Tunisian police demonstrate in September 2011
The Tunisian ministry of culture is backing an exhibition of contemporary art which is due to open at the National
Museum of Carthage later this month, in a move designed to boost the country’s cultural profile following the Arab
Spring revolution. More than
25 artists, including highprofile figures such as Kader
Attia and Lara Favaretto, feature in the show, titled “Chkoun
Ahna” (12 May-15 June), which means “who are we?” in
Tunisian dialect.
“No place in the north of Tunis better reflects the cross-cultural plurality of Tunisian history than Byrsa [the Unesco heritage site where the museum is located],” says Timo Kaabi-Linke, the show’s co-curator. The
Tunisian artists Fakhri El
Ghezal and Ismail Bahri, the
Italian artist Yousef Moscatello and Saudi Arabia’s Ahmed
Mater are due to bring new works. Artists including Ayşe
Erkmen, Saâdane Afif and
Favaretto will exhibit site-specific adaptations of works. A dozen pieces from the past 15 years by Favaretto, who is represented at Frieze New York by
Galleria Franco Noero (C50), form part of a survey show at
MoMA PS1 in Long Island City
(3 May-10 September).
The pieces touch upon Tunisia’s socio-political issues. “The country is under construction.
This is why it is important to deconstruct the concept of identity
[through the exhibition],”
Kaabi-Linke says. It is the springboard for a contemporary art “platform” in the Arab state, with plans to launch an annual show of international art.
Gareth Harris
NEW YORK . The record-breaking
Munch that sold for
$119,922,500 (including premium) at Sotheby’s last night is not the only multi-million-dollar work of art on offer in New York right now. The inaugural edition of Frieze New York opened to invited VIPs on Thursday, and
The Art Newspaper has calculated that art worth as much as
$2bn has been brought to the city for sale through fairs, galleries and auction houses. This number could suggest that the confidence shown in the art market in the mid-2000s is returning at speed. The union teamsters and Occupy protesters seem to think so—but is it really the case?
“The market seems to be on steroids right now, and everything is colliding in New York this week,” says the art adviser
Lisa Schiff. “It’s exciting and overwhelming, and a little bit freakish,” she says, noting the number of art events taking place in the city.
But if figures such as $2bn seem monolithic, the trade is not. The overall sum is heavily skewed by the value of the secondary-market works on offer at the auctions and with some blue-chip galleries (see box). In contrast, Frieze’s reputation rests on art fresh from the studio, which is hipper, riskier—and cheaper. Frieze was unable to give a figure for the overall value of the art at the fair, but it seems reasonable to assume that it is similar to the $350m estimated by the specialist art insurers Hiscox at the London edition last year. That would represent only 18% of our estimated
$2bn total. The artist, curator and critic Robert Storr says that the art market has been fuelled by “two separate things for a very long time”: die-hard art lovers and investment buyers.
There are strata within the
250,000 sq. ft tent, too. A glance at the floorplan reveals the hierarchy. The heftier prices are at the galleries that take up the most space and are selling works by well-known artists.
Nonetheless, “there is a clear split between investors buying blue-chip works at auctions and the people we tend to talk to in
Barbara Kruger, Too Big to
Fail , 2012, $200,000—a critique of the banking world or aspects of the art world?
On show with Sprüth Magers
(B37) at Frieze New York the gallery, who are either emerging critics, curators and writers or more established institutional buyers and traditional collectors,” says Marc Payot, a partner of Hauser & Wirth
(B6). The gallery is selling works ranging from a $60,000 painting by Rashid Johnson to a $3.75m pair of sculptures by
Louise Bourgeois (on show in
The Swiss artist Christoph
Büchel is seeking sponsors this week at Frieze New York for his major new land art project, Terminal , which involves burying a decommissioned 153-foot-long Boeing
727 jetliner (right) in the
California desert. The production costs for the ambitious subterranean scheme are around $1.5m.
Visitors will be able to access the plane, which is due to be installed in the Mojave Desert in Kern County, via a corrugated-steel mine shaft, and will be able to use one of the the sculpture park). Fellow biggun David Zwirner (C46) has a display of minimalist work, including a $1m fluorescent light sculpture made by Dan Flavin in 1969. Kristine Bell, a partner at the gallery, says it is “intrinsic to the buying that our artists won’t decrease in value, [but] the investment conversation— if it happens—comes second”.
The mid-sized booths at the fair tend to display works by mid-career artists, priced, on average, between $20,000 and
$60,000. This is not the masterpiece market that tempts those driven by the idea of art as an toilets on board. Soil will be visible through the windows, but there will be no signs of the aircraft above ground.
asset class, though it might appeal to the “gamblers of the world who think they have a good nose, or eye. Mostly, they have a good ear. We believe we deal with works that have the potential to be masterpieces,” says Stefania Bortolami (A9), who is selling works priced between $10,000 and $125,000.
The Mexico City-based gallerist José Kuri of Kurimanzutto
(B16), who is showing works by
Abraham Cruzvillegas, including two large-scale drawings priced at $45,000, says: “We have to work hard because we don’t deal with the super high
The artist hopes to start constructing the piece later this year, and a spokesman for Büchel’s gallery, Hauser &
The $2bn sum is based on a sample survey of dealers, fair valuations and the midestimates for the auction houses’ impressionist, modern, contemporary and tribal art sales.
Conversations with a selection of 20 galleries representing high, mid- and low-tier operations yielded a figure of $141m for the group’s current shows.
With an estimated 700 galleries in New York
(source: OneArtWorld), a total of $2bn is conservative (although most of these galleries are at the low end).
Art at auction (1-10 May)*
Bonhams: $6m
Christie’s: $526m
Phillips de Pury: $106m
Sotheby’s: $663m
Total = $1.3bn
* Based on mid-estimate
Art at fairs
Frieze New York: $350m*
Nada: $10m
Pulse: $10m
Total = $370m
* Assuming equivalence/accuracy of
Hiscox’s 2011 London estimate end and we don’t do much secondary market. But, without sounding idealistic, we’re trying to focus on great projects.”
The younger dealers (including the 20 galleries in the
Frame section and the 33 in
Focus), selling works by largely unknown artists, take up the least space. “I am not anti-art investors; they just don’t talk to me,” says Darren Flook of
Hotel gallery (F31), which is selling works by artists including Judith Hopf and Anders
Clausen, priced between
$5,000 and $20,000.
CONTINUED ON P
2
Wirth (B6), says that negotiations with local institutions over the management of the site are under way.
Büchel is making his presence felt at Frieze with two works in the sculpture park:
Shoe Tree , 2008/2012, and
1% , 2012. The latter consists of six trolleys bought from six homeless people in New York for between $350 and $500.
“We plan to sell them for 100 times more than we paid for them,” says the spokesman, explaining that the piece addresses issues such as the distribution of wealth. G.H.
AUCTIONS 10 & 11 MAY
VIEWING 28 APRIL - 10 MAY
PHILLIPSDEPURY.COM

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THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012
PARIS
. The president of the
Centre Pompidou in Paris,
Alain Seban, has called for the resignation of Robert Rubin, the chairman of the French institution’s US philanthropic arm—the Centre Pompidou
Foundation—after a bitter dispute over the way the Paris museum generates cash and gifts in the US.
The row was sparked by a recent interview in the French newspaper Le Monde with
Rubin, a New York-based commodities trader, in which he strongly criticised Seban’s decision to hire Fabrice Bousteau, the editor-in-chief of Beaux Arts magazine, as co-curator of the exhibition “Paris-Delhi-
Bombay”, which opened at the
Centre Pompidou last year.
Glenn Lowry, the director of the
Museum of Modern Art in New
York, telling Ann Temkin [the chief curator of painting and sculpture at MoMA] after the fact that he’d hired [the New
York Times art critic] Roberta
Smith to curate a major exhibition? He’d be crucified.”
Seban hit back, telling
French media that Bousteau was paid the same as other independent curators. He added:
“The exhibition was a joint effort between an art world figure
[Bousteau] who has been established on the Indian contemporary art scene for several years, and an eminent member of the curatorial team [Sophie
Duplaix] who is also an expert in this emerging field.”
He rebutted Rubin’s charge
Alain Seban (left) and Robert Rubin
Rubin believes that the “management paid a lot of money” to take on Bousteau, saying it was an “insult to the Pompidou’s curators”. He tells The Art
Newspaper : “Can you imagine that the show “cost two to three times more [to mount] than other Pompidou exhibitions” and that it was poorly attended.
“The show was factored into the usual budget for thematic
The Pompidou and its US foundation are at odds over the hiring of curators, fundraising and a work by Tom Wesselmann shows in Gallery 1 and was not, by a long way, the most expensive show,” Seban says, adding that the exhibition drew more than 306,000 visitors.
But fundraising is a major sticking point; a statement on the Los Angeles-based Centre
Pompidou Foundation’s website stresses that its “mission is to acquire and encourage major gifts of American art and design for exhibition at the museum”. But Seban wants the US arm to bring in cash. “We need to raise money in the US; the
Centre Pompidou Foundation has not been able to do this so far,” Seban says.
He says that the foundation has “channelled” around $20m since 2006 but 60% of this amount has come via the
Centre Pompidou’s curators.
“This leaves around $7m raised with participation from the foundation,” Seban says.
Rubin says, though, that the
“results speak for themselves”, adding that the value of works donated since 2006, when he became president, is $19m.
“Before Scott Stover [executive director] and I revived it, the foundation received barely
$1m in gifts in the preceding five years,” Rubin says.
Members and officers of the foundation board, meanwhile, give between $20,000 and
$100,000 a year.
Seban is unhappy about the acquisition status of works donated by the foundation, saying that “all the works acquired by the Centre Pompidou
Foundation remain the property of the foundation and still need to be transferred to the
Pompidou collection”. These works include Jean Prouvé’s
Tropical House , 1951. Valued at $4m, the aluminium and wood structure was donated to the foundation by Rubin in
2005. The piece is on long-term loan to the Musée des Beaux-
Arts in Nancy. Rubin says: “We have every expectation that the foundation will gift it to the
Centre Pompidou in due course. I expect title for all the works will be transferred to the
Pompidou.”
The pair are also at odds over a piece by the late US artist Tom
Wesselmann, which, Seban says, was donated to the foundation and then sold on the market in 2006 against the advice of
Alfred Pacquement, the director of the National Museum of
Modern Art at the Centre
Pompidou. But Rubin says that
Pacquement did not vote against the sale, adding that it enabled the foundation to buy important works for the museum.
The next meeting of the
Pompidou’s trustees is in June, when they are expected to discuss the situation. Meanwhile,
Rubin insists that he will remain in his post. Seban has been reappointed by the government on a three-year contract.
Gareth Harris
CONTINUED FROM P
1
If the galleries and artists can be roughly divided, so too can the buyers. “The power now is almost entirely in the camp of those who see art as a financial instrument,” Robert Storr says.
“It is big business, and it’s international. There is a valuation system associated with the idea of masterpieces that is connected to art as an alternative investment.”
Flexing their muscles at this altitude are dealers who are staging mega-watt shows in their gallery spaces. In addition to what seems like Gagosian
Gallery’s annual blockbuster
Picasso exhibition, multi-
million-dollar displays include
Haunch of Venison’s show
“Afro Burri Fontana” (valued at $25m), Blain DiDonna’s
André Masson exhibition,
Metro Pictures’ impressive
Cindy Sherman show and several non-selling exhibitions, such as Acquavella’s Lucian
Freud drawings show and
Eykyn Maclean’s boutique display of Cy Twombly works from the Sonnabend collection. “The price of entry is high at this level, but you are buying something solid. It’s basically the equivalent of an apartment on Fifth Avenue and there are a lot of wealthy people in this game who are looking for big names—artists who will still be around in 100 years,” says the secondary market dealer
Christophe Van de Weghe, who opens a $50m show of “late
Picasso works in conversation with Basquiat” next week.
While art dealers and auctioneers wait to see whom their art attracts, it is undeniable that the art market, despite the odd bump, is still expanding overall. There were not “many people buying art for investment 25 years ago, but now they are around all the time”, says Monika Sprüth, the co-director of Sprüth
Magers (B37). Nonetheless, she adds: “Sometimes art lovers become art investors, and vice versa.” As Storr says,
“there are so many people involved right now that it is beginning to mimic the investment banks in seeming like it is ‘too big to fail’—though of course it can”.
Charlotte Burns and Riah Pryor
BERLIN
. The Berlin Biennale, one of the most important contemporary art events in
Germany, which opened last weekend (until 1 July), has been greeted with derision in the local and national press.
According to its critics, there is not enough art on show, and the emphasis on social engagement and political
activism is an empty gesture.
“The disaster called the 7th
Berlin Biennale” was Ingo
Arend’s take in the Berlin newspaper Tageszeitung . The
Frankfurter Allgemeine
Zeitung’s Niklas Maak accused the biennial of “lukewarm cynicism” and “deep-seated
stupidity”, while Nicola Kuhn said in the Berlin newspaper
Der Tagesspiegel that it has
“failed spectacularly in its attempt to empower the arts”. At a panel discussion held during the biennial, even Chris
Dercon, the director of
London’s Tate Modern,
Posters go up at the KW
Institute for Contemporary Art
admitted “there is not much to see”, but added that “nobody is indifferent to this biennial”.
The biennial has been organised by the Polish artist-provocateur Artur Zmijewski and the art historian Joanna Warsza.
International members of the
Occupy movement, along with the Spanish Indignado group, have been invited to pitch their tents in Berlin’s KW Institute for Contemporary Art, the heart of the biennial. But the contradiction of “inviting” someone to “occupy” a building, particularly one in this now gentrified part of Mitte, has been considered weak. “Political activism is played down by being made into something aesthetic,” said the Austrian newspaper Die Presse .
The biennial’s opening coincided with the Berlin Gallery
Weekend (27-29 April), an annual event with 51 gallery openings. Several commentators thought the works on show in the commercial galleries were more relevant.
But Zmijewski has his defenders. The Polish artist
Zuzanna Janin said: “When
Zmijewski exhibited at the
Polish Pavilion in Venice in
2005, he was heavily criticised.
But in the end, everyone accepted it as important work. It seems that the more a work is attacked, the better it is.”
Julia Michalska
Our current edition has 112 pages packed with the latest art world news, events and business reporting, plus high-profile interviews
(and a smattering of gossip)
24-page focus on China
Artists, collectors, galleries, auction houses, museums and historic sites: what’s happening in Hong Kong,
Beijing, Shanghai and beyond, analysed in our
24-page special focus
News History of Polaroid to be celebrated by
MIT: submissions sought to back up research
Museums
Costume gallery planned by
Peabody Essex
Museum thanks to interior designer Iris Apfel and her amazing wardrobe
Features The enduring power of Albrecht
Dürer, the
German
Renaissance superstar
Artist interview Robert Crumb takes on Paris
Books Adrian Dannatt reviews the Tate’s take on Damien Hirst
Art Market
New York’s art market debates the long-term implications of disputed
Schiele
Breaking news, reports from
Frieze New York, worldwide exhibitions and more than 20 years of The Art Newspaper in our digital archive www.theartnewspaper.com
Gareth Harris and Charlotte
Burns will be tweeting from the fair. Sign up and follow us @TheArtNewspaper
Interviews with Thomas
Heatherwick, Philippe
Parreno and Sean Kelly, reviews of the new Barnes
Foundation museum in
Philadelphia and previews of
Documenta, Manifesta and
Art Basel, plus what went on during New York’s auction week, ArtHK in Hong Kong and Berlin Gallery Weekend

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4
THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012
I n the search for a term that would neatly wrap up new get-rich strategies for the investment world, financial advisers have hit on yet another acronym for the 1% investor.
First there were the Brics;
Brazil, Russia, India and
China, the developing countries that experts estimate will overtake the G7 group by
2027. Then there were the
Civets; Colombia, Indonesia,
South Africa, the next tigerlike economies in the race for foreign investment. Now we have “Swag”, financial adviser-speak for silver, wine, art and gold. The term, according to advocates, is intended to describe a new asset class for “international high-net-worth individuals” who have done conspicuously well during the great recession. The catchy handle has caught fire recently, as reports of the rich swapping stock for Swag have become as common as Mitt Romney’s gaffes about Cadillacs and
$10,000 bets.
Coined in September 2011 by the analyst Joe Roseman of
Investment Week , the term
Swag was defined as a group of
“hard assets” that have “all appreciated quite sharply” over the past decade, despite “two global recessions, a severe global banking crisis, a credit crunch, and (generally speaking) highly volatile and mostly negative equity market performance”. For Roseman, the
“investment performance” of silver, wine, art and gold can be chalked up to a basic set of investment-grade characteristics:
“1) They are all physical assets;
2) They all have longevity; 3)
There is no incumbent debt associated with the asset; 4) They are transportable and relatively easy to store/hold; 5) There is scarcity—a finite supply; 6)
There is no income stream—so no income tax liability; 7) Asset performance seems relatively uncorrelated to equity markets;
8) A sovereign default would not alter any of the above traits.” From this doublechecked shopping list,
Roseman arrives at an idea that appears, on its face, as risky as it does boosterish. “Everyone needs some S-W-A-G,” he
Market makers: a still from Aernout Mik’s work Middlemen , 2001
concludes. At least a few opponents might answer him thus: like an H-O-L-E in the head.
The issue about what constitutes a “hard asset” is a contentious one with Swag, and becomes especially controversial where the “A” in the acronym is concerned. As prices for blue-chip art cycle up and down (there’s been much more up than down lately), key experts blast away at the notion that art objects share the basic characteristics of traditional investments like stocks and real estate. Take
Felix Salmon, for example. A financial blogger for Reuters who writes frequently about the art market (his wife is an artist), Salmon has repeatedly denied the basic operating premise that Roseman and others today push in the global art market. Where Tobias Meyer of Sotheby’s exuberantly proclaims that “the best art is the most expensive art because the market is so smart”, Salmon shakes his head and responds firmly: art is not an asset class.
In an article dated 12
January, titled “Art Is Not An
Investment, Part 872”, a rather testy Salmon took on the idea of Swag as illustrated by the contention by Patrick Mathurin of the Financial Times that “the art market had defied the economic gloom to return 11% to it.” After going on to point out that only a “tiny sliver of the art world deals in works that really do have resale value”, Salmon continued: “I’m all in favour of buying art and wine, but they’re not investments. There’s never a shortage of wine shills and art shills who will talk about them as asset classes when they go up in value. All those people
investors in 2011, outpacing stock market return for a second consecutive year.” Salmon answered: “No, Patrick, it didn’t. Art doesn’t have returns; it just sits there, being expensively insured. It pays no dividends, and it can’t be marked to market, since the only way to find out the market price for an artwork is to sell
should be ignored.”
Enter Michael Plummer and
Jeff Rabin of Artvest Partners, the prominent New York-based art advisory firm. Their bullish maxim—“art is an asset class”—appears to place them solidly in the Joe Roseman camp. The partners say that art does constitute a tangible asset and that “global wealth
creation and the expansion of the art market go hand in hand”.
Artvest offers separately managed art investment accounts, art investment funds, art financing and estate planning for investors with expensive collections. Plummer and Rabin see a booming market that is clearly expanding far beyond the boundaries of traditional connoisseurship. Nonetheless, they do not concur with
Roseman’s Rambo-like belief that “no asset class is too risky”.
“The art market is the most illiquid, opaque market in the world,” Rabin warned recently at a panel on art funds organised by the Art Investment
Council (a not-for-profit organisation devoted to “a greater understanding of art as an asset class”, founded by Artvest’s partners). Elsewhere, Rabin and Plummer have called the art market “unregulated, noncommoditised and emotional”, and liken entering the market without an adviser to a driving instructor “letting a child drive the family car”. The image they invoke is of a clusterjam of roads full of reckless operators and dangerous hazards. That view is borne out by the investment adviser Charles
Sizemore, who characterises art investing as “a thinly traded market dominated by a relatively small number of expert opinion-makers” requiring “a net worth of $100m”. So much for the modest investor— racked up against Richard
Prince telephone poles and double-parked Damien Hirsts.
Another sceptic, Artinfo’s
Shane Ferro, puts the idea of who might invest in art even more starkly: “The 99%—or even the 99.9%—shouldn’t think of art as an investment. To make money on art, you have to have lots of money (preferably billions), lots of time (like, decades) and, above all, an interest in art that borders on obsession.” Art, it seems, is about as risk-free as polar-bear dentistry. Still, the dollars, rupees, roubles and yen roll in like casino winnings. This new money has produced a boom in everything from Swiss watches to
Chinese conceptualism. The golden rule propelling these purchases by nouveau riche collectors proves more
Darwinian than reciprocal: as long as expensive works of art and wine find buyers, the sky is the limit. Or so it would seem.
On this point, Felix Salmon is once again direct. “The modern and contemporary art market is a speculative market. It is driven by fashion, where prices can be run up quickly and then driven off a cliff. It’s gambling, really.” When asked whether
Swag and other phenomena that suggest collectors now buy art largely for its apprec iating value indicate the presence of a bubble, Salmon replies: “The question itself provides the answer. Back during the dot-com bubble, it was called the
‘greater fool’ theory of investing. Intrinsic value doesn’t matter; all that matters is that someone will pay more for your worthless asset in the future than you’re paying for it today. This is a strategy that works. Until it doesn’t.”
Christian Viveros-Fauné

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THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012
M anhattan is a tough place to build a new art museum or even add to an existing one. Despite the great wealth of institutions’ trustees and donors in the plutocracy that is New York, the high cost of Manhattan real estate, and museum trustees’ aversion to risk and understandable reluctance to operate two or more sites, allied to the vagaries of the economy, have slowed down or ended many a scheme over the past two decades. The recent global museum building boom has largely bypassed
Manhattan. “Expanding Museums”, a talk at
Frieze New York, is less about concrete and steel than “soft” expansion through international networks, cultural exchanges, innovative programming and the internet.
Two of New York’s flagship museums are effectively landlocked: the city has capped the physical expansion of the Metropolitan
Museum of Art in Central Park and the
Guggenheim Museum’s residential neighbours have blocked anything bigger than its discreet
Gwathmey Siegel & Associates-designed annexe, completed in 1992.
Since 1966, when the Marcel Breuerdesigned Whitney Museum of American Art opened, only two purpose-built art museums have opened in Manhattan: the New Museum downtown, designed by the Tokyo-based architects Kazuyo Sejima and Ryue Nishizawa with Gensler, New York, completed in 2007, and the American Folk Art Museum in midtown (2001-11). The latter, designed by the
New York-based Tod Williams and Billie
Tsien, proved too expensive for the institution, forcing its trustees to sell up last year to a richer, bigger next-door neighbour: the
Museum of Modern Art (MoMA).
MoMA is the conspicuous exception to the rule. It expanded considerably in 2005 after its
$425m, Yoshio Taniguchi-designed modernisation. Double the size of the “old” MoMA, it is now a behemoth, which at 625,000 sq. ft fills almost an entire city block. But its trustees also considered and then rejected a scheme for a pavilion to show contemporary work in
Manhattan, mooted in the 1990s.
The Whitney’s board agonised over expanding its Breuer building for decades. The trustees were forced to abandon schemes by the architects Norman Foster, Michael Graves
(who made two attempts) and Rem Koolhaas.
Like the Guggenheim’s neighbours, the
Whitney’s said no. In 2008, despite the recession, its trustees eventually took the radical decision to head downtown to a new building designed by Renzo Piano (see box).
For Adam Weinberg, the Whitney’s director, the biggest hurdle in making the decision was a psychological one. “[The Breuer] is a great building; it’s been our home for many years and there’s a lot of history,” he says. But in the end, “there was no other choice”.
The Met is due to move into the Breuer building when the Whitney moves out. Thomas
Campbell, the Met’s director, says the extra space will enable it to “look at modern and contemporary art from across the globe”, with
Sheena Wagstaff, the museum’s new chairman of the modern and contemporary art department, overseeing the project curatorially.
Expanding New York’s Museum Mile north to Harlem has proved a long, hard road for the
Museum of African Art. Construction on its
$95m new home began in 2004 but its longdelayed opening has been postponed once again, until 2013 at the earliest, according to a museum spokeswoman.
Such is the expense and complexity of operating across different sites, most trustees
MoMA’s Pop Rally attracts young people with events like this “interactive dance party” for its Cindy Sherman retrospective are reluctant to do so. It is a different story among commercial galleries, where operating more than one site in the city is becoming de rigueur , and museum-quality shows are increasingly common .
In spacious Manhattan galleries run by David Zwirner and Larry
Gagosian, New Yorkers can visit such shows for free—this week, Zwirner opens “Alice
Neel: Late Portraits and Still-lifes” (4 May-23
June). At Gagosian, meanwhile, John
Elderfield, a former chief curator emeritus of painting and sculpture at MoMA, and a modernism specialist, joined as a consultant in
April with carte blanche to organise exhibitions. Hauser & Wirth is due to mark its 20th anniversary by opening a 23,000 sq. ft space at
511 West 18th Street this autumn.
One of the few non-profit art venues which is physically expanding in New York is the
High Line elevated park in the downtown
Meatpacking District. The improbable idea to turn the disused rail line into a public green space began in 1999, and quickly caught New
Yorkers’ imaginations. The first section opened in 2009, and the second opened just two years later. It cost the city more than $150m to open the two existing stretches, with about $44m raised privately by the group that runs the park, the Friends of the High Line. They are now working to raise the estimated $90m needed to complete construction on the final portion of the railway up to West 34th Street, which circles around the West Side Railyards.
“We like to say the High Line is the new
Museum Mile because it’s exactly one mile long,” says Cecilia Alemani, the recently appointed curator and director of the High
Line’s art programme. “It’s the largest development in town,” Alemani says, and it is visited by around four million people a year.
“It’s comparable to MoMA, and we’re free.” residency byPaul D. Miller, aka DJ Spooky
That Subliminal Kid, a composer, multimedia artist, writer and DJ. MoMA’s Pop Rally events are aimed at young, hip visitors and include late-night viewings of exhibitions, film screenings and musical performances.
Another way museums can widen their reach is by repositioning themselves globally.
A decade ago, that meant franchising the collection and building satellites. Now, it is less about construction and more about networking and cultural exchange, a sort of
“lightweight globalisation”, as Ellis calls it.
One of the early adopters of this global mentality is the New Museum, which launched its “Museum as Hub” project in 2007, linking with museums in Seoul, Mexico City, Cairo and Eindhoven to co-create exhibitions and educational programmes. In March, the
Guggenheim Foundation announced its latest form of international outreach: the
Guggenheim UBS Map Global Art Initiative, a five-year international research and acquisition project. It will work with artists, curators and institutions in Asia, Latin America, the Middle
East and North Africa. “The Guggenheim has made a momentous step, looking at what it really means to be global,” says András
Szántó, a consultant (and a contributing editor to The Art Newspaper ). After a tough decade in
New York, which included 9/11 and two recessions, “institutions have re-emerged from
[the most recent] recession with their fundraising ability intact”. The question now, having
“dodged a bullet”, is how they expand. “Will directors and trustees go back to mission creep and try to accommodate every opportunity?”
She thinks the Whitney’s move downtown will
help correct an imbalance in the area following the closure of the Dia Center for the Arts in
2004. “Dia is missed and now the Whitney will offer a good balance to the commercial side of
Chelsea,” she says.
Adrian Ellis, a museum consultant, believes that, post-recession, “building is not necessarily the be-all and end-all” for museums. In New
York, museums are not “gratuitously expansionist currently—and those museums that have plans seem to be edging forward”, he says. “This probably makes for better thoughtthrough and grounded developments.” The slowing of the building agenda is prompting more interesting programming ideas, he says.
The Met has revamped its concert series to reach younger visitors. Besides Bach and
Mozart recitals, it will feature a year-long
Among the best opportunities for museums to expand, Szántó says, is the use of the internet as a fully-fledged programming tool. “This is possibly a breakthrough year in technology that will enrich the museum experience.”
Whether museums’ wealthiest donors and trustees will embrace “soft” expansion as they did the traditional bricks-and-mortar kind remains to be seen. Terence Riley, a practising architect and former museum director who, when a curator at MoMA, was closely involved in its expansion, says: “Museums’ biggest supporters tend to be most involved in the museum as a place to show collections.
And as collections grow, so buildings need to grow—and that’s hard in Manhattan.”
Helen Stoilas and Javier Pes
“Expanding Museums”, with MoMA director Glenn Lowry,
Adam Weinberg and Sheena Wagstaff, takes place on 4 May at 3pm
“I firmly believe this is the new
Museum Mile,” says Adam
Weinberg (right) of the Whitney’s new home in the Meatpacking
District near the High Line. “You have the Whitney at the south end, you have White Columns,
[you have] The Kitchen, Dia’s new building, which is eagerly anticipated, and the largest gallery scene in the world.” Add to that Culture Shed, the planned kunsthalle designed by Diller
Scofidio and Renfro, the Rockwell
Group in the Hudson Yards development and myriad independent arts organisations along the way, and “the combination of all that shifts the balance of contemporary art activity completely downtown”, he says.
The new Whitney will enable the museum to expand its programming. “Our special exhibition gallery will be the largest columnfree gallery space in New York, which allows for a lot of flexibility,” such as staging different shows on the same floor, Weinberg says. The building’s stepped design also includes 14,000 sq. ft of outdoor exhibition space, and a black box theatre attached to one of these outdoor galleries means the museum can stage open-air performances.
Weinberg hopes to attract new visitors. “The pedestrian traffic on the High Line is vast.” The youthful neighbourhood and the proximity of arts colleges “will ensure a young audience for quite some time”, and he aims to gear more programmes towards art students in the museum’s new home. H.S.
/
Wednesday September 19 Vernissage
Opening Night Benefit for Museum of Contemporary Art Chicago
1301PE Los Angeles
Galeria Álvaro Alcázar Madrid
Alexander and Bonin New York
Ameringer | McEnery | Yohe New York
Gallery Paule Anglim San Francisco
John Berggruen Gallery San Francisco
Galleri Bo Bjerggaard Copenhagen
Daniel Blau Munich
Russell Bowman Art Advisory Chicago
Galerie Buchholz Cologne
Valerie Carberry Gallery Chicago
Cardi Black Box Milan
Cernuda Arte Coral Gables
Chambers Fine Art New York, Beijing
Cherry and Martin Los Angeles
James Cohan Gallery New York, Shanghai
Corbett vs. Dempsey Chicago
CRG Gallery New York
D'Amelio Gallery New York
Stephen Daiter Gallery Chicago
Maxwell Davidson Gallery New York
Douglas Dawson Gallery Chicago
Catherine Edelman Gallery Chicago
Galería Max Estrella Madrid
Fleisher/Ollman Philadelphia
Galerie Forsblom Helsinki
Forum Gallery New York
Marc Foxx Los Angeles
Fredericks & Freiser New York
Barry Friedman, Ltd. New York
Friedman Benda New York
The Suzanne Geiss Company New York
Gering & López Gallery New York
Galerie Gmurzynska Zurich, St. Moritz
James Goodman Gallery New York
Richard Gray Gallery Chicago, New York
Galerie Karsten Greve AG
Cologne, Paris, St. Moritz
Kavi Gupta Chicago, Berlin
Carl Hammer Gallery Chicago
Haunch of Venison New York, London
Hill Gallery Birmingham
Nancy Hoffman Gallery New York
Rhona Hoffman Gallery Chicago
Honor Fraser Los Angeles
Vivian Horan Fine Art New York
Leonard Hutton Galleries New York
Bernard Jacobson Gallery London, New York
Annely Juda Fine Art London
Paul Kasmin Gallery New York
James Kelly Contemporary Santa Fe
Sean Kelly Gallery New York
Robert Koch Gallery San Francisco
Michael Kohn Gallery Los Angeles
Leo Koenig, Inc. New York
Alan Koppel Gallery Chicago
Yvon Lambert Paris
Landau Fine Art Montreal
Galerie Lelong New York, Paris, Zurich
Locks Gallery Philadelphia
LOOCK Galerie Berlin
Diana Lowenstein Gallery Miami
Luhring Augustine New York
Robert Mann Gallery New York
Lawrence Markey San Antonio
Matthew Marks Gallery New York, Los Angeles
Barbara Mathes Gallery New York
Galerie Gabrielle Maubrie Paris
Galerie Hans Mayer Düsseldorf
The Mayor Gallery London
McCormick Gallery Chicago
Anthony Meier Fine Arts San Francisco
Nicholas Metivier Gallery Toronto
Mitchell-Innes & Nash New York
Galería Moisés Pérez de Albéniz Pamplona
Carolina Nitsch New York
David Nolan Gallery New York
Nyehaus New York
The Pace Gallery New York, London, Beijing
Franklin Parrasch Gallery New York
P.P.O.W. New York
Ricco / Maresca Gallery New York
Yancey Richardson Gallery New York
Roberts & Tilton Los Angeles
Rosenthal Fine Art Chicago
Salon 94 New York
Marc Selwyn Fine Art Los Angeles
William Shearburn Gallery St. Louis
Manny Silverman Gallery Los Angeles
Carl Solway Gallery Cincinnati
Hollis Taggart Galleries New York
Tandem Press Madison
Galerie Daniel Templon Paris
Paul Thiebaud Gallery San Francisco
Tilton Gallery New York
Leslie Tonkonow Artworks + Projects
New York
Vincent Vallarino Fine Art New York
Van de Weghe New York
Washburn Gallery New York
Daniel Weinberg Gallery Los Angeles
Weinstein Gallery Minneapolis
Max Wigram London
Stephen Wirtz Gallery San Francisco
Bryce Wolkowitz Gallery New York
David Zwirner New York
7

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012
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Installed in the East Harlem Art Park at Sylvan Place and East 120th Street, the 14-foot-tall painted steel sculpture Growth , 1985, by the artist Jorge Luis Rodriguez was restored in 2010
These sculptures of Bronx residents by John Ahearn (also doing a Frieze project) caused a row when placed by a police station in 1991. Now they sit in Socrates Sculpture Park, Long Island City
S P E C I A L I S E D F I N E A R T I N S U R A N C E B R O K E R
UK: for further inquiries please contact Renate Schwarz at: Tel. +44 207 816 5979 . Fax +44 207 816 5900
EU: for further inquiries please contact Philip Machat at: Tel. +43 1 532 08 40 . Fax +43 1 532 08 40 - 10 art@bartaart.eu . www.bartaart.eu
Vienna . Munich . London . Zurich . Singapore

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012
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Open at weekends, this small cottage in the Bronx was home to the writer Edgar Allan Poe during the last years of his life, from 1846 to 1849. It is at Kingsbridge Road and the Grand Concourse
First planted by volunteers in 2006, the Water’s Edge Garden at the south end of Randall’s Island has 40,000 perennials and winding paths along the East River, providing an idyllic respite
new work | May 12 - June 30, 2012
right: Scramble , 2011, light emitting diodes, Mac Mini, custom software, circuitry, wood, plexiglas, 60x60in

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012
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Frieze New York
4-7 May
Randall’s Island Park www.friezenewyork.com
AADLA Spring Show NYC
3-6 May
Park Avenue Armory, Park
Avenue at 67th Street www.springshownyc.com
NADA NYC
4-7 May
548 West 22nd Street www.newar tdealers.org
Pulse
3-6 May
125 West 18th Street www.pulse-ar t.com
Verge NYC
3-6 May
159 Bleecker Street www.vergear tfair.com
Asia Society
Wu Guanzhong
Until 5 August
725 Park Avenue www.asiasociety.org
Brooklyn Museum
Keith Haring: 1978-82
Until 8 July
Rachel Kneebone
Until 12 August
200 Eastern Parkway,
Brooklyn www.brooklynar t.org
Flag Art Foundation
Richard Forster and In Living Color
Until 12 May
545 West 25th Street www.flagar tfoundation.org
Jewish Museum
Kehinde Wiley
Until 29 July
1109 Fifth Avenue www.thejewishmuseum.org
Mad Sq Art
Charles Long: Pet Sounds
Until 9 September
Madison Square Park madisonsquarepark.org/ar t
Metropolitan Museum
The Steins Collect: Matisse,
Gagosian Gallery, 980 Madison Avenue, until 30 June
The Gagosian Gallery continues its series of museum-quality, non-selling exhibitions on Pablo
Picasso with a show comparing the master with his much younger muse, Françoise Gilot. The gallery presents works by each artist, drawn from private collections, from the period in which they were lovers, between 1943 and 1953. Gilot and Picasso’s biographer John Richardson helped to organise the show. Above, Picasso, Femme assise , 1949. E.M.
Picasso and the Parisian
Avant-garde
Until 3 June
Spies in the House of Art
Until 26 August
1000 Fifth Avenue www.metmuseum.org
Morgan Library & Museum
Dan Flavin: Drawing
Until 1 July
225 Madison Avenue www.themorgan.org
Museum of Arts and Design
Swept Away: Dust, Ashes and Dirt in Contemporary Art and Design
Until 12 August
2 Columbus Circle www.madmuseum.org
Museum of Modern Art
Cindy Sherman
Until 11 June
Taryn Simon
Until 3 September
11 West 53rd Street www.moma.org
MoMA PS1
Lara Favaretto
Until 10 September
22-25 Jackson Avenue,
Long Island City www.momaps1.org
The New Museum
Dani Gal
Until 1 July
Act Up (Gran Fury)
Until 20 May
235 Bower y www.newmuseum.org
Guggenheim Museum
John Chamberlain: Choices
Until 13 May
Being Singular Plural
Until 6 June
Francesca Woodman
Until 13 June
1071 Fifth Avenue www.guggenheim.org
Studio Museum in Harlem
Shift
Until 27 May
Kira Lynn Harris
Until 27 May
Ralph Lemon
Until 27 May
144 West 125 Street www.studiomuseum.org
Swiss Institute
John Armleder
6 May
18 Wooster Street www.swissinstitute.net
Whitney Museum
Whitney Biennial
Until 27 May
945 Madison Avenue www.whitney.org
303 Gallery
Valentin Carron
Until 12 May
547 West 21st Street www.303galler y.com
47 Canal
Alisa Baremboym
Until 6 May
47 Canal Street www.47canalstreet.com
Acquavella Galleries
Lucian Freud: Drawings
Until 9 June
18 East 79th Street www.acquavellagalleries.com
Alex Zachary Peter Currie
Karl Holmqvist
Until 2 June
16 East 77th Street www.azpcgaller y.com
Alexander Gray Associates
Lorraine O’Grady
Until 25 May
508 West 26th Street www.alexandergray.com
Andrea Rosen Gallery
Nigel Cooke
Until 12 May
525 West 24th Street andrearosengaller y.com
Andrew Kreps Gallery
Robert Overby
Until 12 May
525 West 22nd Street www.andrewkreps.com
Anton Kern Gallery
Anne Collier
Until 12 May
532 West 20th Street www.antonkerngaller y.com
Blain di Donna
André Masson
Until 15 June
981 Madison Avenue www.blaindidonna.com
The Boiler/Pierogi
Seven at Seven
Until 20 May
191 North 14th Street,
Brooklyn www.pierogi2000.com
Bortolami Gallery
Jutta Koether
Until 16 June
520 West 20th Street www.bortolamigallery.com
Broadway 1602
Evelyne Axell
Until 25 August
1181 Broadway www.broadway1602.com
Bureau
Julia Rommel
Until 10 June
127 Henry Street www.bureau-inc.com
Canada
Xylor Jane
6 May-3 June
55 Chrystie Street www.canadanewyork.com
Casey Kaplan
Liam Gillick
Until 23 June
525 West 21st Street www.caseykaplangallery.com
Cheim & Read
Chantal Joffe
Until 22 June
547 West 25th Street www.cheimread.com
Clocktower Gallery
Mary Heilmann, Mary Mat tingly, Tony Oursler, Hannah
Sawtell (The Island), Alaina
Stamatis, Lawrence Weiner
6 May
108 Leonard Street www.artonair.org
David Nolan Gallery
Neil Gall
Until 2 June
527 West 29th Street www.davidnolangallery.com
David Zwirner
Yan Pei-Ming
4 May-23 June
519 West 19th Street
Alice Neel
4 May-23 June
533 West 19th Street www.davidzwirner.com
E-Flux
Animism

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012
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Until 28 July
311 East Broadway www.e-flux.com
Elizabeth Dee
Philippe Decrauzat
Until 23 June
545 West 20th Street www.elizabethdeegallery.com
Eykyn Maclean New York
Cy Twombly
Until 19 May
23 East 67th Street www.eykynmaclean.com
Friedrich Petzel Gallery
Dana Schutz
Until 16 June
537 West 22nd Street www.petzel.com
Gagosian Gallery
Picasso and Françoise Gilot
2 May-30 June
980 Madison Avenue
Lucio Fontana
3 May-30 June
555 West 24th Street
Richard Avedon
4 May-6 July
522 West 21st Street www.gagosian.com
Gavin Brown’s Enterprise
Sturtevant
Until 23 June
620 Greenwich Street www.gavinbrown.biz
Gladstone Gallery
Anish Kapoor
5 May-9 June
515 West 24th Street and
530 West 21st Street www.gladstonegallery.com
Greene Naftali Gallery
Rachel Harrison
Until 16 June
508 West 26th Street greenenaftaligallery.com
Harris Lieberman Gallery
Lisa Oppenheim
Until 16 June
508 West 26th Street www.harrislieberman.com
Haunch of Venison
New York
Afro, Burri and Fontana
Until 12 May
550 West 21st Street www.haunchofvenison.com
Hauser & Wirth New York
Science on the Back End: selected by Matthew Day
Jackson
Until 16 June
32 East 69th Street www.hauserwirth.com
James Cohan Gallery
Mauricio Ancalmo and Sarah Rara
Until 5 May
533 West 26th Street www.jamescohan.com
James Fuentes LLC
Noam Rappaport
Until 10 June
55 Delancey Street www.jamesfuentes.com
Jack Hanley Gallery
Andrei Roiter
Until 26 May
136 Watts Street www.jackhanley.com
Bronx Museum of the Arts, 1040 Grand Concourse at
165th Street, Until 10 June
The first US survey of the Chilean video artist Juan Downey features more than 100 drawings, paintings, photographs and video installations, organised with the MIT List Visual Arts
Center in Cambridge, Massachusetts. Above, From the
Continental Drift series , 1988. E.M.
Kimmerich Gallery
Torsten Slama
Until 23 June
50 White Street www.kimmerich.com
L&M Arts, New York
Frank Stella
Until 2 June
45 East 78th Street www.lmgallery.com
Lehmann Maupin Gallery
Gilbert & George
Until 23 June
540 West 26th Street and
201 Chrystie Street www.lehmannmaupin.com
Luhring Augustine
Mix/Remix
4 May-9 June
531 West 24th Street
Charles Atlas
Until 15 July
25 Knickerbocker Avenue,
Brooklyn www.luhringaugustine.com
Maccarone Inc.
Hanna Liden
Until 16 June
630 Greenwich Street www.maccarone.net
Marianne Boesky Gallery
Pier Paolo Calzolari (with The
Pace Gallery)
Until 2 June
509 West 24th Street
25 Years of Talent
Until 16 June
118 East 64th Street marianneboeskygallery.com
Mark Fletcher
Helmut Lang: Sculptures
5 May-15 June
24 Washington Square North www.markfletcher.com
Matthew Marks Gallery
Brice Marden
Until 23 June
502/526 West 22nd Street
Thomas Demand
5 May-23 June
522 West 22nd Street
Gary Hume
5 May-23 June
523 West 24th Street www.matthewmarks.com
Metro Pictures
Cindy Sherman
Until 9 June
519 West 24th Street www.metropictures.com
Michael Werner Gallery
Aaron Curry
Until 23 June
4 East 77th Street www.michaelwerner.com
Miguel Abreu Gallery
Surface Affect
4 May-24 June
36 Orchard Street miguelabreugallery.com
Mitchell-Innes & Nash
Martha Rosler
Until 26 May
534 West 26th Street www.miandn.com
Nicole Klagsburn Gallery
Billy Sullivan
Until 16 June
526 West 24th Street www.nicoleklagsbrun.com
Participant Inc
Pepe & Puntar’s Lucid Dream
Until 3 June
253 East Houston Street www.participantinc.org
Paula Cooper Gallery
Sherrie Levine
Until 2 June
534 West 21st Street
Tauba Auerbach
Until 9 June
521 West 21st Street paulacoopergallery.com
Renwick Gallery
Jo Nigoghossian
Until 26 May
45 Renwick Street www.renwickgallery.com
Salon 94 Bowery
David Benjamin Sherry
Until 2 June
243 Bowery www.salon94.com
Sikkema Jenkins & Co.
Sheila Hicks
Until 25 May
530 West 22nd Street www.sikkemajenkinsco.com
Simon Preston Gallery
Hans Schabus
Until 15 June
301 Broome Street simonprestongallery.com
Sean Kelly Gallery
Kehinde Wiley
6 May-16 June
528 West 29th Street www.skny.com
Sonnabend Gallery
Gilbert & George
Until 23 June
536 West 22nd Street www.sonnabendgallery.com
Sperone Westwater
William Wegman
Until 16 June
An Accumulation of Informa tion Taken From Here to There
Until 16 June
257 Bowery speronewestwater.com
Tanya Bonakdar Gallery
Ernesto Neto
Until 25 May
521 West 21st Street tanyabonakdargallery.com
Team Gallery
Ryan McGinley
Until 2 June
83 Grand Street and
47 Wooster Street www.teamgal.com
Tina Kim Gallery
Ghada Amer, Reza Farkhondeh
Until 9 June
545 West 25th Street www.tinakimgallery.com
The Kitchen
Virginia Overton
Until 6 May
512 West 19th Street www.thekitchen.org
The Pace Gallery
Robert Irwin
Until 23 June
32 East 57th Street
Claes Oldenburg and Coosje van Bruggen
Until 23 June
545 West 22nd Street
Loris Gréaud
5 May-9 June
534 West 25th Street www.thepacegallery.com
Wallspace Gallery
Harry Dodge
Until 5 May
619 West 27th Street www.wallspacegallery.com
White Columns Gallery
Benefit Exhibition and Auction
Until 12 May
320 West 13th Street www.whitecolumns.org
Art Isn’t Fair: Collecting for the 99%
1pm
The artist and writer Allan
Sekula presents a short film on inequality in the art world, Art Isn’t Fair (2012), which was shot at Art Basel
Miami Beach in 2004.
Frieze Auditorium
New Geographies of
Contemporary Art
3pm
Ethics and relativism in the international art world are discussed by Negar Azimi, the senior editor of Bidoun magazine, Bassam El Baroni, the director of Alexandria Contemporary Arts
Forum, Kate Fowle, the executive director of Independent Curators International, and Okwui Enwezor, the
director of Haus der Kunst.
Frieze Auditorium
Frieze Projects: Rick Moody
5pm
The writer Rick Moody reads excerpts from a story written for Frieze Projects about an unreliable GPS.
Frieze Auditorium
Chelsea Night
6-8pm
Chelsea galleries appearing at the fair, including Tanya
Bonakdar Gallery and Metro
Pictures, stay open late in
Manhattan.
Chelsea, Manhattan
Mapping the World of Art
1pm
The historian Georges Didi-
Huberman discusses André
Malraux’s Museé Imaginaire project.
Frieze Auditorium
Expanding Museums
3pm
The future of contemporary art institutions in major cities like New York is discussed by Glenn Lowry, the director of the Museum of Modern
Art, Adam Weinberg, the director of the Whitney Museum of American Art,
Sheena Wagstaff, the new chairman of the modern and contemporary art department at the Metropolitan Museum of Art, and the writer and critic Nicolai Ouroussoff.
Frieze Auditorium
Zoe Leonard in Conversation with Rhea Anastas
5pm
The art historian Rhea Anastas speaks to the artist Zoe
Leonard about her work of the past two years.
Frieze Auditorium
26th Street pARTy
6-9pm
Galleries on 26th Street between 10th and 11th Avenues in Chelsea stay open late with a block party including a DJ, live music and food trucks parked in the street.
Chelsea, Manhattan
On Gerhard Richter’s “Atlas”
1pm
The critic and curator Robert
Storr delves into Richter’s
“Atlas”, an archive of materials the artist has collected since 1962 and used as inspiration for his work.
Frieze Auditorium
On Land Occupation
3pm
With Occupy Wall Street in mind, other forms of occupation are discussed by Saskia
Sassen, a sociology professor at Columbia University,
Mitch Cope, the co-founder of Power House Productions in Detroit, the artist Andrea
Geyer, and Joseph Grima, the editor-in-chief of Domus magazine.
Frieze Auditorium
Downtown Night
6pm-2am
Many downtown Manhattan galleries participating in the fair hold special events, including a Keren Cytter theatrical production at The
Kitchen, a cabaret performance at the Storefront for Art and Architecture, and latenight showings of artists such as Ryan McGinley at
Team, Gilbert & George at
Lehmann Maupin and a group show at the Clocktower Gallery. Santos Party
House has DJs and performances from 10pm until 2am.
Various downtown venues
Taryn Simon
1pm
The artist Taryn Simon presents her recent work on bloodlines, A Living Man
Declared Dead and Other
Chapters I-XVIII at MoMA.
Frieze Auditorium
Collection Cartographies
3pm
A conversation about preserving and mapping contemporary art scenes, with
Wassan Al-Khudairi, the director of Mathaf, Hans-
Michael Herzog, the chief curator at Daros Latin America, Walter Seidl, the curator of Kontakt, and Sofia Hernandez Chong Cuy, the curator of contemporary art at
Colección Patricia Phelps de Cisneros.
Frieze Auditorium

THE ART NEWSPAPER FRIEZE NEW YORK DAILY EDITION 3-4 MAY 2012
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FRIEZE NEW YORK DAILY EDITION
Frieze Projects has rounded up some of the most championed practitioners from the Bronx, local residents. Jimmy Hojas, a Bronx resident, was putting up the walls of Ahearn’s booth when he including Tim Rollins (right) and his Kids of
Survival. Best of all is the Bronx-based sculptor
John Ahearn’s recreation of his 1979 exhibition
“South Bronx Hall of Fame”, with plaster casts of realised he knew the artist from a childhood school visit. “I was too scared to get a cast of myself made back then,” Hojas says, “and today I’m setting up the walls for the gallery. It’s a small world.”
Frieze week got off to a big bang thanks to BOMB , the fabled downtown magazine that held its 31st gala on
Monday night at Capitale on the Bowery, a cavernous space packed with le tout art world. Being honoured were a deliciously gruff Richard
Serra and the superstar curator
Klaus Biesenbach of MoMA.
And who should be toasting
Klaus but Patti Smith, recounting how they first met through Susan Sontag and how she’d always assumed his title “chief curator at large” was a private joke, “but it turns out to actually be something… knowing him, something mysterious”. Smith namechecked her everfavourite poet William Blake, who “did not have a champion such as Klaus”, while the man himself thanked friends in attendance, from Marina
Abramovic to Glenn Lowry,
Aggie Gund and Diana
Widmaier-Picasso, the artist’s grand-daughter. The actor
James Franco and Michael
Stipe of REM were much in evidence, doubtless aware that
Biesenbach’s interest in what he flexibly refers to as
“contemporary practice” could easily get them both gigs at the most prestigious museum in town.
Much has been said about
Frieze’s massive, snaking tent. The organisers themselves have called it the largest free-standing structure in the world, and newspapers from the New York Post to the
Village Voice have reported that Guinness World Records is looking into giving the big top its official stamp. We got in touch with the Guinness people this week, however, and were told that they “don’t currently monitor this as a record category and aren’t researching the one on
Randall’s Island”. A search on their web database, however, does reveal some other surprising superlatives. For
James Fuentes, dealer (F24)
Near Randall’s
Island in the
South Bronx are several murals by
John Ahearn and
Rigoberto Torres that were produced while working in the South Bronx in the
1980s. The works relate to two important facets of the neighbourhood’s connection to contemporary art for two reasons. These works were produced in collaboration with Fashion Moda [a nonprofit gallery in the South
Bronx which closed in 1993]: while Fashion is no longer operational, it had a significant impact on the 1980s art scene. In fact, I might venture to say that it preceded and fostered the
East Village movement. They are also situated near the
Longwood Arts Project, which is still an active space that has been doing great work for decades. In the 1980s, the Longwood Arts Project was run by Fred Wilson.
Imagining this crossover between Wilson, the mural project and Fashion Moda all taking place at the same time is kind of mind-blowing.
Seeking these works out feels like an expedition and seeing the environs of where they are situated is an eyeopening experience.
Murals are at Intervale Avenue at
Kelly Street, Dawson Street at Longwood
Avenue, Intervale Avenue at Fox Street
“Live Through This” may well be the perfect mantra for any art fair, but Courtney Love has proved to be the stand-out star of Frieze week so far, with the unveiling of the first ever exhibition of her own work at Fred
Torres Projects, entitled “And She’s Not Even Pretty”. These surprisingly compelling (and surprisingly expensive, starting at $12,000) watercolours and works on paper portray the star at her most emotionally vulnerable and give the artist Karen Kilimnik—currently being much fêted at Frieze and by the collector Peter
Brant at his Brant Foundation Art Study Center in Greenwich, Connecticut—a serious run for her money. It’s hardly surprising that a top-tier celebrity crew turned out for her VIP opening on Wednesday night, including
Jude Law and Fred Armisen. But the real shocker here was to find la rockeuse clutching a photocopied version of Clement Greenberg’s Art and Culture in her delicate fingers. For who would have guessed that Courtney was actually related to the great art critic, her grandmother, the writer Paula Fox, being married to his brother
Martin Greenberg. While Love declares herself a committed fan of the criticism of her great-uncle, the stern formalist himself might have been less reciprocal in his views on her work, having famously gravely proclaimed that “kitsch is the epitome of all that is spurious in the life of our times”. example: the tallest tensile structure (Khan Shatyr
Entertainment Center in
Astana, Kazakhstan), the highest contemporary art gallery (The Nautilus, 4,300m above sea level in Plaza de
Mulas, Mount Aconcagua,
Argentina), the largest freestanding hangar (Hangar 375, aka “Big Texas”, at Kelly Air
Force Base, San Antonio) and the largest gingerbread house (built by Roger Pelcher at Mall of America,
Bloomington, Minnesota).
The sexy group show
“Science on the Back End” put together by the artist
Matthew Day Jackson at
Hauser & Wirth New York
(until 16 June) features a stand-out work by one of his young friends, namely History by Nick van Woert. This large tondo of assembled instruments includes some from an improbable source, the cabin of the notorious Unabomber
Ted Kaczynski. These objects, including a flute and various homemade hammer heads, were bought by the artist direct from the FBI auction of the terrorist’s belongings, snapped up at around $1,000 per lot and sent out in the post by the government itself.
Only when he’d assembled the work did Van Woert discover his main competition during the auction had been various young artist friends, all planning to likewise use
Unabomber ephemera in their own forthcoming works.
Anton Kern gallery may have had to deal with all sorts of the usual fair problems, not least setting up special walls for its Jim Lambie installation, but the gallerist himself is in an upbeat mood, fuelled by the artist David Shrigley’s dramatic double-sided “flag” installed high up on his stand, which boldly heralds the best and worst of possible artworld scenarios. Thus, while one side reads, “IT’S ALL
GOING VERY WELL NO
PROBLEMS AT ALL”, the other proclaims “IT’S
GOING VERY BADLY IT’S
A TERRIBLE DISASTER”.
Shrigley is currently riding high in New York with his huge billboard installation on the High Line and his prophetic sign has already been reserved at $32,000.
Published by Umberto Allemandi
& Co. Publishing Ltd
US office:
594 Broadway, Suite 406,
New York, NY 10012
Tel: +1 212 343 0727
Fax: +1 212 965 5367
Email: nyoffice@theartnewspaper.com
UK office:
70 South Lambeth Road,
London SW8 1RL
Tel: +44 (0)20 3416 9000
Fax: +44 (0)20 7735 3322
Email: londonoffice@theartnewspaper.com
All Americas subscription enquiries:
Tel: +1 888 475 5993
Rest of the world subscription enquiries:
Tel: +44 (0)1795 414863 www.theartnewspaper.com
Twitter: @TheArtNewspaper
Printed by AFL Web Printing,
New Jersey
© The Art Newspaper Ltd, 2012
All rights reserved. No part of this newspaper may be reproduced without written consent of the copyright proprietor. The Art Newspaper is not responsible for statements expressed in the signed articles and interviews.
While every care is taken by the publishers, the contents of advertisements are the responsibility of the individual advertisers
Editorial and production
(fair papers):
Editors: Jane Morris,
Cristina Ruiz
Deputy editor: Helen Stoilas
Production editor:
Ria Hopkinson
Copy editors:
James Hobbs, Ben Luke, Iain
Millar, Anny Shaw
Designer: Emma Goodman
Editorial researcher/picture editor: Eric Magnuson
Contributors: Georgina
Adam, Martin Bailey,
Clemens Bomsdorf, Charlotte
Burns, Adrian Dannatt,
Gareth Harris, Javier Pes,
Riah Pryor, Cristina Ruiz,
Emily Sharpe, Anny Shaw,
Helen Stoilas
Photographer:
Casey Fatchett
Additional editorial research: Ermanno Rivetti
Executive director:
Anna Somers Cocks
Managing director:
James Knox
Associate publisher:
Ben Tomlinson
Business development:
Stephanie Ollivier
Office administrator:
Belinda Seppings
Head of sales (US):
Caitlin Miller
Advertising sales (UK):
Kath Boon, Elsa Ravazzolo
Ad production:
Daniela Hathaway