Tracey Emin says male artists “sort of peak in their forties.” https://ift.tt/12sV3eP

Tracey Emin shared her candid thoughts on how male artists “sort of peak” in their forties during a recent episode of The Louis Theroux Podcast. Emin contrasted this with the enduring creativity of women artists.

“Men, they sort of peak in their forties,” said Emin. “They have just one; it’s like one massive ejaculation.… Women just tend to come and come and come and come and come. So, as a woman, you carry on coming all your life until you’re old.”

The artist cited the careers of Louis Bourgeois, who “stopped working the day she died” at 97 years old, and Joan Mitchell, whom Emin claimed is “undoubtedly one of the greatest American abstract painters ever, better than Jackson Pollock.” These examples highlight Emin’s belief that women artists better sustain and increase their creative output well beyond their forties, provided they receive the necessary opportunities.

“Women have the capacity of doing that as long as they’re given the opportunity to do it,” Emin said. “I think a lot of men peak in their forties, and women continue.”

Emin also name-checked fellow Young British Artist Damien Hirst as an example of male artists peaking. “Maybe Damien peaked; I don’t know; we’ll have to see,” she said. ”Only time will tell…it’s not clear.”

Theroux then probed Emin about British street artist Banksy, to which Emin responded: “No, we’re not going there. You’re trying to drag me down a hole that I don’t want to go. I don't mind arguing; I don’t mind difficult things…Banksy’s a brilliant street artist, okay. Globally well known, gives lots to charity, very generous person. There you go.”

Adding a lighter note, Emin recounted an incident from a past Brit Awards afterparty where she and Theroux planned to meet rapper Eminem. “We wanted to meet Eminem because my name's Emin. We thought it was funny,” Emin said. Instead, they spent the evening chatting with singer Donny Osmond—forgetting about the rapper completely. “We sacked off Eminem,” Theroux recalled.

In London, Emin is currently exhibiting a new body of paintings and sculptures at White Cube. Her show, “I followed you to the end,” will be on view until November 10th.

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What Sold at Frieze London and Frieze Masters 2024 https://ift.tt/Qivh0RO

Returning to Regent’s Park for the 21st time, Frieze London and Frieze Masters 2024 saw busy crowds, bustling booths, and—most importantly—a solid pace of sales throughout their run from October 9th through 13th.

Hosting some 170 galleries from 47 countries, this year’s fairs included numerous new features, including a redesigned format at Frieze London that gave a more prominent position to the fair’s younger exhibitors. And while the industry was abuzz in the run-up to this year’s Frieze fairs, mainly focused on headwinds facing the London art market, the energy throughout the week appeared to be one of broad positivity from collectors, dealers, and commentators alike.

“We entered the fair with many questions on our mind: Will Frieze’s new layout serve us? Will we see the impact of collectors prioritizing Paris over London this year?” said Thibault Geffrin, senior director at Almine Rech. “We’re very pleased to report on a very successful week. We have met many new collectors and are happy with the new location and overall layout.”

As well as the return of Frieze, London’s art scene was on display in full colors. From Lauren Halsey at the Serpentine to Vincent van Gogh at the National Gallery, London’s institutions were on top form across the city, and on the commercial side, galleries hosted a number of standout shows. Elsewhere, the expanded alternative art fair Minor Attractions and the returning 1-54 London added complementary art fair energy to the Frieze frenzy. This week the London art scene brought its A-game across town.

Yet the temperature of the London art market was always going to be measured by the performance of Frieze.

With Art Basel Paris opening on Wednesday (and featuring a chunk of galleries that participated in Frieze’s London fairs this year), Frieze London 2024 was watched more closely than ever by those looking to draw comparisons between the two cities. It’s perhaps with that in mind that many in the London art world—not least Frieze’s organizers—will breathe a collective sigh of relief after this week.

Here, we run down the key sales reported from Frieze London and Frieze Masters 2024.

Top sales at Frieze London and Frieze Masters 2024

Hauser & Wirth reported the fair’s headlining sale with Arshile Gorky’s The Opaque (1947) for $8.5 million, featured in its group exhibition at Frieze Masters. The gallery also reported selling a number of works from its solo booth of Charles Gaines at Frieze London for prices in the range of $175,000–$195,000. Other sales at Frieze Masters reported by Hauser & Wirth include:

• An Édouard Manet painting for €4.5 million ($4.9 million).
• Francis Picabia’s Elle danse (She Dances) (1948) for $4 million.
• William Kentridge’s Drawing for Self-Portrait as a Coffee Pot (Still Life with Black Jug I) (2020) for $650,000.
• Lee Lozano’s No title (1962) for $550,000.
• Lucio Fontana’s Concetto spaziale, Attesa (1962–63) for €520,000 ($568,000).
• Fausto Melotti’s Il fulmine (The Flash) (1969) for €270,000 ($295,000).
• Gerhard Richter’s 23.5.08 (2008) for Fr. 145,000 ($168,000).
• Eugène Carrière’s Étude, fillette endormie (ca. 1897) for Fr. 58,000 ($67,000)Méret Oppenheim’s Eichhörnchen (Squirrel) (1970) for Fr. 42,000 ($48,700).

David Zwirner’s sales at Frieze London were led by a painting by Lisa Yuskavage for $2.2 million. Other reported sales included:

• Two paintings by Yayoi Kusama for $670,000 and $720,000 apiece.
• A painting by Steven Shearer for $450,000, and four drawings by the artist for prices in the range of $25,000–$40,000.
• A new painting by Sasha Gordon for $120,000, following the gallery’s recent announcement of its representation of the artist.
• A sculpture by Rose Wylie for $120,000.
• Four new paintings by Walter Price, each in the range of $28,000–$75,000.

Kukje Gallery’s sales at Frieze London included five Ha Chong-hyun pieces in the range of $540,000–$649,000, and another mixed-media piece in the range of $253,000–$303,600. Other reported sales include:

• Several Haegue Yang mixed-media works in price ranging from ₩3.8 million ($2,800) to €105,000–€126,000 ($114,800–$137,000).
• A Jae-Eun Choi 16-piece wood panel work in the range of $46,000–$55,200.
• Two Kibong Rhee pieces for prices in the ranges of $70,000–$84,000 and $60,000–$72,000, respectively.

The Doors, 2023
Tracey Emin
White Cube

At Frieze London, White Cube’s reported sales were led by an Al Held painting, which sold for $450,000. Other reported sales include:

• Four Tracey Emin bronze works for £80,000 ($104,560) each, along with two additional works on paper for £90,000 ($117,600) and £120,000 ($156,800), respectively.
• A Tiona Nekkia McClodden work for $75,000.
• A Robert Mapplethorpe photograph for $17,500.
• An Alia Ahmad painting for $85,000.
• A Marguerite Humeau bronze for £75,000 ($98,025), and a work on paper by the artist for £25,000 ($32,600).
• A Salvatore Emblema work for €54,000 ($59,000).
• A Marina Rheingantz work for $80,000.
• A Tarwuk work for $70,000.
• An Imi Knoebel work for €65,000 ($71,100).
• A Sara Flores handmade wild cotton work for $30,000.

Thaddaeus Ropac’s reported sales were led by Antony Gormley’s SHELF III (2024), which sold for £500,000 ($653,227). Other sales reported by the gallery included:

• Martha Jungwirth’s Ohne Titel, aus der Serie “Francisco de Goya, Stilleben mit Rippen und Lammkopf” (2022) for €430,000 ($470,102). The gallery also sold a trio of oil paintings by the artist for €60,000 ($65,630), €65,000 ($71,100), and €80,000 ($87,460) apiece.
• A Joan Snyder work for $200,000.
• An Elizabeth Peyton work for $225,000.
• A 1983 Hans Josephson work for Fr. 95,000 ($110,815).
• A Robert Longo ink-and-charcoal work for $90,000.
• Two Megan Rooney works for £75,000 ($98,000) and £18,000 ($23,500).
• Three Zadie Xa paintings, each for £60,000 ($78,400), £60,000 ($78,400), and £70,000 ($91,525), respectively.
• An Oliver Beer painting for £20,000 ($26,150).

Untitled, 2021
Nathalie Du Pasquier
Pace Gallery

Bleu blanc rouge et noir, 2003
Nathalie Du Pasquier
Pace Gallery

Pace Gallery reported that its leading sale at Frieze London was David Hockney’s 25th July–7th August 2021, Rain on the Pond (2021), omitting the price. Other sales from the gallery included:

• An Alicja Kwade work for $500,000.
• A work by Emily Kame Kngwarreye for $360,000, and two works by the artist for $150,000 apiece.
• Nigel Cook’s Nemesis (2024) for $110,000.
• Arlene Shechet’s Nearly Autumn: Together (2024) for $75,000.
• Gideon Appah’s White Water (2024) for $65,000.
• Some 20 works by Nathalie Du Pasquier sold at the artist’s Frieze Masters Studio presentation for prices ranging from €40,000–€60,000 ($43,700–$65,630).
• Works by Pam Evelyn, Yoshitomo Nara, Loie Hollowell and Genesis Belanger were among other sales reported by the gallery for undisclosed prices.

Almine Rech sold out its works by Ji Xin, each priced up to $50,000. Additional sales from the gallery include:

• Two paintings by Genieve Figgis for prices in the range of $170,000–$190,000 and $70,000–$80,000 each.
• A painting by Claire Tabouret for a price in the range of $90,000–$100,000.
• A painting by Roby Dwi Antono for a price in the range of $60,000–$65,000.
• A painting by Brian Calvin for a price in the range of $35,000–$40,000.
• A painting by Guimi You for a price in the range of $65,000–$70,000.
• A painting by Sasha Ferré for a price int he range of €25,000–€30,000 ($27,332–$32,797).

Sold-out booths at Frieze London and Frieze Masters 2024

Preparing Breakfast, 2024
Caroline Walker
Stephen Friedman Gallery

The Improver, 2024
Clare Woods
Stephen Friedman Gallery

Several galleries reported sold-out booths from the fair. These included the following:

• Stephen Friedman Gallery sold out its Frieze London booth of works by British artists Caroline Walker and Clare Woods, for £35,000–£175,000 ($45,700–$228,700) each. In collaboration with Jessica Silverman and Karma, the gallery also sold a Woody De Othello bronze work, which was presented in Frieze Sculpture, for $350,000.
• Gagosian reported selling out its booth of sculptures by Carol Bove, selected as one of Artsy’s best booths from the fair.

• London tastemaker Ginny on Frederick sold out its booth of beaded and painted panels by Charlotte Edey by noon on opening day, with prices in the range of £10,000–£13,000 ($13,074–$16,997).
• Lehmann Maupin sold out its solo booth of 14 paintings—including those created on-site—by British artist Billy Childish, with prices ranging from $50,000–$100,000.
• Kasmin and Pippy Houldsworth Gallery sold out their joint booth of paintings by Nengi Omuku. The artist was nominated for a solo booth—one of Artsy’s standouts of the fair—by Yinka Shonibare in the Artist-to-Artist section. Omuku’s works were priced from £50,000–£90,000 ($65,375–$117,675).

More key sales at Frieze London

Dreams Deferred #72, 2024
Paul Anthony Smith
Timothy Taylor

Other sales reported by galleries at Frieze London included the following:

• Tina Kim Gallery reported sales of a Lee ShinJa work for $100,000–$200,000, a Mire Lee work for $25,000–$50,000, a Ghada Amer work for $10,000–$20,000, and a Suki Seokyeong Kang work for $20,000–$40,000.
• Sprüth Magers’s reported sales include a painting by Anne Imhof for €200,000 ($217,800), a work by Joseph Kosuth for €125,000 ($136,700), a Thea Djordjadze piece for €50,000 ($54,690), a Mire Lee work for €40,000 ($43,750), a Louise Lawler print for $40,000, and an Oliver Bak painting for €35,000 ($38,300).
• Timothy Taylor reported several sales from its solo booth of Paul Anthony Smith, including six paintings at $35,000 apiece, one painting at $50,000, and three studies for “under” $10,000 each.

Usagi Kannon Pray (168), 2022
Leiko Ikemura
Lisson Gallery

Yellow Scape, 2020
Leiko Ikemura
Lisson Gallery

• Lisson Gallery’s solo presentation of works by Leiko Ikemura was led by Usagi Kannon Pray (168) (2022) for €168,000 ($138,700). Other works by Ikemura that sold include Evidence (2024), for €115,000 ($125,800); Yellow Scape (2020) for €108,000 ($118,000); and Lago Rondo (2020) and B-bay (2020), for €108,000 ($118,000) each.
• Sullivan+Strumpf sold six Naminapu Maymuru White paintings for prices in the range of £10,000–£35,000 ($13,075–$45,762), and all of its works by Gregory Hodge for £17,500 ($22,881) apiece.
• ATHR’s reported sales include a 2018 work by Dana Awartani for a price in the range of £20,000–£30,000 ($26,150–$39,224), and two works by Sara Abdu for prices in the range of £3,000–£6,000 ($3,922–$5,230) apiece.
• At the Focus section of the fair dedicated to emerging galleries, Public Gallery reported the sale of several works from its solo presentation of Nils Alix-Tabeling for €10,000 ($10,933) apiece. The booth was one of Artsy’s standout selections from the fair.

More key sales at Frieze Masters 2024

Marie Cuttoli, 1936-2023/2024
Le Corbusier
MARUANI MERCIER GALLERY

Sales reported by galleries at Frieze Masters included the following:

• Osbourne Samuel sold a Henry Moore bronze for £1.4 million ($1.83 million).
• Archeus / Post-Modern sold two works by Yayoi Kusama for £1.25 million ($1.63 million) and $1.4 million ($1.83 million) apiece.
• Susan Sheehan Gallery sold a Joan Mitchell painting for $65,000.
• BASTIAN sold a Robert Rauschenberg painting for €1.3 million ($1.42 million).
• MARUANI MERCIER GALLERY sold a work by Le Corbusier for a price in the range of €280,000–€340,000 ($306,117–$371,713) and a 1975 work by Andy Warhol for a price in the range of €300,000–€350,000 ($327,982–$382,646).
• Ben Brown Fine Arts reported the sale of a work by François Xavier Lalanne for a price in the range of €300,000–€600,000 ($327,984–$655,968).
• DAG’s reported sales included a painting by Ramkinkar Baij for $299,700, a work by S.K. Bakre for $179,800, and a work by Avinash Chandra for $149,800. It also reported the sale of works by A.A. Raiba, Paritosh Sen, and Laxman Pai for undisclosed prices.

A Study of the Plaster for Maria Carmi as Madonna, with self-portrait, ca. 1912
Henri Gaudier-Brzeska
Philip Mould & Company

Charles Beale (1631-1705), Late 1650s
Mary Beale
Philip Mould & Company

• Philip Mould & Company—one of Artsy’s best booths from the fair—reported the sale of works by Henri Gaudier-Brzeska for £85,000 ($111,052) and Mary Beale priced at £195,000 ($254,767).
• Mazzoleni sold several works by Salvo within the range of $80,000–$100,000.
• Richard Saltoun sold four works by Juliana Seraphim, ranging from £30,000–£80,000 ($39,216–$104,576).
• Eric Firestone Gallery sold works by Pat Passlof, Elise Asher, and Miriam Schapiro for prices in the range of $100,000–$300,000.
• PROYECTOS MONCLOVA—one of Artsy’s best booths from the fair—sold seven Manuel Felguérez Barra paintings for undisclosed prices.

Childhood's End #2, 1972
Judy Chicago
Gavlak

• Jhaveri Contemporary sold “all but one” of the works from its solo presentation of Balraj Khanna with prices from £20,000–£70,000 ($26,144–$91,504). The gallery also reported “securing multiple sales” at its Frieze London booth for prices “up to £60,000” ($78,432).
• In the Spotlight section, Frestonian Gallery sold 20 pieces by Sam Herman, with prices ranging from £8,000 to £18,000 ($10,457–$23,530).
• Gavlak sold Judy Chicago’s Childhood’s End #2 (1972) for a price in the range of $90,000–$110,000.
• Lehmann Maupin sold several works from its Studio presentation of Kim Yun Shin for undisclosed prices.

Key institutional sales at Frieze London and Frieze Masters 2024

Milŋiyawuy, 2024
Naminapu Maymuru-White
Sullivan+Strumpf

Milniyawuy, 2024
Naminapu Maymuru-White
Sullivan+Strumpf

Some 300 museum and institutional groups spanning 43 countries were reported to have attended this year’s Frieze London and Frieze Masters. The attendance yielded a number of significant reported institutional purchases.

The Frieze Tate Fund, which provided £150,000 ($195,000) to purchase works for the Tate Collection, made the following acquisitions:

• Naminapu Maymuru-White’s Milnyawuy (2024), comprising 17 abstract panels made from natural earth paint on bark, was acquired from Sullivan+Strumpf at Frieze London.
• Eva Švankmajerová’s Spící Venouš (Sleeping Venus) (1969) was acquired from The Gallery of Everything at Frieze Masters.
• Three 2024 pastel works from Bani Abidi’s “Society for Aching Bodies” series were acquired from Experimenter at Frieze London.
• Two acrylic paintings by Mohammed Z. Rahman, The Lovers and The Spaghetti House (both 2024), were acquired from Phillida Reid at Frieze London.

In its second year, the Arts Council Collection Frieze Acquisitions Fund provided £40,000 ($52,000) to acquire work for the collection. These works included:

• Nour Jaouda’s tapestry The Light in Between (2024), which was presented by Union Pacific at Frieze London.
• Nicole Wermers’s sculpture Reclining Female #3 (2020), which was presented by Herald St at Frieze London.
• Shaqúelle Whyte’s oil painting Form i: Under the lonely sky (2024), which was presented by Pippy Houldsworth Gallery at Frieze London.

Other reported institutional acquisitions at the fair included the following:

• Nat Faulkner, showing at Frieze London’s Focus section with Brunette Coleman, received the Camden Art Centre Emerging Artist Prize. Faulkner’s photographic work Artificial Sun II was also acquired by the Photography Centre at the V&A South Kensington. The acquisition was supported by Stone Island, the official partner of Frieze’s Focus section for emerging galleries.
• The Contemporary Arts Society Collections Fund acquired two works by Haegue Yang and Nour Jaouda for the Hepworth Wakefield.
• The Spirit Now Prize facilitated the acquisition of artworks by Shafei Xia, Asemahle Ntlonti, and Bambou Gili for the Women’s Art Collection at Cambridge.

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Sotheby’s inaugurates new Paris HQ in buzzy neighborhood of Matignon Saint Honoré. https://ift.tt/pTNRhHl

On Friday, October 12, Sotheby’s inaugurated its new Parisian headquarters at 83 rue du Faubourg Saint-Honoré. The move, just days before the opening of Art Basel Paris, sees the auction house relocate from its prior site, a few buildings along the same road in the French capital. The new location, situated in the heart of Paris’s fashion and luxury district, is an Art Deco, five-story, 3,300-square-meter space designed to elevate the auction house’s capacity to display, auction, and sell art, luxury goods, and collectibles.

By relocating to this historic building—formerly home to Galerie Bernheim-Jeune, which closed in 2019—Sotheby’s adds 30% more exhibition space. Sotheby’s France president, Mario Tavella, emphasized the strategic importance of the move: “We remain very complementary with London, but on the continent, we have recognized that Paris is growing and is taking a pivotal role.” He cited the expansion as part of the company's broader commitment to reinforcing its global footprint across key art capitals, including its planned move into the Breuer Building (where the Whitney Museum was formerly housed) in New York in 2025. Sotheby’s also opened a new retail store in Hong Kong earlier this year.

Sotheby’s relocation coincides with a broader transformation within Paris’s 8th arrondissement, particularly the Matignon Saint-Honoré district, which is fast emerging as a hotspot for galleries and art institutions. The arrondissement is home to prestigious galleries such as Gagosian and White Cube. Both are part of the newly formed Association Matignon Saint-Honoré, which comprises 31 galleries in the area and is organizing a series of events around Art Basel Paris this week. The collective, led by gallerist Hélène Bailly, will hold its first coordinated series of openings this evening, with participants including Mennour and Opera Gallery.

Two newcomers to the area will also open their doors this week: local stalwarts Galerie Mitterrand— unveiling its second location in Paris—and Italian gallery Galleria Continua, also opening its second space in the city. The association’s efforts are designed to strengthen these galleries’ global presence, fostering collaborations with other institutions in the neighborhood. “The area is more fashionable than it has ever been,” Bailly told the Financial Times.

Indeed, Sotheby’s too seems to be betting on the luxury cachet of the arrondissement. It will be the first Sotheby’s location to have an entire floor dedicated to luxury goods—meaning “jewels, wine, watches, occasionally sneakers, cars, handbags” according to Tavella. One plush smaller room on the floor will also be dedicated to selling these items at fixed prices, a departure from the auctions and private sales the company is known for.

The new building will also allow viewers to spectate at auctions more easily: the balconies on the upper floors look down on the atrium where live auctions take place. “Live auctions still retain a fascination,” said Tavella. “I hope that when the auctioneers are in the middle of this room they will be able to infuse the drama of an auction.”

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1-54 London 2024 Brings New Voices of Contemporary African Art to the Fore https://ift.tt/NwATit6

Visitors to London’s Somerset House this week might arrive at the Renaissance-style complex with a question: How on Earth did a double-decker bus get through its ornate (and quite low) archways?

The bus, visitors will quickly note, isn’t the product of a wrong turn but rather a special project in the Edmond J. Safra Fountain Court by Slawn. The artist, arguably one of the most buzzy names in the London art world right now, has spray-painted parts of the vehicle in his signature tongue-in-cheek styles that highlight themes of accessibility, modernity, and cultural symbols.

It’s a fittingly monumental entrance to the 11th edition of 1-54, which has become a staple of London’s art-packed October Frieze Week. With its sprawling corridors and tricky staircases, Somerset House might not be the first venue that many would associate with an art fair. But since it started in 2013, 1-54, which is dedicated to contemporary African art and its diaspora, has made the venue a comfortable home.

“1-54 London has cemented itself,” said London dealer Ed Cross, who has participated in the fair since its second edition. “This is where the fair started, and there is no comparison with any other fair. There are plenty of other good fairs but this is really the master fair for contemporary African art.”

Bringing together more than 60 galleries from 23 countries, this year’s edition of the fair features 23 first-time exhibitors—the most since its inception. The influx of new names also places a new spotlight on Ghanaian, Moroccan, and Brazilian artists and galleries, noted founding director Touria El Glaoui. “The diversity and richness of the artworks on display reflect the dynamic and evolving nature of contemporary African art, and we are thrilled to be able to provide a platform that celebrates the talents of both established and emerging artists,” she said.

As the VIP day to the fair got underway on an overcast Thursday morning, a calm atmosphere in the venue’s courtyard belied the more crowded corridors inside, with more than a handful of confused visitors consulting their maps as they worked their way through the fair. In what has become a fixture of 1-54 London, the event was marked by a warmness from the gallerists, artists, and associated crowd: Dealers at the fair, quite refreshingly, seem to be as happy to make new connections as they are to make transactions.

First-time exhibitors make their mark at 1-54 London 2024

Poise & Presence, 2024
Alimi Adewale
Pearl Lam Galleries

Earthly Forms Series IV, 2024
Alimi Adewale
Pearl Lam Galleries

Many of the 1-54 London debutants offered standout presentations and new perspectives, bringing a new freshness to the works on view across the fair.

The U.S. nomadic gallery Superposition, for instance, dedicates its booth to a solo presentation of glass works by Nigerian artist Layo Bright, who is currently having a solo museum show at The Aldrich Contemporary Art Museum in Connecticut. The delicate works, which feature a series of faces obscured by floral elements, interrogate themes of identity and Nigerian customs.

The gallery’s owner Storm Ascher was invited to 1-54’s London edition after participating in its New York fair last year and praised how the fair’s community-oriented spirit aligned with the gallery.

“They just put us on the map internationally, and it gave us that traction for other places that normally wouldn’t have even looked at us,” Ascher told Artsy. “It gives a lot of visibility to Black women–led galleries and Black artists across different ethnicities and experiences.” Within the first few hours of the fair, the gallery had sold a pair of Bright’s works.

At Pearl Lam Galleries, new works by Nigerian artist Alimi Adewale are grouped together under the title “Terra Matter.” In a series of tapestries using kilim, a woven rug material, Adewale paints with compelling expressionistic, distorted features, which he described as a reflection of “our place within the natural world and the emotional landscapes that shape our understanding of self.” Lam discovered Adewale’s work on a trip to Lagos last year and, “desiring to share his work with a global audience,” as she put it, took on global representation of the artist.

Unicorn , 2024
Freya Bramble-Carter
Cynthia Corbett Gallery

Family Portrait, 2024
Nicolas Lambelet Coleman
PM/AM

At London, Miami, and L.A.’s Cynthia Corbett Gallery, a series of ceramic works by Freya Bramble-Carter were receiving attention from the nearby crowds in the fair’s embankment section. The works, which offer inventive mutations on jugs, pots, and faces, are glazed in swirling colors that lend them an almost surreal quality. “Her work is very feminine and fluid, and about beauty and about humanity, and the ceramics are just divine,” said gallery director Cynthia Valianti Corbett, who noted an immediately “positive” response from fairgoers.

Other notable highlights from fair newcomers included a series of luscious paintings by Nicolas Lambelet Coleman at PM/AM; a varied series of works by artists from Morocco and its diaspora at House of Beau; and a group presentation of emerging Ghanaian artists at the Accra-based Artemartis.

Returning galleries bring new discoveries to 1-54 London 2024

Trouxa: Victoria, 2021
Januario Jano
MOVART

Untitled (M008), 2021
Januario Jano
MOVART

For many of the returning galleries at Somerset House, this year’s edition of the fair offers a chance to reconnect with familiar faces and share their programs with a broader audience.

“It’s really exciting for us to step away from the Portuguese-speaking circuit because our mission is to talk about Lusophone [art],” said Carmen Bioque, a curatorial researcher at Luanda- and Lisbon-based gallery MOVART. The gallery is presenting a suite of works from artists across its program of artists from African and Portuguese-speaking countries, including a series of brightly colored and captivatingly detailed mixed textile works from Angolan artist Januario Jano that were grabbing the attention of passersby.

Much of the discoveries at 1-54 cut across emerging names as well as more established artists that a London audience might not be familiar with. Nairobi’s Circle Art Agency is presenting a comprehensive solo booth of works from the 1960s to the 2020s by the octogenarian Ugandan artist Theresa Musoke. A series of expressive paintings pull together layered markmaking that is blended into swirls, stripes, and concealed figurative elements such as flowers and landscapes. “I’ve been wracking my brains for how to spread the word more about her and I thought, ‘Why don't we try and do a mini-retrospective,’” said the gallery’s director Danda Jarolmek. “I’m hoping that we’ll catch people who might be interested in collaborating with us on larger exhibitions of her work.”

Indeed, the audience in attendance was also cited by galleries presenting works at the more emerging end of the spectrum.

Discovering the Great Mirror , 2024
Kofi Perry
DADA Gallery

“For us it’s really important to spotlight and also pay heed to the young artists that are in the contemporary African diasporic art scene right now,” said Yasmin Patel, a managing director at DADA Gallery. “That has been consistent through the gallery’s programming.” At the presentation—its fifth at the fair—the gallery showcases paintings by the African American Iranian artist Kofi Perry. Weaving together spiritual and dystopian elements, these standout works depict characters that are “on the search for knowledge,” Perry said, in a variety of evocative scenes and situations.

Many galleries at the fair are also taking a rigorous approach to curation at their booths. At Johannesburg’s Guns & Rain, a trio of emerging artists—Tuli Mekondjo, Bev Butkow, and Princia Matungulu—are creating textile-based works while incorporating unconventional materials and challenging traditional dynamics of labor and representation.

Paraiso , 2024
Megan Gabrielle Harris
OOA GALLERY (Out of Africa Gallery)

Stargazer, 2023
Megan Gabrielle Harris
OOA GALLERY (Out of Africa Gallery)

“The drive behind the program is to have an academic slant to the practice and presentation of contemporary art in Southern Africa,” said a staffer from the gallery. “1-54 is a good intellectual environment to see face-to-face what people are doing across the globe. It’s always so easy to get that kind of feedback and see that reaction.”

A similar energy was observed by Sorella Acosta, founder of Madrid’s OOA Gallery. “There’s an energy in London and also a lot of collectors, not only from London but also from the U.S.,” Acosta told Artsy. The sumptuous “Afro-escapist” paintings in the gallery’s booth by Megan Gabrielle Harris were receiving plenty of collector interest in the run-up to the fair. “This morning, I spoke with the collector who bought a work, and he came yesterday from Cape Town,” Acosta noted.

The gallery was one of several that noted palpable collector interest across the fair. Following a tentatively strong Frieze London and Frieze Masters, the positivity from Regent’s Park appeared to be making its way south during 1-54’s VIP day. And that might not come as a surprise when considering the abundance of highlights on view. Other returning exhibitors with noteworthy presentations include Gallery 1957, Ed Cross Fine Art, TAFETA, and THK Gallery.

But one of the beauties of Somerset House is also one of its main frustrations: getting lost. Making a dash to a specific gallery’s booth might become a convoluted endeavor, but as many visitors found on Thursday, a discovery or two can be made along the way.

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Charli XCX “brat”-ifies Storm King Art Center at album listening party. https://ift.tt/fcpKSdC

The brat green of summer is beginning to show its fall colors. In New Windsor, New York, on Thursday, shades of yellow and red could be seen streaking through the foliage of Storm King Art Center as the sculpture park welcomed a few hundred lucky guests. Their business there: to hear brat and it’s completely different but also still brat, a new album of remixes by the British pop singer Charli XCX, ahead of its Friday release.

“It’s so beautiful and autumn-y—fall, as you call it,” Charli noted cheekily to attendees while taking in the scenery.

Founded in 1960, Storm King boasts a reputation as an idyllic fall day trip destination for New Yorkers. Located in the Hudson Valley, it is home to a robust collection of large-scale modern sculpture. Highlights include works by Alexander Calder, Mark di Suvero, Isamu Noguchi, and Maya Lin.

For Thursday’s listening party, a new monument was erected: a giant, L-shaped wall in the acidic shade of chartreuse featured on the cover of Charli XCX’s sixth studio album, brat. (The color, which took hold of popular culture this summer through an endless font of memes, was also sported by many members of the audience.)

Appearing on a small stage nestled in the corner of the L, Charli played a selection of brat remixes off her phone, which was connected to the sound system via aux cord—in keeping with brat’s self-consciously lo-fi aesthetic. Track titles from the album were printed in mirror-image text on the wall above her; Alice Aycock’s tiered tower sculpture Three-Fold Manifestation II (1987) loomed behind the audience. “We’re fine art bitches now,” Charli declared shortly after taking the stage, an apparent deep-cut reference to her 2008 song “Art Bitch.”

Ahead of Charli’s arrival, attendees were treated to brat green cocktails and custom merch made for the event: t-shirts printed with “art” on the front and “charli xcx at storm king” on the back in backwards text. The event’s highly coveted tickets were distributed to select fans who applied online. For some, the pop star’s appearance was the impetus for their first-ever visit to Storm King. Among them was Kailey Leturia, who came from the nearby village of Washingtonville with friends after receiving admission confirmation: “I had no idea this was here,” she said of the museum.

Others tried their luck and made their way into the event without confirmed entry. Among them was Ana Maria Delmar, who drove from Westchester, New York, with a friend. Delmar, who recently completed a master’s degree in curation at London’s Courtauld Institute of Art, called the impact of brat on visual culture “huge”: “It’s made things a bit more kitschy. And people are embracing—I don’t want to call it lowbrow culture, but things don’t have to be completely produced or perfect to be interesting.”

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10 Must-See Shows during Art Basel Paris 2024 https://ift.tt/KbnJeqw

Another edition of Art Basel Paris (formerly Paris + par Art Basel) is coming around again. With two editions under its belt, this year’s fair is taking its place at the reupholstered behemoth, the Grand Palais. Among Art Basel Paris’s 195 galleries from 42 countries, there are 40 galleries new to the lineup since last year. Plus, a fresh sector, Premise, brings together a selection of unique curatorial projects. As the fair’s director Clément Delépine noted, Art Basel Paris is hoping to distill the city’s art offering in an established manner: “The fair is not a museum, but I believe it still has an institutional responsibility.”

While the homecoming to the historic Grand Palais will be a return to form, the scale of the fair can often feel overwhelming. It’s always a pleasure to wander off Avenue Winston-Churchill and see something more compact—such as smaller-scale fair alternatives, like OFFSCREEN, AKAA, Asia Now, and Paris Internationale. But there are also gallery shows across the city to be seen: Here are 10 Parisian exhibitions to check out this fall during Art Basel Paris.

Apolonia Sokol, “I Shall Love Again When I Am Obsolete”

The Pill

Oct. 15–Dec. 21

First established in Istanbul in 2015, The Pill is opening a sister location in Paris at 4 Place de Valois—not too shabby, considering its neighbors are the Louvre and the new location of Fondation Cartier. The 300-square-meter space will announce its presence on the scene with a solo exhibition by Parisian-born Polish Danish artist Apolonia Sokol. Her signature: evocative portrait paintings articulated in an explicitly frontal fashion and shaped by the intimacy she shares with the models she depicts: friends, lovers, and collaborators. The artist starred in a recent HBO-produced documentary Apolonia, Apolonia, which exhaustively follows the zigzags of Sokol’s life and career over a dozen years. As she states in the film, her art is “not a project; it’s a continuation.”

Dana Schutz, “The Sea and All Its Subjects”

David Zwirner

Oct. 14–Nov. 16

Completists rejoice: New York–based painter and sculptor Dana Schutz’s second solo show with David Zwirner is happening on the heels of her major Parisian survey “Dana Schutz: Le monde visible (The Visible World)” at the Musée d’Art Moderne, which closed earlier this year.

These wet-on-wet paintings are inhabited by figures wrestling with drolly ludicrous scenarios. To wit: A cluster of cyclops-like creatures grasps frantically for loose eyeballs and fruit on the ground in The Optometrists (all works 2024), and a man is swallowed by a giant fish The Catch. Elsewhere, a figure is fabricated as if out of clay, with scattered sculpting tools on the floor nearby in The Medium; and a group processional carries a befuddled body in The Patient. Mythologically tinged and outlandish, the paintings capture the bizarre spirit of today’s absurdist world.

Rashid Johnson, “Anima”

Hauser & Wirth

Oct. 14–Dec. 21

If you want to whet your appetite in anticipation of his show next year at the Guggenheim, Rashid Johnson will have new works at Hauser & Wirth for viewers to relish around the theme of animism. There are paintings—closely related to previous bodies of work, entitled “Soul Paintings” and “God Paintings”—and shell-embedded bronze sculptures. Alongside, Johnson is showing a new film, Sanguine, exploring three generations of the artist’s family.

In the paintings on view, Johnson’s color spectrum volleys from reds to blues, creams to browns, while also employing materials with charged racial histories such as shea butter and black soap. Looming large over the show is Kevin Quashie’s 2012 book The Sovereignty of Quiet, which discusses how “concepts like surrender, dreaming, and waiting can remind us of the wealth of Black humanity.” The show is also filled with a recurring abstract form: the almond-shaped vesica piscis (two intersecting discs).

Daniel Boyd, “Dream Time”

Marian Goodman Gallery

Oct. 12–Dec. 21

Pulling from traditions of his Aboriginal ancestors and Torres Strait Islander people, Australian artist Daniel Boyd addresses the legacy of colonialism. Specifically, he interrogates which narratives are championed within the canon of history in his dot-filled wall works. The title of the exhibition is a reference and retort to “dreamtime,” a harshly reductive anthropological term ascribed to the beliefs of Australian Aboriginal groups. It’s been a running theme in the artist’s practice: In the main exhibition of the 56th Venice Biennale in 2015, for example, four of his paintings, executed in oil, charcoal, and archival glue on polyester, referenced the traditional charts used by Indigenous Marshall Islands seafarers.

This exhibition at Marian Goodman Gallery, Boyd’s first solo outing in France, includes new paintings that reference Greek mythology and the Surrealist ideas of André Breton, and depict basketball player Magic Johnson, along with the artist’s own family figures. The intervention on the gallery’s verrière (glass roof) and front vitrines echoes his recent installation at the Gropius Bau in Berlin in 2023.

Max Ernst, “PARIS SURRÉALISTE: Max Ernst – Histoire Naturelle”

Jeanne Bucher Jaeger

Through Jan. 18, 2025

Founded in 1925, Jeanne Bucher Jaeger is one of the few extant Paris galleries to have been around when Surrealism was unfurling in real time. During this era, the gallery supported such pillars of the movement as Man Ray, Hans Bellmer, and Yves Tanguy. Today, the gallery is exhibiting work by another Surrealist: Max Ernst. Visitors walk through contemporary artist Evi Keller’s exhibition (the two presentations are envisioned in parallel) to arrive at this back-room show, which is named after a book first published in 1926 encompassing 34 grattages and frottages of natural elements like leaves, birds, and bark.

The gallery calls this artistic method “the graphic equivalent of automatic writing”: They’re reproduced as phototypes, the main method of printing postcards until the 1930s. The endeavor was prompted by a listless rainy day in an inn by the sea, where Ernst started fixating on textures and reproducing them.

Peter Kogler, “Peter Kogler”

Galerie Mitterrand

Through Nov. 2

Untitled (Hand), 2017
Peter Kogler
Galerie Mitterrand

Untitled (Brain), 2023
Peter Kogler
Galerie Mitterrand

Austrian artist Peter Kogler has been working with digital creativity in an ongoing fashion from as early as 1984, when the first Macintosh computer came on the market. The artist has described this moment as a “paradigmatic shift” when it comes to creating images. Ants, brains, and globes are recurrent motifs that, to him, emphatically highlight our reliance on information systems and communication.

In Galerie Mitterrand’s first gallery space, accessible from Rue du Temple, the artist’s most recent works are on view, including two holographic projections and aluminum sculptures. The second space, nestled in the courtyard behind, features prior works by Kogler produced between 1990 and 2020, including silkscreen prints and canvases with metal sculptures.

“Deli Dali”

Galerie Marguo

Oct. 15–Dec. 7

If the blockbuster “Surrealism” exhibition at the Centre Pompidou (on view through January 13th) wasn’t satiating enough, more awaits at various galleries throughout the city, including Galerie Marguo. Across paintings and a handful of three-dimensional objects, “Deli Dali” presents 11 historical and contemporary artists. There are works by self-taught painter Gertrude Abercrombie, whose depictions of domestic spaces evoke chimerical atmospheres and an inquiétante étrangeté (disturbing strangeness).

Another notable name is Austrian painter and printmaker Ernst Fuchs, a founding member of the Vienna School of Fantastic Realism who created mysticism-infused paintings and drawings. In the selection of contemporary artists, Nicolette Mishkan, an Iranian American artist based in Los Angeles, showcases futuristic paintings that submerge magical mermaids into aqueous realms. Elsewhere, Zheng Zhilin, based in Guangzhou, China, colorfully explores the sinuous dynamism of body language.

“Timeless innovation – PABLO PICASSO & Leiko Ikemura, Radenko Milak, Aljoscha, Zohar Fraiman”

Priska Pasquer

Oct. 12–Nov. 10

La Femme qui pleure I, 1937
Pablo Picasso
PRISKA PASQUER

Moi Sans Toi, 2024
Zohar Fraiman
PRISKA PASQUER

What could be more fitting than presenting works by Pablo Picasso so close to the Picasso Museum? But at Priska Pasquer, they’re not exhibited in a one-to-one fashion: His works are placed in dialogue with four contemporary artists of varying ages and nationalities. Enmeshing Eastern and Western artistic traditions, Japanese artist Leiko Ikemura depicts ethereal landscapes and figures in transformative interconnected moments. Ukrainian artist Aljoscha’s sculptures and installations are fabricated from synthetic materials, which showcase the way science can shape art.

Meanwhile, Bosnian artist Radenko Milak creates graphic watercolors whose subjects are sourced from photojournalism, film, and archival material, blurring the lines between documentation and artistry. Israeli painter Zohar Fraiman explores femininity and digital culture in a vivid palette with prismatic perspectives. While disparate, cumulatively these works offer “both aesthetic pleasure and intellectual challenge,” as the gallery put it.

James Turrell, “Path Taken”

Almine Rech Matignon

Oct. 14–Dec. 21

A new light piece from James Turrell is always a thing of beauty. For over half a century, the American artist has engaged viewers by using his training in perceptual psychology. At Almine Rech’s Matignon space, he will show a new piece from his ongoing “Glassworks” series started in 2004, where he creates a unique shape through which light and colors develop gradually using LED technologies. The durational work is informed by a computer program creating continuous variations from light-emitting diodes. “Light is not ephemeral, it is a material, photons are matter,” Turrell stated in an interview with the gallery.

At the same time, Gagosian will also be presenting the largest show of Turrell in Europe in decades at its space just outside of Paris. That show will feature two new large installations and two projected works, as well as plans of Turrell’s long-awaited desert monument, Roden Crater.

Boluwatife Oyediran, “Inverted Blackness”

AFIKARIS

Oct. 17–Nov. 23

Dami, 2024
Boluwatife Oyediran
AFIKARIS

Dami and Obasi I, 2024
Boluwatife Oyediran
AFIKARIS

Nigerian artist Boluwatife Oyediran debuted with a solo exhibition at AFIKARIS two years ago (“Point of Correction”), creating imagery overturning white patriarchal tropes. Now, “Inverted Blackness” features portraits of Black immigrants living in the United States, their skin articulated in shades of blue.

This color choice attests to the artist’s own experience of racial malaise as a Nigerian man studying in America (he graduated with an MFA from the Rhode Island School of Design earlier this year). This chromatic alternative at once references the photographic negative—in which the lightest areas of the photographed subject appear darkest—and the roiling negative bias Black people face in America. The canvas Higher Goals (After Hammons) (2024) is a self-portrait referencing Black American artist David Hammons’s Higher Goals (1986), a public sculpture work that featured colossally towering telephone poles mounted with basketball backboards.

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