THE ART NEWSPAPER AT FRIEZE NEW YORK, Issue 2

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TURIN LONDON NEW YORK PARIS ATHENS MOSCOW BEIJING
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
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Your com P
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ice
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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
2
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
4
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
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Book Signing with Photographer & Stylist, Maripol | Sat 3-6pm
Hosted by ARCHEUS / POST-MODERN | Booth #B19
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Saturday & Sunday, May 16-17 | Noon-6pm
No Longer Empty presents The Everywhere Exotic, curated by
Tam Gryn and Alejandra Esayag
Natalie Frank curates past Fellows of the New York Academy
of Art
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.
THE INTERNATIONAL EXPOSITION OF
CONTEMPORARY & MODERN ART
17–20 SEPTEMBER
2015
CHICAGO NAVY PIER
expochicago.com
Presenting Sponsor
7
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
S
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
8
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
10
IN PICTURES
AMERICA
is hard to miss
R
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
1
PHOTOS: © CASEY FATCHETT, 2015
2
3
4
5
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 15-17 May 2015
11
7
6
8
5
9
10
PLANTING THE FLAG
1
4
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
13
John Reekie’s
photograph A Burial
Party, Cold Harbor,
Virginia (1865)
Medium retains
its mystique
An unconventional history of photography—to be continued
PHOTOGRAPHY
I
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
15
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
C
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
16
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
17
18
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
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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
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Image: Untitled by Lisa Ludwig, courtesy of Moody Gallery
Miami Beach
December 1-6, 2015
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Image: Detail of Galleria at Sunset, Las Vegas, Nevada by Robert Voit, courtesy of ClampArt
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