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FRIEZE NEW YORK DAILY EDITION 15-17 MAY 2015 MOVING HERE Why New York is attracting a stream of French artists

SHIRIN NESHAT The Iranian-born, US-based artist challenges Western stereotypes

VENICE BIENNALE Highlights of All the World’s Futures and our pick of the national pavilions

ANALYSIS PAGE 4

INTERVIEW PAGE 8

FEATURE PAGE 7

HASSAN, ELMGREEN & DRAGSET, OFILI AND TREE: © CASEY FATCHETT. MABUNDA: PHOTO: © KLEINEFENN; COURTESY OF GALERIE MAGNIN-A, PARIS. CAMILLE HENROT: JOAKIM BOUAZIZ. NESHAT: © SHIRIN NESHAT; COURTESY OF GLADSTONE GALLERY. KATHARINA GROSSE AT VENICE: © MIKHAIL MENDELEVICH

ART FAIRS New York. Dealers at Frieze New York are taking advantage of the Venice Biennale effect, after the world’s most prestigious international art exhibition opened last week, a month earlier than usual. Traditionally, Art Basel in June benefited most from the Biennale (until 22 November), as collectors bounced from Italy to the Swiss fair. “The old credo ‘see in Venice, buy in Basel’ is up for revision,” Olav Velthuis, the author of Talking Prices, told us. Victoria Miro (B3) has dedicated almost all of its stand to artists who are showing in Venice. Works by Joan Jonas, who earned a special mention from the Biennale’s jury, are on offer with Gavin Brown’s Enterprise (B38), Wilkinson Gallery (D26) and Galleria Raffaella Cortese (A10). “She is representing the US in Venice, so it would

See in Venice, buy in New York? Kay Hassan, Untitled (2013-14) These collages, one of which sold for $36,000, are made from bits of billboards. “He takes negative advertisements and turns them into positive portraits,” says Hassan’s dealer, Jack Shainman (C23). The works pre-date similar collages that are on show at the Venice Biennale

the main exhibition. At the fair, Victoria Miro is offering Julien’s photograph MIDNIGHT SUN (Playtime) (2013), priced at $57,000. Unlike Venice, Frieze is “not at all interested in the world’s problems”, says the Belgian collector Alain Servais. On a practical note, the most ambitious projects in Venice cannot easily be translated to an art-fair booth. In

IN VENICE—AND ON RANDALL’S ISLAND, TOO Elmgreen & Dragset, He (Copper Green) (2013) This statue, priced between $100,000 and $150,000 (Victoria Miro, B3), is part of a series of “mermaids” by the artists. In Venice, a sculpture of a diving board is on show in François Pinault’s Punta della Dogana

A tree grows in the Meatpacking District

Dealers stand to benefit because the Biennale opened early this year

“Sales were taking place at Venice’s opening gate” be a bit stupid not to have her work here,” says Gavin Brown, who is showing a set of 58 drawings priced at $350,000. Inclusion in the Biennale is a seal of curatorial approval—and collectors take notice. “The exposure is so important for mid-career artists,” says Jessica Witkin of Salon 94 (B52), which sold Lorna Simpson’s Right Back At You (2015), priced in the low six figures. The painting is part of a series that was first shown in Venice. Galerie Eigen + Art (C24) sold Parafulmine mobile (2015), a sculpture by Olaf Nicolai, who is showing in the German pavilion, for €12,000. The Biennale has a strong political tone this year: Isaac Julien organised a public reading of Karl Marx’s Das Kapital for All the World’s Futures,

DOWNL OAD OUR AP Your com P ple lete guide to the Ven Bienna ice le, inclu l d ing all the a rtists’ prices

Chris Ofili, Ovid-Windfall (2011-12) Ofili’s paintings have a room to themselves in the Venice Biennale’s main exhibition. This work, priced in “the mid-six figures”, had sold at Victoria Miro by Thursday afternoon

All the World’s Futures, Katharina Grosse built a massive, debris-filled installation covered in paint. At the fair, Galerie Johann König (D18) sold her painting o.T. (2014), priced between €50,000 and €60,000. Fairs are not designed to give a sense of an artist’s body of work. “In Venice, Jonas’s drawings are related to video, performance—it’s really

mixed-media,” says Chiara Tiberio of Galleria Raffaella Cortese, which is offering drawings made by the artist during a performance last year, priced at $25,000. “In a fair, it’s just a drawing; it’s reductive, in a way.” “I’m not looking for an overarching theme at an art fair,” says Jeremy Strick, the director of Dallas’s Nasher CONTINUED ON PAGE 4

Handpicked: the Whitney’s director personally selected its maple tree

MUSEUMS New York. The Whitney Museum of American Art’s Renzo Pianodesigned building in the Meatpacking District has been welcomed as a powerful architectural addition to New York’s museum landscape. The institution’s new home includes a piece of soft landscaping that could easily be overlooked: a “Red Sunset” maple tree. No ordinary plant, it was personally picked by Adam Weinberg, the museum’s director, from a farm upstate. “I knew I was going to be seeing it every day on my walk in to work, so I wanted to be sure I’d like it,” Weinberg told us during a tour of the museum. H.S. • For Adam Weinberg’s highlights of the inaugural exhibition and the building, visit www.theartnewspaper.com

African art fair crosses the Atlantic The art fair 1:54, which is dedicated to artists from Africa and the diaspora, makes its New York debut at Pioneer Works in Red Hook, Brooklyn, this week (15-17 May). The US edition of the London event features work by several artists who are also showing in the Venice Biennale, including Gonçalo Mabunda, who creates objects from weapons recovered at the end of Mozambique’s civil war. In New York, he is showing masks with Magnin-A gallery, including Victime du G8 (2011), priced at $6,000. According to Philippe Boutté, a director of the gallery, the larger works made from Kalashnikovs proved tricky to get through US Customs, so the gallery opted for smaller objects instead. A.S. • For a full report on 1:54, visit www.theartnewspaper.com

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

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NEWS

Non-profits face homelessness Luxury developments displace Manhattan’s independent art spaces—and Brooklyn isn’t a cheaper option any more Hito Steyerl’s Liquidity Inc (2014) at Artists Space (until 24 May). The non-profit has nurtured the careers of many artists but faces losing its SoHo home as property prices soar

New York. As the Whitney Museum of American Art returns to downtown Manhattan, non-profit art spaces that have been in the neighbourhood or nearby since the 1970s are being priced out. Matthew Higgs, the director of White Columns (A15), says: “The cost of operating in New York is becoming increasingly and prohibitively expensive.” The space in the Meatpacking District, which was founded in 1970 by the artists Gordon Matta-Clark and Jeffrey Lew, has a lease that expires in 2018.

Handed to developers “It seems that the city of New York has completely handed over Manhattan to developers,” says Stefan Kalmár, the director of another non-profit, Artists Space, which was founded in 1972. “We have always been a downtown organisation, and it would be great to remain here.” Realistically, he expects to move out of SoHo when his lease runs out in 2019. Artists Space has nurtured the careers of artists including Adrian Piper (Elizabeth Dee, C36), Hito Steyerl (Andrew Kreps Gallery, B57) and Laurie Simmons (Salon 94, B52). Danh Vo (Marian Goodman Gallery, C10), who has organised a collateral

exhibition at the Venice Biennale this year, had a solo show there in 2010, and the gallery organised Witnesses: Against Our Vanishing (1989), one of the first exhibitions to embrace the topic of HIV/Aids. Since 1993, the non-prof it’s home has been at 38 Greene Street, a five-storey, 19th-century building that may have to close temporarily in the autumn because the landlord, Zar Property NY, plans to put a luxury condo on the roof. New York City’s Landmarks Preservation Commission approved the plans in January. White Columns, Artists Space and other New York-based non-

“The issue is not one of geography but of affordability” profits are lobbying city officials for rent protection. They are part of the umbrella group Common Practice New York, which was founded in 2012 and includes the non-profits Printed Matter and the Kitchen, which are both in Chelsea, Participant Inc, which is in the Lower East Side, and Brooklyn’s Triple Canopy. They have been holding meetings with city officials, including Tom Finkelpearl, New York’s cultural affairs commissioner

Mapplethorpe’s ‘obscene’ exhibition revisited, 25 years on

and the former director of the Queens Museum, since last October. Several arts organisations have already moved from Manhattan to Brooklyn. They include Franklin Furnace, which was formed in 1976 by the artist Martha Wilson (represented by P.P.O.W, C44). “When I asked the board, they said, ‘Yes, we should move to Brooklyn’. The artists had already moved there,” Wilson says. Franklin Furnace sold its Tribeca storefront in 1996 and is now on the Pratt Institute’s Brooklyn campus. No place is safe from developers’ deep pockets, however. “Rents in many parts of Brooklyn, Queens and

Robert Mapplethorpe’s images were at the centre of the 1980s culture wars

contributions by curators from the Los Angeles County Museum of Art and the J. Paul Getty Museum. The two California-based institutions are planning a joint survey of the artist’s work in 2016. “The censorship, obscenity trial and culture wars really eclipsed Mapplethorpe’s work,” says Kevin Moore, the artistic director of the Cincinnati-based photography biennial FotoFocus, which is co-organising the symposium with the CAC. “We’d like to move the conversation beyond that. What is the legacy of the work now?” Julia Halperin

Condo crazy Manhattan is experiencing phenomenal growth in the luxury housing development sector, with prices that will “undeniably go down in history”, according to a recent report by the real-estate research group Compass. The median closing price for new developments at the end of 2014 was $1.93m—an increase of 23.8% on the previous quarter. The report predicts that developers will focus their energy on building multimillion-dollar developments. One non-profit has managed to stay in Manhattan. Max Schumann, the acting executive director of Printed Matter, which has a storefront in Chelsea and organises artists’ book fairs in New York and Los Angeles, says that “it took two years of exploring all types of options in all parts of the city” to find an appropriate space. When the non-profit’s lease expires in August, it will move from 10th to 11th Avenue. It has raised around 40% of the $850,000 needed for its new space. The rent, however, will be higher. Corinna Kirsch 

NEWS IN BRIEF Tatyana Fazlalizadeh. Deitch is working with the real-estate developer Thor Equities. “It’s more of a community project than a business project,” Deitch says. J.H.

Museum director who almost went to jail will speak at symposium Cincinnati. It has been 25 years since Dennis Barrie, the then director of Cincinnati’s Contemporary Arts Center (CAC), was indicted on obscenity charges relating to the exhibition Robert Mapplethorpe: the Perfect Moment. Barrie, along with historians, curators and friends of the artist, will revisit the show that became a cause célèbre in Mapplethorpe + 25, a symposium at CAC (23-24 October). Barrie—the first art-museum director to be charged in relation to an exhibition’s content—was found not guilty. The symposium will present new research on Mapplethorpe, including

beyond now match those of Manhattan,” says Chrissie Iles, a curator at the Whitney. “The issue is not one of geography but of affordability—an urgent question that also applies to artists’ studios and living spaces.”

Artists move in to Times Square Coming to Coney Island soon

Deitch brings street art to the boardwalk The dealer Jeffrey Deitch is organising a show of street art—his largest since Art in the Streets at the Museum of Contemporary Art, Los Angeles, in 2011—on a vacant lot near Coney Island’s boardwalk. Thirty international artists are creating work for the pop-up gallery, including Daze, Lady Pink, Shepard Fairey, Os Gêmeos and

New York’s Times Square will soon have an artist-in-residence. The year-long programme will host four local artists or collectives for three months each, beginning in June. The first resident, the artist R. Luke DuBois, plans to stage subtle performances and record them on webcams; Eyebeam Art + Technology Center will take over the residency in the autumn. “We want to set a precedent for other business districts to show that artists are an important part of any community,” says Sherry Dobbin, the director of public art for the Times Square Alliance. J.H.

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THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

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See in Venice, buy in New York?

ANALYSIS

CONTINUED FROM PAGE 1

Sculpture Center. “I’m hoping to discover new things at biennials and art fairs, but… I attend fairs to remain conversant with the market.” Le Guern Gallery (A3) is showing diptychs on paper, priced at $5,000 each, by C.T. Jasper, who is representing Poland at the Biennale. Agata Smoczynska, the gallery’s founder, says that the artist’s work in Venice—a video installation created with Joanna Malinowska that drew 4,500 visitors in one day—“needs an institutional context”. One of the video’s five editions has been acquired by Warsaw’s Zacheta National Gallery of Art.

Big Apple beckons for French artists A century after Marcel Duchamp first arrived, New York’s appeal is as strong as ever ARTISTS New York. If New Yorkers feel a bit of the mistral blowing this spring, they might look to the influx of French artists who have been making their way to the city. As Pierre Huyghe takes over the Metropolitan Museum of Art’s Roof Garden and the street artist JR continues to draw visitors to his haunting installation in the abandoned immigrant hospital on Ellis Island, other contemporary artists from France, including Camille Henrot and Amélie Chabannes, have put down more permanent roots. The latest arrival is Anita Molinero, who has won the first artist’s residency run by the Claudine and Jean-Marc Salomon Foundation for Contemporary Art, which is based in Annecy, France. The annual sixmonth residency provides an artist from a Francophone country with studio space at the International Studio and Curatorial Program in Brooklyn and an $18,000 grant. Speaking at the French Institute Alliance Française in Manhattan last month, Jean-Marc Salomon said that the foundation chose to base the residency in the US “because, since 1964, New York is the heart of the world of art”. Marcel Duchamp decided to emigrate in 1915; others discovered New York by chance. “It was Arman who offered me the trip, in 1966,” says the conceptual artist and sculptor Bernar

Unframed (2014, detail), the artist JR’s installation on Ellis Island Christine Rebet, who lives in Manhattan and has a studio in Brooklyn, says: “Artists can’t live in New York. They find spaces that they fix up, or go to California where prices are lower,” she says. Of course, there is also the allure of the almighty dollar. “For American millionaires, art has become a sexier business than property or stocks,” says

The French artist Camille Henrot has followed in Duchamp’s footsteps Venet, referring to his fellow Frenchborn artist, who gravitated first to the Chelsea Hotel. “My encounters on the avant-garde scene inspired me to move [to New York] permanently,” Venet says. He was among the first to move into a SoHo loft. The French painter Jules de Balincourt also recognises the attraction, although he does not live in New York. “Everyone is in Brooklyn. It’s the new SoHo,” he says. The move may not be as easy for more recent transplants, however. The illustrator

As well as high rents and a busier market, some French artists may experience a culture shock. “In the 1960s, the French were not always welcomed,” Venet recalls. “The Americans have qualities we don’t. Their way of getting straight to the point and their lack of concern when faced with large dimensions certainly encouraged me.”

“Americans have qualities we don’t, such as their way of getting straight to the point” De Balincourt, although he regrets one of the results: that “young talent is subjected to the politics of buzz”.

Culture shock As a self-taught photographer who moved from Alsace to Harlem and is showing at Flux Art Fair (until 17 May), Capucine Bourcart finds it easier to work in the US than in France, which is more institutionalised. “I don’t know if I could have arrived at this level elsewhere,” Bourcart says.

“America is like an 18-year-old, simultaneously arrogant and naïve,” De Balincourt says. Meanwhile, in France, “people are suffocated by their heritage”. But the Paris-born, Brooklyn-based multidisciplinary artist Prune Nourry finds it easy to wear deux chapeaux. “I’m French and a New Yorker. The two are not contradictory, but complementary,” she says. Sarah Belmont and Victoria Stapley-Brown

Some dealers are not interested in promoting the Venice connection. They want to avoid overburdening artists, many of whom created new work for the Biennale. Others do not want to appear to be capitalising on what is meant to be a non-commercial event. “There’s a certain integrity to these curated events, and it’s not right to commercially push it,” says Thaddaeus Ropac (C40). Today, however, the distinctions between commercial and non-commercial shows are collapsing. “There were a lot of jpegs emailed around before the Biennale, and sales were taking place at the opening gate,” says Todd Levin, the director of Levin Art Group. Dealers often help to finance production, shipping and the promotional costs of work commissioned for Venice. It is an open secret that most works are for sale. The dealer Jack Bell, who is participating in the 1:54 fair this week, sold works included in the Biennale by Lavar Munroe. Both events demonstrate the event-driven nature of the art world. “There is no big difference between walking along the Arsenale or through Frieze,” says Max Hollein, the director of the Städel Museum in Frankfurt. “The endless succession of cocktail receptions and dinners makes the two feel very alike. And it seems that boat rides become a fixture if you are going to Venice, to Istanbul or whatever biennial or to Frieze New York.” Julia Halperin and Pac Pobric • Download our Venice Biennale iOS app from iTunes now

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THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

REVIEW ARMENIA REMEMBERS

Armenity, the Republic of Armenia’s pavilion—awarded a Golden Lion by the jury—is on the island of San Lazzaro degli Armeni. The monastery of the Armenian Mekhitarist Order has played a critical role in Armenian history and the preservation of Armenian culture abroad, which makes the monastic island Ayreen Anastas and an ideal crucible for the 100-year Rene Gabri’s work in commemoration of the Armenian the Armenian pavilion genocide. In the monastery’s gardens, Mikayel Ohanjanyan’s sculpture of deconstructed street lights and Mekhitar Garabedian’s sound installation are memorials to the forgotten: family, friends and fellow citizens. Inside, Sarkis Zabunyan, better known as Sarkis, extends his series of stained-glass images from the Turkish pavilion to Armenity. Installed in an actual place of worship, the works take on a profound meaning that gives a sense of resolution to his installation at the Arsenale. Testimony and translation are recurring themes as the artists—all of whom are grandchildren of survivors of the genocide—attempt to find alternative strategies for depicting personal and collective history. Aaron Cezar

Katharina Grosse’s Untitled Trumpet (2015) brings drama to Okwui Enwezor’s show

Beauty meets violence at the Venice Biennale Our pick of the All the World’s Futures exhibition and the national pavilions

ICELAND’S MOSQUE

GROSSE AND GATES: © MIKHAIL MENDELEVICH. IRAQ: © GARETH HARRIS

GIARDINI AND ARSENALE There is beauty in violence. In Okwui Enwezor’s All the World’s Futures, which opened last week (until 22 November), some of the most compelling works are those that brutalise the imagination. In Christian Boltanski’s film L’Homme qui Tousse (the coughing man) (1969), at the start of the exhibition in the Giardini, a man sits alone on the floor of a darkened room and vomits blood. An installation of recent ceramic sculptural works by Walead Beshty includes a gripping front-page newspaper photograph of a murdered man, naked from the waist up, his face covered in blood. John Akomfrah’s gorgeous, three-channel video Vertigo Sea (2015) pairs sweeping images of oceans and the Arctic with sickening documentary footage of whaling and polar-bear hunting. These works mimic the violence of capitalism, which is a key aspect of Enwezor’s show. But how do we deal with the beauty of violence? These pieces are hard to turn away from because they are aesthetically appealing in a way that much of the show, in its conceptual coolness, is not. Although much of the work is controlled, conceptual, monochrome or archival, Enwezor has punctuated the display with some crowd-stopping installations and videos, such as Katharina Grosse’s Untitled Trumpet (2015). The Algeria-born artist Adel Abdessemed does not shy away from tackling 21st-century taboos. Visitors entering the Arsenale see a crude carpet emblazoned with clumsy, illegible daubs that read “Also sprach Allah” (thus spoke Allah). An accompanying video documents how the work was made in 2008; it shows Abdessemed cradled in a blanket, being tossed into the air by a group of men. With

Among the highlights: Theaster Gates’s Gone Are the Days of Shelter and Martyr (2014) each throw, he adds a mark to the carpet, which is pinned to the ceiling, the impressions eventually spelling out the title. The piece was first shown at the David Zwirner gallery in New York in 2009. The gallery said at the time that the work demonstrates “how a group can propel an individual to take action in the name of God”. Theaster Gates is arguably one of Chicago’s most famous activists—and certainly now its most famous contemporary artist. His installation in the Arsenale, Gone Are the Days of Shelter and Martyr (2014), is one of the strongest works on view. A bronze church bell, a wall of slate roof tiles and a statue of a saint have been salvaged from a now-demolished Roman Catholic church in Chicago. Two performers raise and drop heavy church pews to an irregular beat, while a cello plays softly and a blues-gospel chant creates a lyrical, elegiac mood.

Gareth Harris, Julia Michalska, Jane Morris, Pac Pobric and Ermanno Rivetti

Santa Maria della Misericordia, a deconsecrated church in Cannaregio, has been transformed into a fully-functioning mosque by the Swiss artist Christoph Büchel as Iceland’s official contribution to the Biennale. Despite centuries of trade between Venice and the Middle East, and the estimated 15,000 to 20,000 Muslims who live in the greater Venice area, the city has never permitted a mosque to be built in its historic centre. This is clearly more than just a work of art; this is something that means a great deal to a great portion of society in northern Italy and raises the question of whether it is entirely fair to create something as a temporary work of art when its implications are so much more serious. Cristina

Ruiz, Anna Somers Cocks

Christoph Büchel has transformed a former church into a mosque

CONFLICT IN IRAQ

The works on display in Invisible Beauty, the exhibition in the Iraq pavilion, housed in the Ca’ Dandolo on the Grand Canal, reflect on the state of the beleaguered Middle Eastern nation after years of war and instability. The curator Philippe Van Cauteren, the artistic director of SMAK in Ghent, explains the reasonSalam Atta Sabri is ing behind the exhibition’s title. “The showing a “memoir” of invisibility in the country itself is due corruption and chaos to a manifest neglect of the potential of a local artistic scene. If one adds to this the absence of a decent infrastructure and the severe predominance of orthodox artistic thinking, then the possibility of making art in Iraq is basically non-existent.” Salam Atta Sabri, one of the five artists included in the exhibition, is showing Letters from Baghdad, 110 drawings that the artist says are a “memoir” made in response to the corruption and chaos in the city. Marks resembling the movement of a tornado reflect this anarchy, referring to the upsurge of Islamic State. G.H.

KEYS TO JAPAN

Details of Chiharu Shiota’s project for the Japanese pavilion were made available long before the Biennale’s preview, so everybody knew what to expect—but this has not lessened the impact of the piece. The Key in the Hand is an immersive installation of thousands of keys, collected by the artist and hung from the ceiling on Big impact: Shiota’s The threads of deep red yarn, entangled Key in the Hand (2015) and spread across the entire top floor of the pavilion. Two wooden boats act as receptacles for a cascade of keys that almost swallows them entirely. As visitors walk through the installation and around the boats, the red seems to pulsate and grow in intensity, drowning out all other light and enveloping the viewer. The installation has an immediate visual impact, and its relatively “easy” aesthetic does not detract from the calm and intensely meditative atmosphere that Shiota has created. This is a great crowd-pleaser with a satisfyingly cerebral backbone—two qualities not always found in the same work of art. E.R.

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INTERVIEW

A still from the Iranian-born artist’s video Soliloquy (1999)

Shirin Neshat: cast against type

What are you working on now? I’ve been working on a feature film about the Egyptian singer Umm Kulthum for nearly five years, and we are finally happy with the script. She is, without exaggeration, the most iconic artist of the 20th century in the Middle East. She died in 1975. I can hardly believe that I allowed myself to be that ambitious: even Egyptians haven’t done it. But in this climate, where there are continuing misconceptions about Islamic cultures, I wanted to return to a moment in history where Egypt was very cosmopolitan, where there was a more secular, democratic existence, like Iran in 1953 [the setting of Neshat’s film Women Without Men]. It’s been difficult to balance all this material for Egyptian and Western audiences—that’s why it’s taken so long. What advice would you give to a young artist? I do not think that we are born with talent. You have to suffer a little bit. You have to search for ideas. So many young artists are looking at their family, their lovers. There’s a poverty of ideas because there is a poverty of experience. One doesn’t want to add to the trivial and mediocre art in the world. That’s why I didn’t make any work for ten years after graduating from art school. I was smart enough to know that I didn’t have anything to contribute. You have to live a meaningful life and take risks outside school. We don’t have to be rich; just look at all the actors working as waiters. We do have to have integrity. Interview by Julia Halperin

As a major retrospective opens in Washington, DC, the artist reflects on 20 years of challenging Western stereotypes of Iran INTERVIEW

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hirin Neshat entered the art world in the early 1990s armed with an MFA and a gun. Women of Allah (1993-97), her first major series, featured black-and-white photographs of veiled women, including herself, holding handguns and rifles. It was not entirely well received (a New York Times critic described it as “radical chic”). Since then, guns have largely disappeared from Neshat’s work, but “the knife has got sharper”, she says. Her videos and photos have been bought by major museums including the Metropolitan Museum of Art in New York and the Los Angeles County Museum of Art. Critics have warmed to her work, too. In 2009, Neshat won the Silver Lion at the Venice Film Festival for Women Without Men, set during the 1953 Iranian coup. “I always thought my work was very personal, but I’ve come to realise that it has

always been in conversation with history,” she says. This week, Shirin Neshat: Facing History (18 May-20 September) opens at the Hirshhorn Museum and Sculpture Garden in Washington, DC. The survey brings together three bodies of work by the Iranian-born artist, each of which touches on a major moment in the country’s history. For the first time, Neshat’s work will be presented alongside archival material that inspired her, including video footage and newspaper clippings. The exhibition also marks a new chapter in Neshat’s relationship with Iran, which she last visited in 1996. “I no longer want to return,” she says, speaking from her studio in New York. “I’m a true nomad.” The Art Newspaper: How does it feel to revisit the Women of Allah series? Shirin Neshat: For a long time, the reception of that work was more negative than positive. There was a level of suspicion, from both the Iranian community and Westerners,

that I was being intentionally provocative, which caught me by surprise. I had come back to Iran after 12 years and was trying to make sense of the revolution. But to this day, I feel that these images resonate. In the divide between Islam and the West, from Islamic State to Al Qaeda, you see this extreme connection between religion and violence. You work in photography, video and cinema. How do you negotiate these different media? Whenever you embrace a new medium, it’s really frightening. Each one has not only a different artistic language, but also different partners. If I’m making a movie, I’m dealing with producers, actors, production designers. If I’m working on a photograph, I’m working with two or three people in the studio and it’s much more solitary. But they do inform each

other. When I first started out, I just photographed myself. I had to teach myself to convey emotion. But slowly, I became the director, telling other people how to pose and convey the emotions. You’ve said that one of the biggest challenges for artists in Iran is the expectation that their art must be political. How does that shape their work? Artists know that if you do anything with the veil or calligraphy, critics write about it and people buy it. It cultivates a mediocre culture. Western culture thrives on the idea of the oppressed artist; it makes them feel as though they are superior. But in reality, it’s a stereotype. I know an Iranian director who is living here. His latest film is about American culture. It has not been accepted by any film festivals. If you’re Iranian, they want to see something about Iran, even if you’ve lived here for longer than you lived there.

m i a m i

Miami Beach December 1–6, 2015 thepaperfair.com/miami Bioluminescence

by Mila Libman. 2015, pigment on paper 65 x 55in. courtesy of K. Imperial Fine Art

SOLILOQUY: © SHIRIN NESHAT; COURTESY OF GLADSTONE GALLERY. NESHAT: RODOLFO MARTINEZ

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

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Objects made to be rejected 2014, by Linda Lopez, courtesy of Mindy Solomon Gallery

July 9–12, 2015 Fairview Farm at Mecox Bridgehampton artmarkethamptons.com

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

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IN PICTURES

AMERICA

is hard to miss

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obert Frost famously riffed on Christopher Columbus stumbling across the New World when looking for the Indies. With other fortune-hunters in mind, the poet warned that America is Hard to See, a phrase borrowed by the Whitney Museum of American Art for the inaugural show in the

institution’s new home. In the grand tradition of imitating success (or ripping off a good idea when you see one), we have picked some of the works at Frieze New York that are inspired by or critique the US. A triptych by Adrian Piper, who was awarded a Golden Lion at the Venice Biennale last week, shows Elizabeth Eckford defying a racist mob to go to Little Rock Central High

Our pick of the works at Frieze New York that celebrate—or critique—the home of the brave

School. T.J. Wilcox’s light box Manhattanhenge celebrates Gotham just as the bright lights go on. Cady Noland’s take on the American Dream—an adult walker draped in the flag—was snapped up for $1.5m on Wednesday. And courtesy of Luigi Ontani, in the form of Pop art meets Ancient Roman sculpture, comes Columbus himself. Javier Pes

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THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

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PLANTING THE FLAG 1

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T.J. Wilcox, In the Air, 2015 (vinyl wallpaper), Manhattanhenge, 2015 (duratrans print on lightbox), Gladstone Gallery, New York/ Brussels (B6)

Vera Lutter, Empire State Building, VI: November 30, 2014, Alfonso Artiaco, Naples (C48)

2 Daniel Arsham, Pyrite Eroded Arms with Basketball, 2015, Galerie Perrotin, New York/Paris/ Hong Kong (C25)

3 Cady Noland, Untitled (Walker), 1989, Skarstedt, New York/ London (B65)

5 Luigi Ontani, Columbo, 1996 (detail), Galleria Lorcan O’Neill, Rome (C7)

6 Hank Willis Thomas, Opportunity, 2015, Jack Shainman Gallery, New York (C23)

7 Nan Goldin, Misty in Sheridan Square, NYC, 1991, Matthew Marks

Gallery, New York/Los Angeles (B53)

8 John McCracken, Idea, 2004, 16-V, 1971, Swing, 2006, Flambeau, 2005, David Zwirner, New York/ London (C50)

9 Lynn Hershman Leeson, America’s Finest, 1995, Waldburger Wouters, Brussels (B42)

10 Adrian Piper, Decide Who You Are #15: You Don’t Want Me Here, 1992, Elizabeth Dee, New York (C36)

MAY 16 – NOVEMBER 1

NYBG.ORG Frida Kahlo, Self-Portrait with Thorn Necklace and Hummingbird, 1940. Harry Ransom Center, The University of Texas at Austin.© 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Any views, findings, conclusions, or recommendations expressed in this exhibition do not represent those of the National Endowment for the Humanities.

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

BOOKS

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John Reekie’s photograph A Burial Party, Cold Harbor, Virginia (1865)

Medium retains its mystique An unconventional history of photography—to be continued PHOTOGRAPHY

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n The Miracle of Analogy: or the History of Photography, Part I, the art historian Kaja Silverman is after photography’s imagination; she wants to picture its sensibility. It is not simply “some medium that was invented by two or three men in the 1820s and 1830s, that was improved on in numerous ways over the following century”. It is much more: it is “the world’s primary way of revealing itself to us—of demonstrating that it exists, and that will forever exceed us”. Although her book is ostensibly about 19th-century photography (a companion volume is due in a couple of years), it is really a meditation on photography’s essence, rich in catholic claims that outstrip any historical period. Pictures, for Silverman, are universal reminders of our limits. Even their origin is beyond our reach. “It is as impossible to know when photography began as it is to know when our first ancestors opened their eyes,” she writes.

Photography is primarily a matter of the imagination, not of technology. This imagination, however, is unstable and constantly on the move. In 1826, it took the French photographer Nicéphore Niépce eight hours of exposure to capture View from the Window at Le Gras. The vicissitudes of the day, shadows and sunshine, are everywhere present in the picture. “My sole object is to copy nature with the greatest fidelity, and it is that to which I attach myself exclusively,” Niépce wrote. But what is fidelity in a world of permanent flux? Silverman quotes the French philosopher Henri Bergson: “Everything changes at every moment. It does so without ceasing. There is, consequently, no such thing as form; there is only formation.” Amid this instability, Silverman sees photography as something that holds us together. It acts as “a kind of republic” that “links us to one another [in] a particularly binding and democratising” way. But the only true democracy is the democracy of death. Silverman turns to John Reekie’s 1865 photograph of African-American soldiers at work

at an American Civil War burial ground. “They all look down at the ground, from which they came, and to which they will one day return.” Here, as at many points, Silverman’s words are hollow. Photography does have a special monopoly on mortality (it is always about absence), but Silverman does not excite our aesthetic anxiety; her writing is not precise enough. The professor of

The book is smart and poetic, but not precise enough contemporary art at the University of Pennsylvania has written a smart, poetic book, but its poetry has to be cut from a forest of stilted academic prose. The style of the academy is present throughout; nowhere more so than in the section on the German writer Walter Benjamin. Benjamin, she writes, sees “ontological as well as pictorial” possibilities in photography, ones that have “profound social consequences”. This is why, for him,

photography can be put to explicit political use. “Benjamin’s relationship to photography is unquestionably instrumental,” she writes. Yet Benjamin, despite his Marxism, is poorly understood in these terms. Like so many other great writers who have focused on photography (Susan Sontag, Roland Barthes), Benjamin is a mystic; he is at his best when he is abstruse and compacted. And although Silverman knows that Benjamin’s beauty is in his inscrutability, she cannot resist the academic call of interpretation. Benjamin is thus put at the service of a narrative he cannot support. Silverman approvingly cites a remark he made about an 1887 photograph of a four-year-old Franz Kafka: “He would surely be lost… were it not for his immeasurably sad eyes, which dominate the landscape predestined for them.” Both Benjamin and Silverman dig too deep. Was Kafka truly sad that day? Does

he really dominate the landscape? Only with hindsight and knowledge of Kafka’s difficult life can we look back on the child and impose such an interpretation. But art does not benefit from this. Silverman is better in those few moments when she follows the advice of the blind photographer John Dugdale, who once wrote: “The quietude people respond to in my pictures is, in part, because of the way they are made: no flash; no harsh electric light; not even the sound of the shutter.” Dugdale knows that photography, like all art, is mute. All we can do is revel in its quiet imagery. The Miracle of Analogy: or the History of Photography, Part I Kaja Silverman Stanford University Press, 240pp, $21.95 (pb)

Frieze Exclusive

Signed Copies from Phaidon

RICHARD TUTTLE ASPECTS, I−XII Books Available in Limited Quantities

Visit Artbook & Koenig Books Frieze New York South Entrance

STAND B2 MAY 14 – 17, 2015 Aspect IX, 2015 archival watercolor paper, cardboard backing material, acrylic, watercolor, maple wood, and furniture-grade lacquer, 26 x 32 ½ x 1 ½" © Richard Tuttle, courtesy Pace Gallery photo by: Kerry Ryan McFate / Pace Gallery

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

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CALENDAR Frieze New York 2015 FAIRS

UNTIL 21 JUNE www.bronxmuseum.org

1:54 Contemporary African Art Fair

Brooklyn Museum

Pioneer Works, 159 Pioneer Street, Brooklyn

200 Eastern Parkway, Brooklyn • Kehinde Wiley: a New Republic

15-17 MAY www.1-54.com

• Chitra Ganesh: Eyes of Time

UNTIL 24 MAY

Art Miami New York

UNTIL 12 JULY

Pier 94, 12th Avenue at 55th Street

• Diverse Works: Director’s Choice, 1997-2015

14-17 MAY www.artmiaminewyork.com

UNTIL 2 AUGUST

• Basquiat: the Unknown Notebooks

Collective Design

UNTIL 23 AUGUST

Skylight Clarkson Square, 550 Washington Street

• Zanele Muholi: Isibonelo/Evidence

UNTIL 17 MAY www.collectivedesignfair.com

Flux Art Fair

UNTIL 1 NOVEMBER www.brooklynmuseum.org

Corn Exchange Building, 81 East 125th Street

Centre for Italian Modern Art (Cima)

14-17 MAY www.fluxfair.nyc

421 Broome Street, fourth floor • Medardo Rosso

Fridge Art Fair

UNTIL 27 JUNE www.italianmodernart.org

The Holiday Inn, 150 Delancey Street

Cooper-Hewitt National Design Museum

14-17 MAY www.fridgeartfair.com

Frieze New York

2 East 91st Street • Tools: Extending Our Reach

Randall’s Island

UNTIL 25 MAY

14-17 MAY www.friezenewyork.com

• Maira Kalman Selects

New Art Dealers’ Alliance Basketball City, 299 South Street 14-17 MAY www.newartdealers.org/fairs

Salon Zürcher 33 Bleecker Street UNTIL 17 MAY www.galeriezurcher.com/ salon-zurcher

Select Center 548, 548 22nd Street 14-17 MAY www.select-fair.com

Seven The Boiler, 91 North 14th Street, Brooklyn 8-17 MAY www.seven-miami.com

MUSEUMS Americas Society Art Gallery 680 Park Avenue • Moderno: Design for Living in Brazil, Mexico and Venezuela, 1940-78 UNTIL 16 MAY www.as-coa.org

Bard Graduate Center KJARTANSSON: RAGNAR KJARTANSSON AND I8 GALLERY, REYKJAVIK. FINCH: QUEENSLAND ART GALLERY. STARKE: ELISABETH SMOLARZ

Ragnar Kjartansson’s S.S. Hangover, last seen (and heard) at the 2013 Venice Biennale, will set sail on the Harlem Meer in Central Park

18 West 86th Street • The Interface Experience: 40 Years of Personal Computing UNTIL 19 JULY

• Fashioning the Body: an Intimate History of the Silhouette UNTIL 26 JULY www.bgc.bard.edu

Bronx Museum of the Arts 1040 Grand Concourse, Bronx •Jeffrey Spencer Hargrave: Escape Route UNTIL 31 MAY

• Jules Aarons, Morton Broffman and Joe Conzo: Three Photographers from the Bronx UNTIL 14 JUNE

• Jaime Davidovich: Adventures of the Avant-Garde UNTIL 14 JUNE

• Cuba Libre! (see p17) UNTIL 21 JUNE

• Please Touch

Head north by north-east Creative Time brings a floating band, edible art and other treats to Central Park

UNTIL 7 JUNE

• Models and Prototypes UNTIL 31 JANUARY www.cooperhewitt.org

Creative Time Central Park • Drifting in Daylight: Art in Central Park (see left) 15 MAY-20 JUNE (FRIDAYS AND SATURDAYS ONLY) www.creativetime.org

Drawing Center 35 Wooster Street • Open Sessions 3

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like the weather and the environreative Time launches ment; all you can do is plan.” Drifting in Daylight: Art As well as coming to terms in Central Park on 15 with the city’s changeable May (until 20 June), an weather, the curators were ambitious participatory presented with unusual logistical project organised by Nato challenges. For example, they Thompson, the chief curator of the nonhad to get permission to open a profit organisation, and Cara Starke, its temporary food-selling service, director of exhibitions. The show, which so that the Brooklyn-based artist Starke says is “deliberately spread out Spencer Finch can create softso that one is encouraged to meander, serve ice-cream in the colours of encouraged to get lost”, will take place a New York sunset for visitors. on the north side of the park, and will Meanwhile, on the Harlem include performances and participatory Meer, a small lake in the far north-east works by eight artists. corner of the park, the Iceland-based The show helps to mark the 35th anniversary of the Central Park Conservancy, a non-profit organisation founded in 1980 to restore, maintain and improve the historic park. In 2003, Creative Time worked with the conservancy to present the Chinese artist Cai Guo-Qiang’s firework show Light Cycle, which celevideo and performance artist Ragnar brated the park’s 150th birthday. Kjartansson will launch the S.S. HangStarke, who will leave Creative over, his antique Nordic-style wooden Time in July to become the director boat, previously seen at the 2013 of the Pulitzer Arts Foundation Venice Biennale. In the boat in St Louis, Missouri, has will be a brass sextet playing spent months in the one song repeatedly for park preparing for the six hours. For this work, exhibition. She admits Starke had to become that “there will be familiar with the park’s challenges in the rules on music (some live experiences”, areas are designated adding: “This is what quiet spaces). Creative Time is Starke approached versed in.” Working the show with the park’s outdoors, “you have original landscape designers, to be responsive to what Frederick Law Olmsted and could happen,” she says. Calvert Vaux, in mind. She “You cannot control factors Curator Cara Starke

Curators were presented with unusual logistical challanges

UNTIL 15 MAY

• Portraits from the École des Beaux-Arts Paris UNTIL 28 JUNE

• Natalie Frank: the Brothers Grimm UNTIL 28 JUNE

• Abdelkader Benchamma: Representations of Dark Matter UNTIL 1 MARCH 2016 www.drawingcenter.org

El Museo del Barrio

Spencer Finch’s sunset ice cream thought about how they envisaged Central Park as a work of landscape art, but Starke and the artists involved also had to create art that addresses the ways in which people use the park every day. Amsterdam-based Alicia Framis’s work Cartas al Cielo (letters to the sky) (2011) is a large silver globe that will act as a mailbox; visitors are encouraged to write and send letters to people “with no earthly address”, Starke says. Meanwhile, the New York-based performance artist David Levine is treating the park as the setting for a cinematic experience. He will recreate famous movie scenes that were filmed in Central Park, without their original actors and music. The scenes will be so well disguised that visitors may not even notice them happening as they pass by. Richelle Simon • Drifting in Daylight: Art in Central Park, 15 May-20 June, Fridays, Saturdays and Sundays only, 12pm-6pm

1230 Fifth Avenue • Under the Mexican Sky: Gabriel Figueroa, Art and Film UNTIL 27 JUNE www.elmuseo.org

Grey Art Gallery 100 Washington Square East • Tseng Kwong Chi: Performing for the Camera UNTIL 11 JULY www.nyu.edu/greyart

High Line Gansevoort Street to West 34th Street, between 10th and 11th Avenues • Ed Ruscha: Honey, I Twisted through More Damn Traffic Today UNTIL 17 MAY

• Panorama UNTIL MARCH 2016

• Adrián Villar Rojas: the Evolution of God UNTIL SEPTEMBER

• Rashid Johnson: Blocks UNTIL MARCH 2016 www.art.thehighline.org CONTINUED ON PAGE 16

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

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CALENDAR

Frieze New York 2015 UNTIL 1 NOVEMBER

Isamu Noguchi Museum

• Sultans of Deccan India, 15001700: Opulence and Fantasy

at MetroTech Center, between Jay Street and Flatbush Avenue at Myrtle Avenue, Brooklyn

9-01 33rd Road, Queens • Noguchi as Photographer: the Jantar Mantars of Northern India

UNTIL 26 JULY

UNTIL 29 MAY

• Robert Motherwell: Lyric Suite

• Tatiana Trouvé: Desire Lines, at Central Park

UNTIL 31 MAY www.noguchi.org

• China: through the Looking Glass

Japan Society

UNTIL 16 AUGUST

333 East 47th Street • Life of Cats: Selections from the Hiraki Ukiyo-e Collection

• Van Gogh: Irises and Roses

UNTIL 26 JULY

UNTIL 16 AUGUST

• Coptic Art, Dikran Kelekian and Milton Avery

UNTIL 7 JUNE www.japansociety.org

Jewish Museum 1109 Fifth Avenue • Laurie Simmons: How We See UNTIL 9 AUGUST

• Repetition and Difference

Robert Henri’s portrait of Gertrude Vanderbilt Whitney (1916)

American art—but not as we know it

Whitney Museum of American Art

• Jeppe Hein: Please Touch the Art, at Brooklyn Bridge Park

99 Gansevoort Street • America Is Hard to See (see left)

17 MAY-17 APRIL 2016 www.publicartfund.org

UNTIL 27 SEPTEMBER www.whitney.org

Rubin Museum of Art

America Is Hard To See

150 West 17th Street • Art with Benefits: the Drigung Tradition

MoMA PS1

Whitney Museum of American Art UNTIL 27 SEPTEMBER

UNTIL 7 SEPTEMBER

22-25 Jackson Avenue, Queens • Jos de Gruyter and Harald Thys: Fine Arts

The Whitney Museum of American Art’s inaugural show in its Renzo Piano-designed home has received nearly universal critical acclaim. In his review for The Art Newspaper, Alexander Alberro, an art historian at Barnard College in New York, praised the show for pondering the long-debated question of “who can properly be considered an American artist and what constitutes American art”. Featuring around 600 works from the collection, installed across the eight-storey building and its numerous outdoor spaces, the show is a must-see for visitors from out of town during Frieze week. P.P.

• Gateway to Himalayan Art

UNTIL 9 AUGUST

UNTIL 31 AUGUST

• Wael Shawky: Cabaret Crusades

UNTIL 9 AUGUST

• Math Bass: Off the Clock

• Revolution of the Eye: Modern Art and the Birth of American Television (see below)

UNTIL 31 AUGUST

UNTIL 31 AUGUST

• Samara Golden: the Flat Side of the Knife

UNTIL 12 JUNE

• Off Canvas: Drawing

UNTIL 7 SEPTEMBER www.momaps1.org

the Art of the Mannequin

Shunk-Kender, 1960-71

UNTIL 30 AUGUST

Madison Square Park Conservancy

Morgan Library & Museum

• Richard Estes: Painting New York City

Between Madison Avenue and 23rd Street • Teresita Fernández: Fata Morgana

225 Madison Avenue • Piranesi and the Temple of Paestum: Drawings from Sir John Soane’s Museum

UNTIL 20 SEPTEMBER

UNTIL 12 OCTOBER

UNTIL 3 AUGUST

• Pathmakers: Women in Art, Craft and Design, Midcentury and Today

• Gilbert & George: the Early Years

• Michael E. Smith

UNTIL 10 JANUARY 2016 www.madisonsquarepark.org

UNTIL 17 MAY

• A Certain Slant of Light: Spencer Finch at the Morgan

1000 Fifth Avenue at 82nd Street • Fatal Attraction: Piotr Uklanski Photographs

UNTIL 23 AUGUST

• Exploring France: Oil Sketches from the Thaw Collection

UNTIL 16 AUGUST

• Hans Hofmann

UNTIL 15 NOVEMBER www.themorgan.org

UNTIL 5 JULY

• Wolfgang Tillmans UNTIL 5 JULY

Museum of Arts and Design (MAD)

• Pierre Huyghe: Roof Garden Commission

2 Columbus Circle • Ralph Pucci:

1865 Broadway • Sculpture in the Age of Donatello: Renaissance Masterpieces from Florence Cathedral UNTIL 14 JUNE www.mobia.org

Museum of Modern Art (MoMA) 11 West 53rd Street • Uneven Growth: Tactical Urbanisms for Expanding Megacities UNTIL 25 MAY

The avant-garde, as seen on TV

• Cut to Swipe

Revolution of the Eye: Modern Art and the Birth of American Television Jewish Museum

• Björk

UNTIL 25 MAY

UNTIL 20 SEPTEMBER

UNTIL 7 JUNE

What does the avant-garde have to do with TV? The first show to ask this question highlights the impact of art and design on television from the 1940s to the mid-1970s, when mass media was A still from Warhol’s beginning to expand rapidly and 1968 ad for Schrafft’s ice Hollywood looked to the arts for inspiration—and vice versa. The show includes clips, memorabilia and furniture from shows such as Batman, The Ed Sullivan Show and The Twilight Zone, displayed alongside works by artists including Alexander Calder, Marcel Duchamp, Roy Lichtenstein, Man Ray and Andy Warhol. V.T.

• Latin America in Construction: Architecture 1955-80

18 East 79th Street • Jacob El Hanani: Drawing

58 Park Avenue • Prize Prints: the Queen Sonja Print Award

UNTIL 18 OCTOBER www.thejewishmuseum.org

UNTIL 25 MAY

Acquavella Galleries

Scandinavia House

UNTIL 7 SEPTEMBER

Museum of Biblical Art

UNTIL 30 MAY www.303gallery.com

UNTIL 8 FEBRUARY 2016 www.rubinmuseum.org

• Simon Denny: the Innovator’s Dilemma

• Embracing Modernism: Ten Years of Drawings Acquisitions

507 West 24th Street • Jeppe Hein: All We Need Is Inside

UNTIL 6 JANUARY 2016

UNTIL 20 SEPTEMBER

Metropolitan Museum of Art

COMMERCIAL 303 Gallery

• Becoming Another: the Power of Masks

• Using Walls, Floors and Ceilings: Chantal Joffe

UNTIL 27 SEPTEMBER www.madmuseum.org

UNTIL 28 JUNE www.studiomuseum.org

UNTIL 30 AUGUST

UNTIL 7 SEPTEMBER www.metmuseum.org

• Masterpieces & Curiosities: Nicole Eisenman’s Seder

UNTIL 28 JUNE

• Samuel Levi Jones: Unbound

UNTIL 12 JUNE www.acquavellagalleries.com

Aicon Gallery

UNTIL 1 AUGUST www.scandinaviahouse.org

Sculpture Center

35 Great Jones Street • Rasheed Araeen

17 MAY-4 OCTOBER

44-19 Purves Street, Queens • Magali Reus: Spring for a Ground

UNTIL 6 JUNE www.aicongallery.com

• Andy Warhol: Campbell’s Soup Cans and Other Works, 1953-67

UNTIL 5 JULY

• Erika Verzutti: Swan with Stage

Alexander Gray Associates

UNTIL 27 OCTOBER www.moma.org

UNTIL 3 AUGUST www.sculpture-center.org

510 West 26th Street • Joan Semmel: Across Five Decades UNTIL 16 MAY www.alexandergray.com

Neue Galerie

Algus Greenspon

1048 Fifth Avenue • Russian Modernism: Cross-Currents of German and Russian Art, 1907-17

71 Morton Street • Torbjørn Rødland: Corpus Dubium UNTIL 13 JUNE www.algusgreenspon.com

14 MAY-31 AUGUST

• Gustav Klimt and Adele Bloch-Bauer: the Woman in Gold

Andrea Rosen Gallery 525 West 24th Street • Robert Motherwell

UNTIL 7 SEPTEMBER www.neuegalerie.org

New Museum 235 Bowery • 2015 Triennial: Surround Audience UNTIL 24 MAY www.newmuseum.org

New York Botanical Garden 2900 Southern Boulevard, Bronx • Frida Kahlo: Art, Garden, Life

UNTIL 20 JUNE

Frida Kahlo at the New York Botanical Garden, Bronx

Solomon R. Guggenheim Museum 1071 Fifth Avenue • Monir Shahroudy Farmanfarmaian: Infinite Possibility UNTIL 3 JUNE www.guggenheim.org

UNTIL 19 JULY

16 MAY-1 NOVEMBER www.nybg.org

Studio Museum in Harlem

• Yoko Ono: One Woman Show, 1960-71

New-York Historical Society

17 MAY-7 SEPTEMBER

144 West 125th Street • Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing

544 West 24th Street • Stan Vanderbeek UNTIL 20 JUNE www.andrearosengallery.com

Andrew Kreps Gallery 537 West 22nd Street • Ricci Albenda 14 MAY-21 JUNE www.andrewkreps.com

Anton Kern Gallery 532 West 20th Street • David Shrigley UNTIL 23 MAY www.antonkerngallery.com

Blum + Poe

UNTIL 7 SEPTEMBER

170 Central Park West • Freedom Journey 1965: Photographs of the Selma to Montgomery March by Stephen Somerstein

UNTIL 28 JUNE

Broadway 1602

• From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola

UNTIL 25 OCTOBER www.nyhistory.org

• Salon Style UNTIL 28 JUNE

1181 Broadway • Marjorie Strider: Come Hither

17 MAY-4 OCTOBER

Public Art Fund

• Art on Camera: Photographs by

• Sam Falls: Light Over Time,

• In Profile: Portraits from the Permanent Collection

UNTIL 1 AUGUST www.broadway1602.com

• One-Way Ticket: Jacob Lawrence’s Migration Series and Other Works

UNTIL 28 JUNE

19 East 66th Street • Hugh Scott-Douglas

• Concealed: Selections from the Permanent Collection

UNTIL 30 MAY www.bortolamigallery.com

Painting • Drawing • Sculpture • Printmaking • New Media • Mixed Media

Art Classes for All Ages Full or Part-Time Flexible Schedules Photo credit: Kate Stamos Photography

A Student-Focused Art School in the Heart of Museum Mile School: 5 East 89th Street / Museum: 1083 Fifth Ave, New York, NY 10029 Visit the website: nationalacademy.org or call 212-996-1908

WHITNEY: © WHITNEY MUSEUM OF AMERICAN ART. WARHOL: COURTESY OF THE KRAMLICH COLLECTION, SAN FRANCISCO

CONTINUED FROM PAGE 15

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

16 MAY-20 JUNE www.elizabethdee.com

Fergus McCaffrey 514 West 26th Street • Kazuo and Fujiko Shiraga UNTIL 20 JUNE www.fergusmccaffrey.com

Foxy Production 623 West 27th Street • Travess Smalley

Georg Baselitz: Drinkers and Orange Eaters at Skarstedt

Casey Kaplan 121 West 27th Street • Gath Weiser

UNTIL 12 JULY www.c-l-e-a-r-i-n-g.com

Clifton Benevento 515 Broadway • John Burtle UNTIL 13 JUNE www.cliftonbenevento.com

David Nolan Gallery

UNTIL 20 JUNE www.franklinparrasch.com

UNTIL 13 JUNE www.fredericksfreisergallery.com

Gagosian Gallery 555 West 24th Street • Michael Heizer: Altars 976 Madison Avenue • Richard Prince: Original UNTIL 20 JUNE

909 Madison Avenue • Elmgreen & Dragset UNTIL 23 MAY www.perrotin.com

Garth Greenan Gallery 526 West 20th Street • Ralph Humphrey: Conveyance UNTIL 16 MAY www.garthgreenan.com

UNTIL 13 JUNE

533 West 19th Street • Lisa Yuskavage

291 Grand Street • Spencer Sweeney

UNTIL 13 JUNE

UNTIL 21 JUNE www.gavinbrown.biz

615 West 27th Street • Jesse Greenberg: Face Scan UNTIL 23 MAY www.derekeller.com

Elizabeth Dee 545 West 20th Street • Julia Wachtel: Empowerment

UNTIL 20 JUNE

White Columns

515 West 27th Street • Brancusi: Pioneer of American Minimalism

320 West 13th Street • Benefit Exhibition

170 Suffolk Street • Jamian Juliano-Villani: Crypod

Gladstone Gallery 515 West 24th Street • Cameron Jamie UNTIL 30 MAY www.gladstonegallery.com

Greene Naftali 508 West 26th Street • Jacqueline Humphries 15 MAY-20 JUNE www.greenenaftaligallery.com

Hauser & Wirth 32 East 69th Street • Leon Golub: Riot UNTIL 31 JULY

Through March 2016

HIGH LINE ART Presented by Friends of the High Line art.thehighline.org

UNTIL 20 JUNE www.paulkasmingallery.com

Peter Blum

UNTIL MAY 20 www.whitecolumns.org

FRIEZE EVENTS

UNTIL 27 JUNE www.peterblumgallery.com

PPOW Gallery

TALKS

UNTIL 23 MAY www.jackshainman.com

UNTIL 22 MAY www.katewerblegallery.com

535 West 22nd Street • Timothy Horn: Supernatural

James Cohan Gallery

Laurel Gitlen

533 West 26th Street • Yinka Shonibare MBE: Rage of the Ballet Gods

122 Norfolk Street • Jesse Willenbring

UNTIL 23 MAY www.ppowgallery.com

FRIDAY 15 MAY 12pm “Aesthetics” of “Female” “Attractiveness” A humorous talk show-style panel featuring the comedian and artist Casey Jane Ellison, the writer Karley Sciortino and the artist and film-maker Leilah Weinraub. 4pm Thelma Golden in conversation with Arnold Lehman Thelma Golden, the director and chief curator of the Studio Museum in Harlem, and Arnold Lehman, the director of the Brooklyn Museum, address the question: “Who do museums serve?” SATURDAY 16 MAY 12pm Ask Jerry, with Jerry Saltz The New York Magazine art critic Jerry Saltz hosts a question-and-answer session that could be lively. 4pm Pierre Bismuth The artist and film-maker Pierre Bismuth discusses his new film, Where is Rocky II?, with the writer Andrew Beradini. SUNDAY 17 MAY 12pm Paul McCarthy and Leigh Ledare in conversation with Chrissie Iles The artists Paul McCarthy and Leigh Ledare discuss their taboo-breaking work with the Whitney Museum’s curator Chrissie Iles. 4pm Why Does Michael Asher’s Art Make Me Laugh? Hamza Walker, the co-curator of the Hammer Museum’s 2016 Made in LA biennial, chairs a panel discussion about what art we find funny and why.

US-Cuba cultural thaw bears fruit

83 Vandam Street • John Lehr: If There Was

Real Fine Arts

14 MAY-14 JUNE www.laurelgitlen.com

673 Meeker Avenue, Brooklyn • Yuji Agematsu

Lehmann Maupin Gallery

17 MAY-14 JUNE www.realfinearts.com

201 Chrystie Street • Tony Oursler UNTIL 14 JUNE

536 West 22nd Street • Mary Corse

Salon 94 1 Freeman Alley and 243 Bowery • Huma Bhabha 14 MAY-28 JUNE

UNTIL 13 JUNE www.lehmannmaupin.com

12 East 94th Street • Martin Szekely: Artefact

Lisa Cooley Fine Art

15 MAY-26 JUNE www.salon94.com

107 Norfolk Street • Alice Channer: Half-life

Sean Kelly Gallery

UNTIL 21 JUNE www.lisa-cooley.com

475 Tenth Avenue • Candida Höfer: from Düsseldorf

Humberto Castro’s print I’m Ready... (1985)

Marian Goodman Gallery

UNTIL 20 JUNE www.skny.com

Cuba Libre! Works from the Shelley and Donald Rubin Private Collection

UNTIL 13 JUNE www.mariangoodman.com

530 West 22nd Street • Erin Shirreff: Arm’s Length

Marianne Boesky Gallery

UNTIL 22 MAY www.sikkemajenkinsco.com

Bronx Museum UNTIL 21 JUNE

Years of planning, an unprecedented collaboration with Havana’s Museo Nacional de Bellas Artes and a thaw in US-Cuban relations have led to a major programme of exhibitions and events at the Bronx Museum, which is due to continue until spring 2016. In the first cultural exchange of its kind for 50 years, more than 100 works from the New York museum’s collection are due to travel to Cuba this month for the show Wild Noise. Meanwhile, in New York, the museum is presenting Shelley and Donald Rubin’s collection of works by contemporary Cuban artists. V.T.

24 West 57th Street • Luciano Fabro

20 Clinton Street • Dean Levin: a Long, Narrow Mark UNTIL 7 JUNE

118 East 64th Street • Dorothea Tanning: Murmurs UNTIL 27 JUNE

509 West 24th Street • Jessica Jackson Hutchins UNTIL 6 JUNE www.marianneboeskygallery.com

Matthew Marks Gallery 502 & 522 West 22nd Street and 523 West 24th Street • Ellsworth Kelly UNTIL 20 JUNE www.matthewmarks.com

McKee Gallery

Sikkema Jenkins

Simone Subal Gallery 131 Bowery • Erika Vogt: Slug UNTIL 14 JUNE www.simonesubal.com

Simon Preston Gallery 301 Broome Street • Caragh Thuring UNTIL 21 JUNE www.simonprestongallery.com

Skarstedt 20 East 79th Street • Georg Baselitz UNTIL 27 JUNE

550 West 21st Street • David Salle: New Paintings

745 Fifth Avenue • Daisy Youngblood: Ten Years 2006-15

UNTIL 27 JUNE www.skarstedt.com

UNTIL 30 MAY www.mckeegallery.com

521 West 21st Street • Rivane Neuenschwander

Miguel Abreu

UNTIL 20 JUNE www.tanyabonakdargallery.com

36 Orchard Street 88 Eldridge Street • Rey Akdogan: Crash Rail

Tanya Bonakdar Gallery

Tina Kim Gallery

Frieze Auditorium, Randall’s Island

• Tickets are included in the price of admission, but visitors must reserve a seat in the auditorium on the day

525 West 21st Street

Ryan Gander, To employ the mistress.... It’s a French toff thing, 2015. Photo by Timothy Schenck.

PANORAMA

UNTIL 17 MAY www.jttnyc.com

Kate Werble Gallery

Galerie Perrotin

David Zwirner

Derek Eller Gallery

16 MAY-20 JUNE www.wallspacegallery.com

513 West 20th Street and 524 West 24th Street • Hank Willis Thomas

Jack Shainman Gallery

15 MAY-27 JUNE www.galerielelong.com

620 Greenwich Street • Alex Katz

UNTIL 24 JULY www.davidzwirner.com

297 Tenth Avenue • Scott Burton

JTT

Wallspace

20 West 57th Street • Su-Mei Tse

528 West 26th Street • Cildo Meireles

Gavin Brown’s Enterprise

537 West 20th Street • Richard Serra: Equal

619 West 27th Street • Harry Dodge

15 MAY-3 JULY www.tinakimgallery.com

UNTIL 13 JUNE www.karmakarma.org

Galerie Lelong

UNTIL 6 JUNE www.davidnolangallery.com

UNTIL 13 JUNE

UNTIL 16 MAY www.henriquefaria.com

UNTIL 2 JULY

527 West 29th Street • Neil Gall

519 & 525 West 19th Street • Yayoi Kusama: Give Me Love

UNTIL 20 JUNE

39 Great Jones Street • Jonas Wood and Shio Kusaka

UNTIL 20 JUNE www.gagosian.com

396 Johnson Avenue, Brooklyn • Harold Ancart: Paintings

UNTIL 7 JUNE www.jamesfuentes.com

• Luis Roldán: Eidola

Cheim & Read Gallery

Clearing

293 Tenth Avenue • Tina Barney: Four Decades

548 West 22nd Street • Joan Snyder: Sub Rosa

980 Madison Avenue • Cy Twombly

14 MAY-20 JUNE www.cheimread.com

55 Delancey Street • Jessica Dickinson

Karma

UNTIL 20 JUNE www.caseykaplangallery.com

457 West 25th Street • Chantal Joffe: Night Self-portraits

Paul Kasmin Gallery

UNTIL 16 MAY

536 West 24th Street • John Wesley: Important Works from 1962-66

UNTIL 7 JUNE www.canadanewyork.com

Henrique Faria

James Fuentes

Franklin Parrasch

178 Norfolk Street • Christine Rebet: Paysage Fautif

333 Broome Street • Xylor Jane

14 MAY-31 JULY www.hauserwirth.com

13 MAY-28 JUNE www.miguelabreugallery.com

UNTIL 30 MAY www.foxyproduction.com

Fredericks & Freiser

Canada

14 MAY-31 JULY

• Lee Lozano: Drawings and Paintings

• Happy Together

UNTIL 20 JUNE www.jamescohan.com

35 East 67th Street • Jaime Davidovich: Tapes Period, 1969-75

Bureau UNTIL 14 JUNE www.bureau-inc.com

511 West 18th Street • Ida Applebroog: the Ethics of Desire

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THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015

DIARY The octogenarian artist Regina Bogat has tales to tell about encountering some of the greatest names in 20th-century art at Frieze New York. Visitors to the Zürcher gallery’s stand earlier this week shared Bogat’s reminiscences, including the time she asked Donald Judd to build an alleyway of Corten steel sculptures in her garden in New Jersey. (Judd agreed to take her painting by Al Jensen in return for the al fresco commission.) But there was one problem: at 60 inches, the steel pieces were too high for diminutive Bogat. So Judd kindly agreed to cut down the blocks to 48 inches. Unfortunately, he died before completing the commission, leaving Bogat, and a legion of Judd devotees, sorely disappointed.

the figures on show. Diop, a Dakarbased photographer, asked tailors in Senegal to make the outlandish outfits—but little did he realise the effect his commission would have. “My project enabled them to make items they don’t usually consider. They were so happy, and often called in people from the [neighbouring] market to admire the outfits,” he says.

Lager than life A swirl of beer cans—2,978 in total—is turning heads at Frieze New York. This circle of tin has not been placed in the bin, however, but is on view at the stand of Lehmann

Ooh la la Visitors to the 1:54 contemporary African art fair in Brooklyn can admire a series of striking photographs on the stand of the Magnin-A gallery, showing a series of famous black historical figures. These include the former slave Jean-Baptiste Belley, who was elected to the National Convention in France in 1793. The artist Omar Victor Diop, dressed up in the costumes Gallic charm: of the period, the photographer depicts all of Omar Victor Diop

Artoon by Pablo Helguera

Thirsty work? Nearly 3,000 beer cans in Kader Attia’s Halam Tawaaf (2008) Maupin. Halam Tawaaf (2008), by the French-Algerian artist Kader Attia, may well bring to mind the movement of pilgrims about the Kaaba, the sacred building in Mecca. But some visitors see its more practical aspects. “A few people have asked us if we actually drank all that beer,” deadpans a representative of the gallery.

Friendship blooms The Madrid-based gallery Travesía Cuatro may well have the fairest booth at the fair, thanks to an

FRIEZE NEW YORK DAILY EDITION

Next stop Las Vegas

The stakes are high at Nada Trying to earn a living from art is always a gamble, but that’s especially true of the two-dozen artists betting their work as part of the all-star Texas Hold ’Em poker tournament that began at the satellite fair Nada on Thursday. Ellen Altfest, Michael Mahalchick, Andrew Kuo, Wendy White, Nic Guagnini, Siebren Versteeg, Gina Beavers and Joshua Abelow are among the gamblers in the event, which has been organised by the painter and printmaker Melissa Brown and the art space Where. The game takes place in a secret RV and will be broadcast on televisions throughout the fair. So who is our money on? Not Abelow, who says he has never played poker before—“not even once! I better practise tonight.” Versteeg, on the other hand, has been playing for years. “We used to play $20 games in, like, 2005, which, you know, was a lot of money for us.”

appearance on Wednesday by the English actress Emily Mortimer. To support her friend, the Mexican artist Milena Muzquiz, the Newsroom star sported a dress inspired by Muzquiz’s ceramic vases, which are on display in the booth, filled with blooms of exotic flowers. “I’m hoping one will be chipped so I can have it,” Mortimer says. The old pals met when Mortimer’s now-husband, the actor Alessandro Nivola, was researching a role for a film about the music industry and discovered Muzquiz’s band, Los Super Elegantes (who later played at the couple’s wedding). Mortimer went out again on Thursday night to see the band play the Hotel Americano, on a set designed by Muzquiz’s husband, the artist Jorge Pardo.

Model speaker Some may remember Karley Sciortino as the bikini-clad “Car Girl” who was draped over Richard Prince’s car for Frieze Projects in London in 2007. Now, she is returning to Frieze in a very different role: as a speaker in the Talks programme (“Aesthetics” of “Female” “Attractiveness”, Friday, 12pm). Perhaps Sciortino, who writes the sex blog Slutever, will respond to the critics who were upset about her part in Prince’s show. “Multiple people attempted to ‘save me’ by pulling me away from the car,” she wrote on New York magazine’s website. “While I can see where they were coming from, I didn’t see those same people trying to

Milena Muzquiz and Emily Mortimer convince Lucian Freud’s nude subjects to walk out of his paintings.”

Nailing it At a time when manicurists are the talk of the town after the New York Times’s exposé of toxic working conditions in salons across Manhattan, nail art is also in the spotlight at Frieze New York. On the stand of A Gentil Carioca, the Brazilian gallery’s representative Elsa Ravazzolo is proudly displaying her nails, which are painted in the same patterns and colours found in a work by the artist Paulo Paes. Indeed, her fingers match the motifs on Nails a large inflat- that paint a picture able balloon displayed on the stand, which is stopping visitors in their tracks. So this, at least, is one New York nail story with a happy ending.

Correction In our article “Artists change gallery allegiances” (Frieze New York daily edition, 13-14 May), we said that the artist Cecily Brown has no plans for permanent representation. She is, in fact, represented by Thomas Dane Gallery in London.

EDITORIAL AND PRODUCTION Editor (The Art Newspaper): Jane Morris Co-editors (fair papers): Javier Pes, Helen Stoilas Deputy editor: Anny Shaw Production editor: Ria Hopkinson Copy editors: James Hobbs, Andrew McIlwraith, Iain Millar, Vivienne Riddoch Designer: Craig Gaymer Photographer: Casey Fatchett Picture researcher: Victoria Stapley-Brown Editorial assistant: Richelle Simon, Vanessa Thill Contributors: Sarah Belmont, Charlotte Burns, Rachel Corbett, Laura Gilbert, Jonathan Griffin, Julia Halperin, Gareth Harris, Corinna Kirsch, Javier Pes, Pac Pobric, Richelle Simon, Victoria Stapley-Brown, Helen Stoilas, Vanessa Thill App: Daniela Hathaway DIRECTORS AND PUBLISHING Publisher: Inna Bazhenova Chief executive: Anna Somers Cocks Chief operating officer: Fergus Campbell Finance director: Alessandro Iobbi Finance and HR manager: Melissa Wood Marketing and subscriptions manager: Stephanie Ollivier Head of sales (UK): Louise Hamlin Head of sales (the Americas): Adriana Boccard Advertising production manager: Henrietta Bentall Advertising manager: Kath Boon Advertising executive (the Americas): Kristin Troccoli Commercial intern (US): Steven Kaminski Editorial and commercial co-ordinator: Francesca Price Design and production (commercial): Daniela Hathaway PUBLISHED BY U. ALLEMANDI & CO. PUBLISHING LTD US OFFICE: 130 West 25th Street, Suite 9C, New York, NY 10001 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] AMERICAS SUBSCRIPTION ENQUIRIES: Tel: +1 855 827 8639 REST OF THE WORLD SUBSCRIPTION ENQUIRIES: Tel: +44 (0)844 322 1752 Email: [email protected]

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POKER: © CASEY FATCHETT. DIOP: GARETH HARRIS. ATTIA: COURTESY OF THE ARTIST AND LEHMANN MAUPIN, NEW YORK AND HONG KONG. MUZQUIZ: RACHEL CORBETT. NAILS: ANNY SHAW

Judd cut short

Preview benefiting

OCTOBER 1-4, 2015 George R. Brown Convention Center Houston, TX txcontemporary.com Image: Untitled by Lisa Ludwig, courtesy of Moody Gallery

Miami Beach December 1-6, 2015 miami-project.com Image: Detail of Galleria at Sunset, Las Vegas, Nevada by Robert Voit, courtesy of ClampArt

T I N A B A R N E Y, J I L L A N D I , 19 8 2 , C H R O M O G E N I C P R I N T. © T I N A B A R N E Y

TINA BARNEY FOUR DECADES

2 9 3 T E N T H AV E N U E

. THROUGH JUNE 20

BRANCUSI

PIONEER OF AMERICAN MINIMALISM A N D R E . F L A V I N . J U D D . K E L LY RYMAN . STELLA 515 W E S T 2 7 T H S T R E E T

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