in the old sense of the term, was less a shopper than a historian. To collect meant to connect yourself to the myriad of civilizations that preceded your own; accumulating objects was a way of placing yourself in a historical continuum, of assuming temporary ownership of something that once belonged to someone

else and, after your death, would belong to someone else still. It was an act of humility: It meant educating yourself about a tradition, while also realizing that your education would never be complete. Assuming the mantle of stewardship. Realizing that, despite your best efforts, you would never know enough. Understanding that the object of your passion — silver

!More than money or a grand education, connoisseurship calls for passion. The late art critic David Sylvester had an exquisite collection of Asian art (including these 11th-century sandstone fragments) — but no formal art history training. Credit Derry Moore !

!A true collector’s interests are diverse and idiosyncratic — and his quest for them obsessive. In Yves Saint Laurent’s Paris home on the rue de Babylone, a collection of bronze and ivory sculptures and an African mask. Credit Francois Halard !

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or maiolica or tapestries — might never be understood or appreciated by anyone else. (It meant not caring about other people’s opinions.) It meant devotion. It meant obsession.

And as often, collecting was a private pursuit, along with a lifelong one. You spent 20 or 30 years, more, searching for and buying — and, let’s not forget, maintaining — art or objets. And those art or objets weren’t merely for display, necessarily: Think of Yves Saint Laurent and Pierre Bergé’s houses in Normandy, in Paris, in Tangier, in Marrakesh. All were filled with exquisite pieces — Old Master paintings, textiles and one of the finest assemblages of Art Deco furniture in the world. None of these, however, were acquired to dazzle — they were acquired purely for the satisfaction that they brought their owners. Whatever the object of your passion, it demanded that you become a scholar, a devotee of your things. Collecting might have been pleasurable, but its pleasures often resembled something closer to work. The joy of connoisseurship was its privacy and, as importantly, its rigor — it may have required you to become a scholar, but that was also its benefit; anyone, from the expensively and extensively educated to the less-so, could immerse themselves in history. Anyone could find themselves part of a long artistic tradition. All you needed was time, a little money — and a sense of dedication.

TODAY, THAT DEFINITION of connoisseurship — both its demands and delights — hasn’t changed. What has changed is that we no longer collect as we once did. Today — blame a pace of life sped up by technology; blame a money-obsessed culture — people buy art and objets for very different reasons.

‘‘At first sight there appears to have been a great renaissance of the collecting urge, both public and private, since the Second World War,’’ says Eugene Victor Thaw, the scholar, collector and fine-art dealer, who has accumulated what is universally recognized as one of the world’s finest collections of Old Master drawings (all destined to be given to the Morgan Library & Museum). ‘‘However, if we inspect this seemingly civilized phenomenon more closely, we will see that there has actually been a gradual shift of emphasis away from collecting art toward the very different activity of investing in it’’ — an impulse, needless to say, that would have been incomprehensible to people like Soane, or Isabella Stewart Gardner, or J.P. Morgan, or Albert Barnes.

‘‘We used to see people collecting over a lifetime with a depth of different interests and connoisseurship that one rarely, if ever, sees now,’’ adds David Roche, a senior consultant in the American Indian art department at Sotheby’s. ‘‘Today people collect in a much more limited way, far more quickly, and tend to concentrate primarily on contemporary art.’’ Now,

The writer Umberto Pasti’s groupings of shells, Islamic ceramics and Roman antiquities in his Milan apartment.Credit Simon Watson !

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few have the patience, the humility, for collecting slowly: The goal instead is instant gratification, and instant bragging rights. The aim is to get something of identifiable worth before anyone else does, and mount it quickly on the wall, and show it off as fast as possible. It is art as commodity, but it is also time as commodity. Owning and displaying contemporary art — well-known contemporary art, one might clarify, the more recognizably expensive, the better — has become a shorthand for who we want to seem to be, an announcement of our place in the social order. Today, one owns art to inspire emotions — shock, awe, envy — in others, to remind one’s guests that you have something they don’t; it is, unlike connoisseurship, an essentially public act, a performance.

Yet that doesn’t mean connoisseurship as we once understood it is dead — it’s just gone underground, somewhat. And the tide possibly seems to be turning; a reminder that as sterling an investment as contemporary art might appear, it is — like all investments — not without risk. Why not return, then, to the exhausting and exhilarating pleasures of collecting as it once was?

For evidence, look at Norman Rosenthal, a former exhibitions secretary at the Royal Academy of Arts in London, whose new Collections section at London’s Frieze Masters fair featured eight dealers representing works in fields recently eclipsed by the tsunami of contemporary art: Japanese netsuke, ancient Egyptian wood sculpture and Italian Renaissance ceramics among them. There’s also the recent two-week showcase of pieces — ranging from antiquities to 19th-century objets — mounted in New York by a group of four of Europe’s most distinguished antiquities dealers, all of whom are frustrated by the feverish climate of the contemporary art market.

‘‘If you are looking for value, you may need the confidence to buy against the prevailing fashion,’’ says Hugo Nathan of Beaumont Nathan, a London-based art brokerage and advisory company, who advises his clients to collect what other people are ignoring. As an example, Nathan — who adds that you should always go for the top-quality pieces in whatever field you choose — points to the early works of Edouard Vuillard, which can be bought for between $100,000 and $150,000, or works by the Northern Romantic School (artists like the Norwegian Johan Christian Dahl), which fetch around $20,000 to $80,000. He’s also particularly keen on Renaissance bronze portrait medallions, which tend to sell for between $1,000 and $10,000. (To put these prices in perspective, Jeff Koons’s top auction price is $58 million, and Gerhard Richter’s is $46 million.) ‘‘Some prices seem to have ballooned to a disproportionate level in the contemporary art market,’’ Nathan says.

He’s right, of course. Ars longa, vita brevis: Life is fleeting, art is eternal. But how eternal is the art being collected today if the people collecting it know little of the traditions that inspired it, or see it only as a commodity to be sold when its novelty fades? Connoisseurship cares nothing of novelty: It cares about preserving history. And that’s the way it should be. Art depends on its stewards, on people to treasure it. Without them, it’s only stuff.

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!Bloomberg


MUV: 17,523,885

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Neue Zürcher Zeitung Switzerland | Print


Le Figaro France | Online 15 October 2015

MUV: 14, 973,900

Handelsblatt Germany | Print


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Le Monde France | Print


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Les Echos France | Print


Les Echos France | Online 15 October 2015

MUV: 3,008,580

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The Art Newspaper UK | Print 13 October 2015

Circulation: 23,000

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The Art Newspaper UK | Print


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Apollo UK |Online

14 October 2015 MUV: 30,810

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Antiques Trade Gazette UK |Online

19 October 2015 MUV: 20,070

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!Artnet

US | Online 16 October 2015 MUV: 1,250,000

Frieze Masters has built on its momentum each year and now, in its fourth edition the fair's identity seems stronger and more confident, as do the sales with Bridget Riley leading the sales at this halfway point in the proceedings. Although there was much audible discussion of sales, many galleries were tight-lipped about whether they had sold anything at all, let alone confirming what works had sold for. In terms of trends, not only did Frieze Masters see many more highly curated booths, but it also saw many contemporary and classical galleries teaming up—with great results. There was a huge amount of fuss surrounding the Entwistle stand—who brought mostly tribal works—on preview day, sell ing Group of Masks for €195,000 ($221,606), Malian Dance Crest for €55,000 ($62,498) and their star piece, Djene terracotta figure, sold for an undisclosed sum. The stand was crammed at the start of preview, which goes to prove that the rumored growth in the African art market is more than just an industry whisper. Milan based Cardi Gallery also got two great sales on preview day, sellingWeiße Spirale by Günther Uecker for €2 mill ion and an undisclosed Enrico Castellani for €600,000 ($681,798).

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Dealers were in agreement that buyers are more confident this year, and are faster to jump in and buy rather than simply look at the wide array of works on display. Almine Rech Gallery sold three bright Perspex sculptural works by DeWain Valentine for between $300,000 and $450,000. The uplifting works really stood out from everything else at the fair, if only for being so visually different. Although the cut-off point for Frieze Masters is the year 2000, much of the work well predates. This year there seemed to be a number of l iving artists from Frank Auerbach to Carmen Herrera. Bridget Riley also sold incredibly well.

David Zwirner sold Bridget Riley's dreamy Vapour 3 (2009/1970) for an equally dreamy $1.4 Mill ion. Karsten Schubert were also rumoured to have sold an entire stand of Bridget Riley works, although—despite the highly relaxed atmosphere at the stand—this was unconfirmed. Tomasso Brothers Fine Art, however, confirmed selling Roman, 2nd Century AD Marble head of Dionysus (2nd century AD) for around £500,000 ($772,824).

Arte Povera has been big again this year so it's not surprising to know that Skarstedt sold a camouflage Alighiero Boetti, 841/ Beige Sahara (1967) for $500,000 and they also found a new home for Albert Oehlen'sUntitled (1991) for $700,000. !

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Stephen Friedman, who was showing in the spotlight section for solo presentations, sold two works by Melvin Edward: a large sculptureUntitled (1970) for $300,000, and a work on paper, for $25,000. David Kordansky sold a range of Sam Gilliam works, fetching prices ranging from $225,000 to $500,000. Also in the preview section were Japanese Gallery Nanzuka who sold six collages and two silk screens ranging from $15,000 – $20,000 each byKeiichi Tanaami, famous for providing the bright, trippy artwork for Welsh pop band Super Furry Animals.

Along with the discussions of Arte Povera and Italian Spatialism works, there has been much talk about Korean artists as well, which paid off for Dominique Levy who sold a Chung Sang-hwa work, 87-12-7 (1987), for $540,000. Wienerroither & Kohlbacher sold two of the lovely Egon Schiele drawings they had on display and shared a range of from $200,000- $500,000 for the selling price. In addition, there were many sellers of rare books and works on paper including Andrew Edmunds and Daniel Crouch. Crouch reported sales of two maps with Will iem Blaeu's Wall Map (1646) selling for £400,000 ($618,282) and a Richard Harwood Map of London (1799) selling for £40,000 ($61,825). Of the highly curated booths, Richard Feign reported sales from their classical to modern presentation with a Ray Johnson going for $35,000 and a James Rosenquist for $75,000. Helly Nahmad had clearly sold some of the Art Brut works they had on display, although prices were not openly discussed. Hauser & Wirth confirmed the placing of major works in collections in Europe and South America. Highlights were a gold porcelain sculpture byLouise Bourgeois; a 1937 Francis Picabia painting; a Marlene Dumas work on paper; a Fausto Melotti from his Teatrini series; and multiple drawings by Alberto Giacometti and Henry Moore, according to a statement from the gallery. For more on Frieze Week, see our Top 10 Booths at Frieze London 2015,Top booths at Frieze Masters, and What Sold on Day One at Frieze London 2015. Also, see photos from Ken Kagami's saucy fair intervention, Amalia Ulman Strips Visitors of Shoes and Phones At Frieze London and Take Our Instagram Tour of Frieze London 2015. For gallery shows during Frieze week, see our Must-See Art Guide: London

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!Artsy


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Documenta 14 artistic director Adam Szymczyk has been a prominent face around the art fair circuit this year, as preparations for his 2017 edition of the quinquennial exhibition kick into top gear. In London on Thursday, Szymczyk wasn’t spotted scoping emerging talent at Frieze London’s Focus section but rather a 14th-century B.C. Egyptian cosmetic spoon at Sycomore Ancient Art’s stand at Frieze Masters.

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Antiquity dealers aren’t what the masses have come to expect from Frieze, which is most known as a stage for knighting the next generation of blue–chip art stars. But this year, director Victoria Siddall has a surprise in store for visitors to Masters. Collections, a new section of eight booths curated by Sir Norman Rosenthal—whose illustrious CV includes shows such as “Sensation: Young British Artists from the Saatchi Collection” in 1997, “Monet in the 20th Century” in 1999, and “Aztecs” in 2002—highlights pieces that fall mostly outside the realm of fine art proper, each conceived as a stepping off point for a museum exhibition. “People are really attracted by the idea,” says Sycomore’s Anna Zielinski of the new section. “A lot of people came who are interesting crossovers—people who are not in the antiquities business at all, people who are collecting or dealing contemporary art.” Indeed, this was precisely the point in Siddall’s conception of the fair’s new addition: bring in collectors of other categories who may venture out into the art market, and expose art collectors to new things that might whet their appetites for acquisition.

Alongside the bijou cosmetic spoon (price: €300,000), Sycomore shows a wide selection of ancient Egyptian sculpture, all made from wood. “It’s really the first time someone is showing only ancient Egyptian wooden sculptures,” says Zielinski. “It took quite some time to bring together all the different

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pieces. We had some in our stock, but it’s really rare to see something like this.” The star of the booth is an exceedingly rare piece,High Ranking Official Standing on a Base in a Striding Position (circa 2550–2500 B.C.). Its price was undisclosed, though Zielinski did hint, “I had one viewer who pointed to that sculpture and said ‘Oh, it’s like aGiacometti.’ And I said, ‘Well, it’s one-tenth the price.’” (Other pieces on view can be had for as little as €15,000.)

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Just across the aisle, Bazaart shows a selection of Renaissance Italian majolica. “For a ceramic dealer, it’s always good to show in a different context. It is a very narrow field,” said Camille Leprince, circulating the stand. “There are maybe a dozen dealers in the world. Business can be very quick because we can look at things and know what it is immediately. But it’s very nice to show this kind of work to people who are not accustomed to seeing things like it.” The booth is split into three main threads. One wall features “the best ceramic painters from Urbino,” according to Leprince, including one plaque priced at £280,000, which recreates a drawing by Raphael. Another features a “princely credenza” replete with both decorative and functional objects. “It’s a show-off display that would have been in a palazzo,” says Leprince. “What’s fascinating is that these are the original colors. When you look at an Old Master painting, you can never see the color as it was when it was created. With these, because they were fired, it never changes,” he adds. Notably, though he says “all the pieces are museum quality,” there are no vitrines in sight. It’s a feature across Collections that creates a distinct level of intimacy with these ancient objects and was the result of Sir Rosenthal’s influence, according to several dealers.

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Tribal art also gets its due in Collections, courtesy of Bernard de Grunne, who shows eight wood sculptures from the Dayak tribe, meant to protect villages from evil spirits. The pieces on view range from the 13th–19th centuries in age and from £50,000–100,000 in price. De Grunne says Sir Rosenthal spotted the presentation at this past March’s TEFAF in Maastricht and was quick to ask him to participate at Frieze Masters. “Between Victoria’s wonderful idea, Norman’s savoir-faire, and my great skill at acquiring

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interesting things, it’s not bad at all,” a humble de Grunne says of the presentation. “You have 3,000 years of tradition of sculpting in wood from this tribe. And this is the first time that anyone has shown eight of these statues in any kind of fair or any museum for that matter,” adds the dealer. Perhaps the greatest highlight of collections, however, is German dealerDaniel Blau’s presentation of fish hooks from the Pacific Islands. “He’s been collecting them for the last 25 or 30 years,” said the gallery’s Gita Cooper-van Ingen of the dealer’s obsession with the objects. All told, around 150 fish hooks are presented in two vitrines, most of which are from the 18th and 19th centuries. “The cutoff point is when metal was introduced to the islands, which massively changed the production and tradition of these as survival tools,” explains Cooper-van Ingen. “The fishermen made them themselves, and each corresponds to a different type of fish and a technique of how to catch that fish.”

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One particularly interesting piece was retrofitted from an ivory toothbrush whose handle-turned lure reads “Made in England.” For the keen collector, it’s all or nothing here, however; Blau will only sell the collection intact. “It took 30 years to put together, it would be a shame to take it all apart now,” Cooper-van Ingen remarks. Appropriately for Collections’ long–term goals, Blau, who traditionally deals in photography, also shows works by David Bailey on the booth’s walls. “We wanted to highlight the variation between what a dealer might collect personally and what he deals in,” says Cooper-van Ingen. The contrast is a welcome one in an ever-more-homogenous art fair landscape, and one that will, ideally, continue to trickle down to everything from private collections to major exhibitions in the years to come.

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!Artsy


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If Frieze London trades in furious hype and dense crowds, then Frieze Masters thrives in relative quietude. By close of play Thursday, a steady stream of sales had trickled through, making the fair both a potentially

lucrative and more civilized alternative to its contemporary cousin, and to the European Art Fair TEFAF in Maastricht, one of its closest competitors.

Gallerists praised the relatively short duration of Frieze Masters—it is five days long, as opposed to TEFAF’s 10—and the fact that it is fairly contained, with around 130 exhibitors compared to Maastricht’s 274. Add a

thriving events program, a tent setting replete with natural light, and its central location, and it’s no wonder so many galleries have raised their game, from the eccentric set design of Helly Nahmad to the cubist cornucopia

at Dickinson.

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“We got off to a good start,” said Sperone Westwater cofounder Angela Westwater, who sold a $300,000 Joseph Kosuth at the fair’s preview on Tuesday, followed by a 1993 Richard Long work for

$40,000. The stand has proved popular among institutions, with visitors including Tatedirector Nicholas Serota, National Portrait Gallery director Nicholas Cullinan, and Hervé Chandes, director of Fondation Cartier

pour l’art contemporain. “The audience here is growing, there’s an increasing number of collectors,” explained Westwater. “To begin with, people didn’t quite understand whether the fair was about Old Masters, or something else. But it’s high-quality vintage works.” She also praised this year’s move to hold the previews

of both Frieze London and Frieze Masters at the same time, rather than stagger them. “It’s made a big difference,” she said.

Paula Cooper’s director Steven Henry echoed the sentiment. “It’s been more active than last year—more traffic, more Americans,” he said. “The collectors have been very responsive. The openings no longer being

one after the other means that people frustrated by the crowds at the bigger fair could come here.”

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He said that aside from Chinese-Indonesian entrepreneur Budi Tek, Asian buyers had been less prominent, but still confirmed several transactions: a $700,000 bipartite steel sculpture Sioux (1968) by abstract expressionist

Mark Di Suvero; Jackie Windsor’s Small Double Circle(1969) for $250,000; a number of Sol LeWitt circle and grid pieces for up to $130,000; and an untitled 1977 work by sculptor Joel Shapiro for $125,000.

Purchasers were undisclosed, although the Windsor will ultimately be gifted to a museum. !

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Mayor Gallery sold four out of the six pieces by Polish artist Wojciech Fangor on display in its minimalist booth for up to $300,000 each. The largest was the 1961 oil-on-canvas Green Rhomb, which shows a diamond

with hazy edges that bleed into a white ground. “It’s a great debut for us,” said gallery manager Christine Hourdé.

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Older work also performed well. Tomasso Brothers, who had a joint stand with Karsten Schubert, sold a white marble head of Dionysius at the preview for around $775,000. Tom Rowland, Karsten Schubert’s director,

praised the benefits of moving up in scale and his stand’s increased prominence each year. An overnight report in the New York Times suggested he had also done brisk business—selling seven of his 1968

to 1972 Bridget Riley gouaches for between $124,000 and $186,000. Dickinson reported having sold six works by Thursday evening. The dealer declined to specify which, but red dots decorated labels beside Henri Hayden’s $680,000 oil piece, Nature morte à la bouteille de bass et à l’as de trèfle (1919); the same artist’s $132,000 painting, Vue d’un Village(1921); and a $15,500 wooden Liberian mask. The gallery additionally reported to fair officials midweek that it had sold a 1918 Gino Severini portrait

of Léonce Rosenberg for $457,000.

Other galleries that enjoyed a delayed surge in activity includedLuxembourg & Dayan, which moved two of its Raymond Hains matchbook pieces for $80,000 and $90,000, and London’s Almine Rech, which found a

buyer for a $400,000 piece by U.S. minimalist sculptor DeWain Valentine, Circle Blue (1972). CARDI GALLERY also enjoyed a strong showing, shifting work at the preview by German sculptor Günther Uecker

and Italian painter Enrico Castellani for $2.3 million and $684,000 respectively.

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Indeed, the fair seemed to be performing quite consistently throughout the week—despite it being a more sedentary affair than the elbow-jogging scrum across the park, and some early anxieties about thrift. New

York’sAnthony Meier Fine Arts transacted on a significant Richard Serra canvas at the preview, as well as pieces by Sigmar Polke and an Agnes Martindrawing. (A six-figure Yayoi Kusama work from the Donald

Judd Estate remained unsold at the time of writing.)

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Hauser & Wirth also benefited from its joint stand—in this case, with Moretti Fine Art —placing “several significant works in major private collections throughout Europe and South America,” according to the

gallery. This included objects by Louise Bourgeois, Marlene Dumas,Henry Moore, and drawings by Alberto Giacometti.

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!ARTnews


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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 four-man 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.”

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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.

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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.

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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.)

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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


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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Time Out UK | Online

12 October 2015 MUV: 5,304,300

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Vogue Italy | Online

13 October 2015 MUV: 840,090

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Wallpaper* UK | Online

16 October 2015 MUV: 324,060

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!Forbes


MUV: 44,082,753

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!Forbes


MUV: 44,082,753

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The Korea Times UK | Online

18 October 2015 MUV: 610,020

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Link to the video:

http://www.harpersbazaar.co.uk/culture-news/bazaar-art/the-extraordinary-world-of-art-navigating-a-fair

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Harper’s Bazaar UK | Online

04 October 2015 MUV: 89,460

http://www.harpersbazaar.co.uk/culture-news/bazaar-art/the-extraordinary-world-of-art-navigating-a-fair

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Harper’s Bazaar UK | Online

12 October 2015 MUV: 89,460

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!Artsy


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–

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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.

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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.

Phaidon UK | Online

October 2015 MUV: 67,140

Hunger TV UK | Online

14 October 2015 MUV: 67,440

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