Displaying items by tag: Frieze Week

Frieze Week always brings with it a flurry of art events, but few are as highly anticipated as the inaugural Art Miami New York (AMNY) fair. Produced by the esteemed ownership team of Art Miami, AMNY will bring the brand’s distinct style and ambiance to New York City. According to Nick Korniloff, the Founder/Partner of AMNY, “It only...

To continue reading this article about the inaugural Art Miami New York fair, visit InCollect.com.

As Art Miami expands to New York in its 25th year, the newest addition to Frieze Week has named former Armory Show head Katelijne De Backer as its new director.

Art Miami New York will be held on May 14–17 at Pier 94, best known in the art world for hosting the annual Armory Show, which moved to the piers in 2001 after outgrowing its historic venue at the 69th Regiment Armory on Lexington Avenue and a one-year stint at the Javits Center.

Damien Hirst’s formaldehyde fish and Piero Manzoni’s white canvas were among the top purchases during Frieze Week in London as the auction houses sold 231.2 million pounds ($373 million) of art.

As the biggest week-long concentration of art events in Europe ended yesterday, dealers at Frieze Art Fair individually reported brisk sales and the tallies at the auction houses almost doubled from last year’s October sales.

Christie’s sold 46.9 million pounds ($75.3 million) of postwar and contemporary art at the start of Frieze week in London, as a Gerhard Richter estimated at as much as 10 million pounds failed to find a buyer at the auction.

Richter’s “Netz,” a red, yellow and green abstract painting, was sold after the auction to a private U.S. collector for 5.5 million pounds, Francis Outred, head of postwar and contemporary art, Europe, said at a news conference after last night’s sale.

The 44 works, from the Essl Collection of contemporary art in Austria, produced a total that fell within the auction house’s presale estimated range of 40 million to 56.8 million pounds.

Frieze Week, a seven-day concentration of art events, is currently underway in London. Between auctions, selling exhibitions, and a swath of fairs, approximately $2.2 billion worth of art will be up for grabs.

The epicenter of the event, the Frieze Art Fair, will open to VIP guests on Tuesday, October 14. Now in its twelfth year, the fair will present contemporary offerings from 162 international dealers, including Gagosian Gallery, Marian Goodman Gallery, Hauser & Wirth, Casey Kaplan, Lehmann Maupin, Pace Gallery, Galerie Perrotin, Sprüth Magers, White Cube, and David Zwirner. Located in a bespoke structure in Regent’s Park, the Frieze Art Fair features a number of unique sections.

Phillips will inaugurate its new auction house and exhibition space in London’s Mayfair on October 6th with a group exhibition of contemporary sculpture, dreamt up by star curator Francesco Bonami. The exhibition will be on view during Frieze Week, alongside works to be offered at the Contemporary Art Evening and Day Auctions on October 15th and 16th.

“A Very Short History of Contemporary Sculpture” includes 33 works by internationally renowned artists, including Carl Andre, Bruce Nauman, Louise Bourgeois, Felix González-Torres, Matthew Barney, Damien Hirst, Donald Judd, Jeff Koons, and Ai Weiwei.

Whatever one's view of Frieze Art Fair – which lowers its copious behind onto the green grass of Regent's Park come October – there's no question that for that one week at least, London is the centre of the contemporary art market. During Frieze Week London is flooded with gallerists, critics, curators and art-buying oligarchs from across the world, and the impact on the capital's art scene is immeasurable. All across town, the commercial galleries strive to put on their very best shows, artist-run spaces clamour for attention, and many of the big public institutions choose Frieze week during which to open their major exhibitions.

In addition, of course, are all the other art fairs. And this year there seem to be more than ever. As well as established fixtures like Affordable Art Fair, Multiplied, 20/21, Art London, London Art Fair etc, 2011 also sees the return of both Moniker and SUNDAY Art Fair for their second years. Several new fairs are launching too: Moving Image London, with a focus on video art; Sluice Art Fair, emphasising not-for-profit artist-run spaces; and then later in the year, Affordable Art Fair are opening a second London fair, in Hampstead, and The Other Art Fair is allowing artists to bypass the gallery system and sell straight to the public.

This explosion of new fairs suggests some structural shifts in the way art is bought and sold, as the fair and the auction now seem to dominate market news. In addition each new fair contributes something new to the art fair experience. Just as Moving Image stemmed out of the need to supplement existing art fairs (“In New York,” organiser Ed Winkleman explains, “about 1/3 of the galleries showing a video at Moving Image were also participating in one of the other larger fairs”), so too did SUNDAY. Rebecca May Marston, one of the organisers of SUNDAY, explains how the fair grew out of something lacking from Frieze: “We realised Frieze Frame was a project-selected section rather than gallery-selected section, and so when many of us didn't get in second time round in 2010 we decided we needed to do something else, which also coincided with Zoo ending.”

With the demise of the much-loved Zoo Art Fair after 2009, as well as the cancellation of SELECT Art Fair due to “challenging market conditions” you'd think this would be a difficult time to launch a new art fair. But Marston, who is also Director of Hoxton-based contemporary art gallery Limoncello, suspects that the end of Zoo actually paved the way for this proliferation of new fairs: “Zoo was so strong that when it departed it left a gap open for more,” she opines. On the other hand, Winkleman suggests that it's a global phenomenon: “It's not just London. There are more fairs nearly everywhere right now, because the place collectors buy art has shifted from the gallery to the fairs. There are more fairs because more galleries have recognised this shift.”