At Frieze Masters, a joint booth
by Cheim & Read and Thomas Dane Gallery highlighted a range of works from another artist,
, who also made it into the canon despite some works that were explicit in nature. Perhaps most famous among those is the ad, on view at Frieze, that Benglis purchased in Artforum
in 1974 featuring her posing nude and holding a dildo. With its works spanning 1968 to 1990, the presentation is reminiscent of a miniaturized version of the artist’s 2011 retrospective at the New Museum
, and required borrowing around half of the works on view.
“It was important that we had all of the different aspects of Lynda’s work, which is so multifaceted. She really is the original material girl,” said Cheim & Read partner Adam Sheffer, listing off the media (video, bronze, welded metal, glitter, prints, and polyurethane foam) present at the fair.
He said no sales had been confirmed by midway through Wednesday afternoon but that foot traffic had been strong, in part thanks to artist
’s selection of some of Benglis’s works from the Tate Britain
’s collection to be exhibited alongside Whiteread’s current show there. Gingeras’s section’s influence was less of a factor thus far, he said, and in fact he hadn’t known about it.
“Lynda is so much a generation before most of that,” he said. “Showing her within the history of 20th-century sculpture is really where she belongs. She stands alone outside of classification.”
Permeating both Frieze London and Frieze Masters was the influence of Tate Modern’s current show “Soul of a Nation: Art in the Age of Black Power,” the first major exhibition in the U.K. to highlight the role that black artists have had in shaping art in America. Eleven of the show's artists are included in Michael Rosenfeld Gallery
’s Frieze Masters booth, his second showing at the fair and first in its main section. Rosenfeld said that Frieze organizers had told him not to expect to get a larger booth this year but were swayed when he applied with such a large swath of artists from the Tate show, and all works from the same period.
“It’s had a tremendous impact,” he said. “Every work really is as good as the works in the Tate exhibition. We pulled out all the stops really to create an opportunity for collectors and museums to acquire some works that normally aren’t available.”