This is Part 3 of our 2015 Frieze New York Art Fair summary. While it is certainly possible to enter any of our reports directly, for more general background information on the fair and further information on the structure of these slideshows, head back to Part 1 (here). Part 2 can be found here.
Tanya Bonakdar Gallery (here): A recent Gillian Wearing comes full circle, reimaging herself as a masked “artist as an artist” from 1984. It’s a back-to-the- beginning gesture, turned in on herself. Priced at £35000.
Galerie EIGEN + ART (here): These works by Olaf Nicolai push on the boundary between painting and photography. Starting with painted watercolors, he uses the condensation from his breath to disrupt the paint; the resulting dislocations are then photographed, creating up close textures that seem to melt. Priced at $7000 each.
Tomio Koyama Gallery (here): While the cherry blossom is a classic Japanese motif, Mika Ninagawa has done her best to reinvent it once again, creating photographs that combine abstract fields of fallen petals on water with overhead reflections. Ninagawa recently had a retrospective at the Hara Museum of Contemporary Art. Priced at $2500 each.
Grimm Gallery (here): This sculptural photoconceptual work by Ger van Elk has 1970s Los Angeles freeway images wrapped around a series of walking canes (this image is a detail of the larger work). The images form a never ending sweep that follows the curves of the sticks. Priced at €125000.
In Situ/Fabienne Leclerc (here): This triptych by Nigerian artist Otobong Nkanga turns the landscape into a decaying blanket that covers her lower body, her deeply dark silhouette tending and building, engaging with nature in a performative ritualistic way. Priced at $12500.
Green Naftali Gallery (here): Undermining sleek fashion with an office chair, a rubber trash can, and curlers. Bernadete Corporation, priced at $20000.
Broadway 1602 (here): Using ping pong balls as a surreal performative element. Lenora de Barros, priced at $6000.
Galerie Lelong (here): The wrinkled skin on the back of the neck as a fragmented map of personality and history. Alfredo Jaar, priced at $45000 for the set of 9 images.
Paul Kasmin Gallery (here): A swirled 1970s graffiti-style light drawing by Sigmar Polke. Priced at $40000.
Wallspace (here): Turning the negative space of letters (in this case, the inside of an S) into stand-alone sculptural forms. Shannon Ebner, priced at $15000.
Galleria Raffaella Cortese (here):Using the discrete stages of a falling black blindfold as a metaphor for the role of women in a stifled society. Anna Maria Maiolino, from 1976, priced at $102000.
Chi-Wen Gallery (here): Chien-Chi Chang’s here-and-there portrayal of separated families, with one foot in Fuzou in China and the other in New York’s Chinatown. (The parents couldn’t attend their son’s wedding.) Priced at $25500 for the triptych.
McKee Gallery (here): The burnished glow of delicate freckled skin. The intense intimacy of Richard Learoyd, priced at $35000.
Gladstone Gallery (here): Film still fragments turned into glowing lightbox abstractions. T.J. Wilcox, priced at $30000.
MOT International (here): Assembling a fashion model from his own rephotographed body parts. Ulay, priced at €60000.
Foxy Production (here): Covering up Picasso with an impossible arrangement of fingers. Sara Cwynar, priced at $4800.
Simone Subal Gallery (here): New work from B. Ingrid Olson, pushing her smart printing-on-the-mat idea into further layers of disorienting distortion. Priced at $3500.
Miguel Abreu Gallery (here): Pamela Rosenkranz’ new works in Yves Klein blue upend the perfection of facemounting to Plexi, allowing bubbles, delaminations, and wavy wrinkles to interrupt her pixelated, appropriated Artfact.com logo. It’s an artistic process intentionally destroyed. Priced at $50000.
