The eclectic and overly stimulating galleries and artists of this year’s Frieze New York delighted, stunned, confused, and exhausted our senses. After traversing the waters to Randall’s Island, we visited one of the galleries du jour, David Zwirner, where we saw the late John McCracken’s “Rhythm,” a gorgeous amalgamation of industrial materials. McCracken’s reduced—yet also maximal and multicolored—resin plywood sculptures created a prominent and beautiful statement.
At Galerie Rodolphe Janssen’s booth, Elaine Cameron-Weir’s “Medusa,” made entirely of recycled materials, captured the powerfully understated impact of decorative furnishings, like her stunning golden houseplants hewn from old lamp fixtures and chunks of blown off marble. Continuing our nature walk, we basked in the serenity of Marian Goodman Gallery’s epic multi-piece forest-like installation by Italian artist Giuseppe Penone, which captured the green of the forest and its skyscraper-like height through chiseled tree trunks.
Between ice-cream breaks at Morgenstern’s, getting caffeinated with a latte from Parlor Coffee, and finally enjoying an enviable sandwich at Court Street Grocers, we caught some of our favorite installations of the fair, particularly Tomás Saraceno’s floating iridescent plexiglass sculptures. Gallerist Tanya Bonakdar housed the suspended piece, which was reminiscent of the delicate and fragile beauty of a spider’s web and projected a possible future of a city amongst the clouds, a meaning that is interconnected with Saraceno’s exploration of the ways in which we live and experience our environment.
Frieze Projects, curated by Cecilia Alemani, had fair-goers queuing up in lines that stretched around the galleries to test themselves in Aki Sasamoto’s “Coffee and Tea” personality maze (we got “into candy”), or snag Pia Camil’s (free) wearable capes and ponchos made in collaboration with Mexican artisans. Outside of Frieze Projects, viewers ogled the artist Kris Lemsalu, lying on a waterbed under a porcelain turtle shell, or hoped to be one of the dots in Conceptualist Jonathan Horowitz’s “700 Dots,” where participants sat at a table and painted an eight-inch black dot on a 12-inch white square canvas to be a part of Horowitz’s larger installation.
After attempts of running up the Velcro-covered quarter-pipe ramp in a Velcro-patched suit by Martha Aráujo (Galeria Jaqueline Martins), we found ourselves taking snoozes in one of artist Korakrit Arunanondchai’s denim massage chairs that were dotted throughout the fair. Looks like we’ll need to rest up for next year.
Photographs courtesy of Frieze New York and Marisel Salazar