Text and images by Coco Dolle.
With a much expected return to an in-person art world experience on the horizon, Frieze Art Fair gave New York a safe and fresh new start. The event was hosted within the magnificent architecture of The Shed in Hudson Yards.
Upon arrival on this windy day, I was greeted by security guards who demanded proof of vaccination or recent, negative test. After I showed both proofs, I could pass. Once inside and away from the Hudson River breeze, I had to wait in the space until 11:00 AM when the fair opened with a latte to warm me up. I was the first in-line and the first to enter the fair. Most dealers and booth managers were still sipping on their coffee, bathing in morning light.
The first floor presented the pool of major blue chip galleries. Upon entering, an installation piece by Olafur Eliasson staged a vanishing point to set the tone at Tanya Bonakdar gallery. Goodman gallery showed work by Shirin Neshat. Hauser & Wirth focused on the pioneer female artists' trio with Simone Leigh, Cindy Sherman and Louise Bourgeois. White Cube presented a luscious series of lip paintings by LA based conceptual artist Kaari Upson. Casey Kaplan lined up large canvases by up and coming abstract painter Caroline Kent. Gagosian Gallery unusually ventured on an only woman dynamic duo of oil paintings and ceramic sculptures respectively by Ewa Juszkiewicz and Rachel Feinstein. Both showcased strong female figures and portraits. I was particularly happy to revisit Rachel’s “Bandleader” ceramic, inspired by the Victoria Secret’s Angels, from her past solo show at the Jewish Museum in New York last season. Further down, Galerie Perrotin brought its power signature artist Daniel Arsham while Marian Goodman surprised us with a poetic installation by France’s long-time darling artist Annette Messager. Franklin Parrish gallery presented pleasantly text-based artist Ricci Albanda.
The second floor opened with a totem sculpture at PPOW Gallery by Guadalupe Maravilla along with the gallery’s queer staple artists including Erin M.Riley and Carlos Alejandro Motta. Other highlights include, Half Gallery presenting a mosaic of emerging artists, Andrew Edlin Gallery presenting a variety of their portfolio including Terence Koh and Henry Darger, soft sculptures by Hein Koh at Andrew Kreps and finally a royal installation by Karen Kimlimnik at galerie Eva Presenhuber.
In the frame section, solo booths made the headline. I was particularly charmed by Ina Archer’s presentation of her “Lincoln Film Conspiracy'' at Microscope Gallery. The third floor had three nonprofits shared a booth, Printed Matter, Queens Museum, Skowhegan Art School showcasing multiple prints including Christina Quarle’s magnificent lovers’ embrace. Finally, my tour ended with a beautiful Gabriel Orozco at Kuri Manzutto.
Overall, the fair experience felt really safe and reassuring, both physically and visually. For once, I wasn’t oversaturated upon exiting the fair. Although I was taken by surprise when my QR code was to be scanned on my way out again. Which means no more sneaking into the fine art world as a tourist, no one will be there by mistake again. The art world shall be for professionals and insiders, or not.
