I like to think of Frieze as a pop-up museum of all things contemporary in art right now. What makes it pleasant and refreshing is the inclusion of international galleries — many that gave me reason to pause in my made rambling were based out of such faraway locales as Berlin, Hong Kong, Los Angeles, London. But that is the hallmark of New York — that everyone is from somewhere else.
It was validating to see so many artists that have been featured at office — Jordan Wolfson’s bizarre contraptions at David Zwirner were certainly a standout (below right); some stills from Jacolby Satterwhite made an appearance; and a yellow and orange Matthew Wong canvas perched at a corner, greeting passersby like an old friend.
And what self-respecting art fair would be complete without a bit of Takashi Murakami? (above right). Ann Agee's shoe creations (above left) bare a striking resemblance to Diana Rojas' pieces, revealing an interesting developing dialogue in art about fashion and commodity.
There’s a certain titillation in seeing big names that get tossed around so much: James Turrel’s experimentation with light-as-medium, Joseph Kosuth’s neon lights asking unanswerable questions — the legendary Art as Idea as Idea echoing in the empty space that surrounds his pieces. Neon lights are certainly having a moment in art — they are difficult if not impossible to photograph, and their effect is to reach out into the space around them and taint it with color, there’s even a sound effect, that small buzz we may hear if we listen closely enough: the more I describe it the more I understand why it attracts artists, for all these qualities are the same as a haunting, memorable work that attaches itself to the memory; listen closely and you just might hear the message.