If I ever find myself in an art conversation about someone’s kid “being able to do that,” I’m usually one of the first to come to art’s defense. I usually try to answer questions like “Why?” and that horrible phrase that comes in so many different inflections: “I don’t get it.” A topic for its own essay, perhaps. I enjoyed much of the work I saw in the Big Apple over the second week of May, but it occurred to me as I was wandering through the booths at Frieze New York that I was both thrilled to be looking and fatigued by the idea of having to explain to anyone else what was going on there.
The other fair happening, Pulse New York (the one I was really there for, but more on that later) was smaller and, honestly, a bit easier to digest, but Frieze is the one with all the hype—and three cafes. Wood-paneled porta-potty complexes. A VIP room. Massive air-conditioned tents isolated on Randall’s Island Park. Quite appropriate on an island of its own, I thought. I popped into a few Chelsea galleries as well, and a quick recap of highlights shall now ensue, in two parts.
Like I said, I’m all about helping explain why an artist might do something, or why a gallery might show it. But, seriously. I guess this could be a Magritte reference. It’s a watermelon with a pipe stuck in it.
Here’s an installation with some whoopee cushions spread out on the floor. This booth had a black-suited attendant watching over the whoopees. I asked him if he wanted to step on one, and he said he’d been thinking about it all day.
I like this. Put a little car on a slanted shelf, and balance it nicely with a piece of cake. I could totally do this. Not out of spite, but just because. A whole series of these please!
Here’s some more food. That’s a pizza on the wall, a big koosh ball in the foreground, a Twinkie and a Ding Dong in the back. And a sculpture of a video camera with a piece of bread behind it. Lots of people were taking their photo with the pizza and the bread. Makes sense, right? By the way, the best piece in the booth was the pea. Yes, a single pea, on its own wall. I didn’t take a photo of it because everyone was crowding around and blocking the view. But somehow appropriate that, in the midst of all this top-dollar blue chip brouhaha, a small plastic pea was getting all the attention.
This is a sheet of soiled bubble wrap on the wall. There were all sorts of pieces made out of packing foam, insulation, and cardboard. Some enjoyed success; others did not. Nothing wrong with using discarded materials. They certainly don’t have to be anything other than what they are.
Ah, jeez. This is the only piece that would make sense to my Dad, and probably most other stable, sensibly humorous people. By God, a monkey can do it.
Loved seeing this Kapoor, as I’ve never seen one in person. Once you stand dead center, the horizon disappears and your voice echoes back. Brilliant, simple way of altering a viewer’s experience from a public to confined space.
Here’s another piece with tiny cars, this time with complex arithmetic.
This is a tarp. I looked at it a good while.
C’mon. I’d be embarrassed if I made this.
I like this warped shelf. Looks like our organizational systems aren’t that infallible. Thomas Demand has had enough! Just kidding, it’s not a Thomas Demand.
Speaking of organization, I love Sara Sze. This is the smallest piece I’ve ever seen of hers. I think she’s more successful working in a larger space, and not confined to making a self-contained piece.
Armchair traveler maybe?
It always gets better when Van Halen shows up.
Here’s someone trying to explain what’s going on. Glad it wasn’t me. By the way, I did spot CAMH’s Bill Arning from a distance, and he looked enthused. Don’t know if he’s going to bring the food pieces to Houston, or maybe the cars. I’m pulling for Van Halen.
This was the best piece at Frieze. Life castings are to people like light bulbs are to moths. This one just worked its magic. This duplicate human with her face covered up drew a lot of attention, leaning against the wall. Willfully exposed, but trying to hide. Yes.
We missed the gallery show that opened the following week where a full-on life casting of Paul McCarthy was to be shown. You can peek here.
Speaking of Paul McCarthy, here’s the humongous inflatable balloon dog that was on the front porch of Frieze. It sold for nearly $1 million, so I’ve heard. No royalties are being paid to Jeff Koons. (More on him in part two, along with Pulse NY and a couple of gallery shows.) All in all, there was a lot of good work at Frieze, as you might expect. Though I’ve seen work just as compelling at smaller fairs, this was the only one I’ve had to catch a boat to get to—so far.
P.S. My apologies for not including more artists names and/or galleries. It was just one of those weeks. There’s a catalogue available from Frieze at about $40 if you’re interested, or this book (below, also on sale at the fair) if you’re not.
also by John Aasp
- Big Eyes, Little White Lies - January 13th, 2015
- A Thin Slice of SXSW Film - March 25th, 2014
- The Devil's Playground: More on Chris Sauter - January 15th, 2014
- Sauter's Doubt - January 5th, 2014
- Pulse New York, Jeff Koons, and William Wegman - June 29th, 2013