Tau Lewis was reviewed in Hyperallergic for her good solo booth with Cooper Cole at Frieze New York 2018.
The Good, the Bad, and the Forgettable at Frieze New York
The latest edition of the mega-fair is full of extremes, from the very high temperatures during the first day of previews to impressively bad booths and plenty of strong, thoughtful presentations.
Frieze New York is back, and the 2018 edition of the mega-fair may be the most underwhelming ever. There was plenty of griping at yesterday’s very-VIP and press preview about the sweltering temperatures inside the fair and its confusing new layout, but the bigger problem was the lackluster work on view. As ever, there are strong individual works peppered throughout and some standout solo and thematic booths, but by and large the fair feels very by-the-numbers, with major galleries playing it extremely safe and smaller outfits struggling to stand out.
The most immediately evident change at Frieze this year is the new tent, by Universal Design Studio, which consists of a series of discrete and interconnected clusters instead of one continuous, curving space. The result, simply put, is that Frieze now feels a bit more like every other art fair. It also means that visitors can’t easily look up, judge the proximity of the end of the tent, and gauge how many booths they still have to see before the fair closes. The booths themselves are airy and spacious for the most part, and a few galleries (including Gagosian and Stephen Friedman Gallery) even have more than one.
What’s being shown in the booths is, in general, no different from what you’d see on a given day of gallery-hopping in Chelsea, but there are exceptions to this of course. New York’s Donald Ellis Gallery has devoted its booth to a superb selection of Native American ledger drawings. São Paulo-based Galeria Marilia Razuk is showing an array of amazing sculptures by the late Mestre Didi based on the sacred objects used in Brazil’s Afro-Brazilian Candomblé religion. New York’s Lyles & King and Ryan Lee galleries have solo showcases of incredibly fresh, decades-old paintings by Mira Schor and Emma Amos, respectively. Toronto gallery Cooper Cole has a booth of very tactile and uncanny figurative sculptures by Tau Lewis — which, happily, were totally sold out after the fair’s first day. Glasgow-based Mary Mary has a fantastic booth of ceramic, iron, and wood sculptures by Jesse Wine. And Brussels gallery Rodolphe Janssen has an array of lovely woodcuts, paintings, and ceramic sculptures by the twin artist duo of Gert and Uwe Tobias.
To see the full post please visit Hyperallergic.
For more information about Tau Lewis please contact the gallery: