|
The second edition of Frieze New York closed on
Monday 13 May with galleries reporting high collector attendance and robust
sales across all levels of the market. Many exhibitors also remarked on the
fair’s maturity in its second year and expressed further admiration for the
overall conception of the fair, its structure and setting. With 186
galleries from 32 countries, the second edition of Frieze New York,
confirmed the fair’s place in the contemporary art calendar.
With visitor numbers in the region of 45,000, a
number comparable with last year, the fair attracted international
artists, collectors, curators and journalists, all of whom remarked upon the
quality of the material brought by the galleries and the buoyant mood at the
fair. Tickets sold out on the Sunday of the fair. Institutions throughout New
York hosted numerous events to mark this year’s edition, with support for the
fair felt across the city.
Frieze New York takes place in a bespoke temporary
structure, designed by Brooklyn-based architects SO – IL, on Randall’s
Island, Manhattan. Frieze New York is sponsored by Deutsche Bank.
Gallery Response
Thaddeus Ropac: ‘It was fantastic! We brought a
significant Sigmar Polke and have sold it. We could not be more pleased,
seeing a great number of American collectors but also Europeans too, which
was a pleasant surprise.’
Lisa Spellman of 303 Gallery said: ‘Sales were
fantastic. Collectors love this fair, it’s dynamic, high quality and offers
an experience no other fair provides. We are really happy with the feedback,
the sales, and the amount of curators and writers. It’s really a perfect
fair.’
Luhring Augustine also met with success. Director,
Lauren Wittels observed: ‘We came to the fair not knowing what to expect and
were happily surprised by the wonderful reception. We were thrilled with the
beautiful design of the tent, which allowed us to show new works by Tom
Friedman in the best possible light to enthusiastic collectors, museum
directors, curators, and the public. We had exceptional sales and sold all of
the works within the first hour. It was a pleasure to participate in Frieze
New York. We had a great experience.’
Iwan Wirth was also complimentary: ‘The second round
of Frieze New York confirmed what we expected after our excellent experience
in the inaugural year. Hauser & Wirth had a very strong week, greeting
collectors and museum colleagues of the highest level. But most of all the
fair was particularly fulfilling for our artists: Paul McCarthy, Matthew Day
Jackson and Rashid Johnson. And, of course, it was fantastic for us to be
able to share Paul McCarthy’s ‘Balloon Dog’ as part of the curated Sculpture
Park in the landscape around the tent. We already look forward to next year.’
Glenn Scott Wright of Victoria Miro remarked, ‘I was
struck by the high quality of material across the board. We brought work by
artists with a museum presence in New York, for example Yayoi Kusama, and
that quality of work sold very well. We’ve seen fantastic clients every day
and the opening day was simply fantastic.’
aug
Theresa Liang of Long March Space observed: ‘We had
a very good experience. The fair has an open design that has enabled us to
showcase our program. We took more space at the fair this year and that was a
good decision as it allowed us to introduce the diversity of our artists to a
wide audience. New York is one of the few cities that has a strong collector
base and awareness of Chinese culture. Collectors, visitors and Museums are
all well informed and that gives us the ideal context. We hoped that we would
meet important new contacts here but it really has exceeded expectations.’
Young galleries in the Frame section of the fair
also met with success. Frame is for galleries under six years old and is
sponsored by Joe Fresh.
Gabriella Giattino of Bureau said, ‘Frieze New York
gave us the chance to give our artist Julia Rommel more visibility as we’ve
had just one solo show with her in the gallery. The audience we met here more
than achieved that and we were very successful selling all her works on the
opening day. We met new collectors from all across the US: Florida, Texas,
Los Angeles and New York and were able to place her pieces in the right
hands.’
First time Frame exhibitor Leo Xu was enthusiastic:
‘My first Frieze experience has been exciting and inspiring. The solo booth
has been positively received and we’ve had commercial success. Another result
is that a new commissioned project is now under generation and exhibition
possibilities in America are being discussed. This growing conversation is
exactly what we came to New York to find. The best thing is that visitors to
Frieze New York are keen to see the new ideas from young Chinese artists that
work in new media and deal with social transformation. That is
unparalleled!’
In Focus, for galleries under ten years old, there
was also a good response with participants developing new
relationships.
Sylvia Kouvali of Rodeo remarked: ‘We chose to show
Apostolos Georgiou, whose work has never been shown outside Greece before,
and could not be more pleased with the response as we had really good sales
with really good collectors, many of whom were new to us. For a relatively
young gallery, like ourselves, it’s important to get broader recognition of
who we are and what we do and here we’ve done that, we met everyone we could
have wanted to – everyone came.’
Bruce Haines of Ancient and Modern was could not
have been more pleased: ‘We’re an unknown gallery in the US and we’ve brought
an artist unknown in the US too, but the interest has been huge, from not
only collectors but also our peer group. It’s been simply fantastic as I have
made extraordinary sales and found new possibilites for our artists to
exhibit. Everyone I have met has been a new person to the gallery, not just
from the US but also across the Americas as a whole.’
Collector Response
Beth Swofford had a rewarding visit: ‘Frieze New
York was a real success in its second year. The energy was great, there was
some beautiful art and the special events and projects were even better than
last year. My friends who are new collectors were happy to continue their
exploration of contemporary art. For me, it was a treat to see work from some
of my favourites along with new artists from around the world.’
Jerry Speyer: ‘It was light and airy, and very
comfortable. The galleries, those well known in addition to the newcomers
from all over the globe, exhibited new and fresh work, in addition to better
known works. Bravo!’
Leon Amitai said: ‘My best fair! The galleries have
really made an effort to bring good pieces. The natural light and windows
makes a difference from other fairs and I feel as if I really have time to
talk with the galleries. Also I really like the focus on contemporary work. I
think it is fantastic.
Estrellita Brodsky: It was great to see galleries
from all over the world, including Latin America. Fairs can be exhausting,
but the architecture, the staff, the special events, and the amenities made
visiting Frieze New York a particularly pleasurable and human
experience.
Museum Groups
With over 90 groups from the world’s major museums
the fair had strong institutional attendance. Visiting museum groups
included: Aspen Museum of Art; Bass Museum of Art; The Dallas Museum of Art;
The Solomon R. Guggenheim Museum; Hirshhorn Museum and Sculpture
Gardens; LACMA; MACBA, Barcelona; Mamco, Geneva; MAXXI, Rome; MCA, Chicago;
Metropolitan Museum of Art; Miami Art Museum; MoMA; Musee d’Art Moderne de la
Ville de Paris; Palais de Tokyo, Paris; Philadelphia Museum of Art; Centre
Pompidou; Seattle Art Museum; Serpentine Gallery; SFMoMA; SITE Santa Fe;
Tate; Museum of Modern Art in Warsaw; The Power Plant, Toronto;
Wadsworth Atheneum; Walker Art Center; Whitechapel Gallery and the Whitney
Museum of Art.
Education
A new addition to the fair this year,
the Frieze New York Education space was sponsored by Deutsche Bank and
allowed public school classes and groups to further explore the fair through
workshops.
Over 600 children took part in the
Frieze New York Education Program with over ten school groups from schools
across all five New York boroughs.
Taking place in a dedicated structure,
the program for the space was devised by Free Arts NYC and 826NYC who together
produced a dynamic context for students ranging from fourth to 12th grade,
exploring notions of contemporary art and color.A creative documentation of
the workshops and their results can be found on a dedicated Frieze Education
tumblr page.
Stand Prize
The Frieze New York Stand Prize sponsored by Champagne Pommery was won by
Galerie Elba Benitez who was awarded a prize of $15,000 for their solo
showing of Carlos Bunga. The prize was judged by an international panel of
curators: Juan A. Gaitán (Curator 8th Berlin Biennale); Naomi Beckwith
(Marilyn and Larry Fields Curator, MCA Chicago); Jeffrey Grove (The Hoffman
Family Senior Curator of Contemporary Art, Dallas Museum of Art).
|
0 comentarios:
Post a Comment