My Frieze Week NY Highlights

Neville Wakefield
May 9, 2013 2:44PM
I've always had a perverse love of art fairs as being both the best and the worst places to discover art—best because it's probably there, worst because it's easy to miss. Whether genuine cultural barometers or just yard sales for rich people, there's no denying that the fair is a long way from the chapel of quite contemplation. Contamination may be the name of the art fair game.

And so I've chosen to preview works, which, with a few exceptions, live up to the visual and social noise by being or as premonitions of what had been and is yet to come. And then in the middle of it all there are works, like Julie Dault's yielding sculptures or John Wesley paintings, that speak to the pure unalloyed pleasure of tension and relaxation—metaphors perhaps for the experience itself.

My picks are as follows:

William Cordova, untitled (hidden in plane view), 2011-2013

Philippe Parreno, Fraught Times: For Eleven Months of the Year it’s an Artwork and in December it’s Christmas (April) no 5, 2011

Julia Schmidt, Untitled (car scratched), 2013

Kris Martin, Lost Wax II, 2013

Julia Dault, Untitled 23, 8:30 AM–12 PM, July 15, 2012, 2012

Peter Liversidge, BEFORE/AFTER, 2012

Scott Reeder, Post Good, 2013

Gabriele Beveridge, Lucid dreaming hangover, 2013

Ari Marcopoulis, 1.1161, 2012

 John Wesley, Untitled, 2011
Neville Wakefield