Highlights from Frieze New York Celebrate Politically & Historically Centered Artworks

NAN GOLDIN Gold, 2016 Archival pigment print, in frame60 1/4 x 116 1/4 x 2 1/2 inches (153 x 295.3 x 6.4 cm)Ed. 1/3© Nan Goldin Courtesy the artist and Gagosian

NAN GOLDIN
Gold, 2016
Archival pigment print, in frame
60 1/4 x 116 1/4 x 2 1/2 inches (153 x 295.3 x 6.4 cm)
Ed. 1/3
© Nan Goldin
Courtesy the artist and Gagosian

text by Jennifer Pjieko

“It’s a lot of work, but I’m free now. I’m free!” Artist ektor garcia gestures to the logo on the T-shirt he’s wearing—a black staffer shirt with FRIEZE spelled out in white letters across the middle. garcia had taken some artistic liberty with the art fair-and magazine-branded top, blacking out the letters I and Z with marker, leaving only FREE legible. 

 
ektor garcia, cadenas perpetuas, 2023 (detail)Welded steel, hand bent, handmade steel hooks, found metal, glazed ceramic with copper wire, horseshoe nails, and crochet leather. Dimensions variable.

ektor garcia, cadenas perpetuas, 2023 (detail)
Welded steel, hand bent, handmade steel hooks, found metal, glazed ceramic with copper wire, horseshoe nails, and crochet leather.
Dimensions variable.

 

We were standing around inside Cedric’s, the top-floor café of Frieze New York, underneath garcia’s installation la llorona, a hanging mobile of mixed-metal woven teardrops that illustrated the indigenous Mexican mythical figure of La Llorona: The “weeping woman” drowned her hungry children after their father, a wealthy Spanish man, abandoned the family, and she sheds tears of mourning for them for eternity. Here, as part of Frieze’s curated program, her shimmering, coppery chains gathered into teardrops evade the heavy, matte black net that is there to catch them and float over us as we get together for cocktail hour (we’re not sure which one we are part of at that moment; the restaurant, like Day 1 of any VIP preview day of an art fair, hosts a cluster of many overlapping celebrations at once, bringing cheers and the pop of champagne bottles to crowds from opening to closing hours. 

garcia’s literal self-expressive wardrobe let everyone know his state of mind: After opening three concurrent presentations across New York City (here at Frieze; at the nearby NADA art fair, at the San Francisco gallery Rebecca Camacho Presents’s booth, and at Artists Space in Tribeca, as part of the group exhibition Clocking Out: Time Beyond Management in addition to the recently closed solo exhibition esfuerzo at James Fuentes on the Lower East Side, the artist was finally free to rest for a little bit. la llorona also comes into the fair along with a wave of other politically and historically centered artworks featured—and celebrated—in the commercial context of having lots of very expensive work on offer (or, even more likely, no longer available). While the past several years of global art fairs have been characterized by glossy abstraction and mirrorlike installations, the booths on view inside The Shed on the West Side’s High Line made space for more nuanced, sensitive forms of art. Company Gallery presented a trio of abstract paintings by Tosh Basco, which could have been an element of the artist’s poetic, fragile movement performance at the new Water Street Projects, a curatorial initiative in the Financial District, a few nights earlier; Michael Rosenfeld dedicated his gallery’s entire booth to works made in 1973, the seminal year when Roe v. Wade made its way through the U.S. Supreme Court; we are now living through the devastating consequences of its reversal. At Alexander Gray’s booth, Bethany Collins’s Antigone: 1998 / 2015 (2023), is a diptych of works on paper, which looks at race and language through handwritten parts of Sophocles’s ancient play. Tehran’s Dastan Gallery presents a survey of the past century of Iranian women artists, across a variety of challenging mediums and forms; Gagosian devotes its entire booth to Nan Goldin, who recently signed with the mega gallery; her heartbreaking images recall pain and loss as much as the golden sunlight that bathes her figures. Playful works, such as Jean-Michel Othoniel’s lustrous strands of pearls of every color at Perrotin offer moments of flirtation and light. 

As the sun started to give a little bit in the late afternoon-to-early evening hours, the multi-floored crowd began to contract up and down inside The Shed; soon it would be time for happy hour everywhere. ektor took a couple of Dobel-stamped poker chips (clever objects to be “cashed” as free-drink tickets) for his friends and collaborators outside the party. It was time to celebrate together. 

FRIEZE NEW YORK 2023, installation view Artwork © Nan GoldinPhoto: Sebastiano Pellion di Persano Courtesy Gagosian

FRIEZE NEW YORK
2023, installation view
Artwork © Nan Goldin
Photo: Sebastiano Pellion di Persano
Courtesy Gagosian

"Nighthorses" by Adam McEwen @ Gagosian Gallery

As Adam McEwen’s title suggests, anxiety resides even in the most common images and objects. His art draws attention to the vestigial dramas of daily life; the forgotten is memorialized, the subliminal laid bare. Narrative flow is tempting to seek yet impossible to find. See more exhibition images here. "Nighthorses" is on view through June 9 at Gagosian Gallery 456 North Camden Drive Beverly Hills. photograph by Oliver Kupper

Thomas Houseago "The Ridge" @ Gagosian Gallery in Beverly Hills

Gagosian presents “The Ridge,” an exhibition of sculpture and paintings on canvas by Thomas Houseago. This is his first exhibition with the gallery in his hometown of Los Angeles. The title of the exhibition derives from Houseago's childhood memory of a rocky pass in Leeds, England, known locally as "The Ridge," where a manmade stone wall runs along the upper edge of a steep natural stone ridge. With the stone wall of the adjacent estate, this creates a narrow footpath or ginnel, blocking the drop beyond the ridge and the sightlines within the pass. Houseago's recollection of this place is as much about a sense of peril and rite of passage as the actual physical experience. Thomas Houseago "The Ridge" will be on view until February 16, 2017 @ Gagosian Gallery in Beverly Hills. photographs  by Oliver Maxwell Kupper

Get A Tattoo By Douglas Gordon At The New York Art Book Fair

Gagosian Gallery presents FLASH FLASH FLASH at the New York Art Book Fair at MOMA PS1. The "flash," a stereotypical tattoo design drawn onto a piece of cardboard, and offered on the walls of tattoo parlors, occupies a particular place in industrial and graphic design--art conceived for the human body is now its own genre of drawing. This year at the New York Art Book Fair, Gagosian will install a tattoo parlor offering original, readymade flash designs commissioned from artists Devendra Banhart, Genesis Breyer P-Orridge, Douglas Gordon, Kim Gordon, Max Hooper Schneider, and Richard Wright. Professional tattoo artists from Brooklyn's Flyrite Tattoo will be on hand in the booth to permanently tattoo these designs onto recipients during the fair, mixing the subculture of flash art with high art. Click here to reserve your appointment. 

Ed Ruscha Books & Co. @ Gagosian Gallery In Los Angeles

Gagosian Gallery presents “Ed Ruscha Books & Co.,” an exhibition of artists' books by and after Ed Ruscha. The exhibition is organized by Gagosian director Bob Monk. In the 1960s, Ruscha was credited with reinventing the artist's book, producing and self-publishing a series of slim volumes of photography and text. By turning away from the craftsmanship and luxury status that typified the livre d'artiste in favor of the artistic idea or concept, expressed simply and in editions that were unsigned and inexpensively printed, Ruscha opened the genre to the possibilities of mass-production and distribution. “Ed Ruscha Books & Co.” presents Ruscha's iconic books together with those of more than one hundred artists from all over the world—from Russia to Japan to the Netherlands—who have responded directly and diversely to his lead. Many books are installed so that viewers can browse their pages. After presentations in New York, Munich and Paris (2013–15) the exhibition run will conclude in Ruscha's home city of Los Angeles. The exhibition will be presented in conjunction with “Ed Ruscha Prints and Photographs.” Ed Ruscha Books & Co. will be on view until September 9, 2016 at Gagosian Gallery, 456 North Camden Drive

Here It Is: Your Must See Art Guide During Zona Maco México Arte Contemporaneo 2016 →

This week, Mexico City will be awash with patrons of the art, artists, galleryists, gawkers, wannabes and creative adventure seekers. Opening on Wednesday, February 3rd, Zona Maco México Arte Contemporaneo will be ground zero for one of the world’s most important art fairs and by far the biggest in South America. Founded by Zélika García 2002, Zona Maco as built a bridge between Mexico’s capital and the world’s leading artistic institutions. Surrounding the fair, though, will be a number of exhibitions, events and satellite fairs, including the Material Art Fair and the Imprint Book Fair at Museo Jumex. You can also catch highlight exhibitions by the likes of Yoko Ono, Adam Green, and Los Angeles based artist on the rise Ariana Papademetropoulos. Here is your #mustsee art guide during Zona Maco 2016. Click here to read the full list. 

Urs Fischer Large Scale Sculpture "Big Clay #4" Outside of the Seagram Building

Gagosian Gallery presents Urs Fischer's monumental sculpture Big Clay #4 on view at Seagram Plaza until September 1, 2015. .Fischer's work is the result of an intimate gesture enlarged to epic proportions. The curving, towering stack derives from a scrap of clay that has been squeezed; scanned and enlarged digitally; then cast in aluminum as a 42 1/2-foot-tall sculpture. The silver surface reveals all of the incidental nuances of the original form, including Fischer's fingerprints, which are preserved as striated curves.

R.I.P. Chris Burden, Extreme Performance Artist (1946-2015)

Chris Burden, an artist known for his extreme performance art in his youth - with performances that included shooting himself in the arm with a rifle and crucifying himself on a VW Bug - has died at the age of 69 in Los Angeles. Later in his life, Burden became more well known for his sculptural works, like the famous streetlamp installation outside of LACMA and Porsche with Meteorite, which is on view now at Gagosian Gallery in Paris. Burden has made an indelible mark on the history of art and he will be an enduring symbol and spirit of how far bravery, imagination and a little pain can take the artist. 

Frank Gehry at Gagosian Beverly Hills

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Frank Gehry, pictured left, at Gagosian Gallery's opening of the presentation of his new Fish Lamps. The exhibition will be presented concurrently in Los Angeles and in Paris. Since the creation of the first lamp in 1984, the fish has become a recurrent motif in Gehry's work, as much for its "good design" as its iconographical and natural attributes. In 2012 Gehry decided to revisit his earlier ideas, and began working on an entirely new group of Fish Lamps. The resulting works, which will be divided between Gagosians Los Angeles and Paris, range in scale from life-size to out-size, and the use of ColorCore is bolder, incorporating larger and more jagged elements. Frank Gehry Fish Lamps will be on view until February 14, 2013 at Gagosian Gallery in Paris and Beverly Hills.

Legendary William Eggleston at the Gagosian Beverly Hills

Photographer, and legend in his own right, Brad Elterman caught some magical moments of the opening of the legendary William Eggleston exhibition opening of his classic Los Alamos series at the Gagosian Beverly Hills in Los Angeles on view now through November 10, 2012. 

DOUGLAS GORDON: The End of Civilisation

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Gagosian Gallery presents The End of Civilisation, a major film installation by Douglas Gordon.In The End of Civilisation, a grand piano burns at a remote site deep in the Cumbrian landscape. This lushly green and desolate locale overlooking the boundary between England and Scotland was once the border of the Roman Empire. The grand piano, emblematic of high culture as both a finely crafted instrument and a beautiful sculptural object, is destroyed at the primeval edge of civilization. With this symbolic conflagration, Gordon re-enacts an ancient local tradition of igniting beacons as an admonition or communication. Inspired in part by the journey of the 2012 Olympic torch across the British Isles, The End of Civilisation is both a celebration and a warning—of fire as a symbol of optimism and hope, but also of risk, danger, and destruction. The End of Civilisation is on view from September 8 to October 13, 2012, Gagosian Gallery, 522 West 21st Street, New York, NY

Dan Colen in New York & Paris

dan_colen_crack_in_the_clouds_seagrams_gagosian

Dan Colen will be having two exhibitions of his unique artworks presented by the Gagosian Gallery in both New York and Paris. On view now publicly for the first time outside the famed Seagrams Building in New York, Dan Colen’s sculpture, entitled Cracks in the Clouds (2010), consists of 13 motorcycles kicked over in a row. Originally shown in the artist’s Poetry exhibition at Gagosian Gallery, the bikes were custom-built and painted to replicate those Colen photographed outside the Hells Angels club on East 3rd Street.  And coming up on June 12, Dan Colen's first solo exhibition in Paris, Out of the Blue, Into the Black is a eulogy in three parts comprising paintings, installation, and a sculpture. The title conflates two songs that open and close Neil Young’s 1979 album Rust Never Sleeps: “Hey Hey, My My (Into the Black)” and “My My, Hey Hey (Out of the Blue)", with its famous line “It’s better to burn out than to fade away,” which Young wrote in reference to his personal fears of becoming obsolete and, correspondingly, to the then-recent deaths of Elvis Presley and Sid Vicious, and which was invoked many years later by Kurt Cobain in his suicide note. Similarly, Colen has used the lyrics here to evoke a fear of the erosion of influence, to point to the ways in which death inflects celebration, and to remind us of what we try to hold on to, even as it eludes our grasp. Cracks in the Clouds will be on view until September 30, 2012 and Out of the Blue, Into the Blackwill be on view from June 12 to July 28, 2012 Gagosian Gallery, 4 rue de Ponthieu, Paris.

Nude Man Forsblom & Jay Johnson @ Gagosian Opening For Richard Avedon In New York

New York’s spriteliest interior designer, Brock Forsblom, became so inspired at the opening of Richard Avedon: Murals & Portraits last Friday night, he stripped naked to pose in front of the Warhol gang. He in turn inspired hundreds of photographs taken by the mob-scene crowd, which included fellow interior designer Jay Johnson, twin brother to Warhol’s former partner Jed Johnson, and one of the original Avedon subjects. In these large-scale murals and the smaller, related portraits of the 1960s and 1970s, Avedon sought to depict the spirit of the times, a spirit that clearly lives on.

See the exhibition at Gagosian’s West 21st St. Gallery, New York. On view through July 27. photographs by Temo Callahan

Drawn Blank: Bob Dylan to Show Paintings at the Gagosian

Gagosian: "A committed visual artist, Bob Dylan has only recently begun to exhibit his works publicly. Firstly, a collection of multi-media watercolors and gouaches, The Drawn Blank Series, was exhibited in Germany’s Kunstsammlungen Chemnitz in autumn 2007. His latest works on acrylic and canvas, The Brazil Series, are currently on exhibit at The National Gallery of Denmark in Copenhagen." Bob Dylan is set to exhibit artwork at the Gagosian Gallery this September.