One could more or less have the same experience of Frieze by looking at documentation of most of the work. This, despite the fact that visitors can sample dystopian “food” products and see a live donkey (sometimes).
Here we go again. Put on your best black outfit and prepare to network! It’s Frieze Week in New York. The collectors will be out buying. The dealers will be out dealing. And the press will be out chattering.
As per usual, we’ve put together our annual art fair guide. We don’t promise it will be the comprehensive guide you’ll find. There are other blogs out there for that. But we do promise that we won’t waste your time. If a fair’s not worth your time, we’ll let you know.
If you ask someone how the art market is doing in Hong Kong, get ready for an earful. We’re unfortunately not in town for Art Basel, so we can’t speak to that topic first-hand. But as a person with internet access, I’ve been bombarded with more contradictory facts and opinions (let’s be honest, mostly opinions) about the state of the unstable Chinese economy, the tastes of the Asian art market, and the manic-depressive cycles of art fair outlooks than I ever thought I’d need to know.
Below, we’ve aggregated some of the uneven reporting on Art Basel Hong Kong, including some quotes from director Adeline Ooi and other industry experts, to get a better idea of just what China’s market troubles mean for the art world:
Walking around SPRING/BREAK this Saturday seemed indicative of a watershed moment. The artist-centric movement we’ve been tracking for the last several years is finally gaining more visibility and commercial success and no where is that more evident than this fair.
Located on the administrative floors at Moynihan Station (above the main post office), over 100 curated projects took over once occupied office space. These rooms were painted, wallpapered and filled with weird, temporary installations of fake apartments, medical institutions and cut out gardens. They also included paintings, collages and any other medium you can think of. Meanwhile, lines of fair goers wrapped around the building waiting to get in—even from the outside the excitement was palpable.
Pulse continues its trend of refining itself into a better and better fair. With both well-executed booths from dealers and commissioned projects, it’s getting easier to overlook all the mediocre fair fare.
It’s a grey frigid Thursday, and the cold is not quite dizzying.
Pier 90 juts out onto the Hudson River. In poetry, the volta is the sudden change, the modulation which shifts emotional pitch or cognitive focus. During Armory Week, Volta is the art fair of galleries presenting artist solos. Though I’m unfamiliar with many of the galleries participating, I know immediately the first thing I want to see: my bladder begs.
As relief washes over me, I think of Zizek’s observation that the presence of ideology can be found in toilet design.
The Independent art fair is apparently all grown up and ready to cement its place of privilege in a new Tribeca location. This year’s event space, Spring Studios, is better known for exclusive fashion and Tribeca Film Festival events, but the organizers believe it is just right for a fair that now considers itself to be mature and ambitious. Aging is perhaps a more appropriate characterization here—this year, the formerly new-blood establishment of the Independent seems as though it is content to coast into retirement.
Long before Richard Prince was screencapping Instagram, he rode an appropriated image of a cowboy to fame. At The Armory Show, it seems other artists are attempting the same. Cowboys are everywhere. We picked out some noteworthy examples, after the jump.