Image above: ©Sakshi Parikh.
Maybe it is getting used to the size and location of this massive art bazaar now in its fourth year, but it seems to be getting smoother and more user friendly. And getting there is relatively painless thanks to shuttle buses from the Guggenheim and ferries from 34th Street. There is a festive feeling upon arrival at Randall’s Island and seeing the white tents on the grassy grounds; with the superstructures of bridges overhead and Manhattan across the East River. It feels like going to a circus, which it sort of is.
Image by Paul McLaren.
There is so much diverse art being shown among the almost 200 galleries. There is much that is interactive. Flux-Labyrinth involves walking through a maze. At Gavin Brown’s enterprise visitors are paid $20 to paint a black dot on a stretched canvas which then goes up and forms part of a grid of black dots covering all of the walls of the booth by Jonathan Horowitz’ “700 Dots”. Visitors wearing brightly colored ponchos by Pia Camil which are given out free to those who are in the right place at the right time are asked to wear them throughout their visit to the show. There are massage chairs covered in brightly colored canvas painted by Korakrit Arunanondchai placed in open spaces where visitors may relax in plain sight. Numerous sound installations are also part of the mix.
Installation view of Lokal_30 with works by Natalia LL. (Image by Sakshi Parikh)
Image by Sakshi Parikh.
There are many of the usual cutting edge suspects such as Gagosian showing Richard Prince’s series based on actual selfies on twitter accounts, Salon 94 showing Laurie Simmons’ new work, Paul Kasmin showing Tina Barney, Lehman Maupin (Kader Attia), and the like. New to the show this year are Matthew Marks, McKee, Blum & Poe and some more traditional New York galleries like Pace (Richard Tuttle) and Acquavella.
Jonathan Horowitz’s 700 Dots project at Gavin Brown’s Enterprise for Frieze New York 2015. (Image by Paul McLaren)
Of the international galleries which caught my attention, were Goodman Gallery from South Africa which showed a dramatic piece by Broomberg & Chanarin as well as William Kentridge, Galerie Hyundai had a wonderful stable of Korean artists. In fact the Korean and Brazilian artists made a big impression. Seung-Taek Lee’s work at Motinternational was a revelation to me.
©Adam Broomberg & Oliver Chanarin,, The revolutionary, Shtik Fleisch Mit Tzvei Eigen, 2013. Courtesy of the artist & East Wing Gallery.
It is obvious that a lot of effort has gone into the curated sections to expand access to emerging artists and challenging work that might go under the radar. Spotlight features work from overlooked as well as emerging artists. Frame features solo shows by young galleries under eight years old. Focus features curated projects by galleries founded after 2003 devised specifically for Frieze. The Frieze Projects are responsible for much of the interactive work seen throughout the show. All of these efforts guarantee that the show will not be a static affair and lends it the excitement and variety which reinforces my initial assesment using the metaphor of a circus. There is absolutely something for everyone under this big top.
by Belle McIntyre