Download all fair editions from www.theartnewspaper. com/fairs

FOR A FREE COPY OF OUR MONTHLY PAPER, GO TO STAND M3

UMBERTO ALLEMANDI & CO. PUBLISHING

LONDON NEW YORK TURIN MOSCOW PARIS

FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012 Arab Spring

Preview

Tunisia’s boost for new art

New York’s billion dollar art week

State to support major shows

The Tunisian ministry of culture is backing an exhibition of contemporary art which is due to open at the National Museum of Carthage later this month, in a move designed to boost the country’s cultural profile following the Arab Spring revolution. More than 25 artists, including highprofile figures such as Kader Attia and Lara Favaretto, feature in the show, titled “Chkoun Ahna” (12 May-15 June), which means “who are we?” in Tunisian dialect.

Rich culture “No place in the north of Tunis better reflects the cross-cultural plurality of Tunisian history than Byrsa [the Unesco heritage site where the museum is located],” says Timo Kaabi-Linke, the show’s co-curator. The Tunisian artists Fakhri El Ghezal and Ismail Bahri, the Italian artist Yousef Moscatello and Saudi Arabia’s Ahmed Mater are due to bring new works. Artists including Ayşe Erkmen, Saâdane Afif and Favaretto will exhibit site-specific adaptations of works. A dozen pieces from the past 15 years by Favaretto, who is represented at Frieze New York by Galleria Franco Noero (C50), form part of a survey show at MoMA PS1 in Long Island City (3 May-10 September).

Platform for art The pieces touch upon Tunisia’s socio-political issues. “The country is under construction. This is why it is important to deconstruct the concept of identity [through the exhibition],” Kaabi-Linke says. It is the springboard for a contemporary art “platform” in the Arab state, with plans to launch an annual show of international art.  Gareth Harris

The $2bn sum is based on a sample survey of dealers, fair valuations and the midestimates for the auction houses’ impressionist, modern, contemporary and tribal art sales. Conversations with a selection of 20 galleries representing high, mid- and low-tier operations yielded a figure of $141m for the group’s current shows. With an estimated 700 galleries in New York (source: OneArtWorld), a total of $2bn is conservative (although most of these galleries are at the low end). Art at auction (1-10 May)* Bonhams: $6m Christie’s: $526m Phillips de Pury: $106m Sotheby’s: $663m Total = $1.3bn *Based on mid-estimate Art at fairs Frieze New York: $350m* Nada: $10m Pulse: $10m Total = $370m *Assuming equivalence/accuracy of Hiscox’s 2011 London estimate

Barbara Kruger, Too Big to Fail, 2012, $200,000—a critique of the banking world or aspects of the art world? On show with Sprüth Magers (B37) at Frieze New York

the sculpture park). Fellow biggun David Zwirner (C46) has a display of minimalist work, including a $1m fluorescent light sculpture made by Dan Flavin in 1969. Kristine Bell, a partner at the gallery, says it is “intrinsic to the buying that our artists won’t decrease in value, [but] the investment conversation— if it happens—comes second”. The mid-sized booths at the fair tend to display works by mid-career artists, priced, on average, between $20,000 and $60,000. This is not the masterpiece market that tempts those driven by the idea of art as an

the gallery, who are either emerging critics, curators and writers or more established institutional buyers and traditional collectors,” says Marc Payot, a partner of Hauser & Wirth (B6). The gallery is selling works ranging from a $60,000 painting by Rashid Johnson to a $3.75m pair of sculptures by Louise Bourgeois (on show in

asset class, though it might appeal to the “gamblers of the world who think they have a good nose, or eye. Mostly, they have a good ear. We believe we deal with works that have the potential to be masterpieces,” says Stefania Bortolami (A9), who is selling works priced between $10,000 and $125,000. The Mexico City-based gallerist José Kuri of Kurimanzutto (B16), who is showing works by Abraham Cruzvillegas, including two large-scale drawings priced at $45,000, says: “We have to work hard because we don’t deal with the super high

end and we don’t do much secondary market. But, without sounding idealistic, we’re trying to focus on great projects.” The younger dealers (including the 20 galleries in the Frame section and the 33 in Focus), selling works by largely unknown artists, take up the least space. “I am not anti-art investors; they just don’t talk to me,” says Darren Flook of Hotel gallery (F31), which is selling works by artists including Judith Hopf and Anders Clausen, priced between $5,000 and $20,000. CONTINUED ON P2

Wanted: land-art sponsor to bury aircraft in sand The Swiss artist Christoph Büchel is seeking sponsors this week at Frieze New York for his major new land art project, Terminal, which involves burying a decommissioned 153-foot-long Boeing 727 jetliner (right) in the California desert. The production costs for the ambitious subterranean scheme are around $1.5m. Visitors will be able to access the plane, which is due to be installed in the Mojave Desert in Kern County, via a corrugated-steel mine shaft, and will be able to use one of the

Courtesy of the artist and Hauser & Wirth

Tunisian police demonstrate in September 2011

NEW YORK. The record-breaking Munch that sold for $119,922,500 (including premium) at Sotheby’s last night is not the only multi-million-dollar work of art on offer in New York right now. The inaugural edition of Frieze New York opened to invited VIPs on Thursday, and The Art Newspaper has calculated that art worth as much as $2bn has been brought to the city for sale through fairs, galleries and auction houses. This number could suggest that the confidence shown in the art market in the mid-2000s is returning at speed. The union teamsters and Occupy protesters seem to think so—but is it really the case? “The market seems to be on steroids right now, and everything is colliding in New York this week,” says the art adviser Lisa Schiff. “It’s exciting and overwhelming, and a little bit freakish,” she says, noting the number of art events taking place in the city. But if figures such as $2bn seem monolithic, the trade is not. The overall sum is heavily skewed by the value of the secondary-market works on offer at the auctions and with some blue-chip galleries (see box). In contrast, Frieze’s reputation rests on art fresh from the studio, which is hipper, riskier—and cheaper. Frieze was unable to give a figure for the overall value of the art at the fair, but it seems reasonable to assume that it is similar to the $350m estimated by the specialist art insurers Hiscox at the London edition last year. That would represent only 18% of our estimated $2bn total. The artist, curator and critic Robert Storr says that the art market has been fuelled by “two separate things for a very long time”: die-hard art lovers and investment buyers. There are strata within the 250,000 sq. ft tent, too. A glance at the floorplan reveals the hierarchy. The heftier prices are at the galleries that take up the most space and are selling works by well-known artists. Nonetheless, “there is a clear split between investors buying blue-chip works at auctions and the people we tend to talk to in

Photo: Casey Fatchett

Photo: Hassene Dridi

Some buy for investment, some buy for love, so markets vary

How the sums add up

toilets on board. Soil will be visible through the windows, but there will be no signs of the aircraft above ground.

The artist hopes to start constructing the piece later this year, and a spokesman for Büchel’s gallery, Hauser &

Wirth (B6), says that negotiations with local institutions over the management of the site are under way. Büchel is making his presence felt at Frieze with two works in the sculpture park: Shoe Tree, 2008/2012, and 1%, 2012. The latter consists of six trolleys bought from six homeless people in New York for between $350 and $500. “We plan to sell them for 100 times more than we paid for them,” says the spokesman, explaining that the piece addresses issues such as the distribution of wealth.  G.H.

CONTEMPORARY ART AUCTIONS 10 & 11 MAY VIEWING 28 APRIL - 10 MAY

PHILLIPSDEPURY.COM

2

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012

Museum foundations

Pompidou at war with its US friends President of Paris museum and chairman of American fundraisers go head to head The president of the Centre Pompidou in Paris, Alain Seban, has called for the resignation of Robert Rubin, the chairman of the French institution’s US philanthropic arm—the Centre Pompidou Foundation—after a bitter dispute over the way the Paris museum generates cash and gifts in the US. The row was sparked by a recent interview in the French newspaper Le Monde with Rubin, a New York-based commodities trader, in which he strongly criticised Seban’s decision to hire Fabrice Bousteau, the editor-in-chief of Beaux Arts magazine, as co-curator of the exhibition “Paris-DelhiBombay”, which opened at the Centre Pompidou last year.

Glenn Lowry, the director of the Museum of Modern Art in New York, telling Ann Temkin [the chief curator of painting and sculpture at MoMA] after the fact that he’d hired [the New York Times art critic] Roberta Smith to curate a major exhibition? He’d be crucified.” Seban hit back, telling French media that Bousteau was paid the same as other independent curators. He added: “The exhibition was a joint effort between an art world figure [Bousteau] who has been established on the Indian contemporary art scene for several years, and an eminent member of the curatorial team [Sophie Duplaix] who is also an expert in this emerging field.” He rebutted Rubin’s charge

The Pompidou and its US foundation are at odds over the hiring of curators, fundraising and a work by Tom Wesselmann

Getty Images

©Patrick McMullan

PARIS.

Alain Seban (left) and Robert Rubin Rubin believes that the “management paid a lot of money” to take on Bousteau, saying it was an “insult to the Pompidou’s curators”. He tells The Art Newspaper: “Can you imagine

that the show “cost two to three times more [to mount] than other Pompidou exhibitions” and that it was poorly attended. “The show was factored into the usual budget for thematic

shows in Gallery 1 and was not, by a long way, the most expensive show,” Seban says, adding that the exhibition drew more than 306,000 visitors. But fundraising is a major sticking point; a statement on the Los Angeles-based Centre Pompidou Foundation’s website stresses that its “mission is to acquire and encourage major gifts of American art and design for exhibition at the museum”. But Seban wants the US arm to bring in cash. “We need to raise money in the US; the Centre Pompidou Foundation has not been able to do this so far,” Seban says. He says that the foundation has “channelled” around $20m since 2006 but 60% of this

amount has come via the Centre Pompidou’s curators. “This leaves around $7m raised with participation from the foundation,” Seban says. Rubin says, though, that the “results speak for themselves”, adding that the value of works donated since 2006, when he became president, is $19m. “Before Scott Stover [executive director] and I revived it, the foundation received barely $1m in gifts in the preceding five years,” Rubin says. Members and officers of the foundation board, meanwhile, give between $20,000 and $100,000 a year. Seban is unhappy about the acquisition status of works donated by the foundation, saying

Billion-dollar art week If the galleries and artists can be roughly divided, so too can the buyers. “The power now is almost entirely in the camp of those who see art as a financial instrument,” Robert Storr says. “It is big business, and it’s international. There is a valuation system associated with the idea of masterpieces that is connected to art as an alternative investment.” Flexing their muscles at this altitude are dealers who are staging mega-watt shows in their gallery spaces. In addition to what seems like Gagosian Gallery’s annual blockbuster Picasso exhibition, multimillion-dollar displays include Haunch of Venison’s show “Afro Burri Fontana” (valued at $25m), Blain DiDonna’s André Masson exhibition, Metro Pictures’ impressive Cindy Sherman show and several non-selling exhibitions, such as Acquavella’s Lucian Freud drawings show and Eykyn Maclean’s boutique display of Cy Twombly works from the Sonnabend collection. “The price of entry is high at this level, but you are buying

something solid. It’s basically the equivalent of an apartment on Fifth Avenue and there are a lot of wealthy people in this game who are looking for big names—artists who will still be around in 100 years,” says the secondary market dealer Christophe Van de Weghe, who opens a $50m show of “late Picasso works in conversation with Basquiat” next week. While art dealers and auctioneers wait to see whom their art attracts, it is undeniable that the art market, despite the odd bump, is still expanding overall. There were not “many people buying art for investment 25 years ago, but now they are around all the time”, says Monika Sprüth, the co-director of Sprüth Magers (B37). Nonetheless, she adds: “Sometimes art lovers become art investors, and vice versa.” As Storr says, “there are so many people involved right now that it is beginning to mimic the investment banks in seeming like it is ‘too big to fail’—though of course it can”.  Charlotte Burns and Riah Pryor

Berlin

Biennial branded a disaster Critics say the contemporary art event lacks impact BERLIN.

The Berlin Biennale, one of the most important contemporary art events in Germany, which opened last weekend (until 1 July), has been greeted with derision in the local and national press. According to its critics, there is not enough art on show, and the emphasis on social engagement and political activism is an empty gesture. “The disaster called the 7th Berlin Biennale” was Ingo Arend’s take in the Berlin newspaper Tageszeitung. The Frankfurter Allgemeine Zeitung’s Niklas Maak accused the biennial of “lukewarm cynicism” and “deep-seated stupidity”, while Nicola Kuhn said in the Berlin newspaper Der Tagesspiegel that it has “failed spectacularly in its attempt to empower the arts”. At a panel discussion held during the biennial, even Chris Dercon, the director of London’s Tate Modern,

AFP/ Getty Images

CONTINUED FROM P1

that “all the works acquired by the Centre Pompidou Foundation remain the property of the foundation and still need to be transferred to the Pompidou collection”. These works include Jean Prouvé’s Tropical House, 1951. Valued at $4m, the aluminium and wood structure was donated to the foundation by Rubin in 2005. The piece is on long-term loan to the Musée des BeauxArts in Nancy. Rubin says: “We have every expectation that the foundation will gift it to the Centre Pompidou in due course. I expect title for all the works will be transferred to the Pompidou.” The pair are also at odds over a piece by the late US artist Tom Wesselmann, which, Seban says, was donated to the foundation and then sold on the market in 2006 against the advice of Alfred Pacquement, the director of the National Museum of Modern Art at the Centre Pompidou. But Rubin says that Pacquement did not vote against the sale, adding that it enabled the foundation to buy important works for the museum. The next meeting of the Pompidou’s trustees is in June, when they are expected to discuss the situation. Meanwhile, Rubin insists that he will remain in his post. Seban has been reappointed by the government on a three-year contract.  Gareth Harris

Posters go up at the KW Institute for Contemporary Art admitted “there is not much to see”, but added that “nobody is indifferent to this biennial”. The biennial has been organised by the Polish artist-provocateur Artur Zmijewski and the art historian Joanna Warsza. International members of the Occupy movement, along with the Spanish Indignado group, have been invited to pitch their tents in Berlin’s KW Institute for Contemporary Art, the heart

of the biennial. But the contradiction of “inviting” someone to “occupy” a building, particularly one in this now gentrified part of Mitte, has been considered weak. “Political activism is played down by being made into something aesthetic,” said the Austrian newspaper Die Presse. The biennial’s opening coincided with the Berlin Gallery Weekend (27-29 April), an annual event with 51 gallery openings. Several commentators thought the works on show in the commercial galleries were more relevant. But Zmijewski has his defenders. The Polish artist Zuzanna Janin said: “When Zmijewski exhibited at the Polish Pavilion in Venice in 2005, he was heavily criticised. But in the end, everyone accepted it as important work. It seems that the more a work is attacked, the better it is.”  Julia Michalska

In May’s main paper Our current edition has 112 pages packed with the latest art world news, events and business reporting, plus high-profile interviews (and a smattering of gossip) 24-page focus on China Artists, collectors, galleries, auction houses, museums and historic sites: what’s happening in Hong Kong, Beijing, Shanghai and beyond, analysed in our 24-page special focus News History of Polaroid to be celebrated by MIT: submissions sought to back up research Museums Costume gallery planned by Peabody Essex Museum thanks to interior designer Iris Apfel and her amazing wardrobe Features The enduring power of Albrecht Dürer, the German Renaissance superstar Artist interview Robert Crumb takes on Paris Books Adrian Dannatt reviews the Tate’s take on Damien Hirst Art Market New York’s art market debates the long-term implications of disputed Schiele

On our website Breaking news, reports from Frieze New York, worldwide exhibitions and more than 20 years of The Art Newspaper in our digital archive www.theartnewspaper.com

Get your free copy from Stand M3

On Twitter Gareth Harris and Charlotte Burns will be tweeting from the fair. Sign up and follow us @TheArtNewspaper

Coming in June Interviews with Thomas Heatherwick, Philippe Parreno and Sean Kelly, reviews of the new Barnes Foundation museum in Philadelphia and previews of Documenta, Manifesta and Art Basel, plus what went on during New York’s auction week, ArtHK in Hong Kong and Berlin Gallery Weekend

)"6/$)
0'
7&/*40/

/&8
:03,
















































4

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012

Finance

Swag: smart move or bubble ready to burst? Silver, wine, art and gold is the latest investment class for super-rich investors. But be wary of all that glisters…

I

n the search for a term that would neatly wrap up new get-rich strategies for the investment world, financial advisers have hit on yet another acronym for the 1% investor. First there were the Brics; Brazil, Russia, India and China, the developing countries that experts estimate will overtake the G7 group by 2027. Then there were the Civets; Colombia, Indonesia, Vietnam, Egypt, Turkey and South Africa, the next tigerlike economies in the race for foreign investment. Now we have “Swag”, financial adviser-speak for silver, wine, art and gold. The term, according to advocates, is intended to describe a new asset class for “international high-net-worth individuals” who have done conspicuously well during the great recession. The catchy handle has caught fire recently, as reports of the rich swapping stock for Swag have become as common as Mitt Romney’s gaffes about Cadillacs and $10,000 bets. Coined in September 2011 by the analyst Joe Roseman of Investment Week, the term Swag was defined as a group of “hard assets” that have “all appreciated quite sharply” over the past decade, despite “two global recessions, a severe global banking crisis, a credit crunch, and (generally speaking) highly volatile and mostly negative equity market performance”. For Roseman, the “investment performance” of silver, wine, art and gold can be chalked up to a basic set of investment-grade characteristics: “1) They are all physical assets; 2) They all have longevity; 3) There is no incumbent debt associated with the asset; 4) They are transportable and relatively easy to store/hold; 5) There is scarcity—a finite supply; 6) There is no income stream—so no income tax liability; 7) Asset performance seems relatively uncorrelated to equity markets; 8) A sovereign default would not alter any of the above traits.” From this doublechecked shopping list, Roseman arrives at an idea that appears, on its face, as risky as it does boosterish. “Everyone needs some S-W-A-G,” he

Market makers: a still from Aernout Mik’s work Middlemen, 2001 concludes. At least a few opponents might answer him thus: like an H-O-L-E in the head. The issue about what constitutes a “hard asset” is a contentious one with Swag, and becomes especially controversial where the “A” in the acronym is concerned. As prices for blue-chip art cycle up and down (there’s been much more up than down lately), key experts blast away at the notion that art objects share the basic characteristics of traditional investments like stocks and real estate. Take Felix Salmon, for example. A financial blogger for Reuters who writes frequently about the art market (his wife is an artist), Salmon has repeatedly denied the basic operating premise that Roseman and others today push in the global art market. Where Tobias Meyer of Sotheby’s exuberantly proclaims that “the best art is the most expensive art because the market is so smart”, Salmon

shakes his head and responds firmly: art is not an asset class. In an article dated 12 January, titled “Art Is Not An Investment, Part 872”, a rather testy Salmon took on the idea of Swag as illustrated by the contention by Patrick Mathurin of the Financial Times that “the art market had defied the economic gloom to return 11% to

“

it.” After going on to point out that only a “tiny sliver of the art world deals in works that really do have resale value”, Salmon continued: “I’m all in favour of buying art and wine, but they’re not investments. There’s never a shortage of wine shills and art shills who will talk about them as asset classes when they go up in value. All those people

The 99%—or even the 99.9%—shouldn’t think of art as an investment. To make money on art, you have to have lots of money

investors in 2011, outpacing stock market return for a second consecutive year.” Salmon answered: “No, Patrick, it didn’t. Art doesn’t have returns; it just sits there, being expensively insured. It pays no dividends, and it can’t be marked to market, since the only way to find out the market price for an artwork is to sell

”

should be ignored.” Enter Michael Plummer and Jeff Rabin of Artvest Partners, the prominent New York-based art advisory firm. Their bullish maxim—“art is an asset class”—appears to place them solidly in the Joe Roseman camp. The partners say that art does constitute a tangible asset and that “global wealth

creation and the expansion of the art market go hand in hand”. Artvest offers separately managed art investment accounts, art investment funds, art financing and estate planning for investors with expensive collections. Plummer and Rabin see a booming market that is clearly expanding far beyond the boundaries of traditional connoisseurship. Nonetheless, they do not concur with Roseman’s Rambo-like belief that “no asset class is too risky”. “The art market is the most illiquid, opaque market in the world,” Rabin warned recently at a panel on art funds organised by the Art Investment Council (a not-for-profit organisation devoted to “a greater understanding of art as an asset class”, founded by Artvest’s partners). Elsewhere, Rabin and Plummer have called the art market “unregulated, noncommoditised and emotional”, and liken entering the market without an adviser to a driving

instructor “letting a child drive the family car”. The image they invoke is of a clusterjam of roads full of reckless operators and dangerous hazards. That view is borne out by the investment adviser Charles Sizemore, who characterises art investing as “a thinly traded market dominated by a relatively small number of expert opinion-makers” requiring “a net worth of $100m”. So much for the modest investor— racked up against Richard Prince telephone poles and double-parked Damien Hirsts. Another sceptic, Artinfo’s Shane Ferro, puts the idea of who might invest in art even more starkly: “The 99%—or even the 99.9%—shouldn’t think of art as an investment. To make money on art, you have to have lots of money (preferably billions), lots of time (like, decades) and, above all, an interest in art that borders on obsession.” Art, it seems, is about as risk-free as polar-bear dentistry. Still, the dollars, rupees, roubles and yen roll in like casino winnings. This new money has produced a boom in everything from Swiss watches to Chinese conceptualism. The golden rule propelling these purchases by nouveau riche collectors proves more Darwinian than reciprocal: as long as expensive works of art and wine find buyers, the sky is the limit. Or so it would seem. On this point, Felix Salmon is once again direct. “The modern and contemporary art market is a speculative market. It is driven by fashion, where prices can be run up quickly and then driven off a cliff. It’s gambling, really.” When asked whether Swag and other phenomena that suggest collectors now buy art largely for its appreciating value indicate the presence of a bubble, Salmon replies: “The question itself provides the answer. Back during the dot-com bubble, it was called the ‘greater fool’ theory of investing. Intrinsic value doesn’t matter; all that matters is that someone will pay more for your worthless asset in the future than you’re paying for it today. This is a strategy that works. Until it doesn’t.”  Christian Viveros-Fauné

GEORG BASELITZ FÜNF FINGER, 2010 (DETAIL) OIL ON CANVAS, 270 x 207 CM (106.3 x 81.5 IN)

GEORG BASELITZ AT FRIEZE NEW YORK VISIT US ON BOOTH C12

PA R I S

F R A N C E 7 R U E D E B E L L E Y M E T E L 3 3 1 4 2 7 2 9 9 0 0 R O PA C . N E T S A L Z B U R G A U S T R I A M I R A B E L L P L AT Z 2 T E L 4 3 6 6 2 8 8 1 3 9 3

7

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012

Development

Manhattan museums’ growing pains The Whitney’s relocation downtown is a rare building project as New York galleries turn to “soft” expansion

Photo: Carly Gaebe

M

MoMA’s Pop Rally attracts young people with events like this “interactive dance party” for its Cindy Sherman retrospective are reluctant to do so. It is a different story among commercial galleries, where operating more than one site in the city is becoming de rigueur, and museum-quality shows are increasingly common. In spacious Manhattan galleries run by David Zwirner and Larry Gagosian, New Yorkers can visit such shows for free—this week, Zwirner opens “Alice Neel: Late Portraits and Still-lifes” (4 May-23 June). At Gagosian, meanwhile, John Elderfield, a former chief curator emeritus of painting and sculpture at MoMA, and a modernism specialist, joined as a consultant in April with carte blanche to organise exhibitions. Hauser & Wirth is due to mark its 20th anniversary by opening a 23,000 sq. ft space at 511 West 18th Street this autumn. One of the few non-profit art venues which is physically expanding in New York is the High Line elevated park in the downtown Meatpacking District. The improbable idea to turn the disused rail line into a public green space began in 1999, and quickly caught New Yorkers’ imaginations. The first section opened in 2009, and the second opened just two years later. It cost the city more than $150m to open the two existing stretches, with about $44m raised privately by the group that runs the park, the Friends of the High Line. They are now working to raise the estimated $90m needed to complete construction on the final portion of

the railway up to West 34th Street, which circles around the West Side Railyards. “We like to say the High Line is the new Museum Mile because it’s exactly one mile long,” says Cecilia Alemani, the recently appointed curator and director of the High Line’s art programme. “It’s the largest development in town,” Alemani says, and it is visited by around four million people a year. “It’s comparable to MoMA, and we’re free.”

“

residency byPaul D. Miller, aka DJ Spooky That Subliminal Kid, a composer, multimedia artist, writer and DJ. MoMA’s Pop Rally events are aimed at young, hip visitors and include late-night viewings of exhibitions, film screenings and musical performances. Another way museums can widen their reach is by repositioning themselves globally. A decade ago, that meant franchising the collection and building satellites. Now, it is less about construction and more about networking and cultural exchange, a sort of “lightweight globalisation”, as Ellis calls it. One of the early adopters of this global mentality is the New Museum, which launched its “Museum as Hub” project in 2007, linking with museums in Seoul, Mexico City, Cairo and Eindhoven to co-create exhibitions and educational programmes. In March, the Guggenheim Foundation announced its latest form of international outreach: the Guggenheim UBS Map Global Art Initiative, a five-year international research and acquisition project. It will work with artists, curators and institutions in Asia, Latin America, the Middle East and North Africa. “The Guggenheim has made a momentous step, looking at what it really means to be global,” says András Szántó, a consultant (and a contributing editor to The Art Newspaper). After a tough decade in New York, which included 9/11 and two recessions, “institutions have re-emerged from [the most recent] recession with their fundraising ability intact”. The question now, having “dodged a bullet”, is how they expand. “Will directors and trustees go back to mission creep and try to accommodate every opportunity?”

As museum collections grow, so buildings need to grow— but that’s hard in Manhattan

”

She thinks the Whitney’s move downtown will help correct an imbalance in the area following the closure of the Dia Center for the Arts in 2004. “Dia is missed and now the Whitney will offer a good balance to the commercial side of Chelsea,” she says. Adrian Ellis, a museum consultant, believes that, post-recession, “building is not necessarily the be-all and end-all” for museums. In New York, museums are not “gratuitously expansionist currently—and those museums that have plans seem to be edging forward”, he says. “This probably makes for better thoughtthrough and grounded developments.” The slowing of the building agenda is prompting more interesting programming ideas, he says. The Met has revamped its concert series to reach younger visitors. Besides Bach and Mozart recitals, it will feature a year-long

Among the best opportunities for museums to expand, Szántó says, is the use of the internet as a fully-fledged programming tool. “This is possibly a breakthrough year in technology that will enrich the museum experience.” Whether museums’ wealthiest donors and trustees will embrace “soft” expansion as they did the traditional bricks-and-mortar kind remains to be seen. Terence Riley, a practising architect and former museum director who, when a curator at MoMA, was closely involved in its expansion, says: “Museums’ biggest supporters tend to be most involved in the museum as a place to show collections. And as collections grow, so buildings need to grow—and that’s hard in Manhattan.”  Helen Stoilas and Javier Pes  “Expanding Museums”, with MoMA director Glenn Lowry, Adam Weinberg and Sheena Wagstaff, takes place on 4 May at 3pm

Going downtown: the director of the Whitney on shifting the balance of New York’s contemporary art scene “I firmly believe this is the new Museum Mile,” says Adam Weinberg (right) of the Whitney’s new home in the Meatpacking District near the High Line. “You have the Whitney at the south end, you have White Columns, [you have] The Kitchen, Dia’s new building, which is eagerly anticipated, and the largest gallery scene in the world.” Add to that Culture Shed, the planned kunsthalle designed by Diller Scofidio and Renfro, the Rockwell

THE INTERNATIONAL EXPOSITION OF CONTEMPORARY / MODERN ART & DESIGN

20–23 SEPTEMBER NAVY PIER Wednesday September 19 Vernissage Opening Night Benefit for Museum of Contemporary Art Chicago

expochicago.com

Photo: Ed Lederman

anhattan is a tough place to build a new art museum or even add to an existing one. Despite the great wealth of institutions’ trustees and donors in the plutocracy that is New York, the high cost of Manhattan real estate, and museum trustees’ aversion to risk and understandable reluctance to operate two or more sites, allied to the vagaries of the economy, have slowed down or ended many a scheme over the past two decades. The recent global museum building boom has largely bypassed Manhattan. “Expanding Museums”, a talk at Frieze New York, is less about concrete and steel than “soft” expansion through international networks, cultural exchanges, innovative programming and the internet. Two of New York’s flagship museums are effectively landlocked: the city has capped the physical expansion of the Metropolitan Museum of Art in Central Park and the Guggenheim Museum’s residential neighbours have blocked anything bigger than its discreet Gwathmey Siegel & Associates-designed annexe, completed in 1992. Since 1966, when the Marcel Breuerdesigned Whitney Museum of American Art opened, only two purpose-built art museums have opened in Manhattan: the New Museum downtown, designed by the Tokyo-based architects Kazuyo Sejima and Ryue Nishizawa with Gensler, New York, completed in 2007, and the American Folk Art Museum in midtown (2001-11). The latter, designed by the New York-based Tod Williams and Billie Tsien, proved too expensive for the institution, forcing its trustees to sell up last year to a richer, bigger next-door neighbour: the Museum of Modern Art (MoMA). MoMA is the conspicuous exception to the rule. It expanded considerably in 2005 after its $425m, Yoshio Taniguchi-designed modernisation. Double the size of the “old” MoMA, it is now a behemoth, which at 625,000 sq. ft fills almost an entire city block. But its trustees also considered and then rejected a scheme for a pavilion to show contemporary work in Manhattan, mooted in the 1990s. The Whitney’s board agonised over expanding its Breuer building for decades. The trustees were forced to abandon schemes by the architects Norman Foster, Michael Graves (who made two attempts) and Rem Koolhaas. Like the Guggenheim’s neighbours, the Whitney’s said no. In 2008, despite the recession, its trustees eventually took the radical decision to head downtown to a new building designed by Renzo Piano (see box). For Adam Weinberg, the Whitney’s director, the biggest hurdle in making the decision was a psychological one. “[The Breuer] is a great building; it’s been our home for many years and there’s a lot of history,” he says. But in the end, “there was no other choice”. The Met is due to move into the Breuer building when the Whitney moves out. Thomas Campbell, the Met’s director, says the extra space will enable it to “look at modern and contemporary art from across the globe”, with Sheena Wagstaff, the museum’s new chairman of the modern and contemporary art department, overseeing the project curatorially. Expanding New York’s Museum Mile north to Harlem has proved a long, hard road for the Museum of African Art. Construction on its $95m new home began in 2004 but its longdelayed opening has been postponed once again, until 2013 at the earliest, according to a museum spokeswoman. Such is the expense and complexity of operating across different sites, most trustees

Group in the Hudson Yards development and myriad independent arts organisations along the way, and “the combination of

1301PE Los Angeles Galeria Álvaro Alcázar Madrid Alexander and Bonin New York Ameringer | McEnery | Yohe New York Gallery Paule Anglim San Francisco John Berggruen Gallery San Francisco Galleri Bo Bjerggaard Copenhagen Daniel Blau Munich Russell Bowman Art Advisory Chicago Galerie Buchholz Cologne Valerie Carberry Gallery Chicago Cardi Black Box Milan Cernuda Arte Coral Gables Chambers Fine Art New York, Beijing Cherry and Martin Los Angeles James Cohan Gallery New York, Shanghai Corbett vs. Dempsey Chicago CRG Gallery New York D'Amelio Gallery New York Stephen Daiter Gallery Chicago Maxwell Davidson Gallery New York Douglas Dawson Gallery Chicago Catherine Edelman Gallery Chicago Galería Max Estrella Madrid Fleisher/Ollman Philadelphia Galerie Forsblom Helsinki Forum Gallery New York Marc Foxx Los Angeles Fredericks & Freiser New York Barry Friedman, Ltd. New York Friedman Benda New York The Suzanne Geiss Company New York Gering & López Gallery New York Galerie Gmurzynska Zurich, St. Moritz James Goodman Gallery New York

all that shifts the balance of contemporary art activity completely downtown”, he says. The new Whitney will enable the museum to expand its programming. “Our special exhibition gallery will be the largest columnfree gallery space in New York, which allows for a lot of flexibility,” such as staging different shows on the same floor, Weinberg says. The building’s stepped design also includes 14,000 sq. ft of outdoor exhibition space, and a

Richard Gray Gallery Chicago, New York Galerie Karsten Greve AG Cologne, Paris, St. Moritz Kavi Gupta Chicago, Berlin Carl Hammer Gallery Chicago Haunch of Venison New York, London Hill Gallery Birmingham Nancy Hoffman Gallery New York Rhona Hoffman Gallery Chicago Honor Fraser Los Angeles Vivian Horan Fine Art New York Leonard Hutton Galleries New York Bernard Jacobson Gallery London, New York Annely Juda Fine Art London Paul Kasmin Gallery New York James Kelly Contemporary Santa Fe Sean Kelly Gallery New York Robert Koch Gallery San Francisco Michael Kohn Gallery Los Angeles Leo Koenig, Inc. New York Alan Koppel Gallery Chicago Yvon Lambert Paris Landau Fine Art Montreal Galerie Lelong New York, Paris, Zurich Locks Gallery Philadelphia LOOCK Galerie Berlin Diana Lowenstein Gallery Miami Luhring Augustine New York Robert Mann Gallery New York Lawrence Markey San Antonio Matthew Marks Gallery New York, Los Angeles Barbara Mathes Gallery New York Galerie Gabrielle Maubrie Paris Galerie Hans Mayer Düsseldorf The Mayor Gallery London

black box theatre attached to one of these outdoor galleries means the museum can stage open-air performances. Weinberg hopes to attract new visitors. “The pedestrian traffic on the High Line is vast.” The youthful neighbourhood and the proximity of arts colleges “will ensure a young audience for quite some time”, and he aims to gear more programmes towards art students in the museum’s new home.  H.S. McCormick Gallery Chicago Anthony Meier Fine Arts San Francisco Nicholas Metivier Gallery Toronto Mitchell-Innes & Nash New York Galería Moisés Pérez de Albéniz Pamplona Carolina Nitsch New York David Nolan Gallery New York Nyehaus New York The Pace Gallery New York, London, Beijing Franklin Parrasch Gallery New York P.P.O.W. New York Ricco / Maresca Gallery New York Yancey Richardson Gallery New York Roberts & Tilton Los Angeles Rosenthal Fine Art Chicago Salon 94 New York Marc Selwyn Fine Art Los Angeles William Shearburn Gallery St. Louis Manny Silverman Gallery Los Angeles Carl Solway Gallery Cincinnati Hollis Taggart Galleries New York Tandem Press Madison Galerie Daniel Templon Paris Paul Thiebaud Gallery San Francisco Tilton Gallery New York Leslie Tonkonow Artworks + Projects New York Vincent Vallarino Fine Art New York Van de Weghe New York Washburn Gallery New York Daniel Weinberg Gallery Los Angeles Weinstein Gallery Minneapolis Max Wigram London Stephen Wirtz Gallery San Francisco Bryce Wolkowitz Gallery New York David Zwirner New York

8

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012

Park life

All photos: Casey Fatchett

Four of New York’s secret spots, just a short hop from the Frieze tent on Randall’s Island

Installed in the East Harlem Art Park at Sylvan Place and East 120th Street, the 14-foot-tall painted steel sculpture Growth, 1985, by the artist Jorge Luis Rodriguez was restored in 2010

These sculptures of Bronx residents by John Ahearn (also doing a Frieze project) caused a row when placed by a police station in 1991. Now they sit in Socrates Sculpture Park, Long Island City

Second to none insuring art SPECIALISED FINE ART INSURANCE BROKER

Vienna . Munich . London . Zurich . Singapore

UK: for further inquiries please contact Renate Schwarz at: Tel. +44 207 816 5979 . Fax +44 207 816 5900 EU: for further inquiries please contact Philip Machat at: Tel. +43 1 532 08 40 . Fax +43 1 532 08 40 - 10 [email protected] . www.bartaart.eu

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012

Open at weekends, this small cottage in the Bronx was home to the writer Edgar Allan Poe during the last years of his life, from 1846 to 1849. It is at Kingsbridge Road and the Grand Concourse

First planted by volunteers in 2006, the Water’s Edge Garden at the south end of Randall’s Island has 40,000 perennials and winding paths along the East River, providing an idyllic respite

LEO VILLAREAL new work | May 12 - June 30, 2012 CONNER CONTEMPORARY ART | Washington, DC | www.connercontemporary.com right: Scramble, 2011, light emitting diodes, Mac Mini, custom software, circuitry, wood, plexiglas, 60x60in

9

12

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012

What’s On www.theartnewspaper.com/whatson

Until 13 June 1071 Fifth Avenue www.guggenheim.org

Exhibition listings are arranged alphabetically by category

Studio Museum in Harlem Shift Until 27 May Kira Lynn Harris Until 27 May Ralph Lemon Until 27 May 144 West 125 Street www.studiomuseum.org

Fairs Frieze New York 4-7 May Randall’s Island Park www.friezenewyork.com AADLA Spring Show NYC 3-6 May Park Avenue Armory, Park Avenue at 67th Street www.springshownyc.com

Swiss Institute John Armleder 6 May 18 Wooster Street www.swissinstitute.net

NADA NYC 4-7 May 548 West 22nd Street www.newartdealers.org

Whitney Museum Whitney Biennial Until 27 May 945 Madison Avenue www.whitney.org

Pulse 3-6 May 125 West 18th Street www.pulse-art.com

Commercial 303 Gallery Valentin Carron Until 12 May 547 West 21st Street www.303galler y.com

Verge NYC 3-6 May 159 Bleecker Street www.vergeartfair.com

Non-commercial Asia Society Wu Guanzhong Until 5 August 725 Park Avenue www.asiasociety.org Brooklyn Museum Keith Haring: 1978-82 Until 8 July Rachel Kneebone Until 12 August 200 Eastern Parkway, Brooklyn www.brooklynart.org Flag Art Foundation Richard Forster and In Living Color Until 12 May 545 West 25th Street www.flagartfoundation.org Jewish Museum Kehinde Wiley Until 29 July 1109 Fifth Avenue www.thejewishmuseum.org Mad Sq Art Charles Long: Pet Sounds Until 9 September Madison Square Park madisonsquarepark.org/art Metropolitan Museum The Steins Collect: Matisse,

47 Canal Alisa Baremboym Until 6 May 47 Canal Street www.47canalstreet.com

© Estate of Pablo Picasso/Artists Rights Society (ARS), New York, 2012

Exhibitions

Acquavella Galleries Lucian Freud: Drawings Until 9 June 18 East 79th Street www.acquavellagalleries.com

Pablo Picasso and Françoise Gilot: Paris-Vallauris 1943-53 Gagosian Gallery, 980 Madison Avenue, until 30 June The Gagosian Gallery continues its series of museum-quality, non-selling exhibitions on Pablo Picasso with a show comparing the master with his much younger muse, Françoise Gilot. The gallery presents works by each artist, drawn from private collections, from the period in which they were lovers, between 1943 and 1953. Gilot and Picasso’s biographer John Richardson helped to organise the show. Above, Picasso, Femme assise, 1949.  E.M. Picasso and the Parisian Avant-garde Until 3 June Spies in the House of Art Until 26 August 1000 Fifth Avenue www.metmuseum.org Morgan Library & Museum Dan Flavin: Drawing Until 1 July 225 Madison Avenue www.themorgan.org Museum of Arts and Design Swept Away: Dust, Ashes and Dirt in Contemporary Art

and Design Until 12 August 2 Columbus Circle www.madmuseum.org Museum of Modern Art Cindy Sherman Until 11 June Taryn Simon Until 3 September 11 West 53rd Street www.moma.org MoMA PS1 Lara Favaretto Until 10 September 22-25 Jackson Avenue,

Long Island City www.momaps1.org The New Museum Dani Gal Until 1 July Act Up (Gran Fury) Until 20 May 235 Bower y www.newmuseum.org Guggenheim Museum John Chamberlain: Choices Until 13 May Being Singular Plural Until 6 June Francesca Woodman

Alex Zachary Peter Currie Karl Holmqvist Until 2 June 16 East 77th Street www.azpcgaller y.com

Blain di Donna André Masson Until 15 June 981 Madison Avenue www.blaindidonna.com The Boiler/Pierogi Seven at Seven Until 20 May 191 North 14th Street, Brooklyn www.pierogi2000.com Bortolami Gallery Jutta Koether Until 16 June 520 West 20th Street www.bortolamigallery.com Broadway 1602 Evelyne Axell Until 25 August 1181 Broadway www.broadway1602.com Bureau Julia Rommel Until 10 June 127 Henry Street www.bureau-inc.com Canada Xylor Jane 6 May-3 June 55 Chrystie Street www.canadanewyork.com Casey Kaplan Liam Gillick Until 23 June 525 West 21st Street www.caseykaplangallery.com Cheim & Read Chantal Joffe Until 22 June 547 West 25th Street www.cheimread.com

Alexander Gray Associates Lorraine O’Grady Until 25 May 508 West 26th Street www.alexandergray.com

Clocktower Gallery Mary Heilmann, Mary Mattingly, Tony Oursler, Hannah Sawtell (The Island), Alaina Stamatis, Lawrence Weiner 6 May 108 Leonard Street www.artonair.org

Andrea Rosen Gallery Nigel Cooke Until 12 May 525 West 24th Street andrearosengaller y.com

David Nolan Gallery Neil Gall Until 2 June 527 West 29th Street www.davidnolangallery.com

Andrew Kreps Gallery Robert Overby Until 12 May 525 West 22nd Street www.andrewkreps.com

David Zwirner Yan Pei-Ming 4 May-23 June 519 West 19th Street Alice Neel 4 May-23 June 533 West 19th Street www.davidzwirner.com

Anton Kern Gallery Anne Collier Until 12 May 532 West 20th Street www.antonkerngaller y.com

E-Flux Animism

13

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012 Until 26 May 45 Renwick Street www.renwickgallery.com

Elizabeth Dee Philippe Decrauzat Until 23 June 545 West 20th Street www.elizabethdeegallery.com

Salon 94 Bowery David Benjamin Sherry Until 2 June 243 Bowery www.salon94.com

Eykyn Maclean New York Cy Twombly Until 19 May 23 East 67th Street www.eykynmaclean.com

Sikkema Jenkins & Co. Sheila Hicks Until 25 May 530 West 22nd Street www.sikkemajenkinsco.com

Friedrich Petzel Gallery Dana Schutz Until 16 June 537 West 22nd Street www.petzel.com

Simon Preston Gallery Hans Schabus Until 15 June 301 Broome Street simonprestongallery.com

Gagosian Gallery Picasso and Françoise Gilot 2 May-30 June 980 Madison Avenue Lucio Fontana 3 May-30 June 555 West 24th Street Richard Avedon 4 May-6 July 522 West 21st Street www.gagosian.com

Sean Kelly Gallery Kehinde Wiley 6 May-16 June 528 West 29th Street www.skny.com

Gavin Brown’s Enterprise Sturtevant Until 23 June 620 Greenwich Street www.gavinbrown.biz Gladstone Gallery Anish Kapoor 5 May-9 June 515 West 24th Street and 530 West 21st Street www.gladstonegallery.com Greene Naftali Gallery Rachel Harrison Until 16 June 508 West 26th Street greenenaftaligallery.com Harris Lieberman Gallery Lisa Oppenheim Until 16 June 508 West 26th Street www.harrislieberman.com Haunch of Venison New York Afro, Burri and Fontana Until 12 May 550 West 21st Street www.haunchofvenison.com Hauser & Wirth New York Science on the Back End: selected by Matthew Day Jackson Until 16 June 32 East 69th Street www.hauserwirth.com James Cohan Gallery Mauricio Ancalmo and Sarah Rara Until 5 May 533 West 26th Street www.jamescohan.com James Fuentes LLC Noam Rappaport Until 10 June 55 Delancey Street www.jamesfuentes.com Jack Hanley Gallery Andrei Roiter Until 26 May 136 Watts Street www.jackhanley.com

Photo: Harry Shunk

Until 28 July 311 East Broadway www.e-flux.com

Juan Downey: the Invisible Architect Bronx Museum of the Arts, 1040 Grand Concourse at 165th Street, Until 10 June The first US survey of the Chilean video artist Juan Downey features more than 100 drawings, paintings, photographs and video installations, organised with the MIT List Visual Arts Center in Cambridge, Massachusetts. Above, From the Continental Drift series, 1988.  E.M. Kimmerich Gallery Torsten Slama Until 23 June 50 White Street www.kimmerich.com L&M Arts, New York Frank Stella Until 2 June 45 East 78th Street www.lmgallery.com Lehmann Maupin Gallery Gilbert & George Until 23 June 540 West 26th Street and 201 Chrystie Street www.lehmannmaupin.com Luhring Augustine Mix/Remix 4 May-9 June 531 West 24th Street Charles Atlas Until 15 July 25 Knickerbocker Avenue, Brooklyn www.luhringaugustine.com Maccarone Inc. Hanna Liden Until 16 June 630 Greenwich Street www.maccarone.net Marianne Boesky Gallery Pier Paolo Calzolari (with The Pace Gallery) Until 2 June 509 West 24th Street 25 Years of Talent Until 16 June 118 East 64th Street marianneboeskygallery.com Mark Fletcher Helmut Lang: Sculptures 5 May-15 June 24 Washington Square North www.markfletcher.com Matthew Marks Gallery Brice Marden Until 23 June 502/526 West 22nd Street

Thomas Demand 5 May-23 June 522 West 22nd Street Gary Hume 5 May-23 June 523 West 24th Street www.matthewmarks.com Metro Pictures Cindy Sherman Until 9 June 519 West 24th Street www.metropictures.com Michael Werner Gallery Aaron Curry Until 23 June 4 East 77th Street www.michaelwerner.com Miguel Abreu Gallery Surface Affect 4 May-24 June 36 Orchard Street miguelabreugallery.com Mitchell-Innes & Nash Martha Rosler Until 26 May 534 West 26th Street www.miandn.com Nicole Klagsburn Gallery Billy Sullivan Until 16 June 526 West 24th Street www.nicoleklagsbrun.com Participant Inc Pepe & Puntar’s Lucid Dream Until 3 June 253 East Houston Street www.participantinc.org Paula Cooper Gallery Sherrie Levine Until 2 June 534 West 21st Street Tauba Auerbach Until 9 June 521 West 21st Street paulacoopergallery.com Renwick Gallery Jo Nigoghossian

Sonnabend Gallery Gilbert & George Until 23 June 536 West 22nd Street www.sonnabendgallery.com Sperone Westwater William Wegman Until 16 June An Accumulation of Information Taken From Here to There Until 16 June 257 Bowery speronewestwater.com Tanya Bonakdar Gallery Ernesto Neto Until 25 May 521 West 21st Street tanyabonakdargallery.com Team Gallery Ryan McGinley Until 2 June 83 Grand Street and 47 Wooster Street www.teamgal.com Tina Kim Gallery Ghada Amer, Reza Farkhondeh Until 9 June 545 West 25th Street www.tinakimgallery.com The Kitchen Virginia Overton Until 6 May 512 West 19th Street www.thekitchen.org The Pace Gallery Robert Irwin Until 23 June 32 East 57th Street Claes Oldenburg and Coosje van Bruggen Until 23 June 545 West 22nd Street Loris Gréaud 5 May-9 June 534 West 25th Street www.thepacegallery.com Wallspace Gallery Harry Dodge Until 5 May 619 West 27th Street www.wallspacegallery.com White Columns Gallery Benefit Exhibition and Auction Until 12 May 320 West 13th Street www.whitecolumns.org

Frieze New York events: talks, openings and parties Friday Mapping the World of Art 1pm The historian Georges DidiHuberman discusses André Malraux’s Museé Imaginaire project. Frieze Auditorium Expanding Museums 3pm The future of contemporary art institutions in major cities like New York is discussed by Glenn Lowry, the director of the Museum of Modern Art, Adam Weinberg, the director of the Whitney Museum of American Art, Sheena Wagstaff, the new chairman of the modern and contemporary art department at the Metropolitan Museum of Art, and the writer and critic Nicolai Ouroussoff. Frieze Auditorium Zoe Leonard in Conversation with Rhea Anastas 5pm The art historian Rhea Anastas speaks to the artist Zoe Leonard about her work of the past two years. Frieze Auditorium

Saturday Art Isn’t Fair: Collecting for the 99% 1pm The artist and writer Allan Sekula presents a short film on inequality in the art world, Art Isn’t Fair (2012), which was shot at Art Basel Miami Beach in 2004. Frieze Auditorium New Geographies of Contemporary Art 3pm Ethics and relativism in the international art world are discussed by Negar Azimi, the senior editor of Bidoun magazine, Bassam El Baroni, the director of Alexandria Contemporary Arts Forum, Kate Fowle, the executive director of Independent Curators International, and Okwui Enwezor, the director of Haus der Kunst. Frieze Auditorium Frieze Projects: Rick Moody 5pm The writer Rick Moody reads excerpts from a story written for Frieze Projects about an unreliable GPS. Frieze Auditorium Chelsea Night 6-8pm Chelsea galleries appearing at the fair, including Tanya Bonakdar Gallery and Metro Pictures, stay open late in Manhattan. Chelsea, Manhattan

26th Street pARTy 6-9pm Galleries on 26th Street between 10th and 11th Avenues in Chelsea stay open late with a block party including a DJ, live music and food trucks parked in the street. Chelsea, Manhattan

Sunday On Gerhard Richter’s “Atlas” 1pm The critic and curator Robert Storr delves into Richter’s “Atlas”, an archive of materials the artist has collected since 1962 and used as inspiration for his work. Frieze Auditorium On Land Occupation 3pm With Occupy Wall Street in mind, other forms of occupation are discussed by Saskia Sassen, a sociology professor at Columbia University, Mitch Cope, the co-founder of Power House Productions in Detroit, the artist Andrea Geyer, and Joseph Grima, the editor-in-chief of Domus magazine. Frieze Auditorium Downtown Night 6pm-2am Many downtown Manhattan galleries participating in the fair hold special events, including a Keren Cytter theatrical production at The Kitchen, a cabaret performance at the Storefront for Art and Architecture, and latenight showings of artists such as Ryan McGinley at Team, Gilbert & George at Lehmann Maupin and a group show at the Clocktower Gallery. Santos Party House has DJs and performances from 10pm until 2am. Various downtown venues

Monday Taryn Simon 1pm The artist Taryn Simon presents her recent work on bloodlines, A Living Man Declared Dead and Other Chapters I-XVIII at MoMA. Frieze Auditorium Collection Cartographies 3pm A conversation about preserving and mapping contemporary art scenes, with Wassan Al-Khudairi, the director of Mathaf, HansMichael Herzog, the chief curator at Daros Latin America, Walter Seidl, the curator of Kontakt, and Sofia Hernandez Chong Cuy, the curator of contemporary art at Colección Patricia Phelps de Cisneros. Frieze Auditorium

14

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012

Diary Off with a bang

Editorial and production (fair papers):

local residents. Jimmy Hojas, a Bronx resident, was putting up the walls of Ahearn’s booth when he realised he knew the artist from a childhood school visit. “I was too scared to get a cast of myself made back then,” Hojas says, “and today I’m setting up the walls for the gallery. It’s a small world.”

Photo: Eric Magnuson

Frieze Projects has rounded up some of the most championed practitioners from the Bronx, including Tim Rollins (right) and his Kids of Survival. Best of all is the Bronx-based sculptor John Ahearn’s recreation of his 1979 exhibition “South Bronx Hall of Fame”, with plaster casts of

FRIEZE NEW YORK DAILY EDITION

Photo: Paul Bruinooge/PatrickMcMullan.com

Widmaier-Picasso, the artist’s grand-daughter. The actor James Franco and Michael Stipe of REM were much in evidence, doubtless aware that Biesenbach’s interest in what he flexibly refers to as “contemporary practice” could easily get them both gigs at the most prestigious museum in town.

top its official stamp. We got in touch with the Guinness people this week, however, and were told that they “don’t currently monitor this as a record category and aren’t researching the one on Randall’s Island”. A search on their web database, however, does reveal some other surprising superlatives. For

Secret New York James Fuentes, dealer (F24)

Near Randall’s Island in the South Bronx are several murals by John Ahearn and Rigoberto Torres that were produced while working in the South Bronx in the 1980s. The works relate to two important facets of the neighbourhood’s connection to contemporary art for two reasons. These works were produced in collaboration with Fashion Moda [a nonprofit gallery in the South Bronx which closed in 1993]: while Fashion is no longer operational, it had a significant impact on the 1980s art scene. In fact, I might

venture to say that it preceded and fostered the East Village movement. They are also situated near the Longwood Arts Project, which is still an active space that has been doing great work for decades. In the 1980s, the Longwood Arts Project was run by Fred Wilson. Imagining this crossover between Wilson, the mural project and Fashion Moda all taking place at the same time is kind of mind-blowing. Seeking these works out feels like an expedition and seeing the environs of where they are situated is an eyeopening experience.   Murals are at Intervale Avenue at Kelly Street, Dawson Street at Longwood Avenue, Intervale Avenue at Fox Street

The art world falls in love with Courtney “Live Through This” may well be the perfect mantra for any art fair, but Courtney Love has proved to be the stand-out star of Frieze week so far, with the unveiling of the first ever exhibition of her own work at Fred Torres Projects, entitled “And She’s Not Even Pretty”. These surprisingly compelling (and surprisingly expensive, starting at $12,000) watercolours and works on paper portray the star at her most emotionally vulnerable and give the artist Karen Kilimnik—currently being much fêted at Frieze and by the collector Peter Brant at his Brant Foundation Art Study Center in Greenwich, Connecticut—a serious run for her money. It’s hardly surprising that a top-tier celebrity crew turned out for her VIP opening on Wednesday night, including Jude Law and Fred Armisen. But the real shocker here was to find la rockeuse clutching a photocopied version of Clement Greenberg’s Art and Culture in her delicate fingers. For who would have guessed that Courtney was actually related to the great art critic, her grandmother, the writer Paula Fox, being married to his brother Martin Greenberg. While Love declares herself a committed fan of the criticism of her great-uncle, the stern formalist himself might have been less reciprocal in his views on her work, having famously gravely proclaimed that “kitsch is the epitome of all that is spurious in the life of our times”. 

example: the tallest tensile structure (Khan Shatyr Entertainment Center in Astana, Kazakhstan), the highest contemporary art gallery (The Nautilus, 4,300m above sea level in Plaza de Mulas, Mount Aconcagua, Argentina), the largest freestanding hangar (Hangar 375, aka “Big Texas”, at Kelly Air Force Base, San Antonio) and the largest gingerbread house (built by Roger Pelcher at Mall of America, Bloomington, Minnesota).

The art of science The sexy group show “Science on the Back End”

Flying the flag

put together by the artist Matthew Day Jackson at Hauser & Wirth New York

dramatic double-sided “flag” installed high up on his stand, which boldly heralds the best and worst of possible artworld scenarios. Thus, while one side reads, “IT’S ALL GOING VERY WELL NO PROBLEMS AT ALL”, the other proclaims “IT’S GOING VERY BADLY IT’S A TERRIBLE DISASTER”.

(until 16 June) features a stand-out work by one of his young friends, namely History by Nick van Woert. This large tondo of assembled instruments includes some from an improbable source, the cabin of the notorious Unabomber Ted Kaczynski. These objects, including a flute and various homemade hammer heads, were bought by the artist direct from the FBI auction of the terrorist’s belongings, snapped up at around $1,000 per lot and sent out in the post by the government itself. Only when he’d assembled the work did Van Woert discover his main competition during the auction had been various young artist friends, all planning to likewise use Unabomber ephemera in their own forthcoming works.

Anton Kern gallery may have had to deal with all sorts of the usual fair problems, not least setting up special walls for its Jim Lambie installation, but the gallerist himself is in an upbeat mood, fuelled by the artist David Shrigley’s

Executive director: Anna Somers Cocks Managing director: James Knox Associate publisher: Ben Tomlinson Business development: Stephanie Ollivier Office administrator: Belinda Seppings Head of sales (US): Caitlin Miller Advertising sales (UK): Kath Boon, Elsa Ravazzolo Ad production: Daniela Hathaway Published by Umberto Allemandi & Co. Publishing Ltd US office: 594 Broadway, Suite 406, New York, NY 10012 Tel: +1 212 343 0727 Fax: +1 212 965 5367 Email: [email protected] UK office: 70 South Lambeth Road, London SW8 1RL Tel: +44 (0)20 3416 9000 Fax: +44 (0)20 7735 3322 Email: [email protected] All Americas subscription enquiries: Tel: +1 888 475 5993 Rest of the world subscription enquiries: Tel: +44 (0)1795 414863 www.theartnewspaper.com Twitter: @TheArtNewspaper Printed by AFL Web Printing, New Jersey © The Art Newspaper Ltd, 2012

Photo: Adrian Dannatt

Photo: Casey Fatchett

Frieze week got off to a big bang thanks to BOMB, the fabled downtown magazine that held its 31st gala on Monday night at Capitale on the Bowery, a cavernous space packed with le tout art world. Being honoured were a deliciously gruff Richard Serra and the superstar curator Klaus Biesenbach of MoMA. And who should be toasting Klaus but Patti Smith, recounting how they first met through Susan Sontag and how she’d always assumed his title “chief curator at large” was a private joke, “but it turns out to actually be something… knowing him, something mysterious”. Smith namechecked her everfavourite poet William Blake, who “did not have a champion such as Klaus”, while the man himself thanked friends in attendance, from Marina Abramovic to Glenn Lowry, Aggie Gund and Diana

Much has been said about Frieze’s massive, snaking tent. The organisers themselves have called it the largest free-standing structure in the world, and newspapers from the New York Post to the Village Voice have reported that Guinness World Records is looking into giving the big

Photo: Casey Fatchett

Big top

Editors: Jane Morris, Cristina Ruiz Deputy editor: Helen Stoilas Production editor: Ria Hopkinson Copy editors: James Hobbs, Ben Luke, Iain Millar, Anny Shaw Designer: Emma Goodman Editorial researcher/picture editor: Eric Magnuson Contributors: Georgina Adam, Martin Bailey, Clemens Bomsdorf, Charlotte Burns, Adrian Dannatt, Gareth Harris, Javier Pes, Riah Pryor, Cristina Ruiz, Emily Sharpe, Anny Shaw, Helen Stoilas Photographer: Casey Fatchett Additional editorial research: Ermanno Rivetti

Shrigley is currently riding high in New York with his huge billboard installation on the High Line and his prophetic sign has already been reserved at $32,000. 

All rights reserved. No part of this newspaper may be reproduced without written consent of the copyright proprietor. The Art Newspaper is not responsible for statements expressed in the signed articles and interviews. While every care is taken by the publishers, the contents of advertisements are the responsibility of the individual advertisers

WWW.PULSE-ART.COM

Design: ahoystudios.com

PULSE New York May 3 – 6, 2012 // NEW DATE // The Metropolitan Pavilion 1 25 West 18th Street between 6th and 7th Avenues Chelsea, New York