By Liam Davis
Frieze New York been evolving since debuting in 2012. Constants remain. It’s location on Randel Island. It’s distinctive tent curving like a giant earth worm. And from its start it was quick to adjust to the New York environment. Amoding the city specific qualities as a global art hub. And as the years piled and each iteration altered and adjusted a pattern has emerged.
Frieze New York has become a barometer on not only the “New York Art World” but the global art world at large. From its competitor Art Basel Miami and bicoastal sibling Frieze LA we can acquire key data points. So, it’s with hope and trepidation that many of us approach this year’s iteration of Frieze New York.
This year’s edition brings together 68 galleries from more than 25 countries and stresses a strong Latin American presence. Nearly half the participating galleries maintain a New York location, reinforcing the city’s continued gravitational pull within the global art economy even after years of predictions about Miami, Los Angeles, Seoul, or the digital sphere replacing it. Christine Messineo, Frieze’s Director of the Americas, recently explained. “Frieze New York feels very intentional and manageable.”
One clear data point is the fairs’ emphasis on emerging artists exhibiting their work alongside the usual suspects.
So, expect to see recent work by manty established artists but be ready to learn some new names too.
Christine Messineo description of the fair as intentional and manageable is the antithesis of world beyond Frieze’s tent. Early reports have indicated a pattern of world-building. Instillations that reflect our current state of global instability. Anxiety being repeatedly expressed through instillations of assemblage. Scattered objects of a variety of sizes confirming our collective unease. Mix paranoia and institutional distrust to the vibe and you have an idea of what to expect.
If these offering don’t elevate us other works offer the possibility of distraction us from our collective unease. New works by artists Anicka Yi, Joe Bradley, Seba Calfuqueo are being received favorable It’s a given that large-scale oil paintings and metallic sculptures provide an experience viewers have come to expect from a Frieze Art Fair.
Initial feedback depicts a fair that oscillates between a critical cultural critique and blissful objects intended for high-end consumption. Collectively reflecting our growing unease and polarization.
When explaining why it’s worth attending Frieze New York, my first thought is to stress the quality of the work. The art assembled from May 13 to 17th in a white tent on Randel Island is among the best in the world. It’s survey of top tier contemporary art unrivaled by any collection or museum. From all account Frieze New York reflects our now. We will see artwork we want to live with and artworks that reflect the world we’ve come to live in.