For its twelfth version, Frieze New York has as soon as once more returned to the Shed, the humanities heart in Hudson Yards. With 68 exhibitors, the honest, which opened to VIPs on Wednesday morning, was the primary held since Frieze acquired the Armory Present, its fundamental New York competitor. That ought to have lent the occasion some further pleasure, however the preview felt a bit subdued—maybe as a consequence of put up–Venice Biennale fatigue has now made its approach throughout the Atlantic. Nonetheless, there was a gentle stream of holiday makers all through the day, and several other blue-chip sellers reported sturdy gross sales.
Many exhibitors went with solo shows—an uncommon transfer in a good setting, the place group shows are the norm. And a number of the youthful galleries, notably those within the Focus part, introduced extra daring work than is typical for a promoting occasion like this one.
Under, a have a look at the very best artwork on supply on the 2024 version of Frieze New York, which runs via Might 5.
-
Haegue Yang at Kukje
Picture Credit score: Maximilíano Durón/ARTnews Haegue Yang’s solo presentation for Kukje is a component museological show, half shamanistic altar. On the sales space’s heart is a vitrine that gives quick histories on varied paper-cutting traditions from all over the world, together with Korea, Japan, and Mexico. Her preliminary curiosity in these traditions stem from her analysis over the previous two years into “the sacred dimension of hanji, conventional Korean paper derived from the inside bark of the mulberry tree,” per wall textual content. Her analysis deepened throughout her current travels to Thailand forward of her participation within the 2023 Thailand Biennale. The outcomes of her ongoing inquiry is her “Mesmerizing Mesh” sequence (2021– ), a grouping of works that distill these traditions into eye-catching, semi-abstract paper collages. Right here, the works are displayed on wood buildings that resemble the altars of Thailand’s Hmong folks. Under every are synthetic candles that seem to flicker; they induce a second of reverence amid the chaos of this honest.
-
Suki Seokyeong Kang at Commonwealth and Council
Picture Credit score: Maximilíano Durón/ARTnews One other artist dialoguing with Korean’s conventional arts is Suki Seokyeong Kang, who has on view two works that incorporate hwamunseok, woven-reed mats used to demarcate area as a part of a Nineteenth-century royal courtroom dance. The mats are by artisans that Seokyeong Kang commissioned, and so they’re embedded with pastel-hued metal enclosures which can be industrially fabricated. Put in on the ground between these two works is Rove and Spherical–face #23-04 (2016–23), wherein a discovered hamper hangs from a painted metal armature. Onto these hampers Seokyeong Kang has woven variously coloured yarn. (One other related one by Seokyeong Kang seems in Tina Kim’s sales space.) The artist first began making works on this mode whereas she was in grad faculty on the Royal School of Artwork in London, the place she felt remoted and homesick. The weaving turned a consolation for her.
-
Feliciano Centurión at Ortuzar Tasks
Picture Credit score: Maximilíano Durón/ARTnews Ortuzar Tasks has a number of examples from Feliciano Centurión’s “frazadas” sequence, consisting of discovered shifting blankets onto which the artist, who died in 1996 of AIDS-related causes, painted animals and landscapes. In a single, a yellow tiger floats towards the blanket’s pink background, seemingly able to pounce on some flora. One other exhibits 4 sun-like orbs that seem above an otherworldly dusty mountainscape. In his work, Centurión typically included types of handiwork, like embroidery, crocheting, and knitting, which have lengthy been related to ladies and that he discovered from his mom. The “frazadas” enlisted these methods as a queer gesture, questioning what actually counted as a “male” type of art-making. Supplier Ales Ortuzar mentioned he first discovered about Centurión’s work on the 2018 Bienal de São Paulo; he’s readying a solo present for the artist within the fall.
-
Sylvie Fleury at Karma Worldwide and Sprüth Magers
Picture Credit score: Maximilíano Durón/ARTnews This knockout sales space has a wall devoted to a number of current neon works by Sylvie Fleury, who has by no means earlier than exhibited so many items in that model without delay. Beginning within the Nineties, Fleury started to depend on discovered textual content used to promote magnificence merchandise, from easy phrases like “JOY” or “PLEASURES” to quippy phrases like “MOISTURIZING IS THE ANSWER” and “NAUGHTY BUT NICE.” As with a lot of Fleury’s work, these sculptures are about need, underlining how consumerism creates the necessity to really feel lovely and needed. With out the merchandise they’re meant to promote, these phrases really feel eerie and considerably foreboding. They’re made much more surreal when seen within the context of an artwork honest.
-
Davi de Jesus do Nascimento at Mitre Galeria
Picture Credit score: Maximilíano Durón/ARTnews Collaboration guides via the work of Davi de Jesus do Nascimento, who comes from a household of carpenters from the São Francisco River Basin in Brazil’s Minas Gerais state. On the heart of the sales space is a big boat constructed by the artist’s father and crammed with dozens of items of uncooked tamarind. On an exterior wall is a photograph of the artist wrapped in a fisherman’s web; above him stands his father, who has fished the artist out of the river. The picture was taken by do Nascimento’s brother. On one wall are beguiling brown drawings of imagined creatures from the depths of the São Francisco River, whereas one other wall contains a number of Polaroids of the artist, onto which he has affixed insect appendages.
-
Charisse Pearlina Weston at Patron
Picture Credit score: Maximilíano Durón/ARTnews Most artworks at Frieze look constructed to final, however a flooring set up by Charisse Pearlina Weston on this sales space appears simple to interrupt. It contains a practically all-black picture that has been printed on canvas and fused with two damaged sheets of smoked glass. The results of Weston’s labor has been laid atop lead sculptures, inflicting it to look notably fragile. Weston, who can be displaying on this yr’s Whitney Biennial, has lengthy labored with glass, sometimes in large-scale interventions, as a approach to consider how structure is usually a constrictive drive. Partitions, home windows, and the like are supposed to stay mounted and unchanged, however Weston finds a method of constructing them appear impermanent and frail. With this piece, nothing is as sturdy as it might as soon as have appeared.
-
Holly Hendry at Stephen Friedman Gallery
Picture Credit score: Maximilíano Durón/ARTnews This whimsical sales space options round a dozen wall-hung sculptures by the London-based Holly Hendry, who typically takes physique components or bodily capabilities as a place to begin for her artwork. These works appear to be enlarged variations of pocket book doodles—they pop off the wall, into the third dimension. In a single, pearl-like eyes emerge from a white sheet of pocket book paper that has been nailed to the wall. In one other, an elongated pink tongue clutches a marbled orb at its tip, with two drops of blue spit touchdown on the web page; this time, the tongue has been nailed to the wall. And in yet one more, a peach-colored nostril is ready towards a rust-colored sheet that has been lower and perforated. The nostril is partially obscured by a peach-colored sheet that on nearer inspection really appears to be a bit of pores and skin. On the sales space’s edge, Hendry has inserted into the wall a mail slot–like sculpture that has related objects appended to it. It’s a fantastical and improbable gesture.
-
Maureen Gruben at Cooper Cole
Picture Credit score: Maximilíano Durón/ARTnews 4 mixed-media etchings instantly draw you into this solo presentation of Maureen Gruben, an Indigenous artist from Tuktoyaktuk in Canada’s Northwest Territories. The works are made in reminiscence of the artist’s father, Eddie, who was a well-regarded trapper and neighborhood determine. The idea of those etchings are aerial survey pictures created to map ice protection over oil wells close to Tuktoyaktuk. Gruben has etched in patterns from her father’s fox stretchers and traps. The etchings mark her father’s routes and presence on the land: regardless of how a lot oil corporations could attempt to extract and pillage the land, they can not rid it of its Indigenous previous, current, and future.