Issue 2, 12 October 2023 The Art Newspaper

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Galleries rely on tried-and-tested names Dealers play it safe at Frieze London this year, as interest in up-and-coming young talent cools. By Kabir Jhala

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s Frieze London marks a landmark anniversary, exhibitors and attendees on the VIP preview day were reflecting on how much the city’s art market has changed in the last 20 years. Although it has grown and professionalised, the heady optimism of the early 2000s has been missing in the last few years. The current mood of the market is perhaps best summed up by Alex Logsdail, the chief executive of Lisson Gallery: “Not as bad as everyone is saying, and not as good as everyone is saying—give it six months.” The gallery is one of several this year to make a concerted effort to present fresh works for Frieze’s anniversary, exhibiting a solo stand of new paintings by the American artist Van Hanos, all made for the fair during a stay in Vienna. Three of these had sold by 3pm on preview day: two modestly sized canvases for $22,000 each, and a larger one, Der Rosarote Panther (the pink panther), for $60,000. Thaddaeus Ropac has also encouraged its artists to make new work for the fair. Fresh pieces by market titans like Georg Baselitz, as well as younger names like Zadie Xa, Mandy El-Sayegh, Megan Rooney and Alvaro Barrington, all came to the stand. Among the works placed by 5pm on preview day were Baselitz’s painting Besuch in Dinard (2023) for €1.2m and four works by El-Sayegh, each for $115,000. At Pace too, a concerted effort for fresh work can be seen: around 75% of the gallery’s presentation has been

made in the past two years, a spokesperson for the gallery says. Nonetheless, it is a mid-century artist, Louise Nevelson, with Model for Celebration II (1976), which is installed on Regent’s Park as part of Frieze Sculpture, that led the gallery’s preview day sales for $2m. Further sales at Pace’s Frieze London stand include an Arlene Shechet sculpture, Cousin (2023), for $90,000, and eight sculptures from her Together series, priced at $65,000, at Frieze Masters. Pace’s president, Samanthe Rubell, says that “the growing interest in building collections that incorporate works that span from historically important to very contemporary, is surely impacting the way that people see and experience Frieze Masters, and I expect that we will see the dialogue between both fairs flourish”.

Secondary market sales Greater crossover between Frieze Masters and Frieze London also chimes with a general trend among larger galleries relying more heavily on the secondary market to stay afloat. Thaddaeus Ropac says that secondary market dealing has “absolutely” increased in the past two years. Rubell says that Pace’s “secondary market dealing is definitely increasing—although secondary prices for living artists are not necessarily rising”. So what is behind this trend? Rubell says that new clients — most of whom have made their wealth rather than inherited it—are looking to Gagosian dedicated its stand this year to works by Damien Hirst, in contrast to last year, when it spotlighted the young Jadé Fadojutimi

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GAGOSIAN: © DAVID OWENS. FOX: CASEY KELBAUGH

Frieze boss says it will fight for London, as rival Paris fair gains traction “WE ARE FIGHTING TO ENSURE LONDON— AND THE UK—REMAINS FRONT AND CENTRE IN THE GLOBAL ART WORLD,” says Simon Fox, who was appointed the chief executive of Frieze in January 2020, two months before the pandemic hit. Since then he has had a lot to contend with: the fallout from Brexit, a cost-ofliving-crisis and the Tory government’s downgrading of the arts, to name a few. Nonetheless, in the fair the mood is buoyant. “We have more diverse, inclusive communities than anywhere in Europe and our art schools are absolutely second to none. Our art market is twice as big as the French market and we have wonderful institutions whose current shows are the best they’ve ever been,” Fox says. Frieze may have started as a

THE ART N EWS PA PE R . C O M

particularly British affair, launched by magazine publishers Amanda Sharp and Matthew Slotover in 2003, riding on the coat tails of the YBAs and the opening of Tate Modern in 2000, but it has fast become a global powerhouse with fairs in New York, Los Angeles and, most recently, Seoul. Financially backed by its owner, the Los Angeles-based sports and entertainment conglomerate Endeavor, this summer Frieze acquired the Armory Show in New York and Expo Chicago. Fox says that, with the US accounting for 45% of the global art market, “it makes sense for us to play a bigger part there”. He notes a distinct difference between Frieze New York (“smaller, more global”) and The Armory Show (“very embedded in the New York art scene and

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community”) and says the “intention is in September two years ago. Fox thinks to keep those two brands very separate”. they can coexist—for now. “At some Nonetheless, change could be on the point we will be able to adjust the schedhorizon. There are rumours that uling, but it’s not going to be for Frieze is looking at venues in a number of years,” he says. New York other than The When Endeavor Shed that can accommoacquired a 70% stake in date more exhibitors; Frieze in 2016, its presFox says all of his fairs ident Mark Shapiro are “oversubscribed”. said there were plans So would Frieze merge to “festivalise” the art The Armory and its fair. Those ideas may existing New York fair? not have materialised, “That’s not something I but Endeavor’s support would want to speculate on has enabled the business to at this point,” Fox says. expand considerably. “It’s not Another piece of the their intention to put a stamp Simon Fox says puzzle is the scheduling clash “we don’t compare on our brand,” Fox says. “We between The Armory and ourselves” to rival get great back office support Frieze Seoul, which launched from Endeavor, but they leave Art Basel

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us to run our business.” Art Basel had a similar boost in 2020 when another media scion, James Murdoch, the son of Rupert Murdoch, injected €46m into the fair’s parent company MCH, becoming a board member and anchor shareholder. Two years later, Art Basel launched Paris+ par Art Basel, a fair that is perceived to be in direct competition with Frieze London (the French event is held directly after). As for the art fair duopoly with Art Basel, Fox thinks Frieze is already at the level of the Swiss conglomerate. “We’re very different, we don’t compare ourselves,” he says. “But we certainly think that we are a—if not the—pre-eminent brand in the art world. And that’s where we want to stay.” Anny Shaw

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ACCELERATING IDEAS

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NATIONAL PORTRAIT GALLERY

envisioning new futures with THE Centre Pompidou, PARIS

Reframing Narratives with THE National Portrait Gallery, LONDON

FOSTERING GLOBAL DIALOGUE with THE Leeum Museum of Art, SEOUL

ADVANCING CULTURE Elevating Underrepresented Voices with THE Museum of Contemporary Art Chicago

Exploring Craft and Architecture with THE Power Station of Art, SHANGHAI

THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

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NEWS Frieze Week

Despite economic headwinds, galleries continue to open in London

News in brief

To the surprise of some, post-Brexit London is holding its own in the global art market, with new galleries setting up shop throughout the city, and long-term players opening new, larger venues. By Kabir Jhala Grada Kilomba’s Untitled Poem (one sorrow, one revolution)

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eemingly defying the enduring pains of Brexit and rising inflation, several galleries have opened or expanded their footprints in London during the run-up to Frieze. Last week crowds spilled onto the historic gallery hub of Cork Street, in upmarket Mayfair, where two established London dealers, Alison Jacques and Stephen Friedman, have each opened new, amply sized flagship locations. Stephen Friedman’s twostorey gallery features a sculpture garden, complete with an imposing work by Yinka Shonibare, while Alison Jacques is showing off her doubleheight ceilings with a towering fibre installation by Sheila Hicks. Also in Mayfair, Pilar Corrias marks 15 years of business by opening its own “large, museum-quality space” says its eponymous founder. The new gallery, on Conduit Street, replaces Corrias’s first space, which she opened in 2008 in Fitzrovia. “That location made sense as a younger gallery,” she says, “but I’ve grown, and the artists I represent have too—we needed to evolve”.

TATE, FITZWILLIAM AND ARTS COUNCIL SCOOP UP WORKS AT FRIEZE LONDON

Further spaces to open nearby include the new gallery Albion Jeune, in Fitzrovia, and The Artist Room, founded in 2021 by Milo Astaire, which opened a three-storey gallery in Soho this week. Meanwhile, the global gallery brand Lehmann Maupin intends to “double its footprint” in the city, according to a spokesperson, with a “pop-up space on Cork Street”. And just this week, the Zurich gallerist Maria Bernheim announced that she will open a five-storey flagship in Mayfair on 30 November. Some of the city’s mid-tier galleries are expanding too. The London-based gallery Union Pacific, which this year takes part in the main section of Frieze London after showing in Focus for several years, last week opened a second space in Bloomsbury. This neighbourhood, famed for its literary pedigree, is now home to a growing gallery cluster, including the newly

Alison Jacques has marked the opening this month of her new 6,000 sq. ft Mayfair gallery with an exhibition by Sheila Hicks (until 18 November). The new double-height space allows Jacques to show large-scale works, such as Hicks’s Infinite Potential (2023) established Brunette Coleman and Phillida Reid, which first opened in Soho in 2010, both of which set up new spaces there in the last year. Meanwhile, the Athens gallery Hot Wheels will open its first overseas space in Bloomsbury next month. Meanwhile younger galleries are also thriving, especially in the city’s east. Ginny on Frederick, which is taking part in Frieze’s Focus section for the first time this year, has moved from a tiny former sandwich shop to a slightly larger former garage in Farringdon. It joins other recently established galleries, such as Neven

and Sherbet Green, both of which opened pint-sized spaces in Bethnal Green in the last six months. This flurry of activity is set against a foreboding backdrop. In the past four months, two well-known London galleries, Fold and Simon Lee, ceased operations (the latter is financially insolvent, but has not officially shut down). This is not to mention a recent spate of New York galleries announcing their closures, and Paris continuing to gain ground as an art market hub, with three international galleries opening outposts in the French capital over

this coming weekend (14-16 October): Hauser & Wirth, Mendes Wood DM, and the London dealer Stuart Shave’s Modern Art. However, the UK capital still has unique attractions that make it good for business. “London is still the second-largest art market, and I am a commercial gallery, so it still makes sense for me to be here,” Corrias says. “Sure, Brexit happened, but the city’s strategic location between North America, the Middle East and China, not to mention its ethnic diversity and lack of a language barrier with the US, keeps it very attractive.”

London mayor pledges to build artist studios THE MAYOR OF LONDON, SADIQ KHAN, came to Frieze yesterday to launch his promotional campaign for London’s creative industries, London Creates, and highlighted his plan to build more artist studio spaces in the city. Speaking in front of the Yinka Shonibare work in Frieze Sculpture, Khan and Justine Simons, the deputy mayor for culture and the creative industries, spoke about their intention to partner with other stakeholders across the public and private sectors in order to build 71,000 sq. m of affordable workspaces by 2026. Simons told The Art Newspaper that the mayor’s office will “protect artist studios by hardwiring them into the planning system” while offering “support on business rates that are below the market rate”. The studios will reside in 12 so-called Creative Enterprise Zones, which aim to support 800 creative

businesses and help 5,000 young Londoners break into the creative sector over the next three years. The initiative comes after Khan invested £14.7m in six pilot zones across London in 2018—in Brixton, Croydon, Deptford and New Cross, Hackney Wick and Fish Island, and Hounslow and Tottenham. Research released by the mayor’s office in June found that, on average, creative businesses working in each of the pilot zones grew by 22%, compared with a fall of 4% for those outside of a zone. Zones have now been newly created in the London boroughs of Brent, Haringey, Islington, Lambeth, Lewisham, Hammersmith and Fulham, Ealing, Waltham Forest and Westminster. In July this year research by the artist support charity Acme revealed that many of London’s artists are close to giving up on their career in art. Close

to a third of those asked in the survey said financial pressures will force them to change careers within five years. “When we first started looking at this, we could see the data on all affordable studios going downhill,” Simons said. “We’ve managed to begin to reverse that trend. There are still challenges, but we’re seeing a net gain in London.” Thangham Debonaire, the shadow culture secretary, liaised with Simons on the success of Creative Enterprise Zones before announcing a national cultural infrastructure plan for the arts at the Labour party conference this week, which will seek to roll out the policy nationally. “A lot of London’s cultural infrastructure is now protected in the planning system,” Simons says. “It’s now part of the architecture of the city. It will be permanent and affordable.” Tom Seymour

Justine Simons and Sadiq Khan revealed their plans yesterday at Frieze London to support artists in the capital

YOUNG AND EMERGING ARTISTS WIN PRIZES This year sees the fifth year of the Camden Art Centre Emerging Artist Prize, which goes to Jack O’Brien, who is represented by Ginny on Frederick and will receive a solo exhibition at Camden Art Centre. The awarding panel was chaired by the director of the centre, Martin Clark, who said: “It’s only the second time we’ve made the award to a London-based artist and gallery, and it feels like such an energised time in London at the moment.” The French Mexican artist Alicia Paz is the winner of the sixth £1,500 Young Masters Prize sponsored by Evelyn Partners, for her work Juantas (Together) (2021). Two highly commended prizes of £500 each awarded by the Artists Collecting Society go to Sadie Lee and Joshua Donkor and the winner of the Young Masters Maylis Grand Ceramics Prize is Anne-Laure Cano for Ussad-144 (2022) made from reassembled fragments of broken ceramic pieces. South Korean artist SaeRi Seo snagged the Emerging Woman Artist Award. Louisa Buck

HICKS: MICHAL BRZEZINSKI. SIMONS AND KHAN: © DAVID OWENS. KILOMBA: © THE ARTIST, COURTESY OF THE ARTIST AND GOODMAN GALLERY

Pop-ups and flagships

The Frieze Tate Fund offers a team of Tate and international curators £150,000 to purchase works for Tate’s collection. This year, six works were acquired, including Ayoung Kim’s Delivery Dancer’s Sphere (2022); Santiago Yahuarcani’s 2023 painting on bark Espiritu de cumala; and I Gusti Ayu Kadek Murniasih’s Bikin Kesenangan (making pleasure) (1998). Tessa Boffin’s series of prints, Angelic Rebels: Lesbians and Safer Sex (1989/2013) will feature in Tate Britain’s forthcoming Women in Revolt! exhibition, while a 2023 installation by Adam Farah-Saad reflects Tate’s aim to use the fund to platform young artists. The Contemporary Art Society’s Collection Fund purchased works by three women artists: Goshka Macuga’s vase in the shape of a plaster head, Rabindranath Tagore (Blue) 2022; Grada Kilomba’s gold-engraved charcoal blocks, Untitled Poem (one sorrow, one revolution) (2023); and The Dream 11 (mae), a 2023 painting by Pamela Phatsimo Sunstrum. This year also sees the Arts Council Collection launch a new acquisitions fund at Frieze aimed at supporting early-career and overlooked UK-based artists. The four artists purchased from this inaugural £40,000 fund are Anne Tallentire from Hollybush Gardens, Mark Corfield Moore from Outset, Tanoa Sasraku from Vardaxoglou Gallery and Julian Knox from Edel Assanti. Louisa Buck

THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

ART MARKET EYE Expert art market analysis by Georgina Adam, our editor-at-large

Lee Miller comes into focus, at last

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en years ago I visited Farleys House in East Sussex, the home of the artist and curator Roland Penrose and his wife Lee Miller (and their various lovers) for over 28 years. I met their son, Antony Penrose, who still lives in the house. At that time, I must say, there was far less interest in Miller. Like so many women, her achievements were partly overshadowed by the men in her life—and there were quite a few—despite her career as a model and photographer.  There was Roland Penrose himself, a frankly rather mediocre painter but one of the few British

Surrealists, noted more today as a curator and biographer of Picasso and Miró. Then there was Picasso, who painted her six times, but of course he always gets the limelight. She was also supposedly a “muse” to her lover Man Ray, who “invented” the solarisation process in 1929 while she was his assistant. The story goes that she flipped on the light briefly when a mouse ran over her foot, so creating these images, part positive, part negative, as if lit from behind. Man Ray and Miller worked so closely together that apparently some works she created are still credited to him.  But among Miller’s most searing work was when Vogue commissioned her as a photojournalist during

the Second World War—partnered with a male co-photographer, David Scherman. She was among the first photographers to unsparingly document the London Blitz, the liberation of Paris and the concentration camps of Dachau and Buchenwald. With Scherman they visited Hitler’s home in Munich, where he took the famous image of Miller bathing in Hitler’s bathtub, the bathmat muddied with the dirt of Dachau from her boots. On the very same day, 30 April 1945, Hitler and Eva Braun died by suicide in their Berlin bunker.

work (4 November-25 February 2024), curated by Antony Penrose. And in New York, Gagosian is showing  Seeing Is Believing: Lee Miller and Friends (11 November-22 December). It will feature photographs by Miller and Roland Penrose, and works on paper by the bevy of artists they knew, lived with and loved: Joseph Cornell, Max Ernst, Dora Maar, Man Ray, Henry Moore, Valentine Penrose and Picasso. True to form, Larry Gagosian is staying schtum on prices, so I don’t know how much he is asking for her work. But her prices elsewhere are still nowhere near those of contemporaries. Christie’s is offering a gelatin silver print, her portrait of Man Ray, dating from 1931. It is

estimated at $6,000-$8,000. But in the same sale, Man Ray’s silver gelatin portrait of Miller, dating from around 1930 and almost the same size, has a heftier estimate: $20,000-$30,000.  Nevertheless, today a modern edition of Miller’s Women Firewatchers (1941) showing masked wardens in London, is priced at around £20,000. In 2007, a print of the same subject sold at Christie’s for just £1,500— which would be £2,400 today. Your time has come, Lee! • To receive this column every month, sign up to the Art Market Eye newsletter on our website or follow it at theartnewspaper.com/series/ art-market-eye

“Miller was among the first photographers to document the London Blitz, the liberation of Paris and the concentration camps”

Love letters and ephemera I returned to Farleys House this year, to find that it’s now all about Miller. The guided tour concentrates on her legacy, while Antony Penrose has been working on a massive archive: 60,000 negatives, photographs, love letters and ephemera discovered in trunks in the attic. And certainly interest has been ramped up by the film, Lee, which has just come out, starring Kate Winslet and inspired by Antony’s book, The Lives of Lee Miller (1985).  Miller is now receiving both institutional and commercial accolades. In November the Heide Museum of Modern Art in Australia is presenting a major survey of her

Life through a lens: a major survey of Miller’s work is due to open at the Heide Museum of Modern Art, Australia, while a Gagosian show will explore her circle of contemporaries

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COLLECTOR’S EYE Art lovers tell us what they’ve bought and why

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ver the past three decades the Italian born, New York- and London-based collector and patron Valeria Napoleone has built up a collection of around 500 works devoted to female artists from the 1970s to the present. In June 2015, she launched Valeria Napoleone XX— the name is a nod both to the female chromosomes and also the fact that she is a twin. It is an umbrella platform that promotes the representation of female artists in major public institutions. The platform’s collaboration with the Contemporary Art Society is an ongoing commitment to buy and donate a significant work by a living female artist to a different UK museum each year; while she also underwrites the production of a major commission every 12-18 months at SculptureCenter, a New York non-profit institution dedicated to sculpture. Napoleone has attended every Frieze art fair since its first edition in 2003.

How quickly do you decide to buy a work of art?  I am a very slow burner. I have many criteria that are attached to the choice of a work of art. First of all, I need to love the work but then I need to understand the concept and the whole practice of an artist. It’s a long conversation: even if I like it right at the beginning, I need to have the validation of my research and it may take years. Then sometimes I really love the artist and superconnect to the practice, but the body of work that gets me excited is not there yet, so I need to wait. This happened to me with Frances Stark; suddenly this body of work in Los Angeles with Marc Foxx opened up the whole thing, and I thought: it’s totally me. Then I also went back to buy the previous work. What was the first work you ever bought? It was a photograph by an American photographer called Carol Shadford. She’s not well known at all. I paid $500 and I bought it in New York in

Where do you go in London to get away from it all? Notting Hill. It’s my favourite area. I love to walk around the shops and cafes there because there still is a sense of community and not so many big brands. It still retains this authenticity. What tip would you give to someone visiting London for the first time? Put your shoes on and walk around throughout central London. During the pandemic I started from Kensington, Knightsbridge, Mayfair, Belgravia, and I went to Notting Hill and back. Walk around the neighbourhoods.

Valeria Napoleone The Italian collector, who helps fund the acquisition of women artists’ work by UK museums, likes to take her time when choosing what to buy 1997. She was doing these incredible photographs of soap bubbles in black and white. From afar you could see just this abstract image. Then, when you approached, you could see that in some of the bubbles there was a face or the body of a woman trapped inside.

good food—and I love to entertain. Then I can gather everybody and I can catch up. What’s your least favourite thing about art fairs? The frenzy, and the pressure to make

Besides art, what else do you collect? Issy Miyake’s Pleats Please outfits. Oh, my God, I have such a big collection I think I could have an exhibition of them! Interview by Louisa Buck

“Too many artists are asked to do work just for the fair. I don’t want to buy that”

What was the last work you bought?  A piece from the 1980s by Californian artist Jennifer Bolande from Magenta Plains Gallery. It’s a very conceptual piece but also a beautiful object.

Frieze Art Fair editions THE ART NEWSPAPER Editor, The Art Newspaper Alison Cole Deputy editor and digital editor Julia Michalska Managing editor Louis Jebb

FRIEZE LONDON EDITIONS EDITORIAL Editors Lee Cheshire, Julia Michalska Deputy editor Alexander Morrison Contributors Georgina Adam, Louisa Buck, Alison Cole, Gareth Harris, Catherine Hickley, Kabir Jhala, Chinma Johnson-Nwosu, Chibundu Onuzo, Riah Pryor, Ben Luke, Scott Reyburn, Tim Schneider, Tom Seymour, Anny Shaw Production editor Hannah May Kilroy Design James Ladbury Sub-editing Andrew McIIwraith, Vivienne Riddoch Picture editor Heike Bohnstengel Photographer David Owens

PUBLISHING AND COMMERCIAL Publisher Inna Bazhenova Chief executive officer Nick Sargent Partnerships and art fairs manager Rohan Stephens Global head of sales Juliette Ottley Commercial head of arts and fairs (international) Emily Palmer Advertising sales manager, Americas Kristin Troccoli Sales executive, Americas Steven Kaminski Subscriptions manager Louisa Coleman Art director (commercial) Daniela Hathaway

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What do you regret not buying when you had the chance? There are so many that got away. One was a big dog sculpture by Cosima von Bonin that was exhibited at Documenta; I don’t remember which year. Giant stuffed dogs, enormous, beautiful, and the pedigree was there—I didn’t get it.

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If you could have any work from any museum in the world, what would it be? One of Cady Noland’s installations of the 1980s. Where do you like to eat and drink in London?  In my home! I love to cook and I love

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THE ART NEWSPAPER: What are you looking out for at Frieze this year? VALERIA NAPOLEONE: I’m not really a fair collector, but I love art fairs and especially Frieze, because Frieze for me is going home. I’m looking forward to visiting Hollybush Gardens and Greengrassi as well. I will focus on London galleries because I haven’t been here in a while. Also Kate MacGarry, and Alison Jacques because I think she’s really building an incredible programme with women artists and their estates.

a decision in a few seconds. What I especially don’t like is that too many artists are asked to do work just for the fair. I don’t want to buy that.

Daniel Richter, Jahresdaten meiner Langeweile (detail), 2023 Oil on canvas. 233 x 173 cm (91,73 x 107,48 in) Photo: Eric Tschernow. © Daniel Richter / VG Bildkunst, Bonn 2023

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THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

FEATURE Social class

Forget nepo babies: meet the real class of ’23

LARRY ACHIAMPONG: DAVID EDWARDS. OLIVIA STERLING: MATT SNELLIN PHOTOS. WOODSY BRANSFIELD: COURTESY WOODSY BRANSFIELD. BELLA BONNER-EVANS: BRYNLEY ODU DAVIES. YATES NORTON: COURTESY YATES NORTON. ANDY WICKS: COURTESY CASTOR. GEORG WILSON: BRYNLEY ODU DAVIES. ELLIE PENNICK: COURTESY OF BRYNLEY ODU DAVIES. MARIA FUSCO: ROSS FRASER MCLEAN; STUDIORORO

Nine artists, curators and dealers are proving that you do not have to be born with a silver spoon in your mouth to make it in the London art world. By Anny Shaw

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n July the Evening Standard ran an article on the new “Young London Artists” (YLAs), presenting a list of wealthy heirs, it-boys and -girls and socialites supposedly “refreshing London as a cultural epicentre”. But its publication comes as soaring rents, crippling studying costs and a culture of exclusivity continue tilting the odds of art-world success further and further in favour of those with pre-existing ties to affluence. In December 2022 data from the Office of National Statistics revealed that the proportion of working-class creatives in the UK shrank by half between the 1970s and the 2010s. Despite this, an emerging generation of artists, curators and gallerists—all without the benefit of family privilege—is taking the British art scene by storm. Here, nine of them offer a more realistic view of what it is like to break into the art industry, the biggest obstacles they have faced and why talking about class (or socio-economic divides, as some prefer to say) remains so taboo in 2023.

resonant to Achiampong, including belonging and displacement, race and class, and home and heritage. Brought up in east London, the artist became a parent at 24. “Those early years were really just trying to survive as a young Black father,” he says. “My work wasn’t taken seriously because of my background. If you come from a background of monetary privilege, you can make really tough decisions with your art. You can say ‘no’ way more easily, or you can sit on something for a long time.” Achiampong’s greatest concern today is how inaccessible studying art has become. “The game has completely changed,” he says. “If I was starting out now, I couldn’t have afforded art school.” The artist also points out that the stakeholders best positioned to reform the art world are the least inclined to do so: “Those with extreme privileges are the ones who can make those changes—we’re talking about power structures that exist within those ivory towers.” He adds that the question of how to counter the socio-economic imbalance that still dominates the sector “should really be directed at them”.

Larry Achiampong

Olivia Sterling

Larry Achiampong is well known for his public commissions, most notably a 2022 project he created for Transport for London that reimagined the London Underground roundel in the pan-African colours of gold, green, black and red. But one of the works that the BritishGhanaian artist says he takes the most pride in is Wayfinder (2022). Set during a pandemic in an unspecified future era, the featurelength film is a reflection on multiple themes

Olivia Sterling graduated with an MA from the Royal College of Art in 2020, during the height of the Covid-19 pandemic. Shortly after graduation, White Cube included her in a group show of 20 recent graduates. “When I graduated during Covid, everyone, especially galleries, was supportive and uplifting to students. But that didn’t last long,” she says. Luckily, she sold several paintings from her degree show, received

Left to right, from top row: Larry Achiampong, Olivia Sterling, Woodsy Bransfield, Bella Bonner-Evans, Yates Norton, Andy Wicks, Georg Wilson, Ellie Pennick and Maria Fusco

redundancy pay from her retail job and snagged a free artist residency. Sterling then built relationships with galleries who helped sell her work, giving her the chance to focus on her practice. “Honestly, if it wasn’t for that financial help, I don’t think I’d have a career today,” she says. Sterling’s work deals with millennia of violence at the hands of white supremacy in a wildly humorous, cartoonish way. Her most recent exhibition, Rage Comics at Huxley-Parlour, is a two-person show with Shir Cohen: “They are my best paintings to date, and it was interesting to bounce my view of whiteness against the artist I share the show with.” Class remains a taboo in the art world, Sterling thinks, because “it’s all so opaque”. She adds: “It’s tough navigating an industry that lacks financial transparency.” Her message to galleries and collectors? “Offer more free and flexible residencies. It might sound blunt, but throwing money at the problem can actually help artists be more stable and create better work.”

says, “Eddie was taken from us very suddenly and shockingly in a mindless act of violence. He was 25. This politicised me way before I had the words to articulate it. It made me deftly aware that there are countless issues which disproportionately affect communities like ours to an overwhelming degree— addiction, alcoholism, crime, violence, suicide, incarceration. It made me hell-bent on going to art school by way of what I erroneously perceived to be ‘escaping’ the estates”. As Bransfield matured, he realised that the “minimal effort to find Eddie’s killer directly correlated to” his family’s socioeconomic standing. “This switched me on to a far more insidious form of violence regarding state machination, law, how these two things are policed and who they are really in aid of,” the artist says. “I have no interest in a class war. But there are many of us for whom art remains a seriously existential pursuit. It’s why people will toil away, unpaid, unrecognised, against all odds, for decades.”

Woodsy Bransfield

Bella Bonner-Evans

Woodsy Bransfield is a British artist whose work combines pop performance with more traditional studio practices such as painting. Class tensions and personal adversity have driven his creative pursuits from an early age. In his own words: “There was one other artist in my family. He was called Eddie Bransfield, my uncle, who I was enamoured with. It was the first time I heard the phrase ‘art school’ as everyone was always saying how Eddie wanted to go to this magical place called ‘art school’.” But when Woodsy was only eight, he

Although her interest in art was nurtured as a student, Bella Bonner-Evans says she carved out her gallery career on her own. She currently works as a co-curator and head of sales at the Notting Hill gallery Studio West. “The art world is an incredibly elitist and exclusionary place, something I became intensely aware of as I attempted to get my first real gallery job,” Bonner-Evans says. After graduating from Goldsmiths, CONTINUED ON PAGE 12 

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THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

FEATURE Social class  CONTINUED FROM PAGE 11 University of London in 2021, Bonner-Evans sent off hundreds of applications but received almost no responses. “At the time, I didn’t realise how rife nepotism is in the industry; I was incredibly disheartened and felt entirely inadequate,” she says. In many ways this prepared her “for the art world’s ‘pay-to-play’ mentality”, forcing her to be “inventive and resilient”. Bonner-Evans began working in arts PR and freelancing as a writer. Talking about class is counterintuitive to the art world, she thinks, “because it is not designed for those from working-class backgrounds or those who have little capital”. She adds: “Money itself is almost taboo, with prices being kept secret on the assumption that, if you were to be a collector lucky enough to be allocated a work from a major gallery’s show, the question of whether you can afford it wouldn’t even cross your mind.”

Yates Norton “I think I ‘fell’ into curating,” says Yates Norton, a curator at London’s Roberts Institute of Art and the developer of a public exhibition series at the Vilnius-based residency and arts centre Rupert, “which sought to address issues of structural exclusions by looking to different disciplines and practices”. Norton suggests “socio-economic status” rather than class might be a more useful term when thinking about privilege in the art world, because “class is so historically freighted and means very different things to different people”. He thinks that “stories of triumph over adversity and exclusion must be celebrated”, but those stories are “part of the daily effort of many people whose individual acts of agency do not amount to the spectacular or extraordinary”. He concludes: “In the absence of any change in the law regarding socio-economic status,

we need a shift in values in the art world, balancing an overdetermined focus on heroic individuals and explosive disruptors with a more fundamental, everyday concern for building sustainable, inclusive conditions for making and sharing work.”

Andy Wicks Andy Wicks, who launched Castor gallery in 2016, studied Fine Art at Middlesex University, graduating in 2006. “I recall dreaming of having a warehouse as a multipurpose space for exhibitions and studios—near impossible in London at commercial rates,” he says. For a decade, Wicks was an artist, supporting himself by working as a freelance gallery technician and fabricator. He became a gallerist after being offered a free one-year lease on a small café/bar basement in front of Goldsmiths. For Wicks, the biggest challenge has “always—sadly—been money”. He recalls leaving his first space in 2016 and having to find a way to pay rent to continue the gallery in nearby Deptford. “It was a huge leap of faith, as I didn’t really sell anything for the first two to three years,” he says. In 2022 he relocated to Fitzrovia. In just seven-and-a-half years, he has put on 65 exhibitions, including Lindsey Mendick’s The Ex Files, Grace Woodcock’s Gut-Brain and Rafal Zajko’s Resuscitation. The gallerist thinks change is slow in the art world

“I didn’t realise how rife nepotism is in the industry; I was incredibly disheartened” Bella Bonner-Evans, gallerist

because it is a “closed system”. He adds: “We need to celebrate and nurture creativity rather than getting rid of ‘low-value’ degrees.”

Georg Wilson Though Georg Wilson wanted to be an artist for as long as she remembers, she chose to study history of art at university “in the hope it might lead to employment”. At night and during weekends, however, she still painted in her bedroom. “It was only during Covid, living back with my parents after graduating, that I gave art a chance and started making work full time and selling some drawings online,” she says. For Wilson, maintaining a studio in London has been the most stressful part of being an artist. As she puts it: “Space is limited and often prohibitively expensive. I’ve been evicted from studios in the past at short notice, and I’ve been priced out of others.” Collaborative projects have been the “most rewarding”, Wilson says, noting how, as part of her solo show with Berntson Bhattacharjee gallery in London earlier this year, she collaborated with Rowe Irvin to produce Quiver, a book of Irvin’s poems and her own drawings. Broad access to art education is crucial for maintaining a diverse landscape, Wilson thinks: “As long as the current government continues to cut the arts in schools, access will remain firmly in the hands of the privileged few with very similar backgrounds, which is a shame, because it leads to a cultural landscape that is limited and therefore quite dull.”

Ellie Pennick Ellie Pennick, who founded Guts Gallery in 2020, initially wanted to make art rather than deal it: “I applied for an MA at the RCA but, because of my financial status, I couldn’t study there. That’s when I began to question the broader impact of social austerity on the

art world. Through this anger and frustration, I started putting on shows in the function room of a pub I lived in, and from there started Guts as an online and nomadic platform.” Pennick (who uses the pronoun they) says a lack of financial resources and “limited access to influential circles” have been major hurdles in sustaining their gallery. Despite this, Pennick says, “being a gallerist from a working-class background has fuelled my determination and passion for championing emerging artists”. The dealer believes the art market itself “raises questions about fairness and wealth distribution”, adding, “The act of owning and displaying art has been linked to showcasing social status and affluence, which challenges the perception that art is solely about aesthetic appreciation.”

Maria Fusco In her book of essays, Who does not envy with us is against us, about “working-class-ness as method”, the art critic and writer Maria Fusco recounts how she picked up the power of language not from books but from looking around her, “watching shite television and listening to my mother’s skilful cursing”. Fusco, who has taught or guest lectured at prominent art schools such as Goldsmiths and London’s Royal Academy, says her biggest obstacles while growing up in the 1970s and 80s in north Belfast were “poverty and the Troubles”. One of her most powerful works, History of the Present, an opera-film she co-created with the artist and film-maker Margaret Salmon, examines the legacies of the Troubles, foregrounding working-class women’s voices. The work premiered in London at the Royal Opera House in July. “Right now, I am proud of getting somewhere with the word ‘royal’ in its title to show challenging work about the UK’s recent violent history,” she says.

Liu Ye, Phoebe, 2021. © Liu Ye

Liu Ye

Naive and Sentimental Painting

David Zwirner

24 Grafton Street London

Opening October 10

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THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

INTERVIEW Artists

Georg Baselitz

‘I continue despite an almost complete lack of pressure’ The German artist explains how the past continues to inform his work. By Catherine Hickley

W

I still find the British art that surprised me when it first appeared—thanks to Charles Saatchi’s willingness to take risks—very interesting.

hether by turning his paintings upside down or with his widely reported comments that women are not good painters, Georg Baselitz, one of the most influential artists of his generation, has never been afraid to provoke. Now 85, he is exhibiting sculptures and sculpture drawings at the Serpentine. Here he talks about the German tradition of sculpting in wood, why it is important for artists to be provocative, and the “sad” German art scene.

You have complained in the past that Berlin museums are not sufficiently interested in German art. Do you think that has changed? Will your work be shown in the new Berlin Modern art museum and, if so, which ones? Just compare Berlin’s Nationalgalerie with its London equivalents. Berlin has hardly any contemporary art. After they tried to repair the past by recovering “degenerate” art or other works, not much new has happened in German museums, especially in Berlin—not to mention the low visitor numbers compared to other metropolises.

THE ART NEWSPAPER: One of the sculptures on display at the Serpentine, Zero Dom (2021), is 9m high. Can you tell us how this work came about? GEORG BASELITZ: All my work and my sculptures generally have a biographical or autobiographical background. Nothing I have made so far is conceivable without my background. Either the work itself or at least the title indicates that. Zero Dom, for example, is not a glimpse into the future, but rather describes what we perceive as the German past: in short, a burnt-down building. Zero Dom was initially a small wood sculpture comprising individual women’s legs about 3m high. A black patinated version cast in bronze followed. In 2018, I designed the stage set for Wagner’s opera Parsifal in Munich. The sculpture became part of the set, in an enlarged form. The Holy Grail was hidden inside it. Then I decided to make a 9m-high bronze casting out of it, which was first placed in front of the Institut de France when I was named a member of the Académie des Beaux-Arts.

Ten wooden sculptures carved from individual tree trunks featured in the show have never been exhibited before. The Serpentine’s press release states that they relate to your personal life, including a childhood memory. Do you find that, with age, your personal history has become more important to your art, or is this childhood memoir showing three girls from a Nazi youth group also a political statement? When I work, I always think about my past. My background was very ordinary and rural in a place far off the beaten

What do you think are the most interesting developments in the art market today? I have not concerned myself with digital art at all. For me, there is no such thing. I work with paper and pencil, with paint and canvas and with wood. And all the works by other artists that have drawn my attention use similar materials. What worries you most about Germany and Europe today? People abroad can’t imagine that in Germany, there is no cultural scene comparable to that in the UK, the US or France. It’s a regrettable, very sad state of affairs. But since there is a well-functioning international art market, German artists can make a living independently of Germany. You are known for your ability to provoke not only with your art but also with your words—for example, with a statement in Der Spiegel in 2013 that women are not good at painting. Since then, you have expressed your admiration for many female artists. Museums are now making an effort to show more works by women. Do you welcome this attempt to redress the balance, or do you think it is a distortion? There are only new artists and their first works, and of course that has nothing to do with gender or age, but everything to do with what appears on paper or on canvas. Georg Baselitz believes that Germany’s museums have failed to provide a platform for contemporary art track. When I make a sculpture, like BDM Group (2012), the goal is not a priority; it is more like a poetry that slowly unfolds. Again, the title clearly refers to my origins. The kinds of statements on daily politics that we see a lot in contemporary art are not my thing. What can you tell us about the drawings on show and the production method? I think the sculpture drawings are different from my other drawings. Sculpture drawings are important observations for working in three dimensions or on a wooden trunk whose original volume you reduce, by cutting and chopping and so on. Without the drawings, mishaps and Left: In this lifesize figure carved from wood, Louise Fuller (2013), Baselitz pays homage to the pioneer of modern dance

misfortunes would be more frequent. I have been making such drawings since 1980 when I started sculpting. But there are none of these preparatory drawings by me before that. Tracey Emin has said that your provocative approach to your art “kept the gateways open for artists like me”. Who are the art-world provocateurs of the next generation you most admire? Tracey Emin said exactly the right thing. I have found in art history that when an artist, whether male or female, has success early in their career, it is usually with a provocative work. Most first works confirm that—whether by Tracey Emin or Paula Modersohn-Becker, by Cézanne, Frida Kahlo or Picasso. But being provocative just to provoke is difficult. I don’t think it works, or only for a short time. As far as the next generation is concerned,

The Guardian wrote last year that you are experiencing a “fiery and ruthlessly expressive late flowering” in your 80s. Do you think that’s true? If what they say is true, then I’m very happy about that. Even if you leave out the “fiery” and “expressive”—and even “flowering”—it is still a fact that I have not given up, and that I continue despite an almost complete absence of pressure— less depressive, but even more dystopian. Do you still work in your studio every day? Can you describe a typical working day? I try to work every day, for a very limited amount of time. My physical condition is not the best. I use various aids such as walkers, carts, walking canes, chairs, extended brushes, extended palette knives and quicker decisions. So far, that’s working well. • Georg Baselitz: Sculptures 2011-2015, Serpentine Galleries, until 7 January 2024

PORTRAIT: © MARTIN MUELLER. LOUISE FULLER: PHOTO: JOCHEN LITTKEMANN; © GEORG BASELITZ

Your use of wood is rather unusual today, but it reflects a strong German tradition; we think of Tilman Riemenschneider, for example. Do you see yourself as a German artist in this tradition, or is your use of wood also inspired by other cultures? German tradition is absolutely right. Tradition in general is very important for me. In Germany, we don’t have a significant tradition made visible by archaeological finds—as, for example, in the Mediterranean region. Since the 14th century, there have been large, decorative stone sculptures in our places of worship but, equally, very important wooden sculptures—for example, by Riemenschneider. And this continues until Ernst Ludwig Kirchner. My first attempt was a wooden sculpture in 1980 for the Venice Biennale and I stuck with it.

What do you think of the plans for the new museum, which is currently under construction? I think any new museum in Berlin is superfluous.

20TH/21ST CENTURY: LONDON EVENING SALE AUCTION

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PETER DOIG (B. 1959) House of Pictures (Haus der Bilder), 2000–02 Oil on canvas 76¾ x 116¼ in (194.9 x 295.3 cm) Estimate: £5,000,000–7,000,000 © Peter Doig. All Rights Reserved, DACS 2023.

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THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

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IN PICTURES Frieze VIP preview American artist Kevin Beasley

Nicola Lees, the curator of the Frieze Foundation, and Andrew Bonacina, the curator of the Monsoon Art Collection

y ) t r a P(

Eva Langret, the artistic director of Frieze London, and Chris Dercon, the director of the Fondation Cartier

people The sun—and the stars—came out yesterday morning at Regent’s Park for the Frieze London and Frieze Masters VIP preview. Familiar faces from the worlds of art, film and theatre joined the throng for their art fix

Miami-based collectors Don and Mera Rubell

Photographs by David Owens

Artist Marc Quinn

Sculptor Antony Gormley

THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

Actor Andrew Garfield and film producer Joel Lubin

Maja Hoffmann, collector and founder of the LUMA foundation, with her son Lucas

Actor Florence Pugh, who presented this year’s Oscars with Andrew Garfield (above right)

Ooooota Sebastian Adepo, the founder of arts consultancy Cross Culture Creative

Dylan Jones, editorin-chief of the Evening Standard

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T Y L E R H AY S

October 6 - November 24 BDDW, 50 Vyner Street, London

9-12 NOV 2023 GRAND PALAIS éPHéMèRE

Eddie Martinez, Medium Loggia, 2023 © Eddie Martinez

Eddie Martinez Enough 15 Bolton Street, London 12 Oct – 18 Nov 2023

timothytaylor.com

Studio Wall Redux Frieze London, Booth A14 11– 15 Oct 2023

THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

FEATURE Yana Peel

‘What does the museum need?’ Chanel’s head of arts and culture, Yana Peel, tells us how she is reshaping the brand’s philanthropy

F

In 2003 Yana Peel co-founded the Outset Contemporary Art Fund, which works with the Tate to acquire works at Frieze London for the museum’s collection

rieze’s 20th anniversary is a big moment for the Russian-born Canadian Yana Peel, who is now global head of arts and culture at Chanel, headquartered in London. This is not only because she is “wildly excited” about the richness and diversity of London’s arts offering at this time but also because Peel is the co-founder of the Outset Contemporary Art Fund (with Candida Gertler), which was launched in Frieze’s inaugural year, 2003. Outset, an independent UK charity, which now operates on a global scale, plays a central role in funding contemporary art projects. Its Frieze Tate Fund Supported by Endeavour has worked collaboratively with leading curators and the Tate to acquire more than 100 pieces at the fair for the museum’s collection, while also commissioning works from artists such as Francis Alÿs and Steve McQueen. “It was marvellous to start with Matthew [Slotover] and Amanda [Sharp],” Peel says, “to think of the type of philanthropy that would be a win-win for our endeavour and one that really honours the museum. So, I am continuing in that spirit, and I still have a great relationship with [Tate director] Maria Balshaw and the new Frieze leadership.” Peel joined Chanel in 2020, following on from her role as chief executive officer of the Serpentine Galleries, where she had previously served as a

board member. She also holds several advisory positions, including one on Tate’s International Council. At the fashion house she presides over the Chanel Culture Fund, which supports artists, galleries and museums to foster innovation, cross-disciplinary approaches and “foregrounding missing narratives”. 

Meaningful engagement Peel is intent on developing richer, more meaningful engagement and long-term collaborations, as opposed to splashing works of art across branded products and premises, in what can be a short-term relationship. Her particular focus is on “game-changers” both institutionally and artistically, and she is committed to deepening access to the arts. “I celebrate anything that is there to bring the arts to audiences, particularly in the spirit of Gilbert & George’s ‘art for all’,” she says. Peel attributes the direction she has taken to her own track record and to a 110year history of Chanel philanthropy, “going back to our founding days of Chanel as patron of Pablo Picasso, Sergei Diaghilev, Jean Cocteau—and we intend to extend this horizon in a non-transactional way.” She defines “non-transactional” as the way the fund “honours cultural leaders and the way they have to deal with a host of immediate demands, often at the expense of time and space”. With its partnership with the National Portrait Gallery (NPG), Peel

says, “it wasn’t about sponsoring a show or an opening; it was thinking about how over three years we could do something very transformative and embark on their biggest challenge, which at the time was foregrounding more female voices. So, we thought in a non-commercial spirit about ‘How do we put Flavia Frigeri in as curator? How do we go about not just buying works, which we did as well, but delving into the archives to really look at what’s there?’ That approach is mirrored in how we look at our relationship with the Pompidou Centre: we are thinking about ‘What does the museum need?’  Not ‘What does Chanel need?’”. The fund is now launching two major new museum partnerships, with the Leeum Museum of Art in Seoul and the Museum of Contemporary Art Chicago. Peel especially values collaborations with cultural leaders. “Museum directors globally can be the most optimistic people, even in the face of political upheaval and natural disasters,” she says. “We want to be closest to the people who know where to find the light and heat. That’s our singularity. We are discussing with Taco Dibbits at the Rijksmuseum how to bring women into the heart of their collection.” The fund is presently involved in collaborations with cultural leaders including Balshaw, Tristram Hunt at the Victoria and Albert Museum, Nicholas Cullinan at the NPG and National Theatre director Rufus Norris, while Chanel’s 1,500 London staff have a culture pass that allows them to freely engage with dance, theatre and the visual arts. When asked about the qualities of leadership she looks for in the artists Chanel works with, Peel says: “All of them have tremendous resilience; artistic durability is so important. Look at Sarah Lucas, Marina Abramović, Rebecca Warren.” And as for institutional leaders, the qualities she prizes are: “innovation, vision, creativity and empathy—and courage”. Alison Cole

YANA PEEL: COURTESY CHANEL

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Art week, every day.

Learn more about this work on the National Portrait Gallery guide. Bloomberg Connects puts hundreds of arts and cultural institutions DW\RXUɡQJHUWLSV'RZQORDGQRZ

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THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

WHAT’S ON Frieze week Frank Walter: Artist, Gardener, Radical Garden Museum, London UNTIL 25 FEBRUARY 2024

WALTER WORKS: COURTESY OF FRANK WALTER FAMILY AND KENNETH M. MILTON FINE ARTS

Frank Walter was many things to many people. He was an artist; an environmentalist; even a supernatural being. To some in his home country of Antigua, he was “Crazy Man Frank”; he believed himself to be a descendant of Julius Caesar, Charles II and Franz Joseph of Austria, to name but a few. He was certainly complex but, perhaps above all, says the curator Barbara Paca, he was “a visionary”, much of whose remarkable world has yet to come into public view. This month, an exhibition curated by Paca at London’s Garden Museum introduces Walter to new audiences, bringing together more than 100 paintings and sculptures, including many that have never been exhibited before. The exhibition, which is organised in collaboration with David Zwirner gallery, takes visitors deep into Walter’s universe, using an immersive installation to bring to life the spaces in which he worked and showing how he used his art to grapple with subjects ranging from nature to folklore and identity, often all at the same time. Born in 1926, Walter had a successful career in the agricultural industry before he became an artist, rising to become the first Black manager of a sugar plantation in Antigua. Passionate about “the people who tilled the soil”, Paca says, he travelled to England, Scotland and mainland Europe in the 1950s—learning about agricultural technology while also facing severe discrimination— before returning to pen an environmental manifesto and run, unsuccessfully, for prime minister. In 1993, having lived on another Caribbean island, Dominica, and then elsewhere in Antigua, he moved to a remote house in the rural area of Bailey Hill, where he focused on his art.

Untitled (Palm Tree Frond); the natural world was central to Walter’s work

Step inside Frank Walter’s green and complicated world An immersive space at the Garden Museum re-creates the personal paradise of one of Antigua’s most influential and enigmatic cultural figures

○ Museums and

public galleries 180 The Strand 180 Strand, WC2R 1EA • UVA: Synchronicity 12 OCTOBER-17 DECEMBER

Auto Italia 44 Bonner Road, E2 9JS • RM Collective: A Story Backwards UNTIL 3 DECEMBER

Barbican Silk Street, EC2Y 8DS • RE/SISTERS: A Lens on Gender and Ecology UNTIL 14 JANUARY 2024

British Museum Great Russell Street, WC1B 3DG • Ed Ruscha: Roads and Insects UNTIL 28 JANUARY 2024 • The Genius of Nature: Botanical Drawings by Jacques Le Moyne de Morgues UNTIL 28 JANUARY 2024

Camden Art Centre Arkwright Road, NW3 6DG • Tamara Henderson: Green in the Groves UNTIL 31 DECEMBER • Marina Xenofontos: Public Domain UNTIL 31 DECEMBER

Chisenhale Gallery 64 Chisenhale Road, E3 5QZ • Benoît Piéron UNTIL 12 NOVEMBER

The Courtauld Strand, WC2R 0RN • Claudette Johnson: Presence UNTIL 14 JANUARY 2024

Design Museum 238 Kensington High Street, SW8 6AG • Rebel: 30 Years of London Fashion UNTIL 11 FEBRUARY 2024

Dulwich Picture Gallery Gallery Road, Dulwich, SE21 7AD • Rubens and Women UNTIL 28 JANUARY 2024 • Sara Shamma: Bold Spirits UNTIL 25 FEBRUARY 2024

Frank Walter’s Man Climbing a Coconut Palm and View of Red Canoe and Boat in Harbour (undated). The artist was the first Black person to manage a sugar plantation in Antigua; he also campaigned unsuccessfully to become the island’s prime minister A preoccupation for Walter was his complex heritage. He was a descendant of both European plantation owners and enslaved Africans, and he grappled with this through his art and writing. He invented an elaborate genealogy tracing a lineage back to Western royalty, which is unpacked through a film and display case in the exhibition, and created selfportraits of himself as Charles II, St John the Baptist and more. He “saw himself as a white man”, Paca says, but also had a deep fascination and connection to Black Caribbean culture, painting pictures of Obeah men and women—practitioners of a Creole religion that developed during the colonial period—among other subjects. On Dominica, he had even become known among local children as a marabunta: a creature with magical powers. In nature, meanwhile, he found a constant. An immersive space at the Garden Museum’s show reimagines the house on Bailey Hill, which Walter designed as

his personal paradise; he filled its corridors with his sculptures; created a studio that jutted out into the land with no roof or walls; and nurtured the plant life proliferating in the grounds outside. Here, in his role as artistgardener, he painted fruits and plants, semi-abstracted or pared down into simple forms. He also rendered a series of dreamlike Antiguan landscapes on Polaroid film cartridges—examples of his ability to work with colour and scale. Walter worked from memory and used his art to distil the many layers of his life. His Milky Way Galaxy series arguably represents the culmination of this effort. In it he both pondered outer space and used it as a prism for tapping into his past. In Moon Crater (1994)—on view in the exhibition—long shards of yellow, white and grey cut through a charcoal landscape while, in the background, a mountainous area burns red. For Paca, these are

references to locations Walter knew well. “He inhabited that landscape, and he was obsessed with those mountains,” she says. “Here, he’s actually time travelling to that place.” Paca met Walter in 2003 and was given access to an expansive collection of his paintings, sculptures, drawings and recordings, as well as a 50,000page archive, which has made the exhibition possible. She visited the house on Bailey Hill and describes her encounter with Walter there, the artist emerging wearing a royal blue curtain decorated in bright orange owls—an object that also features in the show. “Walter didn’t want to be like anyone. He didn’t want to be excluded from anything that he was,” Paca says. What he did want, she explains, is to be present for others, with one of the most resounding aspects of his legacy being the support he offered to fellow artists. Alexander Morrison

Estorick Collection 39a Canonbury Square, N1 2AN • Lisetta Carmi: Identities UNTIL 17 DECEMBER

The Foundling Museum 40 Brunswick Square, WC1N 1AZ • The Mother & The Weaver: Art from the Ursula Hauser Collection UNTIL 18 FEBRUARY 2024

The Freud Museum 20 Maresfield Gardens, NW3 5SX • Tracing Freud on the Acropolis UNTIL 7 JANUARY 2024

Hayward Gallery Southbank Centre, Belvedere Road, SE1 8XX • Hiroshi Sugimoto 11 OCTOBER-7 JANUARY 2024

Garden Museum 5 Lambeth Palace Road, SE1 7LB • Frank Walter: Artist, Gardener, Radical UNTIL 25 FEBRUARY 2024

Gasworks 155 Vauxhall Street, SE11 5RH • Trevor Yeung: Soft Ground UNTIL 17 DECEMBER

Goldsmiths CCA St James’s, New Cross, SE14 6AD • Esteban Jefferson UNTIL 14 JANUARY 2024 • Karrabing Film Collective UNTIL 14 JANUARY 2024

 CONTINUED ON PAGE 24

Bring

Clothes No

Bloomsbury and Fashion 13 Sep 2023–7 Jan 2024 charleston.org.uk Dior Men Summer 2023 at Charleston; photographer: ShuoShuo Xu. Image courtesy of Harper’s Bazaar China

THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

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WHAT’S ON Frieze week ICA, Institute of Contemporary Arts The Mall, SW1Y 5AH • Gray Wielebinski: The Red Sun is High, the Blue Low UNTIL 23 DECEMBER

National Gallery Trafalgar Square, WC2N 5DN • Frans Hals UNTIL 21 JANUARY 2024 • Paula Rego: Crivelli’s Garden UNTIL 29 OCTOBER

National Portrait Gallery St. Martin’s Place, WC2H 0HE • Yevonde: Life and Colour UNTIL 15 OCTOBER

65 Peckham Road, SE5 8UH • Lagos, Peckham, Repeat UNTIL 29 OCTOBER

Studio Voltaire 1a Nelsons Row, SW4 7JR • Solomon Garçon: Arms UNTIL 14 JANUARY 2024 • Unearthed Collective: Where can we be heard? UNTIL 29 OCTOBER

Tate Britain Millbank, SW1P 4RG • Sarah Lucas: Happy Gas UNTIL 14 JANUARY 2024

Tate Modern

20 Brownlow Mews, WC1N 2LE • Anna Uddenberg: Home Wreckers UNTIL 22 DECEMBER

Bankside, SE1 9TG • Philip Guston UNTIL 25 FEBRUARY 2024 • Hyundai Commission: El Anatsui UNTIL 14 APRIL 2024 • A World in Common: Contemporary African Photography UNTIL 14 JANUARY 2024 • Capturing the Moment UNTIL 28 JANUARY 2024

The Photographers’ Gallery

Van Gogh House

18 Ramillies Street, W1F 7LW • Daido Moriyama: a Retrospective UNTIL 11 FEBRUARY 2024 • Mino Kajioka: How Long is Now? UNTIL 19 NOVEMBER

87 Hackford Road, SW9 0RE • The Living House UNTIL 17 DECEMBER

Newport Street Gallery 1 Newport Street, SE11 6AJ • Brian Clarke: A Great Light UNTIL 31 DECEMBER

The Perimeter

Royal Academy of Arts Burlington House, Piccadilly, W1J 0BD • Marina Abramović UNTIL 1 JANUARY 2024 • Herzog & de Meuron UNTIL 15 OCTOBER

Serpentine North West Carriage Drive, W2 2AR • Third World: The Bottom Dimension UNTIL 22 OCTOBER

Serpentine South Kensington Gardens, W2 3XA • Georg Baselitz: Sculptures 2011-2015 UNTIL 7 JANUARY 2024

Victoria & Albert Museum Cromwell Road, SW7 2RL • Gabrielle Chanel: Fashion Manifesto UNTIL 25 FEBRUARY 2024 • Diva UNTIL 7 APRIL 2024 • Prix Pictet Human 2023 UNTIL 22 OCTOBER

The Wallace Collection Manchester Square, W1U 3BN • Portraits of Dogs: From Gainsborough to Hockney UNTIL 15 OCTOBER

Wellcome Collection 183 Euston Rd., London NW1 2BE • Larry Achiampong and David Blandy: Genetic Automata UNTIL 11 FEBRUARY 2024

63 Penfold Street, NW8 8PQ • Marianne Keating: An Ciúnas / The Silence 12 OCTOBER-13 JANUARY 2024

Somerset House Studios Strand, WC2R 1LA • Sonya Dyer: Three Parent Child UNTIL 12 NOVEMBER

Hamiltons Gallery

Drunkard or genius? National Gallery gets up close and personal

13 Carlos Place, W1K 2EU • Albert Watson: SKYE UNTIL 17 NOVEMBER

Hauser & Wirth 23 Savile Row, W1S 2ET • Avery Singer: Free Fall UNTIL 22 DECEMBER

Hazlitt Holland-Hibbert 38 Bury Street, SW1Y 6BB • Maggi Hambling: Maelstrom UNTIL 24 NOVEMBER

Hollybush Gardens 2 Warner Yard, EC1R 5EY • Siobhan Liddell: Been and Gone UNTIL 21 OCTOBER

Huxley-Parlour, Maddox Street 45 Maddox Street, W1S 2PE • Kate Gottgens: A String of Signs UNTIL 21 OCTOBER

The Credit Suisse Exhibition: Frans Hals National Gallery, London

Huxley-Parlour, Swallow Street

UNTIL 21 JANUARY 2024

The painting The Laughing Cavalier (1624) is perhaps better known in the UK than its creator, the Dutch Golden Age painter Frans Hals. After it was exhibited at the Bethnal Green Museum (now the Young V&A) in London towards the end of the 19th century, its popularity with the public led it to be reproduced on a mass scale and christened with its current title. It has resided at the Wallace Collection in London for the past 120 years, a captive of the institution’s strict rules prohibiting the lending of works from its collection, which were relaxed in 2019. The painting has now been

5 Swallow St, W1B 4DE • David Benjamin Sherry: Mother UNTIL 21 OCTOBER

indigo+madder 12- 4 Whitfield St, W1T 2RF • Leo Robinson: On Exactitude UNTIL 11 NOVEMBER

Josh Lilley Reasons to be cheerful: Frans Hals’s famous The Laughing Cavalier is taking part in the Dutch artist’s first major exhibition for decades

Lehmann Maupin lent for the first time to the National Gallery for its major Hals survey. The exhibition is the first major survey of the Dutch artist’s work in more than three decades and includes around 50 paintings. With the last major show on Hals taking place decades ago, this travelling exhibition

UNTIL 18 NOVEMBER

○ Galleries:

Cristea Roberts

Central

43 Pall Mall, SW1Y 5JG • Yinka Shonibare: Ritual Ecstasy of the Modern UNTIL 4 NOVEMBER

William Morris Gallery

Alice Black

David Zwirner

Lloyd Park, Forest Road, E17 4PP • Radical Landscapes 21 OCTOBER-18 FEBRUARY 2024

46 Mortimer Street, W1W 7RL • Amber Pinkerton—Self Dialogues: Hard Food UNTIL 11 NOVEMBER

24 Grafton Street, W1S 4EZ • Liu Ye: Naive and Sentimental Painting UNTIL 18 NOVEMBER

Alison Jacques

1B Little Titchfield Street, W1W 7BU • Sylvia Snowden: M Street on White UNTIL 28 OCTOBER

Auctions Mark Grotjahn’s Untitled (CAPRI 48.27), painted in 2016, is due to go under the hammer at Phillips this afternoon, with an estimate of £300,000-£500,000

22 Cork Street, W1S 3LZ • Sheila Hicks: Infinite Potential UNTIL 18 NOVEMBER

Amanda Wilkinson 1st Floor, 47 Farringdon Road, EC1M 3JB • Derek Jarman: Queer UNTIL 16 DECEMBER

Annely Juda 23 Dering Street, W1S 1AW • Elizabeth Magill: By This River UNTIL 4 NOVEMBER • Philipp Goldbach: Verso UNTIL 4 NOVEMBER

Arcadia Missa 35 Duke Street, W1U 1LH • Phoebe Collings-James: bun babylon; a heretics anthology UNTIL 28 OCTOBER

aims to reveal the beauty and breadth of Hals’s work to a new generation. As the curator, Bart Cornelis, notes: “No one under the age of 40 has been able to acquaint themselves… with the genius of one of the greatest portrait painters of all time.” José da Silva

Edel Assanti

Flowers, Cork Street 21 Cork Street, W1S 3LZ • Aida Tomescu: With the Crimson Word UNTIL 28 OCTOBER

Frith Street Gallery 18 Golden Square, W1F 9JJ • Małgorzata Mirga-Tas UNTIL 11 NOVEMBER

Gagosian, Davies Street 17 Davies Street, W1K 3DF • Richard Prince: The Entertainers UNTIL 16 NOVEMBER

Gagosian, Grosvenor Hill

20 Grosvenor Hill, W1K EQD • Richard Prince: Early Photography 1977–87 UNTIL 22 DECEMBER

Galerie Max Hetzler 41 Dover Street, W1 4NS • Eleanor Swordy: Busy Signal UNTIL 28 OCTOBER

Gathering 5 Warwick Street, W1B 5LU • Simeon Barclay: At Home, Everywhere and Nowhere UNTIL 11 NOVEMBER

Phillips 1pm 20th Century & Contemporary Art Day Sale

Friday 13 October Sotheby’s 1pm Contemporary Day Auction

Lisson Gallery, Lisson Street 67 Lisson Street, NW1 5DA • Li Ran: Waiting for the Advent UNTIL 28 OCTOBER

Lisson Gallery, Bell Street 27 Bell Street, NW1 5BY • Ryan Gander: PUNTO! UNTIL 28 OCTOBER 2 Savile Row, W1S 3PA • Katsumi Nakai: Unfolding UNTIL 9 DECEMBER

Lyndsey Ingram 20 Bourdon Street, W1K 3PL • Katy Stubbs: Smoke and Mirrors UNTIL 10 NOVEMBER

Mamoth 3 Endsleigh Street, WC1H 0DS • Ted Gahl: Café Nervosa UNTIL 3 NOVEMBER

Marlborough

93 Charterhouse St, EC1M 6HR • Choon Mi Kim: ACID—FREEEE UNTIL 28 OCTOBER

Goodman Gallery

Mazzoleni

26 Cork Street, W1S 3ND • Shirin Neshat: The Fury UNTIL 11 NOVEMBER

15 Old Bond Street, W1S 4PR • The Paradox of Proximity: Agostino Bonalumi and Lee Seung Jio UNTIL 30 NOVEMBER

Ginny on Frederick

Grimm Gallery 2 Bourdon Street, W1K 3PA • Anthony Cudahy: Double Spar UNTIL 11 NOVEMBER

Grosvenor Gallery 35 Bury St, SW1Y 6AY

Michael Werner 22 Upper Brook Street, W1K 7PZ • James Lee Byars & Seung-taek Lee: Invisible Questions that Fill the Air UNTIL 18 NOVEMBER

Modern Art, Bury Street 7 Bury Street, SW1Y 6AL • Michael E. Smith UNTIL 11 NOVEMBER

No. 9 Cork Street

45 Davies Street, W1K 4LX • Women of the 20s UNTIL 22 DECEMBER

6pm The Now Evening Auction 7pm Contemporary Evening Auction

1 Cromwell Place, SW7 2JE • Kader Attia & Mandy El-Sayegh UNTIL 4 NOVEMBER

6 Albemarle Street, W1S 4BY • Alexander James: Tuck Shop for the Wicked UNTIL 18 NOVEMBER • Deanio X: Symphony of Storms UNTIL 18 NOVEMBER

Belmacz

Thursday 12 October Sotheby’s

40-46 Riding House Street, W1W 7EX • Gareth Cadwallader: Let Me See The Colts UNTIL 11 NOVEMBER

Luxembourg + Co

Whitechapel Gallery 82 Whitechapel High Street, E1 7QX • Nicole Eisenman: What Happened 11 OCTOBER-14 JANUARY 2024 • Anna Mendelssohn: Speak, Poetess 11 OCTOBER-21 JANUARY 2024

The Showroom

• TALPUR UNTIL 18 OCTOBER

South London Gallery

9 Cork Street, W1S 3LL • Story, Place UNTIL 21 OCTOBER

Phillips

Bernard Jacobson

3pm 20th Century & Contemporary Art Evening Sale

28 Duke Street, SW1Y 6AG • William Tillyer: The Mulgrave Tensile Wire Works UNTIL 28 OCTOBER

Offer Waterman

Ben Brown Fine Arts

Ordovas

12 Brook’s Mews, W1K 4DG • José Parlá: Phosphene 11 OCTOBER-17 NOVEMBER

25 Savile Row, W1S 2ES • Francis Bacon & Andy Warhol: Endless Variations UNTIL 15 DECEMBER

Christie’s 5pm 20th/21st Century: London Evening Sale 7pm Masterpieces from the Collection of Sam Josefowitz: A Lifetime of Discovery and Scholarship

Saturday 14 October Christie’s 1pm Post-War and Contemporary Art Day Sale

17 St George Street, W1S 1FJ • On Foot UNTIL 28 OCTOBER

Carl Kostyal

Pace

12a Savile Row, W1S 3PQ • Arnaud Adami: The Visible Turn UNTIL 28 OCTOBER

5 Hanover Sq, W1S 1HE • Robert Irwin & Mary Corse: Parallax UNTIL 11 NOVEMBER

Castor 12-14 Whitfield Street, W1T 2RF • Des Lawrence: Oh my absolute complete and utter everlasting days!

Phillida Reid Beer Garden with Ulrike and Celeste (2009) is one of the works in the retrospective of artist Nicole Eisenman at the Whitechapel Gallery

 CONTINUED ON PAGE 26

HALS: © THE WALLACE COLLECTION, LONDON. GROTJAHN: COURTESY OF PHILLIPS. EISENMAN: PHOTO: BRYAN CONLEY, COURTESY OF HALL ART FOUNDATION; COURTESY OF CARNEGIE MUSEUM OF ART

 CONTINUED FROM PAGE 23

ISAAC JULIEN ORGANIZED BY

Yale Center for British Art Yale School of Architecture ON VIEW

Yale Architecture Gallery New Haven, Connecticut August 24 to December 10

Isaac Julien, Lina Bo Bardi — A Marvellous Entanglement (2019). © Isaac Julien 2019. Installation view, Yale School of Architecture, 2023. Photo by Michael Ipsen, Yale Center for British Art.

Lina Bo Bardi — A Marvellous Entanglement

THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

26

WHAT’S ON Frieze week  CONTINUED FROM PAGE 24

UNTIL 21 OCTOBER

Maureen Paley 10-16 Grape Street, WC2H 8DY • Prem Sahib: The Life Cycle of a Flea UNTIL 8 NOVEMBER

60 Three Colts Lane, E2 6GQ • Eduardo Sarabia: Prologue UNTIL 22 OCTOBER

Pilar Corrias

Modern Art

51 Conduit Street, London W1S 2YT • Christina Quarles: Tripping Over My Joy UNTIL 16 DECEMBER 2 Savile Row, W1S 3PA • Cui Jie: Thermal Landscapes UNTIL 4 NOVEMBER

8 Helmet Row, EC1V 3QJ • Justin Caguiat: Dreampop UNTIL 4 NOVEMBER

Mother’s Tankstation 64 Three Colts Lane, E2 6GP • Yuko Mohri: Sweet to Tongue and Sound to Eye UNTIL 2 DECEMBER

Pippy Houldsworth

Nicoletti Contemporary

6 Heddon Street, W1B 4BT • Wangari Mathenge: A Day of Rest UNTIL 4 NOVEMBER

12a Vyner Street, E2 9DG • Josèfa Ntjam: Limestone Memories— un maquis sous les étoiles UNTIL 4 NOVEMBER

PM/AM 37 Eastcastle Street, W1W 8DR • Raelis Vasquez UNTIL 31 OCTOBER

PUBLIC Gallery

Chris Killip’s Helen and her Hula-hoop, Seacoal Camp, Lynemouth, Northumberland, 1984, on show in the William Morris Gallery exhibition

Robilant + Veona 38 Dover St, W1S 4NL • Daniel Ambrosi: AI and the Landscapes of Capability Brown UNTIL 15 DECEMBER

Saatchi Yates 14 Bury St, St James’s, London SW1Y 6AL • Will St. John UNTIL 22 OCTOBER

Sadie Coles HQ 62 Kingly Street, W1B 5QN • Alvaro Barrington: They Got Time - Grandma’s Land UNTIL 21 OCTOBER

Sadie Coles, Bury Street 8 Bury St, SW1Y 6AB • Urs Fischer: Flea Circus UNTIL 18 NOVEMBER

Sadie Coles, Davies Street 1 Davies Street, W1K 3DB • Martine Syms: Present Goo UNTIL 4 NOVEMBER

Sarah Myerscough Gallery 34 North Row, London W1K 6DH • Silver Jubilee: Collections UNTIL 21 OCTOBER

Skarstedt 8 Bennet Street, SW1A 1RP • Cristina BanBan: La Matrona UNTIL 25 NOVEMBER

Somers Gallery 96 Chalton Street, NW1 1HJ • Six Artist Group Show curated by

Sacha Craddock: Full House UNTIL 14 OCTOBER 7 Grafton Street, W1S 4EJ • Sylvie Fleury: S.F. UNTIL 4 NOVEMBER

3 Hanover Square, W1S 1HD • Dreamscape Estuary UNTIL 4 NOVEMBER • Jason Boyd Kinsella: Anatomy of the Radiant Mind UNTIL 4 NOVEMBER

South Parade

Vigo

Griffin House, 79 Saffron Hill, EC1R 5BU • Ellie Pratt: Taste Maker UNTIL 4 NOVEMBER

8 Masons Yard, SW1 6BU • Leonhard Hurzlmeier: Kissing Shores UNTIL 27 OCTOBER

Stephen Friedman

Waddington Custot

5-6 Cork Street, London W1S 3NY • Yinka Shonibare: Free The Wind, The Spirit, and The Sun UNTIL 11 NOVEMBER

11 Cork Street, W1S 3LT • Yves Dana: Un autre regard sur la sculpture UNTIL26 NOVEMBER

Thaddaeus Ropac

White Cube, Mason’s Yard

37 Dover Street, W1S 4NJ • Daniel Richter: Stupor UNTIL 1 DECEMBER

26 Masons Yard, SW1Y 6BU • Marina Rheingantz UNTIL 11 NOVEMBER

Thomas Dane

Workplace

11 Duke St, SW1Y 6BN • Xie Nanxing: Hello, Portrait! UNTIL 16 DECEMBER 3 Duke St, SW1Y 6BN • Igshaan Adams: Primêre Wentelbaan UNTIL 16 DECEMBER

50 Mortimer Street, W1W 7RP • Simeon Barclay: At Home, Everywhere and Nowhere UNTIL 11 NOVEMBER

Timothy Taylor

○ Galleries: East

Sprüth Magers

15 Bolton Street, W1J 8BG • Eddie Martinez: Enough 12 OCTOBER-18 NOVEMBER

Unit London

88 Mile End Road, E1 4UN • Josiane M.H. Pozi: Through my fault UNTIL 28 OCTOBER 68 Compton Street, EC1V 0BN • Melania Toma: As soon as the Sun Sets UNTIL 1 NOVEMBER

Doyle Wham 91A Rivington Street, EC2A 3AY • Angèle Etoundi Essamba: Africanesse UNTIL 18 NOVEMBER

Ed Cross Fine Art 19 Garrett Street, EC1Y 0TW • Abe Odedina: I’m a Believer UNTIL 11 NOVEMBER

Emalin 1 Holywell Lane, EC2A 3ET • Nikita Gale: BLUR BALLAD UNTIL 9 DECEMBER

Flowers, Kingsland Rd

This year’s London edition of the 1-54 Contemporary African Art Fair includes presentations from 62 international exhibitors

Frieze London

Women in Art Fair

Regent’s Park, NW1 4LL UNTIL 15 OCTOBER

Mall Galleries, The Mall, SW1 UNTIL 14 OCTOBER

Frieze Masters

Start Art Fair

Regent’s Park, NW1 4HA UNTIL 15 OCTOBER

Saatchi Gallery, King’s Road, SW3 4RY UNTIL 15 OCTOBER

1-54 Contemporary African Art Fair

The Other Art Fair

Somerset House, Strand, WC2R 1LA 12-15 OCTOBER

Truman Brewery, 85 Brick Lane, E1 6QL 12-15 OCTOBER

Raven Row 56 Artillery Lane, E1 7LS • Lutz Bacher: AYE! UNTIL 17 DECEMBER

82 Kingsland Road, E2 8DP • MATTER UNTIL 4 NOVEMBER

Gagosian Open 4 Princelet Street, E1 6QH • Christo: Early Works UNTIL 22 OCTOBER

Guts Gallery 10 Andre Street, E8 2AA • Shadi Al-Atallah: Fistfight UNTIL 25 OCTOBER

Hales 7 Bethnal Green Road, E1 6LA • Anthony Cudahy: Double Spar UNTIL 11 NOVEMBER

Herald St 2 Herald St, E2 6JT • Pablo Bronstein: Cakehole UNTIL 18 NOVEMBER

PAD Design + Art

Kate MacGarry

Berkeley Square, W1J 6EN UNTIL 15 OCTOBER

27 Old Nichol Street, E2 7HR • Florian Meisenberg: What does the smoke know of the fire?

Sheena Wagstaff, formerly chair of Modern and contemporary art at the Met museum, discusses studio spaces with artist Arlene Shechet

The talks are taking place in dunhill’s design-led space at Frieze Masters

Rocket

Thursday 12 October

Friday 13 October

4 Sheep Lane, E8 4QS • Martin Parr: Sports and Spectatorship UNTIL 29 FEBRUARY 2024

12pm Arlene Shechet in conversation with Sheena Wagstaff Arlene Shechet’s work embraces improvisation to examine the humour and pathos of the lived human experience. Shechet speaks with curator Sheena Wagstaff, exploring the studio space and its role in an artist’s career and creative practice. 3pm Rachel Whiteread in conversation with Briony Fer In Rachel Whiteread’s sculptures and drawings, everyday settings, objects, and surfaces are transformed into ghostly replicas that are eerily familiar. She speaks to Briony Fer, Professor of Art History at University College London.

3pm Maggi Hambling, Sarah Lucas and Louisa Buck in conversation Maggi Hambling speaks with fellow artist and friend Sarah Lucas, moderated by Louisa Buck, The Art Newspaper’s contemporary art correspondent.

Seventeen 276 Kingsland Road, E8 4DG • Andy Holden: Song of Songs UNTIL 21 OCTOBER

Tabula Rasa Gallery 99 East Road, N1 6AQ • Tant Yunshu Zhong: When Does a Wanderer Seek Rest at Night UNTIL 17 NOVEMBER

The Approach 47 Approach Road, E2 9LY • John Maclean: New Paintings UNTIL 28 OCTOBER

Union Pacific 17 Goulston Street, E1 7TP • Kevin Brisco Jr: But I Hear There Are New Suns UNTIL 18 NOVEMBER

Victoria Miro 16 Wharf Road, N1 7RW • Paula Rego: Letting Loose UNTIL 11 NOVEMBER • Ali Banisadr: The Changing Past UNTIL 11 NOVEMBER

Carlos/Ishikawa

Daniel Benjamin

Fairs

91 Middlesex Street, E1 7DA • Group Show: The last train after the last train UNTIL 28 OCTOBER

New Vanguard UNTIL 3 NOVEMBER

Cooke Latham Gallery 41 Parkgate Road, SW11 4NP • Francisco Rodriguez: The Weight of the Night UNTIL 2 NOVEMBER

Copperfield

○ Galleries:

North

6 Copperfield Street, SE1 0EP • Narges Mohammadi & Laila Tara H: Hastan UNTIL 10 NOVEMBER

Corvi-Mora Art Space Gallery 84 St Peter’s Street, N1 8JS • Jeffery Camp: A Visionary UNTIL 20 OCTOBER

Bobinska Brownlee New River 38 Tower Court, London N1 2US • Sarah-Joy Ford: HARE UNTIL 28 OCTOBER

Cob Gallery 205 Royal College St, NW1 0SG • Tomo Campbell: Spitting Feathers UNTIL 14 OCTOBER

No 20 Arts 20 Cross Street, N1 2BG • Kimberley Burrows, Euan Evans, Elena Njoabuzia Onwochei-Garcia & Heiyi Tam: ADDENDUM UNTIL 15 OCTOBER

1A Kempsford Road, SE11 4NU • Anika Roach: Limbo Along Brass Tacks UNTIL 11 NOVEMBER

Kristin Hjellegjerde 2 Melior Place, SE1 3SZ • Charlie Stein: Virtually Yours UNTIL 25 NOVEMBER • Ken Nwadiogbu: Fragments of Reality UNTIL 25 NOVEMBER

Saturday 14 October 3pm Mandy El-Sayegh, Flavia Frigeri and Valerie Cassel Oliver in conversation London-based artist Mandy ElSayegh talks to the National Portrait Gallery’s ‘Chanel Curator for the Collection’ Flavia Frigeri and Valerie Cassel Oliver of the Virginia Museum of Fine Arts in the US.

24a Penarth Centre, SE15 1TR • Remi Ajani: It’s not what you look at... It’s what you see UNTIL 21 OCTOBER

Sundy 63 Black Prince Road, SE11 5QH • Daphne Ahlers: Hum UNTIL 28 OCTOBER

The Sunday Painter 119 South Lambeth Road, SW8 1XA • Ernesto Burgos: When a bird lands on the ground it invariably stops singing UNTIL 28 OCTOBER

Turps Gallery Taplow House, Thurlow Street, SE17 2UQ • Cherry Pickles: I Killed a Hitchhiker Back in 86 UNTIL 12 NOVEMBER

White Cube 144-152 Bermondsey Street, SE1 3TQ • Julie Mehretu UNTIL 5 NOVEMBER

Queercircle Soames Walk, SE10 0BN • Rafal Zajko: Clocking Off UNTIL 26 NOVEMBER

Matt’s Gallery 6 Charles Clowes Walk, SW11 7AN • Nina Davies: Precursing UNTIL 5 NOVEMBER

Sid Motion Gallery

James Freeman

○ Galleries: West Cromwell Place 4 Cromwell Place, SW7 2JE • Displays from International Galleries VARIOUS DATES

Flow Gallery

354 Upper Street, N1 0PD • Janpeter Muilwijk: One Foot in Heaven UNTIL 28 OCTOBER

1-5 Needham Road, W11 2RP • Oliver Cook UNTIL 4 NOVEMBER

Frestonian Gallery

○ Galleries: South

2 Olaf Street, W11 4BE • Tim Braden: La Coloriste UNTIL 4 NOVEMBER

Cabinet

HackelBury

132 Tyers Street, SE11 5HS • Primitive Tales: Atiéna R. Kilfa UNTIL 11 NOVEMBER

4 Launceston Place, W8 5RL • Medium & Memory UNTIL 21 NOVEMBER

Cecilia Brunson Projects

Roman Road

3G Royal Oak Yard, SE1 3GD • Claudia Alarcón & Silät: Nitsäyphä: Wichí Stories UNTIL 3 NOVEMBER Janet Sobel: 1940s, at the Heart of the

50 Golborne Road, W10 5PR • Antonia Nannt, Murat Önen, Victoria Pidust and Lola Stong-Brett: Canon of Beauty UNTIL 11 NOVEMBER

Eddie Martinez’s Bufly No. 21 (Red Alert) in his show at Timothy Taylor

KILLIP: © CHRIS KILLIP PHOTOGRAPHY TRUST/MAGNUM PHOTOS, COURTESY OF MARTIN PARR FOUNDATION. 1-54: PHOTO: © JIM WINSLET. WAGSTAFF: PHOTO: © DANIEL DORSA. WALTER: COURTESY OF FRANK WALTER FAMILY AND KENNETH M. MILTON FINE ARTS. MARTINEZ: © EDDIE MARTINEZ. COURTESY: TIMOTHY TAYLOR

Richard Saltoun 41 Dover Street, W1S 4NS • The Resistance of Pen and Paper UNTIL 4 NOVEMBER

Frieze Masters Talks in collaboration with dunhill

Contemporary African Art Fair London 12–15 October 2023 Somerset House 1-54.com

29

THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

NEWS Frieze Week Galleries rely on triedand-tested names

LISSON: DAVID OWENS; EL ANATSUI: COURTESY THE ARTIST AND GOODMAN GALLERY

 CONTINUED FROM PAGE 1 build “more cross-referential collections mixing young and old in a way that other collectors don’t”. A similar reasoning is found in the words of Hauser & Wirth president Iwan Wirth, who said in a statement that “right now we see the most sophisticated collectors focusing more on the relationship between past and present”. The gallery’s Frieze London stand is devoted to recent sculptures and works on paper by Barbara Chase-Riboud, two of which from the latter medium sold for $120,000, while four works were disclosed to have sold at Frieze Masters, including an early Louise Bourgeois bronze sculpture for $3m. A turn towards tried-and-tested names also comes at a time when prices at auction for lesser-known—and often very young—artists is cooling, following a meteoric rise in the past five years. This was no better exemplified than at Phillips’s New Now sale in New York last month—the same “ultra-contemporary” category that turned freshfrom-art-school names such as Michaela Yearwood-Dan into market stars overnight, albeit in a manner that has been roundly criticised as highly speculative. This time round, all top nine highest prices achieved at Phillips were by artists over the age of 50—and most of them male—including Anish Kapoor and Gilbert & George. Its certainly a tried-and-tested name at Gagosian’s stand. While last year

at Frieze London the gallery gave its whole stand over to new works by the much-in-demand 30-year-old UK painter Jadé Fadojutimi, this year it is devoted to 12 new floral paintings by Damien Hirst, priced from $450,000 to $1m, all of which sold on the preview day. “We thought, who better to celebrate 20 years than the artist who best defines London’s rise as an art centre?” says Gagosian director Millicent Wilner. She adds that, while “prices for young artists at auction might have fluctuated, they have remained steady with us.” It is not just large, established operations that report a doubling down on already-sold art. Younger galleries with contemporary programmes are looking to get in on the secondary market game too. Alex Vardaxoglou, whose gallery Vardaxoglou is taking part in Frieze London for the first time, has just signed his first estate, that of Robyn Denny. “It’s kind of unprecedented for a gallery my size to take on an estate. The 20th-century context is very important for my programme,” he says. The gallery is showing a solo presentation by the 28-year-old Tanoa Sasraku, priced between £15,000 to £30,000, and has sold one to the Arts Council Collection Foundation, with two others on hold to institutions. What can be viewed as a retreat to the known is a trend that has been building for years, says the dealer Phillida Reid. She founded her gallery, formerly called Southard Reid, in 2010, and says that “buying is conservative, although much less nervous than it was last year. It has been for the last four years or three years”, reasoning that a “sort of prudence” or “thought hesitation” is accompanying the decision to

Der Rosarother Panther was one of a series of works the American artist Van Hanos created for Lisson Gallery’s Frieze London stand buy. “Prices got too high” with some galleries, and there “is definitely a correction”, she says. Importantly, she says: “The market is totally fine for things that have become popular or familiar. Or if the artist is very revered. That has become more exaggerated and that’s the way that things sell. Holding attention for the unknown is more and more difficult. And that is a challenge when you want to be a programme-led gallery.” But amid these challenges are positive signs. Reid is one of a number of London galleries to have opened a larger location in the past year, taking advantage of the pandemic to get an “amazing deal” on her Bloomsbury space. And while the problems “from Brexit, to increasing prices” have only “gotten worse”, more people are buying art than ever before. “It balances out,” she says. • Additional reporting by Tim Schneider and Anny Shaw

NOTABLE SALES What went on day one • Sophie von Hellermann, Dreamland (2023), Pilar Corrias, several works priced between £10,000 and £60,000, sold to a private collector who registered an interest in recreating the entire stand in their home • Van Hanos, Der Rosarote Panther (2023) sold for $60,000 at Lisson Gallery. A work that—while looking like an invented tableau—depicts an actual scene from the artist’s recent stay in Vienna. A passerby and a storefront window display combine to produce an everyday surrealism • El Anatsui, Untitled I (2023), sold for $1.9m at Goodman Gallery. A bottletop work that recalls the artist’s much, much larger hanging works that are stopping people in their tracks in Tate Modern’s Turbine Hall El Anatsui’s bottletop • Tammy Nguyen, Casella (2023) sold for $100,000 work Untitled I was sold at Lehmann Maupin gallery. A new, transfixing painting by Goodman Gallery inspired by Dante’s Inferno, purchased by a prominent collector on the board of the Tate

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Yinka Shonibare CBE Ritual Ecstasy of the Modern Until 4 November 2023

Cristea Roberts Gallery Frieze London

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THE ART NEWSPAPER FRIEZE FAIR EDITION 12 OCTOBER 2023

DIARY

Margate artists bring seaside to Frieze

Frieze Week

Anonymous reports from behind the scenes at the fair My column is a short one today because—insanely—I’m writing this as the fair opening is in full swing. I just ignored a huge collector from France so I could pen this quickly in the bathroom.   The best moment of the day was when I went for a cigarette after I sold the first big work and witnessed a very glamorous woman throw her mohair jumper in the bin because she was “simply too hot”. I then watched as an artist (not blue chip but quite famous) retrieve said jumper—but sadly, it was

Chris(t) Ofili loses his religion The art world can be a harsh place; indeed, at the Allied Editions stand at Frieze London, it looked like none other than the son of god had had his career cut short (thanks to a few strokes of Tippex). The Damned auto-correct! The label on the label for a work by the Chris Ofili work, with the clearly visible UK-based artist Chris ghost of a typing error Ofili had the vestige of a “T” at the end of Ofili’s first name—the letter having been redacted, but not quite thoroughly enough. Ofili is no stranger to religious subject matter, of course: his 1996 work The Holy Virgin Mary, featuring elephant dung and images of naked bottoms, sent politicians in New York into a spin when it was exhibited as part of Charles Saatchi’s Sensation exhibition. For the print at Frieze, he has stuck to Greek mythology, with a lively depiction of a satyr in an edition of 125 (price currently £2,800). Not quite the second coming, but still…

Art that brings tears to your eyes Its rare that an artist is moved to tears during a public talk, but on Tuesday night the Chicago-based artist Nick Cave was visibly affected when, in conversation with V&A East director Gus Casely-Hayford at the Royal Institute, he recalled how he felt when his family first came to his studio see his work. “I didn’t think they understood what I was doing, so for me to see them get it, it was so intense,” he said, wiping his eyes at the memory. There’s certainly intensity aplenty in Cave’s three works currently on show at Holtermann Fine Art, featuring casts of the artist’s body parts, wreaths of metal flowers and a tondo-pelt of vivid bristling metal filaments . They all use beauty as what he described as a politicallycharged “weapon”, to draw us in and churn us up. And while they may all date from this year, they mark a closed chapter: now he is entering a new phase, making what he describes as paintings, but using a needle, not a brush. Nick Cave (right) was overcome with “Needlepoint, that’s my new emotion during his conversation with painting,” he says. Subversive stitch, indeed. Gus Casely-Hayford (left)

The Undercover Gallerist

A room of one’s own: artist Sophie von Hellermann’s mixed-media tribute to her South coast hometown of Margate references crashing surf, scudding clouds and whirling carousels The Margate takeover of the art world continues apace. Pilar Corrias’s stand is given entirely to prominent local artist Sophie von Hellerman’s all encompassing installation paying tribute to her home town, with paintings, walls and even carpet devoted to all things Margate. But while Hellermann’s Thanet-themed gesamtkunstwerk offers an exuberant scene of whirling carousels, dancing figures, crashing surf and scudding clouds, next door Carl Freedman offers a less wholesome take on the South coast

Heart-melters on a mission

town. Here Lindsey Mendick, a good friend and protégé of Margate’s most famous native, Tracey Emin, has a striking display of her exuberantly dysfunctional ceramics. These works, sitting on plinths decorated with pastel patterns, depict handbags exploding with creepy crawlies and octopus tentacles. The pretty pedestals have a darker side, too—they are apparently blown-up specimens of murky household mould from Mendick’s Margate abode. So much for the healthy properties of sun, sea and sand!

Early doors for A-listers

After the queue chaos at Frieze London in 2022, We love our canine pals at The Art Newspaper, this year’s more orderly system—separated into which is why we were delighted to run into wave one for the top-tier celebs at 11am, and a throng of doggies known as the Dog wave two at 2pm—seemed to go down Unit outside Frieze London. These well with fairgoers at yesterday’s marvellous mutts are the “bomb opening. Venturing out into the dogs” who are trained to seek out 2pm throng, we asked a number of explosives on site. One of the visitors how they felt about being newest recruits to the explosives ranked below the VVVVVIPs. pack is a delectable doe-eyed “Bloody cheek! Seriously, getting puppy called Penny who was in is much better this year,” said keen to get started on her training an anonymous curator. Another by darting the aisles, checking out visitor patiently waiting to enter in collectors and sniffing around the the afternoon said the extra time stands. We understand that the melt-your-heart baby spaniel also Penny for your thoughts: allowed him to “shop first, browse has a brother at home called Kenny. the cute spaniel is doing museums second and hit the Frieze Hats off to Penny and Kenny, the her bit to keep visitors to trail last!” Never use the phrase sloppy seconds again… super-cute dog siblings. Frieze safe

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“I witnessed a woman throw her mohair jumper in the bin because it was ‘simply too hot’” covered in too much cigarette ash to be recovered.  The worst moment of the day—besides the free gallerists boxed lunches—was the sight of sniffer dogs roaming the aisles. It’s unclear if they were part of the pack of bomb dogs outside or if they were here to check nobody was having too much fun. I’m yet to hear what happened if they did in fact find something. Meanwhile, I’ve paid for the lights in my booth by placing some work—thank god. I need to make more as soon as possible to pay for the daily hoovering and cleaning fees… 

PHOTOS: GARETH HARRIS, LOUISA BUCK AND KABIR JALAH

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