My Highlights from Frieze Masters

Annabelle Selldorf
Oct 17, 2013 3:44PM

When I was initially approached to design the tent for Frieze Masters I was very excited by the concept of the Fair to show works from Antiquity to the year 2000.  I knew that it would require a strong architecture to give everything an overall sense of calmness and order so that visitors could focus on the art presented.  It has been very gratifying to see how it has all come together.  The scrim ceilings and reduced palette of materials have created more defined spaces for the galleries than is typically experienced at art fairs, while the wide aisles and more open circulation spaces create an almost urban piazza.  All art is ultimately related and connected and Frieze Masters makes this even easier to comprehend when you see an Old Masters painting next to a Pollock next to a Native America mask.  When I look at the art on view I am taking in the overall quality of things and the ways in which they draw you in and make you look and pause.  My personal taste has always run across many disciplines and time periods so for me it is a particularly enjoyable experience to be at Frieze Masters.

My Selection:
David Hammons, Untitled (white spade), 1975, at Thomas Dane Gallery

David Hammons, Untitled (yellow spade), 1975 at Thomas Dane Gallery

Bob Law, Mister Paranoia V 21.8.71, 1971, at Richard Saltoun Gallery

Lygia Clark, Superficie Modulada at Alison Jacques 

The Rhodes Second Phase Chief's Blanket (Navajo, Arizona or New Mexico), circa. 1850 at Donald Ellis Gallery

Jackson Pollock, Untitled, circa. 1939-42, at Washburn Gallery 

See more from Frieze Masters.

Annabelle Selldorf
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Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Jenna Gribbon, April studio, parting glance, 2021. Jenna Gribbon, Silver Tongue, 2019