Photo of Gladstone Gallery’s booth at Frieze New York 2015 by Marco Scozzaro. Courtesy of Marco Scozzaro/Frieze
Photo of Esther Schipper’s booth at Frieze New York 2015 by Marco Scozzaro. Courtesy of Marco Scozzaro/Frieze
Prevailing market trends continued: ceramics, ceramics, ceramics. The best examples included Peter Shire’s splatter paint pots at Peres Projects, Dan McCarthy’s face urns at Anton Kern and Erika Verzutti—whose work is also on currently view at the SculptureCenter—at Galeria Fortes Vilaça. Trees also, mark a veritable trend (and not just French Pavilion). Giuseppe Penone’s enacted a full-booth forest transformation at Marian Goodman’s booth. (The works are, however, sold individually.)
Artschwager wasn’t the only conceptual sculptor to jump into the carpentry trade. David Zwirner dug into West’s archive so patrons could get comfy in his twisted-wrought-iron with beige linen loveseats ($70,000), banquets ($30,000), and even a circular coat rack, all stemming from the late 1990s. According to the gallery, quite a few already have been snapped up by collectors.
Nicole Wermers, Untitled Chair - FXI-1 (2015), courtesy of Herald St, London
Photo of Gavin Brown’s Enterprise’s booth at Frieze New York 2015 by Marco Scozzaro. Courtesy of Marco Scozzaro/Frieze
In the case of Jonathan Horowitz, he’s getting fair visitors to do the work for him. Slave labor this is not; the 700 chosen ones who painted a black dot on a 12”x12” canvas were each tossed a $20 check for their time, which doubles as an edition itself. His 700 Dots, iterations of which he’s conducted in the last two years, at Gavin Brown’s Enterprise reflects a growing trend (or gimmick, we’re not sure) called participatory art.
Photo of Galeria Jaqueline Martins’s booth at Frieze New York 2015 by Marco Scozzaro. Courtesy of Marco Scozzaro/Frieze
The Van Cleef & Arpels Frivole Collection