Frieze New York 2014 – the Glass review

Frieze Art Fair returned to New York City’s Randall’s Island for a third consecutive year. While 190 galleries from all over the world participated, the contemporary art fair was largely a North Atlantic affair, peppered with a few galleries from Asia and South America. Yet, it felt like the New Yorkers were playing it the safest, with household artists like Ed Ruscha, Yayoi Kusama, and Damien Hirst on display at Gagosian, David Zwirner, White Cube and the likes. More daring were the emerging galleries that made up the Focus and Frame sections of fair the—spaces dedicated to galleries under ten and six years old respectively, which were also more international in scope.

While the goal of the fair was very much about stimulating the senses, one was required to exercise not only the mind, but also the body. Gallerists stood around introducing their wares to collectors, while visitors paced up and down the enormous 1500 foot long tent custom designed by SO-IL. Even after spending a whole afternoon there , the sheer size of Frieze New York made it almost impossible for me – and I’m sure for most other visitors as well—to absorb in all the work on display.

If the fair ever got too overwhelming, one work that provided some relief was Frieze’s recreation of Allen Ruppersberg’s Al’s Grand Hotel, one of the seven non-commercial, site specific Frieze Projects. The work was originally in 1971 at 7175 Sunset Boulevard, Los Angeles. Visitors could stay at the restaged hotel inside Frieze, and choose between two suites- a Jesus Room which featured a giant crucifix blocking the bed, or the Bridal Room, complete with plastic flowers and fake presents.

Interior of the Frieze tent with Massive Black Hole in the Dark Heart of Our Milky Way
by Danh Vo (Marian Goodman Gallery) in the foreground