The Frieze fair had an exciting vibe that I just haven’t felt for years. It is impossible to list each Work that thrilled me, made me stop and ponder, or even laugh. This year, the shock-and-gore artwork seems to have been replaced with a sense of humor, even if it is a dark humor, at our expense.
With the impressively curated Masters section, we can see how the contemporary artists (and fairs) are finally seeing the real worth of having a lasting voice rather than chasing twenty-second fame. Gallerists and curators smile because they are proud to stand behind their carefully selected group of artists who are producing viable and visionary work. It is a solid show with impressive art, and everyone walking around on the first day knows it.
Definitely impossible to miss Georg Baselitz’s large sculpture at Galerie Thaddaeus where the £1.5M piece was bound to sell quickly…or Koons’s balloon sculptures at Gagosian, where I actually heard a collector say, “I’m just over it”. But one cannot argue that Koons and the craftsmen of Polich Tallix are creating bronze with such technical precision, its hard not to be impressed.
And since we are on the topic of giving credit where it is due, I have come to find out a bit more about the ethical practices of Adrian Villar Rojas, which will most definitely be a name to be reckoned with, if it isn’t already. Not only is he a very exciting young artist who is discussing the ‘Elephant in the Room’ (you will understand my humor if you see Serpentine Gallery show) as the fragility of our Earth increases, and crumbles in front of us… but he also works with a group of artisans that he gives credit and respect. It is so refreshing to see a new generation of artists coming up and not hoarding the limelight. Throughout time, all large works of art were never created by just by one person, so why not just be a generous artist like Villar Rojas and give a bit of respect for all those who help make it happen?
About The Author
paige
My inspiration comes from my connection to the world, my relationships with others, and my relationship with myself. I don’t need to travel the planet or hire dancers to find a muse. My individual journey is inspiration enough.
The figure to me is the perfect vehicle to communicate the human condition. My definition of success is to be a visionary through truthful and courageous artwork—work that communicates what it feels like to be alive in the world today. My goal is to make what feels real, not necessarily beautiful, in order to impact people and create lasting fine art.
