Frieze Art Fair in Regent’s Park opens tomorrow to select wealthy collectors seeking to snap up artworks by contemporary stars and Old Masters from a Cy Twombly canvas for $24 million to a Rembrandt portrait for $48.5 million.
Coinciding with the fair, Christie’s, Phillips and Sotheby’s will auction 972 works at their day and evening sales estimated at as much as 264 million pounds ($426 million), or more than double the 118 million pounds of art that was sold at the equivalent auctions last year. New buyers “from all pockets of the world” are purchasing art and pushing up prices, said Suzanne Gyorgy, head of art advisory and finance at New York-based Citigroup Inc.’s Citi Private Bank.
“In 2008, when certain parts of the art market were hit hard, the high end still did very well,” Gyorgy said. “Private sales carried on. A lot of wealth is still being created and more wealthy people are becoming collectors.”
The artworks offered at Frieze, auctions, galleries and a half-dozen satellite fairs in 2013 had been estimated at as much as $2 billion last year. Values probably will be about $2.2 billion, or 10 percent higher, this year, according to insurers.
“The contemporary art market is very robust, and the active buyers of art are heavily engaged,” in spending money on these works, said Andrew Gristina, national fine art practice leader at Travelers Cos., which is insuring a number of galleries at Frieze. “The fair remains a popular event and you would expect an equivalent amount of pieces of high quality to be brought there.”
Contemporary-art sales at public auctions globally totaled 1.5 billion euros ($1.9 billion) in the 12 months to July 3, up 33 percent from the previous year, according to a report by Paris-based arts data researcher Artprice. The figures don’t include commissions. Similar sales in 2000 were less than $90 million, Artprice said.
“Contemporary art, which used to be the weak link in the art market, is now almost as important as the modern art segment,” Thierry Ehrmann, chief executive officer of Artprice, said in an e-mail.
Frieze, which started in 2003 and expanded to New York in 2012, was the seventh-most attended art fair in the world from the fall of 2013 through June 30, with 70,000 visitors at the London event, according to a report by Skate’s, a New York-based art market researcher.
Frieze said it expects attendance this year to remain at 70,000, with 162 galleries at the main fair. Frieze Masters, a sister event also at Regent’s Park that shows modern and historic works, will have 127 galleries. Last year 152 galleries exhibited at Frieze and 130 at Frieze Masters.
At the main fair, Gagosian Gallery will offer “Gartenkinder,” a children’s playground by Belgian artistCarsten Holler. The installation includes a large-scale die that children can play inside and a giant mushroom that rocks like a toy. Gagosian declined to give a price.
Tanya Bonakdar gallery, based in New York, has a large-scale painting by Danish-Icelandic artistOlafur Eliasson priced from 150,000 euros to 200,000 euros.
Some galleries are likely to get a business boost from artists who have simultaneous museum shows.
Eliasson, who created public waterfalls at four sites in New York in 2008, is showing other works at Tate Britain that are inspired by the paintings of J.M.W. Turner. David Zwirner’s booth at Frieze has an $800,000 cloth work by American sculptor Richard Tuttle, whose new piece featuring vast sways of fabrics will be shown at Tate Modern’s massive Turbine Hall starting tomorrow.
One of the most expensive works at Frieze Masters is a Rembrandt 17th century portrait of a man with arms akimbo, being offered at New York’s Otto Naumann gallery for $48.5 million. A Twombly paint, crayon and graphite canvas from 1959 is at Van de Weghe Fine Art for $24 million. A 7,000-year-old figurine of an Aegean neolithic idol is at Rupert Wace gallery for 450,000 pounds.
The major auction houses will offer works by postwar and contemporary masters.
Christie’s kicks the auctions off this evening with the sale of 44 works from the Essl Collection of contemporary art in Austria, expected to fetch as much as 56.8 million pounds.
The works come from Karlheinz Essl, the founder of hardware store chain BauMax AG, and include coveted German postwar artists. Gerhard Richter’s 1985 red, yellow and green abstract is valued at 7 million to 10 million pounds. Sigmar Polke’s 1975 fiery red portrait “Indian With Eagle,” is estimated at 1.5 million pounds to 2 million pounds. Martin Kippenberger’s 1992 self-portrait is valued at 2.5 million pounds to 3.5 million pounds.
In a separate evening sale on Oct. 16, Christie’s will offer 46 lots with a high estimate of 47 million pounds. Peter Doig’s oil on canvas of a vibrant green basketball court titled “The Heart of Old San Juan” is estimated at 4 million to 6 million pounds.
Phillips’s evening sale on Oct. 15 will be the first in its new London home at 30 Berkeley Squarein the wealthy Mayfair neighborhood. Phillips, owned by Moscow-based Mercury Group, said the sale of 47 lots, featuring works by Christopher Wool, Richter, Damien Hirst and Richard Prince, is estimated to fetch as much as 23 million pounds. Wool’s untitled alkyd and acrylic on aluminum image of black birds is estimated at 1.8 million to 2.2 million pounds.
Sotheby’s evening sale on Oct. 17 has a high estimate of 35.1 million pounds for 59 lots. AFrancis Bacon portrait of a man in a suit is valued at 1.5 million to 2 million pounds.
Eight Photo Discoveries to See at Frieze London and Frieze Masters
Plaster Your Head and One Arm into a Wall, 1973 / 2009
– Walking into the Mark Wallinger curated Hauser & Wirth booth A Study in Red and Green
is like walking into a house party. All that is missing are the cocktails. You have the dude who has fallen asleep (Christoph Büchel’s sleeping museum guard), you have throngs of people chit-chatting, you have Martin Creed cacti in one corner of the room and a stretched Louise Bourgeois bronze arched over a day bed as if a sensual calamity of the party. But at the entrance you are greeted by two Paul McCarthy photographs: Plaster Your Head
and One Arm into a Wall
. These images, by an artist interested in themes of dislocation, disorientation and alienation, would of course be funny anywhere, but they worked particularly well as the opener to this innovatively-curated space that had you asking: “Where am I?”Read more: Eight Photo Discoveries to See at Frieze London and Frieze Masters – LightBox http://lightbox.time.com/2014/10/16/eight-photo-discoveries-to-see-at-frieze-london-and-frieze-masters/#ixzz3GJaDbeAt
Just like every year at Frieze London
, the majority of fairgoers were dressed in the obligatory art-fair black. And just like every year, the bigwigs of contemporary photography Wolfgang Tillmans, Ellad Lassry, Ryan McGinley, Andreas Gursky, Jeff Wall, and Thomas Struth were strutting their stuff on the gallery walls. But, among the best-selling greats, were also some unexpected gems – some well-known, others less so. Frieze Masters
, showcasing art from ancient to modern and only in its third year, was perhaps the biggest tour de force, with four dedicated photography galleries enticing audiences with works by Lionel Wendt, Keiji Uematsu and Charles Sheeler among others.
“With Frieze Masters we decided from the outset that we would give photography the same platform as painting, drawing and sculpture,” says Victoria Siddall, director of both London-based Frieze fairs. “We felt it was very important not to put the photography dealers into some kind of ghetto as they sometimes are at fairs.”
In this slideshow, I present my favorite picks from across both fairs.
Anne-Celine Jaeger is a contributor to TIME LightBox and the author of Image Makers, Image Takers, published by Thames & Hudson. She previously wrote for LightBox about Jean-François Leroy.
Read more: Eight Photo Discoveries to See at Frieze London and Frieze Masters – LightBox http://lightbox.time.com/2014/10/16/eight-photo-discoveries-to-see-at-frieze-london-and-frieze-masters/#ixzz3GJZRsIh3
WALL STREET JOURNAL:
Oct. 7, 2014 11:13 a.m. ET
EDWARD BARBER AND JAY OSGERBY met in 1992 as first-year architecture students at London’s Royal College of Art and became friends almost immediately. A little bored and more than a little underfunded, they jumped when an acquaintance put them up for some freelance work designing a bar. Soon they were skipping classes and running on adrenaline and cigarettes and the occasional round of drinks with the bar owner. (“He was sketchy,” says Barber. “The whole thing was sketchy, actually.”)
Their routine eventually caught up with them.
“I remember one course where we had a morning crit on a project, and we’d been up all night doing the bar,” Osgerby says. “Both of us were standing there, and it was like the firing squad—literally bang, bang, bang. It was awful. Not only did our teachers want to get rid of us, so did everyone in our class. We had jobs, you see.”
They’re still getting the jobs. Since co-founding Barber & Osgerby in 1996, two years after graduating from RCA, the duo, both 45, have maintained one of the more active design offices in London. Fueled by curiosity about how objects are made and used, they’ve produced a range of work—like the bent-plywood Loop table for Cappellini, the perforated torch for London’s 2012 Olympics and the Ace Hotel in Shoreditch, with its convivial, rabbit-hutch lobby—that, while stylistically diverse, always manages to look original and somehow inevitable. Their enthusiasm for research and craft has endeared them to industrial design giants such as Knoll, Vitra and B&B Italia, and the furniture they create for these companies possesses a lucid, streamlined beauty.
This is a busy moment for Barber and Osgerby, with a full spectrum of their work on view across London. First is a new interior scheme for the Frieze Art Fair, held each October in a tent among the ancient oaks of Regent’s Park. Over on Exhibition Road, London’s Science Museum launches Information Age, a 27,000-square-foot permanent gallery, four years in the making, that traces the history of communication over two centuries, from the earliest telegraph receivers to the Soviet BESM-6 supercomputer. Next door at the Victoria and Albert Museum, the designers have temporarily turned the barrel-vaulted Raphael Gallery into an engine room for art, where a pair of massive whirring blades mounted above visitors’ heads reflects Renaissance paintings to the crowd below.
The first two projects are the work of Universal Design Studio, a division Barber & Osgerby launched in 2001 to handle their architecture and interiors practice. In 2011 they complemented Universal with MAP, an industrial design consultancy focused on strategy and innovation. From the beginning, the two have pursued jobs that overstep the neat boundaries of industrial design work, and the firm’s tripartite structure lets them take on projects up and down the supply chain, from conception and planning (the Google Chrome Web Lab in 2012) to the end user (solar-powered lanterns for Louis Vuitton the same year). “In a nutshell,” says Osgerby, “MAP is about thinking, Universal is about building and Barber & Osgerby is about making.”
All three divisions, employing some 60 people, occupy a newly expanded Shoreditch office that meanders through a former warehouse building on Charlotte Road. The principals share a desk in each of the three studios, though they can often be found in one of the basement rooms devoted to model making, a passion for both of them since boyhood. At RCA they developed the habit of drawing opposite each other at the same desk and sequentially folding heavy card paper into experimental shapes. “It was really fraternal,” Osgerby says. “It still is. We both come from families with three boys—I was the oldest and Ed was in the middle—and I think that’s how we’ve managed to get on the way we have.”
Outside the office their lives are notably different. Barber is unmarried, a voracious traveler and a photographer. Osgerby has a wife and three young children and regularly bikes the six miles between the office and his home in Greenwich. And yet they are on a plane together almost every week, sporting identical brown beards and dressed as though from the same closet: jeans, sneakers and loose cotton blazers. (When a new acquaintance mixes them up, Osgerby, the more diminutive, volunteers the mnemonic that “Jay” is shorter than “Edward.”) They juggle factory visits, exploratory meetings and promotional trips, using the travel time to evaluate new jobs and chart the studio’s professional course. As their opportunities have grown, notes Barber, their goals have become more far-reaching. This is especially true in product design: “If you can reinvent an archetype for its function, and not just in a styling way, that’s really something,” he says. “Like the soda bottle to the can—same function, new take. That was reinventing the archetype. That’s big.”
This past summer the studio won a competition for its most ambitious project to date, one that will expose several archetypes to re-examination—the Crossrail train, part of a new high-speed transport line that will hurtle east–west through London and its suburbs in under an hour. It’s a quintessential Barber & Osgerby job: The studio will conceive of not just the train and its contents, but the travel experience as a whole, including acoustics, signage and how people enter and exit the cars.
The Frieze tent, temporary and sprawling at 215,000 square feet, offers an intriguing set of opposites: It’s about creating engagement, not about passing through, and the commission has a budget that is “hilariously small,” notes Frieze co-director Matthew Slotover. It also targets the chauffeur-driven cultural elite—a group the designers have never sought to cultivate—rather than commuters.
“We haven’t wined and dined the art world,” Osgerby says. “We’ve never hung out and been part of the clique—in fact, we’ve never done that with any clique. We’ve just set out to do our own thing.” Perhaps because of that, and despite accolades within the design community (not to mention OBEs bestowed on them by the Crown in 2013), Barber and Osgerby haven’t attained the level of fame that some of their RCA classmates—architect David Adjaye and fashion designer Christopher Bailey, for instance—have.
This doesn’t concern them. They’re less interested in courting status than in the opportunities that tend to float by in its wake. Deyan Sudjic, head of the London Design Museum, believes the pair will make a lasting contribution to the design landscape in a decisively modern way. “They demonstrate a certain pragmatism that was perhaps shaped by their early experiences as students,” he writes in his foreword to the duo’s 2011 monograph.
The designers might put it differently. “We’re over there, beavering away,” Osgerby says. “And people are finally curious.”
Frieze art fair | Source: Courtesy
LONDON, United Kingdom — In 2003, the Frieze art fair launched as a modest event in a large tent in London’s Regent’s Park. But twelve years on, the fair and its sibling event, Frieze Masters, attracts 70,000 visitors from around the world and has become the centrepiece of a week-long, city-wide programme of art events. Any cultural organisation that aspires to international status will hold a launch of some kind this week, from the unveiling of Richard Tuttle’s monumental installation at Tate Modern to fly-by-night events in derelict office blocks. As gallerists, collectors, curators, critics, artists and curious civilians converge on London for private views, talks and parties, it can be easy to forget that the increasingly buzzy atmosphere surrounds a marketplace. Frieze exists for the buying and selling of art — and, as it grows, the acquisitive urge of those it attracts has been flowing out of the fair and into the city’s fashion retailers.
“Our customers always love our events during Frieze. It’s our busiest time of the year,” says Adrian Joffe, chief executive of Dover Street Market, whose original store is positioned on Dover Street, in London’s Mayfair, a stone’s throw from a number of blue-chip art galleries. Unlike London Fashion Week, which brings with it an entourage of press and store buyers, Frieze attracts an aesthetically sophisticated, wealthy clientele that makes for an excellent fit with the store, which is run by a subsidiary of Comme des Garçons. “Our customers during Frieze are like the ones that come to us all the time — fashion-forward, independent, creative, curious, cool, strong, interested in art and design, daring, lovely and wonderful — there are just more of them about during Frieze,” added Joffe.
Dover Street Market actively tempts Frieze-goers with a richer-than-usual programme of exhibits and events, which this year includes installations by French artist Nicolas Buffe and designer Ann Demeulemeester, as well as the unveiling of Louis Vuitton’s Icons and Iconoclasts collection, featuring a collaboration with the artist Cindy Sherman.
The Frieze private view on the Tuesday night of the fair often more closely resembles a long snaking catwalk — or perhaps the red carpet of a film premiere — than an art gallery, peppered as it is with the gorgeous, the extravagant and the brilliantly peculiar. Under the flooding white lights of the big tent in Regent’s Park everyone is on display. But it’s not all about billionaires’ wives wearing 12cm heels and 10cm skirts as they eye up the Oscar Murillos and ponder which will best match their carefully curated scatter cushions. The Frieze effect is also important to fashion brands that court those working in the creative industries.
“Our heads of design Karin Gustafsson and Martin Andersson are always at the fair,” says Atul Pathak, head of communications for COS. “We find that we are fortunate enough see a lot of our collection represented in the outfits of the people in the fair itself. It makes us feel that we are talking to the right audience.” In previous years, COS has supported Frame, a section of Frieze dedicated to young galleries. “We think our customers have a strong interest across the design world and in contemporary art — it feels like it’s integral to the brand.”
For the last few years, the family-run, Italian luxury goods company Etro has launched artist collaboration projects to coincide with Frieze week. This year, they are unveiling an accessory collection created with the Japanese artist Mika Ninagawa, accompanied by celebratory events aimed at those in town for the fair. “We are keen collectors of contemporary and ancient art,” explains creative director Jacopo Etro, adding that, as a house known for its prints and patterns, his family’s interest in art provides it with an important source of inspiration. For Etro, Frieze carries “a particular atmosphere, a moment of sharing and joyfulness, spreading energy and positivity all around the city…. You can feel excitement in the air.” Whilst the house’s artist collaborations are meant to represent a celebration of creativity, Etro is happy to say “that these kinds of projects have a good impact on sales as well.”
The relationship is, of course, a reciprocal one, benefiting not just retailers, but also the participating artists. “The art scene in Britain has changed a lot in recent years,” notes Linda Hewson, creative director of Selfridges. “The fact is that the arts need public and commercial support now more than ever to ultimately reach as wide an audience as possible.” This year, Selfridges’ Old Hotel will act as an off-site project space for Frieze and the Institute of Contemporary Arts, with live events staged by performers including Korakrit Arunanondchai and Boychild. “We go to Frieze every year and have done since its launch,” says Hewson. “It’s part of our cultural research into the global art scene, market and trends. The fair is an important moment on the cultural calendar in London because it creates a buzz of peripheral art happenings and openings.”
Selfridges first hosted an ICA off-site project last year and it drew thousands of new visitors – a much larger audience than would generally visit the cerebral, iconoclastic ICA’s comparatively diminutive galleries on the Mall. Positioning itself somewhere between the glitz of Frieze and the grit of the ICA suits Selfridges well, explains Hewson: “If you consider Frieze as aspirational in terms of the cultural elite who attend and spend, then there is an overlap with our international clientele. If you consider the ICA as being on the knife’s edge of contemporary creativity then perhaps the more pertinent overlap is with our savvy London clientele who relate to such art forms more. But good, even great, exciting art draws audiences from all walks of life.”
Such off-site projects, performances and events are of increasing importance because the consumer who attends Frieze is, as Hewson notes, looking for something that is one-of-a-kind, unique, experiential.Alexander McQueen, which first became an official sponsor of the fair in 2013, is, this year, putting its name behind Live, Frieze’s inaugural performance art programme. And, for the first time, this year, Gucci is one of the sponsors of the Frieze Masters fair, which is held on a separate site and focuses on historical art.
For both brands, the choice of association is telling. Gucci has allied itself with the talks programme of Frieze Masters, which features names that may be familiar to the brand’s customer base, including South African artist William Kentridge and best-selling author and ceramicist Edmund de Waal. Meanwhile, Alexander McQueen is stepping up to support challenging live art, including an explicit critique of lifestyle branding by the New York-based collective Shanzhai Biennial, which tallies well with the house’s history of spectacular and often provocative shows. “Performance art has had its highs and lows in terms of acceptance and popularity, but it’s certainly the most experimental art practice and there’s a new and rejuvenated energy,” notes Jonathan Akeroyd, chief executive of Alexander McQueen. “As a brand, Alexander McQueen has always been at the forefront of pushing boundaries.”
In describing the fair, Akeroyd makes an important distinction between the convivial, welcoming atmosphere of Frieze and the comparatively quiet formality that many associate with galleries and museums. Part of his intention in supporting Frieze is to help broaden the audience for contemporary art, as well as profit from the crossover potential with the fashion industry. In addition to showing works from the Sadie Coles gallery in a glass vitrine in their Savile Row store, Alexander McQueen will host events that bring together key players from the art and fashion industries.
“Lee McQueen was a big collector and Frieze was always a highlight of his year; he would also ensure that he was always one of the first to visit the fair on the opening day,” explains Akeroyd. “Obviously being a creative company pretty much all of our staff have a high level of interest in the art world and it is great that we all now feel more connected to the fair through our involvement.”
Beyoncé and Jay Z Match During Date Night in London: See the Cute Coordinating Couple!
Beyoncé and Jay Z are taking London!
The 33-year-old “Flawless” singer and her 44-year-old hubby stepped out in London Wednesday night dressed in coordinating black and white outfits.
For their date night, Bey looked super fashionable in a black and white polka dot skirt and a black and white patterned blouse under a black motorcycle jacket. Beyoncé completed her monochromatic ensemble with black sunglasses, black and white striped heels and hernew blunt bangs. And for her man, he sported black pants and a white hoodie under a black jacket.
Talks about one cute coordinating couple!
Neil P. Mockford/GC Images
As for their outing, Bey and Jay attended the annual Frieze Art Fair together in London’s Regents Park.
Earlier today, Beyoncé and Jay were spotted leaving an art gallery together looking cute and colorful. Bey looked chic in a white skirt that featured a black, orange and blue pattern paired with a black and white top, sunglasses and black heels. Her hubby followed behind her wearing black pants and a gray designer hoodie.
Beyoncé has been out and about a lot since debuting her new bangs the other day. Bey stepped out in Paris Tuesday morning with the surprising new ‘do.
Hirst Tops Sales as Buyers Pick $2.2 Billion Frieze Art
Mnuchin Gallery sold one of four sculptures from the 1955 “Forgings” series by American sculptor David Smith for $2.5 million at Frieze in London. Source: Mnuchin Gallery via Bloomberg
Damien Hirst, Pablo Picasso and Andy Warhol works sold for more than $3 million each as wealthy collectors got first dibs at the opening of the Frieze Art Fair in London.
Select guests including billionaire Indonesian collector Budi Tek, who opened a private museum in Shanghai in May, actress Sienna Miller and architect Zaha Hadid packed 162 galleries this week at the main contemporary art fair in Regent’s Park and 127 booths at Frieze Masters, a sister event showing modern and historic works.
Frieze Week is Europe’s biggest concentration of commercial fairs, public sales and gallery shows, offering as much as $2.2 billion of art. Frieze, whose organizers expect 70,000 people to attend the two fairs, runs through Oct. 18; Frieze Masters closes Oct. 19.
Contemporary-art sales at public auctions globally totaled 1.5 billion euros ($1.9 billion) in the 12 months to July 3, up 33 percent from the previous year, according to Paris-based arts data researcher Artprice.
Dealers reported brisk sales in the first two days of the fair. Within the first hour of the Frieze Masters preview, Mnuchin Gallery sold one of four elongated varnished steel sculptures from the 1955 “Forgings” series by U.S. sculptor David Smith for $2.5 million to a private collector.
“Americans know David Smith, but we need to broaden his audience,” Robert Mnuchin, a former Goldman Sachs Group Inc. executive whose New York gallery specializes in postwar art, said of the artist who died in 1965. “I’ve already had a lot of interest from non-U.S. collectors.”
Many of the bigger sales were at Frieze Masters, which had booths showing works by Francis Bacon, Edgar Degas, Claude Monet and Old Masters such as Rembrandt and Peter Paul Rubens.
Warhol’s “The Scream (After Munch),” a 1984 work inspired by the Norwegian artist, was sold by Skarstedt Gallery for about $5.5 million to a private collector.
At the main fair, Hirst’s “Because I Can’t Have You I Want You,” a 1993 diptych of glass-enclosed fish in formaldehyde, fetched 4 million pounds at White Cube within minutes of the opening preview. The gallery, with branches in London, Hong Kong and Sao Paulo, also sold a 2001 piece composed of an electric microphone, metal stands and electrical cords by David Hammons for $4 million.
“I can’t keep up with the sales,” said David Maupin of Lehmann Maupin, which sold British artist Tracey Emin’s embroidered calico of a reclining woman in a price range of 120,000 to 175,000 pounds. The New York and Hong Kong gallery also sold Mickalene Thomas’s 2008 work composed of rhinestone-encrusted portraits in the 60,000-to-100,000-pound range.
“Final Days,” an almost 7-foot-tall black sculpture of a creature with big feet, hands and ears by Brooklyn, New York-based artist Kaws sold for about $300,000 at Galerie Perrotin, which has galleries in New York, Paris and Hong Kong. An almost 10-foot-fall 2014 bronze sculpture of a standing sausage by Erwin Wurm sold for 250,000 euros at Galerie Thaddaeus Ropac, which is in Paris and Salzburg, Austria.
Sigmar Polke’s untitled 2003 gouache on paper abstract, sold for $800,000 at Michael Werner Gallery of New York and London. New York’s Marianne Boesky Gallery sold drawings and a sculpture by Diana Al-Hadid, who was born in Syria and lives in Brooklyn, made of stainless steel treated with plaster and fiberglass at prices from $20,000 to $120,000.