frieze new york 2013, issue 2 - The Art Newspaper

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FRIEZE NEW YORK DAILY EDITION 11-13 MAY 2013
GEERS: © CASEY FATCHETT, 2013. KABAKOVS: PHOTO: JOE SCHILDHORN/PATRICKMCMULLAN.COM; © PATRICK MCMULLAN. FRIEZE LONDON: COURTESY OF FRIEZE
A search engine for art
Like the internet, art fairs are increasingly providing a snapshot of the global contemporary scene
TRENDS
New York. Art fairs have no theme;
they are vast, sprawling displays of
hundreds of works in every medium.
They are “almost like the internet
itself: [they’re] open and [dealers]
can bring anything, so you can take
the temperature of what’s going on
[in the art world]”, said Chrissie Iles,
a curator at New York’s Whitney
Museum of American Art.
To navigate the mass of art available
at Frieze New York, we asked
curators and museum directors to
choose their favourite pieces. Several
described Tino Sehgal’s performance
at Marian Goodman Gallery (C7) as
a highlight of the fair. Visitors were
queuing by the gallery’s stand on
Friday to interact with a child actor
posing as a Manga character.
“Going against the grain” in
choosing to host such a work “pays
off”, said Nicholas Cullinan, a curator
at the Metropolitan Museum of Art.
“Not literally, but in terms of making
a statement; in foregrounding an
artist’s work.” He also said it was
“wonderful to see older things” at
an event devoted to the art of now,
citing Volume, 1959 ($90,000), a black
abstract canvas with spaces cut out
by the late Italian artist Dadamaino,
at Massimo De Carlo (D17).
Another historic piece—Robert
Whitman’s Garbage Bag, originally
made in 1964—is on display with
Broadway 1602 (C10). The piece consists
of a paper shopping bag; inside
is a film projection of things one
would normally find in the bin. “It’s
one of the first ever film installation
sculptures to be made,” Iles said.
A show of abstract paintings,
sculptures and a wall-mounted grid
of film strips by the late experimental
artist Robert Breer, dating from the
1950s to the 1970s ($65,600-$131,200),
on display with the Parisian gallery
GB Agency (C51), was singled out by
Lisa Phillips, the director of the New
Museum. Adriano Pedrosa, an independent
curator who organises the
Spotlight section of Frieze Masters
in London, which focuses on 20thcentury
art, also highlighted the
show. “It’s interesting to find these
artists from the 1960s, 70s and 80s
in this contemporary scene. It’s good
to take a step back from the now.”
This emphasis on older art is
prominent at Frieze New York this
year. “I think it’s reflecting… what’s
happening in the contemporary art
world and the interest of a younger
generation of artists. They have a
huge motivation to look at what has
been done before,” said Beatrix Ruf,
the director of the Kunsthalle Zürich.
The internet gives them the
means to do that. “Technology gives
us unparalleled access to history,”
Iles said. “It creates a flattening of
time, a compression of history, so
we’re seeing a new structure within
which to look at ideas. Art fairs provide
the opportunity to really see
that in action because of [their] random
nature. They’re very down,
dirty and quick.”
“Technology creates a compression of history…
art fairs provide the opportunity to really see
that in action”—Chrissie Iles
Like the internet, fairs show art
from around the world. “They provide
an incredible variety in one location,”
said Laura Raicovich, the
director of global initiatives at the
non-profit organisation Creative
Time. One of her favourite works,
on display with Frith Street Gallery
(C44), is a carpet by Raqs Media Collective.
Entitled The Great Bare Mat,
2012 (£35,000, edition of three), its
image is based on a digital mapping
Kabakovs’ massive commission
Paris. The Russian artists Ilya and
Emilia Kabakov will create a giant
“city” for their forthcoming Monumenta
commission, which will be
shown at the Grand Palais in Paris
next May. Speaking for the first
time about the work, Emilia Kabakov
says that it has been “a huge challenge”
to create an installation for
the building, which rises 45 metres
in height to a glass ceiling.
She says The City is “very complex”;
the work is “a kind of
labyrinth” that will comprise seven
“chapels”, or very large buildings.
The show’s curator, Jean-Hubert
Martin, explains that “visitors will
enter through a gate to find the
buildings”, which deal with “what’s
beyond our physical experiences
and our lives”. Kabakov says she
hopes the work will make visitors
“contemplate the meaning of life”.
Galerie Thaddaeus Ropac (C41),
which represents the artists in Europe,
has been heavily involved in
realising the project, which was previously
put on hold after budget
cuts. It will now go ahead with private
sponsorship and money from
the French and Russian ministries
of culture.
Charlotte Burns
Kendell
Geers,
Mouthing
off, 1993
(edition of
three), at
Galerie
Rodolphe
Janssen
(D13)
of the electronic communications
between the artists in the group.
Fairs provide a “useful snapshot”
of what is happening around the
world, Cullinan says, but they are
“not a place to learn more about an
artist. Occasionally there will be an
in-depth presentation, but you don’t
get huge depth of engagement.”
Maxwell Anderson, the director of
the Dallas Museum of Art, agrees.
“Fairs are great for a scan of the
pulse of the moment. One thing they
are not is ideal for looking at art.”
Iles believes that, far from being
a drawback, the fact that Frieze New
York is trade-driven gives it an energy
that is unique. “Dealers are able to
respond quickly because there’s a
commercial side that’s not weighed
down by a museological reasoning.
They are able to be more fluid and
free, and that’s the thing I like most
about fairs. I always learn a lot, and
in a very efficient way.”
Charlotte Burns, Gareth Harris
and Cristina Ruiz
The Kabakovs are taking over the
Grand Palais in Paris next year
In brief
Facelift for Frieze
in London
Frieze London is to be revamped.
Visitors to this year’s edition in October
will find a smaller tent with fewer galleries
(down to 150 from 180 last year)
and more spacious corridors. The launch
of Frieze Masters and Frieze New York in
2012 “has allowed us to step back and
see what worked and what didn’t”, says
the fair’s co-director Matthew Slotover.
The focus will be on creating the best
possible environment in which to display
and view art, he says. “We need to
make these changes to keep things
fresh and become a more focused fair.
The contemporary art world wants
something new," Slotover says, adding
that the mix of high-end and emerging
galleries will remain because “that’s
what makes our fair work so well”. The
British architectural firm Carmody
Groarke will introduce new features,
such as a cafe on a mezzanine level so
diners can look down onto the fair floor.
The fair’s overall footprint will be around
750 sq. m smaller because one of the
trees the tent was built around has
grown too tall to be incorporated. The
number of daily tickets will be reduced
from 5,200 to 4,000—the same number
available at the New York edition. E.S.
Wider corridors, fewer trees: Frieze
London will follow New York’s lead
Dallas collectors
open arts space
Two sets of Texan collectors—Cindy and
Howard Rachofsky and Amy and Vernon
Faulconer—have teamed up to create the
Warehouse, an 18,000 sq. ft arts space in
Dallas, to show works from their collections,
as well as pieces from other private
collections and museum loans. The
first exhibition, “Parallel Views: Italian
and Japanese Art from the 1950s, 60s
and 70s”, has been organised by the art
adviser Allan Schwartzman, who is the
director of the Rachofsky collection. A
number of the Japanese works were
acquired jointly with the Dallas Museum
of Art, to which the Rachofsky collection
will ultimately be donated. Several of the
works on display are jointly owned by
the Rachofskys and the Faulconers; others
are owned jointly by the Rachofskys
and Deedie and Rusty Rose, whose collection
will also be donated to the Dallas
museum. The exhibition can be viewed
by appointment until January 2014. C.B.
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2
NEWS
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013
NEW
Rain doesn’t dampen early sales
Sculpture and ceramic pieces prove popular with collectors at Frieze New York
SALES REPORT
New York. More than five dozen collectors
braved a deluge to line up at
the entrance of Frieze New York on
Thursday morning. When the clock
struck 11am, early arrivals—including
the collectors Anita Zabludowicz
of London, Bob Gersh of Los Angeles
and locals Susan and Michael Hort—
filed in for a first look at the British
fair’s second stateside edition. What
followed was a steady trickle, if not
a flood, of sales.
“I saw many of the usual New
York collectors, but it’s not really a
fair for heavy-hitters,” the art adviser
Wendy Cromwell said. “It’s more
“I felt people at the
Armory were waiting
to buy at Frieze”
for a certain kind of collector who
is interested in both emerging art
and mid-career work.”
The rain, and the directors’ decision
to reduce the number of VIP
cards guaranteeing first entry, contributed
to the more restrained
opening. “I saw people sitting down
for lunch, which you would never
see [at Art] Basel on VIP day, because
everyone is running around buying
art,” Cromwell said.
Nevertheless, some galleries—
particularly blue-chip international
galleries and smaller local spaces―
reported significant sales in the fair’s
early hours. Before lunchtime, New
York’s Wallspace (C8) had nearly sold
out of Daniel Gordon’s harlequin
still-life photographs ($6,500-$10,000),
which the artist assembles by arranging
crumpled two-dimensional
images of fruit and flowers. Paul
Kasmin Gallery (C13) quickly sold
Walton Ford’s wall-sized watercolour
Trí Thong Minh, 2013, for $950,000.
Although there was no shortage
of painting on display, sculpture
and three-dimensional wall pieces
stood out among the early sales.
London’s Victoria Miro (C49) sold
Timed Twenty-Four (Sun Dial), 2013, a
motorised sculpture by Sarah Sze,
within the first five minutes of the
fair’s opening. Lisson Gallery (B60)
sold a golden disc sculpture by
Anish Kapoor (Untitled, 2013,
£500,000). Not Yet Titled (Arrow
Heads), 2012, a piece by the American
sculptor Nick van Woert
made from arrowheads, hoses
and other everyday materials,
sold at Los Angeles’s L&M Arts
(B1). Similar pieces by the artist
sold at Amsterdam’s Grimm
Gallery (A6). The works went
for prices ranging from $8,000
to $40,000 at the two galleries.
“I felt that there were people
at the Armory Show who were
waiting [to buy] at Frieze,” says
the dealer Sean Kelly (B46), who
took part in both events. His
Daniel Gordon’s Still-life with
Cherry Blossoms and Zucchini,
2013 (left), and John Mason’s
Vertical Torque, Red, 1997, were
among the early sales
eponymous gallery sold Donald
Judd’s Untitled, 1987, and Antony
Gormley’s Plot, 2012, for $350,000
and €300,000 respectively.
Collectors took a particular shine
to ceramic works. Scholars, 2012, by
the Israeli artist Tal R, went for
$50,000 at New York’s Cheim & Read
(C38), while Los Angeles’s Richard
Telles Fine Art (A23) presented wallmounted,
glazed ceramic pieces by
Michaela Meise, including Money Face
V, 2012, which was on hold for $5,500.
“There’s been a renewed interest
in ceramics for a little while now,”
said Mike Homer, the director of
David Kordansky Gallery (C1). The
Los Angeles dealer is showing
pieces from the late 1990s by
the Californian sculptor John
Mason. Two works, including
Vertical Torque, Red, 1997, were
sold, and another was on hold
(prices ranged from $40,000
to $80,000).
By Friday afternoon, some
dealers were sceptical as to
whether collectors would return
to Randall’s Island over
the weekend to re-examine
works placed on hold. “The
problem will be getting people
back out after the first day,”
Kelly said. “It’s a schlep.”
Julia Halperin
The Art
Newspaper
now in app
format
In brief
Sotheby’s banks on its galleries
New Tribeca space
A 24-year-old London-born, US-based
collector plans to open a 4,000 sq. ft
gallery in Tribeca this autumn, specialising
in contemporary art from the Middle
East. Taymour Grahne (left)
will represent artists
such as Tarek Al-
Ghoussein (Kuwait),
Mohammed Kazem
(United Arab Emirates)
and Camille Zakharia
(Bahrain). “I will deal in the
primary market, working directly
with the artists,” Grahne says. He hopes
that his new gallery, which is funded by
his parents, will help to establish a market
for his artists in the US. G.H.
FINANCIAL RESULTS
New York. The chairman and chief
executive of Sotheby’s, Bill Ruprecht,
has said that the auction house’s
plan to open another private gallery
space in London this autumn will
help to boost earnings significantly
over time. Describing the success
of similar ventures in New York and
Hong Kong, Ruprecht said that Sotheby’s
was “substantially more” than
an auction house—a phrase that
could send chills down the spines
of commercial dealers.
Ruprecht was responding to
questions during Sotheby’s earnings
conference call on Thursday, when
Wall Street analysts expressed concern
about the “anomaly” first-quarter
results announced by the auction
house. These showed a net loss of
$22.3m. Although the first quarter
is traditionally loss-making for
Sotheby’s, this is worse than last
year’s loss of $10.7m.
Competition and rising costs
At issue is a recurring problem: sales
are increasing most in the high-end
Impressionist, Modern and contemporary
fields (witness this week’s
$288m sales total for Sotheby’s in
New York), but this is where the
competition for consignments is at
its highest and where Sotheby’s profits,
in the form of trading commissions,
are at their lowest. Profit margins
were down to 15% from 18.1%
in the equivalent quarter last year.
Ruprecht said that he expects
the increased buyer’s premium rate
structure, which came into effect
on 15 March, to help improve margins,
adding that this did not seem
to have pushed back demand. He
was also asked about expenses, up
13% on the previous year due to
“strategic” initiatives such as opening
in China. He said that 40% of demand
for works was now coming from
outside traditional Western markets.
Melanie Gerlis
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4
NEWS
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013
Starry night for
Tate in New York
Celebrity friends help museum fundraise in style
CHARITY DINNER
New York. The Tate’s third triennial
artists’ dinner in the US on Wednesday—hosted
by Glenda Bailey, the
editor-in-chief of Harper’s Bazaar,
and the ubiquitous Sarah Jessica
Parker, and sponsored by Dior—honoured
the Tate Americas Foundation,
that faintly mysterious, highly
wealthy group of patrons whose
largesse helps boost the museum’s
holdings of Latin American work.
The director of the Tate, Nicholas
Serota, emphasised that this dinner
was about the artists themselves, as
every museum director feels obliged
to say when faced by a sea of business
backers (as if anyone is going to
claim otherwise; when was the
last time a director said “our
museum believes hedge-fund
managers and industrialists
should always come first”?).
There were certainly
plenty of artists in evidence,
with a discreet
emphasis on “artists
of colour” of a sometimes
neglected generation,
hence the
welcome presence of
Barkley Hendricks and Sam Gilliam.
Here was Marina Abramovic, resplendent
in full-length black leather
gloves, with her fashion-designer
friend Riccardo Tisci of Givenchy,
sitting next to Tate Modern’s director,
Chris Dercon; here was the everelegant
Taryn Simon alongside Okwui
Enwezor, handsome Adam
McEwen wooing a table of lovely
lady donors, Guillermo Kuitca cutting
a goateed dash through Argentine
plutocrats and young Matthew Brannon
deep among the bankers. Among
the other “artist honorees” were the
grizzled veterans Lawrence Weiner
and Alex Katz, set against the relative
jeunesse of Elizabeth Peyton, Richard
Phillips and Rirkrit Tiravanija. There
was also, of course, a determinedly
strong representation of Latin
American practitioners, part of
this heroic battle against the
“Yankee Imperialist Gringo”,
including Allora & Calzadilla,
Vija Celmins, Vik Muniz and
Ernesto Neto.
Curiously, the rich people
who make all of this
happen are unrecognisable
by comparison and, although
known to the top
dealers and directors,
remain discreet shadow operators.
Thus, many in the art world could
not put faces to the names of some
of the most important people the
Tate depends upon, whether Tiqui
Atencio Dermirdjian and Jeanne
Donovan Fisher or the all-powerful
co-chairs of this event, Estrellita Brodsky,
Kira Flanzraich, Pamela Joyner,
Amy Phelan and Christen Wilson.
In his speech, Serota outlined
the history of the foundation, kickstarted
in 1988 by a monster donation
from Sir Edwin and Lady Manton,
the interest from which remains a
crucial part of the buying budget.
Previously known as the American
Patrons of Tate, the organisation
was renamed earlier this year to reflect
its “expanding geographical
base of support”. Since 1999, the
charity has raised more than $100m.
The North American Acquisitions
Committee and the Latin American
Acquisitions Committee each have
40 members, who pay $15,000 a
year and are taken around galleries
and studios by Tate curators. On
the day of the dinner, patrons had
toured Chelsea with Mark Godfrey
“Lunch with Sarah
Jessica Parker sold
not once but twice”
The Tate’s
charity event,
held at Skylight
at Moynihan
Station, was
attended by A-
listers including
Sarah Jessica
Parker and the
newly blonde
Anne Hathaway
(left), Marina
Abramovic and
Riccardo Tisci
(right) and
Zaha Hadid
to look at work by artists from Elizabeth
Neel to Carol Bove, and were
disappointed to discover that everything
by Garth Weiser had already
been sold at Casey Kaplan.
Everything also sold at the dinner
auction by Simon de Pury, starting
at $11,000 for Christmas tree decorations
by Nathan Carter. Shopping
and lunch with Sarah Jessica Parker
also sold well, not once but twice,
the actress gamely agreeing at the
last moment to do Dior and the
Four Seasons for two different bidders
at $45,000 a shot, while sailing the
Greek islands on Dakis Joannou’s
luxury Jeff Koons-decorated yacht
Guilty brought $175,000.
Then it was time for dancing
next door, courtesy of DJ artist Jim
Lambie (disappointingly now needing
specs to read his vinyl), among a
froth of youth each paying $200 and
where, impressively, Serota could
still be seen working the room long
after most directors of his stature
would have tottered bed-ward.
The auction raised $500,000 and
the entire evening pulled in more
than $2m, every penny of which
goes towards the acquisition of work
from the Americas.
Adrian Dannatt
DINNER AND PARKER/HATHAWAY: © CASEY FATCHETT, 2013. ABRAMOVIC/TISCI: © PATRICK MCMULLAN
NARA
534 West 25th Street New York
May 10 – June 29

DONALD JUDD (1928 –1994)
Untitled (87-40 Menziken)
anodized aluminum and black Plexiglas · 9 7/8 x 39 3/8 x 9 7/8 in. (25 x 100 x 25 cm.) · Executed in 1987
© Judd Foundation / Licensed by VAGA, New York, NY
Visit the Private Sales Online Gallery
Spring Session · Open through June 30
The Online Gallery offers a convenient and flexible way to view
works available for private sale outside the auction timeline.
This season’s selection of Post-War and Contemporary art
features works by Andy Warhol, Mark Tobey, Donald Judd
and Sam Francis.
Contact
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Post-War and Contemporary Art
aklein@christies.com
+1 212 641 3741
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FEATURE
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013 7
Otto Muehl,
Nahrungsmitteltest
(Food test; far left) and
Waschschüssel (Basin),
both 1966
PHOTOS: LUDWIG HOFFENREICH; © K.H. HEIN; COURTESY OF GALERIE KRINZINGER, VIENNA, AND FRIEZE NEW YORK
If you
show,
should
you tell?
The ethics of displaying work by the paedophile
artist Otto Muehl. By Christian Viveros-Fauné
History is filled
with horrors committed
in the
name of religion.
But what about
art created in the
process of a crime? The case of
Otto Muehl—whose photographs
are on display at Frieze New York
this week in a major presentation
on the stand of Galerie Krinzinger
(B45) from Vienna—presents a notso-clear
instance of what should be
done with the work of an artist
who is also a criminal. How should
galleries, collectors, museums and
art fairs display objects made by
people who have been convicted of
detestable offences?
In 1991, Muehl, one of the pioneers
of Viennese Actionism and
the founder of the infamously
authoritarian Friedrichshof commune
in Austria, was arrested for
“sexual abuse of minors, rape and
forced abortion”.
A historical figure whose star is
on the rise after a slew of recent
museum exhibitions, Muehl’s
detention, conviction and ongoing
drama have been covered unevenly
outside his native Austria. Although
his story has made the mainstream
press in southern Europe (Muehl
and his followers also started communes
in La Gomera, Spain, and
Faro, Portugal, where the artist currently
resides), his offences have, in
loftier latitudes, drifted into an artworld
blind-spot. In 2011, a correspondent
for Spain’s El País newspaper
published a popular novel
based on the 88-year-old’s saga;
meanwhile, important institutions
such as Tate Modern in London, the
Los Angeles Museum of
Contemporary Art (LAMoCA) and
the Walker Art Center in
Minneapolis routinely fail to
include key details of Muehl’s controversial
history in biographies.
The Walker’s online précis of
the artist proves a case in point.
Penned by the curator Philippe
Vergne for the 2005 exhibition
“Bits & Pieces Put Together to
Present a Semblance of a Whole:
Walker Art Center Collections”, it
makes mention of “a lawsuit [that]
resulted in a seven-year jail sentence”
without specifying any of
the offences for which Muehl was
tried and convicted. The Tate, for
its part, mostly mirrors the “don’t
ask, don’t tell” policy of the Walker
and other museums. Asked to provide
a curator to speak about
Muehl and museum policy regarding
exhibiting art with a loaded history,
the Tate’s communication
department responded via a written
statement: “Otto Muehl’s conviction
was referred to in the wall
text alongside his works. The text
stated: ‘In the 1970s, he founded
the Actions Analytical Organisation
commune, which lasted until 1991,
when he was imprisoned for drug
and sexual offences.’”
Muehl’s work has resurfaced
recently in the context of a 2010
retrospective at Vienna’s Leopold
Museum, as well as in several
large-scale museum exhibitions.
Among these are “Destroy the
Picture: Painting the Void” at the
Los Angeles Museum of
Contemporary Art, “A Bigger
Splash: Painting after
Performance” at Tate Modern and
“Explosion” at the Moderna
Museet, Stockholm. Unlike the
Leopold Museum’s survey—which
engendered vigorous debate about
works that depicted Muehl’s actual
victims and elicited an unprecedented
apology from the artist—
the displays in LA, London and
Stockholm offer little insight into
the questions that dog the relationship
between Muehl’s art and
life. These issues are pivotal, especially
as Muehl and his fellow
Actionists—Hermann Nitsch and
Günter Brus among them—repeatedly
espoused the view that art
and life were indivisible.
For Theo Altenberg—former
member of the Friedrichshof commune,
sometime Muehl collaborator
and curator at Galerie
Krinzinger—Muehl not only represents
“the visionary schizophrenia
of the 20th century”, he also
demonstrates that, despite
Altenberg’s previous beliefs, “you
can’t combine art and life, and to
do so is a very dangerous thing”.
Though he has no doubt that
Muehl is guilty, Altenberg remains
sufficiently enthralled by his art to
continue to help disseminate it
throughout international galleries,
museums and art fairs—and, in an
exhibition context, he prefers to
avoid mention of the artist’s
crimes altogether. “I believe you
can separate Otto Muehl’s art from
his life,” he says.
A second former commune
member, Hans Schroeder-Rozelle,
takes a dim view of this approach.
A representative of the group Report,
created expressly to address
the rights of victims during two
Muehl surveys—an exhibition at
the Museum für Angewandte
Kunst in 2004, and the Leopold
Museum show—Schroeder-Rozelle
recognises Muehl’s right to show
his art, but insists on the right of
the artist’s victims to be properly
“Art lovers, collectors and museums should not only be sensitive to art
and the artist involved, they also have to be sensitive to the victims”
represented when it comes to
displaying certain contested
objects (Re-port helped both museums
to identify and remove works
in which the victims of abuse
appeared). “Of course the art is
important,” Schroeder-Rozelle
says. “But in this case and others,
art lovers, collectors and museums
should not only be sensitive to art
and the artist involved, they also
have to be sensitive to the victims
of this history.”
For some, the Muehl case proves
that art requires an ethical road
map. When asked about the ethics
of exhibiting Muehl’s art, the curator
Robert Storr recalls Mike
Kelley’s Pay for your Pleasure, 1998, a
famously confrontational
installation about art and
criminality, for which the
artist created 43 portraits of
painters and writers emblazoned
with their own outlaw quotes. In
Kelly’s installation, a painting of
Oscar Wilde included the following
citation: “The fact of a man being a
poisoner is nothing against his
prose.” Storr concurs with the
Irishman’s sentiment. “I think
that’s basically right, though
clearly not if the crime is implicated
in the work. My general theory
is that if you do a large-scale
presentation, then you need to do a
full accounting. If you’re going to
show individual pieces, you may
not have to,” he says.
Asked whether there is not a
greater obligation to inform the
public about an artist’s crimes, the
curator of hundreds of museum
exhibitions and the 52nd Venice
Biennale demurs. Referring to the
fact that the sculptor Carl Andre
went on trial for murdering his
wife, the artist Ana Mendieta,
allegedly by pushing her out of a
bedroom window in 1985 (Andre
was acquitted), Storr says: “I don’t
think that should be mentioned
every time he does a show.”
Muehl’s case finds a remarkable
parallel with the conviction in
the UK last month of the artist
Graham Ovenden for six counts of
child indecency and one of indecent
assault; his drawings and
paintings of naked children have
been widely exhibited. Ovenden
was charged with similar offences
in 2009 and 1993. At those times,
his case garnered widespread support
from the art world, especially
among high-profile figures such as
David Hockney, Peter Blake and
Piers Rodgers, the former secretary
of the Royal Academy of Arts. But
Ovenden’s recent conviction has
resulted in a partial about-face
from some in the British art community,
with the Tate removing
images of 34 of Ovenden’s prints
from view, both online and in the
museum, at least until its review
“is complete”.
Storr’s clearly delineated parameters,
in fact, may yet signal an
unspoken rule—at least, among
more enlightened curators and
museums. A recent communication
from the Tate included the following
information, appended to its
previously issued statement: “In
relation to Ovenden, the Tate is
seeking further information to clarify
whether there is any connection
between the making of the works
held in the national collection and
the artist’s recent conviction.”

8
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013
IN PICTURES
First view of Frieze
From a giant pizza to an outsized Time magazine cover, here’s a peek at the opening of the fair this year
1
1
Mungo Thomson, September 4,
2006 (How the Stars Were Born),
2013, at Galerie Frank Elbaz (C5)
2
Valeska Soares, Finale, 2013, at
Galeria Fortes Vilaça (C50)
2
PHOTOS: © CASEY FATCHETT, 2013

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013 9
4
New York
3
5
3
Tom Friedman, Untitled (Pizza),
2013, at Luhring Augustine (B50)
4
Germ patrol: one of the fair’s
cleaners works the aisles
5
Do Ho Suh, Wielandstr. 18, 12159
Berlin, 2011, at Lehmann Maupin
(C11)
6
Top dog: the city’s mayor, Michael
Bloomberg, visits Frieze New York on
Thursday’s VIP preview day
7
Dan Colen, To Be Titled, 2013,
at Gagosian Gallery (B59)
6
7

© Estate of Maqbool Fida Husain
M.F. Husain, Untitled (Horse), oil on canvas, late 1960s. Estimate $100,000 to $150,000.
Contemporary Art
MAY 16
Specialist: Todd Weyman • tweyman@swanngalleries.com
Preview: May 11, 12-5; May 13 to 15, 10-6; May 16, 10-noon
104 East 25th St, New York, NY 10010 • tel 212 254 4710
SWANNGALLERIES.COM

BOOKS
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013 13
Don’t buy this, buy that
This guide to building a collection is comprehensive but a little too polite
AUTHORS: COURTESY OF THEA WESTREICH ART ADVISORY SERVICES. HOME: GENEVIEVE HANSON; COURTESY OF PHAIDON
COLLECTORS’ HANDBOOK
Art collectors are
“ruthless, greedy,
tyrannical and disreputable”,
in the
words of the art
historian Kenneth
Clark, and redeemed only by their
possession of “one principle worth
all the rest: the principle of
delight”. Collecting Art for Love,
Money and More, by the influential
art advisers Thea Westreich
Wagner and Ethan Wagner, promises
an insider’s insight into the
small world populated by those
people whose maladjustments
finance the commercial art market.
It is both a guide for those
looking to start or expand a collection
and a rumination on the compulsion
to collect.
The ten chapters into which the
book is divided each address a simple
issue pertaining to building a
collection, from how to manage a
budget appropriate to your means
to dealing with gallerists, auction
houses and dealers. The advice provided
is drawn from the authors’
own experience and from the historical
examples of celebrated collectors
such as John Quinn and
Gertrude and Leo Stein. The text is
rich with anecdotes that illustrate
how the great collections were
built around the aesthetic or intellectual
preferences of visionary
individuals, and these asides make
the book a more diverting read
than might be expected of a vade
mecum to the art market.
The book is written in a conversational,
intimate tone that suggests
the authors are experienced
in putting people at ease.
Discretion and diplomacy are further
qualities essential to any art
advisory service, so it is hardly surprising,
though nonetheless disappointing,
that even the most tepid
criticism of any artist or gallery
(and any good art adviser will have
trenchant opinions on both) is
prefaced by “some might say that”
or “many people would consider
that”. On those occasions when
the authors do draw attention to
familiar flaws in the operations of
the blue-chip contemporary
art market
(“a hard look at
other artists in
[Gagosian Gallery’s]
programme, and
surely certain artists
at other mega-galleries,
begs the question:
can high prices
be sustained over
time when artists
fail to engender any
serious critical and curatorial
interest?”), readers are left to draw
their own conclusions.
The art world is plagued, or
blessed, with endless scandal,
intrigue and fallings-out. While the
media attention afforded to these
enmities and rivalries has undoubtedly
contributed to the overall rise
of the market, these internecine
squabbles are also hugely influential
upon the careers of individual
artists, whose reputations depend
upon those of the people who are
buying and selling their work.
Charles Saatchi is the subject of
damnation by faint praise (in a
chapter entitled “The Vicissitudes
of the Art Market”), but the reader
is left longing to know what the
authors really think about the
sway that he and others hold over
individual artists and indeed entire
movements. Their reticence can
occasionally frustrate, but it
does not significantly impede
the book’s primary aims.
Collecting Art… reminds
the reader that buying art is
subject to the same rules as
more mundane investments,
and the authors are to be
applauded for their efforts to
demystify the process. As
with any purchase, the buyer
should be knowledgeable
about the product and
informed of its critical reception,
should resist fads and should buy
for the long term. But despite taking
obvious pains not to explicitly
condemn any motive that inspires
the purchase of art, the authors
clearly align themselves with a tradition
that values the patronage of
specific artists and the establishment
of a publicly available legacy
above short-term financial profit.
In the book’s most interesting passage,
they discuss the widespread
anxiety about the appreciation of
contemporary art, specifically the
fear that inexperienced buyers
who “view the market as an easyto-compute
indicator of artistic significance”
are skewing the production
and critical reception of new
work. Their conclusion—that quality
will always, ultimately, be
recognised—is convincingly argued
and, perhaps not coincidentally,
Thea Westreich Wagner and Ethan
Wagner—and a Warhol in their home
reassuring to any readers making
their first steps towards buying art.
Readers should not expect the
authors to share Clark’s appraisal
of the peculiar personality traits
that drive individuals to amass collections
of objects that they often
do not have the time or space to
display. Instead, the titular “more”
that they append to the all-pervading
impulses of love and money is
summarised as a combination of
social status, “intellectual satisfaction”,
“emotional stimulation”,
egotism, a craving for public attention
and the peculiarly human
desire to leave a historical legacy.
Yet none of these quite matches
the capacity for “delight” that
Clark identified, and, indeed, the
book is less successful as an analysis
of the compulsion to collect
than as a handy guide to those
already bitten by the bug.
Benjamin Eastham
Collecting Art for Love,
Money and More
Ethan Wagner and Thea
Westreich Wagner
Phaidon, 192pp, hb, £22.95

(e)merge art fair
Oct 3-6 2013
Washington, DC
online application deadlines
May 18 ARTIST PLATFORM
May 31 GALLERIES PLATFORM
www.emergeartfair.com/exhibitor-services/
www.emergeartfair.com

PHOTOS: CHRISTINE MCMONAGLE. BOCHNER: © MEL BOCHNER
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013 15
CALENDAR
Frieze New York 2013
Listings are arranged
alphabetically by category
FAIRS
Collective Design Fair
Pier 57, New York
UNTIL 11 MAY
www.collectivedesignfair.com
Cutlog New York
107 Suffolk Street, New York
UNTIL 13 MAY
www.cutlogny.org
Frieze New York
Randall’s Island, New York
UNTIL 13 MAY
www.friezenewyork.com
New Art Dealers Alliance
Pier 36 at Basketball City,
New York
UNTIL 12 MAY
www.newartdealers.org
Pool Art Fair
Flatiron Hotel,
9 West 26th Street
UNTIL 12 MAY
www.poolartfair.com
Pulse New York
Metropolitan Pavilion, 125
West 18th Street, New York
UNTIL 12 MAY
www.pulse-art.com/new-york
MUSEUMS
Americas Society
Art Gallery
680 Park Avenue
Xul Solar and Jorge Luis Borges
UNTIL 20 JULY
www.americas-society.org
Asia Society
725 Park Avenue
Season of Cambodia
UNTIL 16 JUNE
www.asiasociety.org
Bronx Museum of the Arts
1040 Grand Concourse
Joan Semmel: the Lucid Eye
UNTIL 9 JUNE
www.bronxmuseum.org
Brooklyn Museum
200 Eastern Parkway,
Brooklyn
John Singer Sargent
Watercolours
UNTIL 28 JULY
Gravity and Grace: Monumental
Works by El Anatsui
UNTIL 4 AUGUST
LaToya Ruby Frazier:
a Haunted Capital
UNTIL 11 AUGUST
Käthe Kollwitz: Prints from the
“War” and “Death” Portfolios
UNTIL 10 NOVEMBER
Life, Death and Transformation
UNTIL 18 JANUARY 2014
www.brooklynmuseum.org
Drawing Center
35 Wooster Street
Giosetta Fioroni: l’Argento
UNTIL 2 JUNE
www.drawingcenter.org
El Museo del Barrio
1230 Fifth Avenue
Super Real: Alternative Realities
in Photography and New Media
UNTIL 19 MAY
Voces y Visiones IV: Presencia
UNTIL 31 DECEMBER
www.elmuseo.org
Frick Collection
1 East 70th Street
Piero della Francesca in America
UNTIL 19 MAY
The present and future
of the Jewish Museum
The deputy director, Jens Hoffmann, on Jack Goldstein and beyond
The Jewish Museum may
not be the first place you
think of in New York to
see contemporary art but
the institution is increasingly
shaking off its
image as a traditional repository of historic
items and engaging with the art
and culture of our time.
Opening this week is a retrospective
(until 29 September) devoted to
the Canadian-born artist Jack
Goldstein, tracing the influence of his
paintings, films, installations and
sound recordings on the so-called
“Pictures Generation” of the 1970s and
1980s, which included Cindy Sherman,
Sherrie Levine, Laurie Simmons,
Barbara Kruger, David Salle
and Robert Longo.
Throughout the
run of the show, the
museum’s new
deputy director,
Jens Hoffmann,
will oversee a wideranging
series of
talks and events that
will help to consolidate
the institution’s newly
expanded identity.
Hoffmann joined the museum last
November, but this is the first exhibition
in which he has been able to
stretch his curatorial muscles. “When I
came, I started working on the Jack
Goldstein show because I’m familiar
with the work and with most of the
artists who come from his circle, so it
was easy for me to put together a programme
around him,” Hoffmann says.
“Holistic” programming
Hoffmann, who has worked as a curator
for more than 15 years and, for a
while, seemed to have a hand in every
international contemporary art biennial,
came to the Jewish Museum from
San Francisco, where he was the director
of the CCA Wattis Institute for
Contemporary Arts. In New York, he
joined Claudia Gould, who was previously
at the helm of the Institute of
Contemporary Art in Philadelphia and
took over as the director of the Jewish
Museum in November 2011.
In a recent profile in the New York
Times, Gould described part of
Hoffmann’s job as creating “holistic”
interdisciplinary programming. “I have
a lot of diverse interests,” Hoffmann
says, revealing that, in addition to his
curating, he is involved in the
museum’s Jewish Film Festival, which
opens next January. “I am, of course,
also thinking about the exhibitions at
the museum that are perhaps less contemporary-minded
and more historical,
or perhaps even going in a different
direction of more cultural history,
which is another area I’m interested
in. I think what Claudia meant by
‘holistic’ is really trying to look at all of
these different aspects,” he says.
For the Goldstein exhibition,
Hoffmann with Mel Bochner’s The Joys of Yiddish, 2012 (above), and Laurie
Simmons’s Cibachrome print Purple Woman/Kitchen, 1978
Hoffmann has organised a “crossgenerational”
programme of talks to
show the spread of the artist’s career.
This includes a discussion of
Goldstein’s historical significance with
Douglas Crimp, the curator of the 1977
“Pictures” exhibition that gave a name
to that generation of artists; a conversation
between the artists R.H.
Quaytman and John Baldessari, who
taught Goldstein at the California
Institute of the Arts in the 1970s; and a
day-long symposium in September that
will bring together many of the artists
Goldstein worked with during the
1970s and 1980s, along with younger
artists who have been influenced by
him. They include Robert Longo,
“We’re thinking about
how to use the building
in other ways”
Morgan Fisher, Matt Mullican, Troy
Brauntuch, James Welling and Kathryn
Andrews. “We’re trying to look at
Goldstein from various angles. It’s
quite extensive, but I think that’s
where we want to go with [our] public
programmes,” Hoffmann says.
After the Goldstein exhibition, he
says, the museum will stage a retrospective
of the cartoonist Art Spiegelman,
best known for writing and illustrating
Maus, a Holocaust survivor story in
graphic-novel format. “That, again, will
have a huge range of public programmes
that we’re beginning to work
on right now,” Hoffmann says.
From cartoons to Chagall
The museum will follow up that show
with an exhibition about Marc Chagall
and his time in New York. “It’s really
interesting to me to think about how
we can make a show about Chagall relevant
for a younger audience, or an audience
that’s used to contemporary exhibitions,”
Hoffmann says. He uses the
current installation by the contemporary
artist Barbara Bloom, which incorporates
historic objects from the
museum’s collection, as an example of
how the institution “would like to move
forward with a very particular sensibility
in terms of the installation, which in
my opinion is very contemporary”.
Hoffmann says the museum does
not intend to let contemporary art
take over, however. “Curatorial practice
has evolved a lot, and many of
these innovations have taken place in
the field of contemporary art. My
desire here is to see how we can apply
certain ideas and concepts of contemporary
curating to more historical
exhibitions, or to how we present our
collection in the future.”
To achieve this, the museum is in
the middle of a strategic plan,
Hoffmann reveals. “It’s a little early to
say exactly what we’re going to do, but
I know that in the foreseeable future
we’re going to start thinking about
how to use the building in other ways.”
This will affect the temporary exhibition
programme and the permanent
collection, which Hoffmann will be
involved in reinstalling. “I think that
we will see the results of all of this in
four to five years,” he says.
Helen Stoilas
• “Jack Goldstein x 10,000” was organised by
the Orange County Museum of Art and guest
curator Philipp Kaiser. The Jewish Museum
presentation has been organised by assistant
curator Joanna Montoya
The Impressionist Line from
Degas to Toulouse-Lautrec:
Drawings and Prints from
the Clark
UNTIL 16 JUNE
www.frick.org
Grey Art Gallery
New York University, 100
Washington Square East
Alice Aycock: Drawings
UNTIL 13 JUNE
www.nyu.edu/greyart
High Line
Gansevoort Street to West
34th Street
Oscar Muñoz, Re/trato, 2003
UNTIL MAY
Superflex, Modern Times
Forever
UNTIL 19 JUNE
El Anatsui, Broken Bridge II
UNTIL AUGUST
Virginia Overton, Untitled
UNTIL AUGUST
Busted
UNTIL APRIL 2014
Carol Bove, Caterpillar
UNTIL MAY 2014
www.thehighline.org
Japan Society
333 East 47th Street
Edo Pop: the Graphic Impact
of Japanese Prints
UNTIL 9 JUNE
www.japansociety.org
Jewish Museum
1109 Fifth Avenue
A Museum Collection in
Dialogue with Barbara Bloom
UNTIL 4 AUGUST
R.B. Kitaj: Personal Library
UNTIL 13 SEPTEMBER
Jack Goldstein x 10,000
UNTIL 29 SEPTEMBER
www.thejewishmuseum.org
Mad Sq Art
Madison Square Park
Orly Genger: Red, Yellow
and Blue
UNTIL 8 SEPTEMBER
www.madisonsquarepark.org/art
Metropolitan Museum
of Art
1000 Fifth Avenue
at 82nd Street
Impressionism, Fashion
and Modernity
UNTIL 27 MAY
At War with the Obvious:
William Eggleston
UNTIL 28 JULY
Punk: Chaos to Couture
UNTIL 14 AUGUST
Photography and the American
Civil War
UNTIL 2 SEPTEMBER
African Art, New York and the
Avant-Garde
UNTIL 2 SEPTEMBER
MoMA PS1
22-25 Jackson Avenue,
Long Island City
Expo 1: New York
12 MAY-9 SEPTEMBER
www.ps1.org
Morgan Library & Museum
225 Madison Avenue
Matthew Barney: Drawings
UNTIL 2 SEPTEMBER
www.themorgan.org
Museum of Arts
and Design
2 Columbus Circle
Against the Grain: Wood in
Contemporary Art, Craft
CONTINUED ON PAGE 16

16
CALENDAR
Frieze New York 2013
CONTINUED FROM PAGE 15
and Design
UNTIL 16 JUNE
www.madmuseum.org
Museum of Modern Art
11 West 53rd Street
Wait, Later This Will Be Nothing:
Dieter Roth Editions
UNTIL 24 JUNE
Henri Labrouste
UNTIL 24 JUNE
“NYC 1993: Experimental Jet
Set, Trash and No Star” at the
New Museum, until 26 May
Sketchbooks and Notebooks
in the Collection of the Museum
of Modern Art
UNTIL 8 JULY
Please Come to the Show,
Part I (1960-80)
UNTIL 15 JULY
Claes Oldenburg: the Street
and the Store
UNTIL 5 AUGUST
Bill Brandt: Shadow and Light
UNTIL 13 AUGUST
Projects 100: Akram Zaatari
11 MAY-23 SEPTEMBER
XL: 19 New Acquisitions in
Photography
UNTIL 6 JAN 2014
Applied Design
UNTIL 31 JAN 2014
www.moma.org
New Museum
235 Bowery
NYC 1993: Experimental Jet Set,
Trash and No Star
UNTIL 26 MAY
Adhocracy
UNTIL 7 JULY
www.newmuseum.org
New-York Historical Society
2 West 77th Street at Central
Park West
WWII and NYC
UNTIL 27 MAY
www.nyhistory.org
Park Avenue Malls
Park Avenue
Alexandre Arrechea, No Limits
UNTIL 9 JUNE
fundforparkavenue.org
Public Art Fund
Locations around the city
Ugo Rondinone, Human Nature
UNTIL 7 JULY
Thomas Schütte, United
Enemies
UNTIL 25 AUGUST
www.publicartfund.org
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013
Rubin Museum of Art
150 West 17th Street
The Flip Side
UNTIL 12 AUGUST
Fiercely Modern:
Art of the Naga
UNTIL 16 SEPTEMBER
www.rmanyc.org
Sculpture Center
44-19 Purves Street,
Long Island City
Better Homes
UNTIL 22 JULY
www.sculpture-center.org
Socrates Sculpture Park
32-01 Vernon Boulevard,
Long Island City
Do It (Outside)
12 MAY-7 JULY
Beyond the Hedges (Slivered
Gazebo)
13 MAY-7 JULY
Folly
12 MAY-5 AUGUST
Broadway Billboard:
Chitra Ganesh
12 MAY-5 AUGUST
www.socratessculpturepark.org
Solomon R. Guggenheim
Museum
1071 Fifth Avenue
No Country: Contemporary Art
for South and Southeast Asia
UNTIL 22 MAY
Danh Vo: the Hugo Boss Prize
UNTIL 27 MAY
New Harmony: Abstraction
between the Wars, 1919-39
UNTIL 8 SEPTEMBER
www.guggenheim.org
Swiss Institute
18 Wooster Street
Reto Pulfer: Zustandseffekte
UNTIL 23 JUNE
www.swissinstitute.net
The Studio Museum
in Harlem
144 West 125 Street
Gordon Parks: a Harlem
Family, 1967
UNTIL 30 JUNE
David Hartt: Stray Light
UNTIL 30 JUNE
Fred Wilson: Local Colour
UNTIL 30 JUNE
Ayé A. Aton: Space-Time
Continuum
UNTIL 30 JUNE
Mendi and Keith Obadike:
American Cypher
UNTIL 30 JUNE
www.studiomuseum.org
United Nations
Dag Hammarskjöld Plaza,
Second Avenue and East
47th Street
Andrew Rogers: Individuals
UNTIL 13 SEPTEMBER
www.hammarskjoldplaza.org
White Columns Gallery
320 West 13 Street
2013 Benefit Exhibition
and Auction
UNTIL 18 MAY
www.whitecolumns.org/
Whitney Museum
of American Art
945 Madison Avenue
at 75th Street
Jay DeFeo: a Retrospective
UNTIL 2 JUNE
I, You, We
UNTIL 1 SEPTEMBER
Stewart Uoo and Jana Euler:
Outside Inside Sensibility
UNTIL 31 DECEMBER
www.whitney.org
Zabludowicz Collection
New York
1500 Broadway
Sound Spill, curated by Thom
O’Nions and Richard Sides
UNTIL 26 MAY
www.zabludowiczcollection.com/
new-york
COMMERCIAL
303 Gallery
507 West 24th Street
Rodney Graham
UNTIL 30 JUNE
www.303gallery.com
Acquavella Galleries
18 East 79th Street
The Pop Object: the Still-life
Tradition in Pop Art
UNTIL 24 MAY
www.acquavellagalleries.com
Alexander and Bonin
132 Tenth Avenue
Jorge Macchi: Loop
UNTIL 15 JUNE
www.alexanderandbonin.com
Alexander Gray Associates
508 West 26 Street
Joan Semmel
UNTIL 25 MAY
www.alexandergray.com
“Elizabeth Peyton” at Gavin
Brown’s Enterprise, until 14 May
Andrea Rosen Gallery
525 West 24th Street
Wolfgang Tillmans: from
Neue Welt
UNTIL 22 JUNE
544 West 24th Street
Lynda Benglis, Sean Bluechel,
MoMA PS1: the ecological challenge
Expo 1: New York
MoMA PS1
12 MAY-2 SEPTEMBER
The museum launches an
examination of the environmental
challenges facing
the globe with “Expo
1: New York”. It includes
“Dark Optimism”, a presentation
of 35 artists
whose work wrestles with
the rapid ecological and
technological changes of
the early 21st century. A
geodesic dome constructed
by the museum
in the Rockaways, the
Queens neighbourhood
ravaged by Superstorm
Sandy, will serve as a
forum for a discussion
about sustainability. “I’m
not sure artists will find
Jean Dubuffet, Mika
Rottenberg, Axel Salto
UNTIL 22 JUNE
www.andrearosengallery.com
Andrew Kreps Gallery
525 West 22nd Street
Christian Holstad: the Book
of Hours
11 MAY-22 JUNE
www.andrewkreps.com
Anton Kern Gallery
532 West 20th Street
Richard Hughes
UNTIL 18 MAY
www.antonkerngallery.com
Benrimon Contemporary
514 West 24th Street
Agathe de Bailliencourt
UNTIL 29 JULY
www.bcontemporary.com
Blain Di Donna
The Carlyle Hotel,
981 Madison Avenue
Paul Delvaux
UNTIL 1 JUNE
www.blaindidonna.com
Bortolami Gallery
520 West 20th Street
Anna Ostoya and Barbara
Leoniak
UNTIL 22 JUNE
www.bortolamigallery.com
Broadway 1602
1181 Broadway
Nicola L: Body Language under
the Sun and Moon
UNTIL 22 JUNE
www.broadway1602.com
Bruce Silverstein
535 West 24th Street
Keith Smith
UNTIL 1 JUNE
www.brucesilverstein.com
Casey Kaplan
525 West 21st Street
Garth Weiser
UNTIL 22 JUNE
www.caseykaplangallery.com
Cheim & Read Gallery
Random International, Rain Room,
2012, showing in Manhattan
all the answers, but they are the ones to ask the right questions,”
says Klaus Biesenbach, the director of MoMA PS1 and the driving
force behind the show. In Manhattan, MoMA will host the US premiere
of Rain Room, an interactive environment by the British design studio
Random International that uses digital technology to keep visitors
dry as they walk through a simulated downpour. J.H.
547 West 25th Street
Jannis Kounellis
UNTIL 22 JUNE
www.cheimread.com
CRG Gallery
548 West 22nd Street
Ori Gersht: Cells
UNTIL 14 JUNE
www.crggallery.com
David Zwirner
519, 525 & 533 West 19th Street
Richard Serra: Early Work
UNTIL 15 JUNE
Palermo: Drawings, 1976-77
UNTIL 29 JUNE
Jeff Koons: Gazing Ball
UNTIL 22 JUNE
www.davidzwirner.com
Elizabeth Dee
548 West 22nd Street
Adrian Piper, Joëlle Tuerlinckx,
Kriwet
UNTIL 25 MAY
www.elizabethdeegallery.com
Eykyn Maclean New York
23 East 67th Street
Chuck Close: Photo Maquettes
UNTIL 24 MAY
www.eykynmaclean.com
Fred Torres
Collaborations
527 West 29th Street
Gaetano Pesce: L’abbraccio
UNTIL 25 MAY
www.fredtorres.com
Fredericks & Freiser
536 West 24th Street
Zak Smith: Maximum
Everything Always
UNTIL 8 JUNE
www.fredericksfreisergallery.com
Gagosian Gallery
522 West 21st Street
Anselm Kiefer:
Morgenthau Plan
UNTIL 8 JUNE
555 West 24th Street
Jeff Koons: New Paintings
and Sculpture
FURTHER
LISTINGS
www.theartnewspaper.
com/whatson
9 MAY-29 JUNE
980 Madison Avenue
Cecily Brown
UNTIL 22 JUNE
Dennis Hopper: the Lost Album
UNTIL 22 JUNE
www.gagosian.com
Galerie Lelong, New York
528 West 26th Street
Ana Mendieta: Late Works,
1981-85
UNTIL 15 JUNE
www.galerie-lelong.com
Gavin Brown’s Enterprise
620 Greenwich Street
Elizabeth Peyton
UNTIL 14 MAY
www.gavinbrown.biz
Gladstone Gallery
530 West 21st Street
Ugo Rondinone: Soul
11 MAY-3 JULY
515 West 24th Street
Marisa Merz
UNTIL 18 MAY
www.gladstonegallery.com
Greene Naftali
508 West 26th Street
Gedi Sibony
UNTIL 22 JUNE
www.greenenaftaligallery.com
Harris Lieberman Gallery
508 West 26th Street
Armin Boehm
UNTIL 15 JUNE
www.harrislieberman.com
Hasted Kraeutler
537 West 24th Street
Paolo Ventura: the Infinite City
UNTIL 22 JUNE
www.hastedkraeutler.com
Hauser & Wirth New York
32 East 69th Street
Paul McCarthy: Lifecast
UNTIL 26 JULY
511 West 18th Street
Paul McCarthy
UNTIL 1 JUNE
www.hauserwirth.com
Jack Shainman Gallery
513 West 20th Street
Tallur L.N.
UNTIL 11 MAY
www.jackshainman.com
James Cohan Gallery
533 West 26th Street
Spencer Finch: Fathom
UNTIL 15 JUNE
www.jamescohan.com
James Fuentes LLC
55 Delancey Street
Pop Tarts
UNTIL 26 MAY
www.jamesfuentes.com
RAIN ROOM: COURTESY OF RANDOM INTERNATIONAL. NYC 1993: BENOIT PAILLEY. PEYTON: © THE ARTIST; COURTESY OF THE ARTIST AND GAVIN BROWN’S ENTERPRISE

CALENDAR
Frieze New York 2013
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013 17
Barney’s works
on paper
BARNEY: © MATTHEW BARNEY. KELLY: © ELLSWORTH KELLY; COURTESY OF MATTHEW MARKS GALLERY. POP TARTS: JASON MANDELLA; COURTESY OF JAMES FUENTES. GREENWOLD: COURTESY OF SPERONE WESTWATER, NEW YORK
Klemens Gasser &
Tanja Grunert
524 West 19th Street
Rawshan Griffin and
Robert Barry
UNTIL 8 JUNE
gassergrunert.net
Lehmann Maupin Gallery
201 Chrystie Street
540 West 26th Street
Tracey Emin: I Followed You
to the Sun
UNTIL 22 JUNE
www.lehmannmaupin.com
“Pop Tarts” at James Fuentes
LLC, until 26 May
Luhring Augustine
531 West 24th Street
Philip Taaffe: Recent Work
UNTIL 15 JUNE
25 Knickerbocker Avenue,
Bushwick
Atlas, Kahrs, Mucha, Whiteread
UNTIL 16 JUNE
www.luhringaugustine.com
Luxembourg & Dayan
64 East 77th Street
Martial Raysse: 1960-74
11 MAY-13 JULY
www.luxembourgdayan.com
Maccarone Inc
630 Greenwich Street
Alex Hubbard: Magical Rámon
and the Five Bar Blues
UNTIL 1 JUNE
www.maccarone.net
Marian Goodman Gallery
24 West 57th Street
Julie Mehretu: Liminal Squared
11 MAY-22 JUNE
www.mariangoodman.com
Marianne Boesky Gallery
509 West 24th Street
Anthony Pearson
UNTIL 8 JUNE
118 East 64th Street
Out of Memory, curated by
Eleanor Cayre
UNTIL 18 MAY
www.marianneboeskygallery.com
Mary Boone Gallery
745 Fifth Avenue
Marc Quinn: All the Time
in the World
UNTIL 29 JUNE
www.maryboonegallery.com
Matthew Marks Gallery
522/526 West 22nd Street
523 West 24th Street
502 West 22nd Street
Ellsworth Kelly at 90
11 MAY-29 JUNE
www.matthewmarks.com
McCaffrey Fine Art
23 East 67th Street
Pruitt: the Early Years
UNTIL 29 JUNE
mccaffreyfineart.com
McKee Gallery
745 Fifth Avenue
Richard Learoyd:
Still/Life
UNTIL 21 JUNE
www.mckeegallery.com
Metro Pictures
519 West 24th Street
Sara Vanderbeek
UNTIL 8 JUNE
www.metropictures.com
Michael Werner Gallery
4 East 77th Street
Elizabeth Peyton: Klara 13
Pictures, 2001-12
UNTIL 15 JUNE
www.michaelwerner.com
Miguel Abreu Gallery
36 Orchard Street
Drunken Walls, Cliché,
Corrosion Fatigue, Ebay
UNTIL 9 JUNE
www.miguelabreugallery.com
Mitchell-Innes & Nash
534 West 26th Street
Amanda Ross-Ho
UNTIL 18 MAY
Daniel Lefcourt
UNTIL 30 JUNE
1018 Madison Avenue
Nicolas de Staël
UNTIL 31 MAY
www.miandn.com
Kelly celebrates
his 90th
Yellow
Relief
Over
Blue,
2012
Ellsworth Kelly at 90
Matthew Marks Gallery
11 MAY-29 JUNE
It has been 57 years since
Ellsworth Kelly’s first solo
show in New York, and to celebrate
the artist’s 90th birthday,
Matthew Marks has
devoted three of his New York
galleries to the work of the
pioneering Modernist.
Fourteen paintings and two
sculptures made in the past
two years will be on view,
including Curves on White
(Four Panels), which spans
nearly 50 feet. P.P.
Mnuchin Gallery
45 East 78th Street
Ellsworth Kelly: Singular Forms,
1966-2009
UNTIL 1 JUNE
www.mnuchingallery.com
Moeller Fine Art
36 EAST 64TH STREET
Paul Klee: Works on Paper,
1894-1940
UNTIL 14 JUNE
www.moellerfineart.com
Murray Guy
453 West 17th Street
Screens
UNTIL 15 JUNE
www.murrayguy.com
Nahmad Contemporary
980 Madison Avenue
Sterling Ruby: SP Paintings
UNTIL 10 JUNE
www.nahmadcontemporary.com
On Stellar Rays
133 Orchard Street
Maria Petschnig: Petschnigs’
UNTIL 16 JUNE
www.onstellarrays.com
Osmos Address
50 East 1st Street
Peter Roehr: Extra Mileage
UNTIL 18 JUNE
www.artbook.com/osmos.html
Participant Inc
253 East Houston Street
Gary Indiana: Gristle Springs
UNTIL 26 MAY
participantinc.org
Paul Kasmin Gallery
293 Tenth Avenue
James Nares: Road Paint
UNTIL 15 JUNE
511 West 27th Street
Simon Hantaï
UNTIL 15 JUNE
www.paulkasmingallery.com
Paula Cooper Gallery
534 West 21st Street
Mark di Suvero: Little Dancer
UNTIL 29 JUNE
521 West 21st Street
Bruce Conner
UNTIL 22 JUNE
www.paulacoopergallery.com
Peter Blum
20 West 57th Street
John Zurier: a Spring 1,000
Years Ago
UNTIL 22 JUNE
www.peterblumgallery.com
PPOW Gallery
535 West 22nd Street
Carolee Schneemann:
Flange 6rpm
11 MAY-22 JUNE
www.ppowgallery.com
Reena Spaulings Fine Art
165 East Broadway
Seth Price: Steh Pirce
UNTIL 9 JUNE
www.reenaspaulings.com
Salon 94
243 Bowery
Ancient Evenings: Ba
Libretto, 2009
Subliming Vessel: the
Drawings of Matthew Barney
Morgan Library
& Museum
UNTIL 2 SEPTEMBER
Matthew Barney's Cremaster
cycle of five films (1994-
2002), epic in scale, lavishly
produced and overloaded
with concepts, signalled the
arrival of an artist with grand
ambitions. Since 2007, Barney
has been working on another
huge film project, River of
Fundament, which is due to be
completed this year. But the
simple act of putting pen or
pencil to paper may actually
be at the core of the artist’s
practice, as this show at the
Morgan Library—the first
museum exhibition to
examine Barney’s works on
paper—suggests. “Drawings
are very important to him in
the process of working,” says
the curator, Isabelle Dervaux.
“Especially more recently,
when he is done with a
production, he continues to
explore the theme in
drawing.” Included are around
100 works spanning the
artist's career to date. P.P.
The Green Room: Amy Bessone
UNTIL 14 JUNE
1 Freeman Alley
Betty Woodman
UNTIL 14 JUNE
www.salon94.com
Sean Kelly Gallery
475 10th Avenue
Los Carpinteros: Irreversible
11 MAY-22 JUNE
www.skny.com
Seven
The Boiler, 191 North 14th
Street, Williamsburg,
Brooklyn
10 MAY-9 JUNE
www.seven-miami.com
Sikkema Jenkins & Co
530 West 22nd Street
Elizabeth Neel
UNTIL 22 MAY
www.sikkemajenkinsco.com
Simon Preston Gallery
301 Broome Street
Josh Tonsfeldt
UNTIL 2 JUNE
www.simonprestongallery.com
Sotheby’s S|2
1334 York Avenue
Man Made: Jean-Michel
Basquiat
UNTIL 9 JUNE
www.sothebys.com
Sperone Westwater
257 Bowery
Wim Delvoye
UNTIL 28 JUNE
Mark Greenwold: Murdering
the World
UNTIL 28 JUNE
www.speronewestwater.com
Suzanne Geiss Company
76 Grand Street
Lucien Smith: a Clean Sweep
UNTIL 22 JUNE
www.suzannegeiss.com
Tanya Bonakdar Gallery
521 West 21st Street
Martin Boyce
UNTIL 25 MAY
Hannah Starkey
UNTIL 25 MAY
www.tanyabonakdargallery.com
Team Gallery
47 Wooster Street
Santiago Sierra: Veterans
UNTIL 12 MAY
83 Grand Street
Stanley Whitney: Other
Colours I Forget
UNTIL 12 MAY
www.teamgal.com
The Pace Gallery
508 West 25th Street
Tim Hawkinson
UNTIL 29 JUNE
510 West 25th Street
Richard Misrach:
On the Beach 2.0
UNTIL 29 JUNE
“Mark Greenwold: Murdering
the World” at Sperone
Westwater, until 28 June
534 West 25th Street
Yoshitomo Nara
UNTIL 29 JUNE
32 East 57th Street
Maya Lin: Here and There
UNTIL 22 JUNE
www.thepacegallery.com
Tina Kim Gallery
545 West 25th Street
Sora Kim and Ari Benjamin
Meyers
UNTIL 29 JUNE
www.tinakimgallery.com
Van de Weghe Fine Art
1018 Madison Avenue
Abstract Expressionism
FRIEZE EVENTS:
talks
SATURDAY 11 MAY
Readings: Art in
Literature
Frieze Auditorium,
Randall’s Island 12PM
Conversation between the
novelists Rachel Kushner, Ben
Marcus and Katie Kitamura
In Conversation:
Lydia Davis
Frieze Auditorium,
Randall’s Island 4PM
The translator and writer Lydia
Davis talks to the associate
editor of Harper’s magazine,
Emily Stokes
SUNDAY 12 MAY
Listening Session:
John Maus
Frieze Auditorium,
Randall’s Island 1PM
The musician John Maus discusses
his influences with Ross
Simonini, the interviews editor
of the Believer
Joan Jonas
Frieze Auditorium,
Randall’s Island 3:30PM
The artist discusses her career
and the development of her
latest projects
MONDAY 13 MAY
When the Past isn’t Past
Frieze Auditorium,
Randall’s Island 1PM
The curators Dominic Molon
and Jenny Moore, and Dan Fox,
the senior editor of Frieze magazine,
discuss museum exhibitions
surveying the recent past
Talk with Douglas
Crimp
Frieze Auditorium,
Randall’s Island 3.30PM
The art historian discusses the
New York art world of the
1970s and his forthcoming
memoir Before Pictures
Frieze events require
additional tickets, which can
be booked at the Frieze
auditorium on the day
on Paper
UNTIL 24 MAY
www.vdwfineart.com
Wallspace
619 West 27th Street
Math Bass, Lucas Blalock,
Michael Queenland, Andreas
Slominski
11 MAY-22 JUNE
www.wallspacegallery.com
8TH EDITION: 07-10 NOVEMBER
contemporaryistanbul.com
facebook.com/contemporaryistanbul
twitter.com/contemporaryist

18
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 11-13 May 2013
DIARY
Drinking on the job
As the VIP visitors were taking in
the art during Thursday’s opening
of Frieze New York, reporters from
The Art Newspaper were hard at
work on their own very important
assignment: trying to find a key to
the artist Liz Glynn’s 1920s-style
speakeasy bar, one of this year’s
Frieze Projects. Given our thirst
for, um, news, this mission took
mere minutes. Key and location
procured, two of our intrepid
reporters made off for the secret
venue, which is buried in a hidden
wall within the grid of gallery
stands. In their eagerness, our
staffers forgot to use the secret
“thrice knock, show your key” signal.
We weren’t, however, the only
ones to fail to read the instructions.
Once inside, we bumped
into the Miami collector Don
Rubell and the British collector
Peter Fleissig, both clutching glass
mugs of the secret elixir served up
by one of the devilishly attractive
raconteur-bartenders, who told
tales of starving artists trapped in
circus cages, Caesar’s feet and
sword fights. “There’s only one
rule in the art world, and it’s that
Artoon by Pablo Helguera
there are no rules,” Rubell said.
Passing his drink to our everaccommodating
writers, Rubell
said: “I can’t drink alcohol and
look at art without it costing me a
lot of money—take it.”
Undercover writer
Wearing a different disguise every
day in order to infiltrate the ultrawealthy
elite is none other than
ace sleuth David de Jong, a crack
reporter for Bloomberg’s
Billionaires Index. His mission is to
identify and track down secret billionaires,
precisely those elusive
international oligarchs who stride
the aisles of Frieze dressed down to
avoid detection. By now, they have
come to spot and immediately flee
from the jobbing journo, so De
Jong has donned a series of deceptive
outfits—muffled up in scarf
and shades, even. Thus he was spotted
at the fair’s bookstall perusing
the boxed special edition of The
Situationist Times, the revolutionary
journal created by his aunt, the
avant-garde agitator Jacqueline de
Jong—a “radical” contrast indeed.
Fresh ink
The architect Peter Marino (right)
was seen browsing the aisles at
Frieze this week in his customary,
eye-catching outfit comprising
leather chaps. Countless curious
onlookers were keen to chat to the
man dubbed the “leather daddy of
luxury”, including the Belgian
artist Wim Delvoye. “I collect his
work. I can relate to Wim’s piggies,”
quipped the hirsute New
Yorker, referring to Delvoye’s
On the fair’s front line
A lot of work goes into an event like Frieze: there is the crew toiling all
hours to set up the mammoth tent, the art movers, the cleaners, the
catering staff, the guards. While they all deserve our thanks, spare a
thought for Hanna, who plays an important part in ensuring the safety
of all the visitors to the fair. The sharp-nosed canine can be seen inspecting
the tent each morning for any whiff of explosives before the fair
opens. “It’s a different world,” one dealer remarked as Hanna trundled
past on her morning round.
famous tattooed sows, available as
works of art. “I’ve got lots
of tattoos,” added
Marino, revealing
various striking
examples of body
art. But are they
confined to his
rather broad
biceps? “No, but
do you really want
me to pull my
pants down as
well?” he cheekily
enquired.
Hands off Koons
Continuing the nudist theme, Jeff
Koons’s voluptuous “Venus” sculptures
were not the only racy objets
d’art on display at Gagosian
Gallery in Manhattan this
week. A young woman, nude
apart from a pair of fetching
red flats and a garish body
covering of blue, green and
pink paint, was seen strolling
around the packed-out private
view of a show devoted to
Koons’s recent work. The very
scantily clad lady, named
Dylan Hall (right), explained
that she was part of an artist’s
project (shorthand for publicity
stunt) arranged by the New
York gallery Lambert Fine
Arts. And has Jeff himself
seen the work of art
bedecked in nothing but her
birthday suit? “We saw him
earlier today,” Hall said.
“He said he didn’t want me
to touch him.”
And best dressed
goes to…
Sharp-eyed observers at
Frieze may have noticed
that über-curator Hans Ulrich
Obrist is looking especially
dapper, leaving
art-world veterans
wondering where
this newfound
nattiness springs
from. The
answer lies with
the fashion giant
Burberry, which,
along with sponsoring
the launch
this Saturday of his
new publication Do It! at
its Spring Street store, has also
decked out the august art intellectual
in the finest threads available;
they’ve even provided Obrist
with an in-house stylist. Not so
much a case of do it but wear it.
Make love not oil
The top oil executive Phil
Epstein was strolling the
VIP aisles with his wife,
the fabled artist L.C.
Armstrong, fresh from
her sell-out triumph at
Marlborough, when he
was stopped dead in his
tracks by IMAGINE NO
FRACKING, a brand new
work by Yoko Ono created
especially for the fair.
Boldly stencilled on the
wall, this “open edition”
could not help but arrest
the veteran fuel-guru, now
the chief executive of Warren
Resources, one of the major
independent drillers of oil on
American soil with wells across
Los Angeles. Epstein confided:
“You know my wife is a
painter, so she tells me there
will be no fucking if I start
fracking… and then I always
promise her that the only thing
I really want to frack is her!”
FRIEZE NEW YORK DAILY EDITION
EDITORIAL AND PRODUCTION
(FAIR PAPERS):
Editor: Cristina Ruiz
Deputy editor: Helen Stoilas
Production editor: Ria Hopkinson
Copy editors: James Hobbs, Iain Millar,
Emily Sharpe
Redesign art director: Vici MacDonald
Designer: Craig Gaymer
Editorial assistant/picture research:
Pac Pobric
Contributors: Charlotte Burns, Adrian
Dannatt, Benjamin Eastham, Julia Halperin,
Gareth Harris, Pac Pobric, Cristina Ruiz,
Emily Sharpe, Helen Stoilas, Christian
Viveros-Fauné
Photographer: Casey Fatchett
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Office administrator: Francesca Price
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