Fear — so pervasive these days — has long been an important theme for Neuenschwander.
From Hansel and Gretel to Rosemary’s Baby, Philipsz sings these bucolic songs of dark, and often violent, undertones.
Songs in the Dark offers socially engaged vignettes on issues that are of clear personal importance to their makers, some of whom are activists outside of the art world as well.
It is not surprising that a music star would have an exhibition at an art gallery. What is surprising is how compelling and meaningful this show, by Sigur Rós frontman Jónsi, really is.
Sze’s dynamic sculptures aim to capture relationships and their gaps, the solidity of objects and their discarding.
Do not mistake small size of Powell’s paintings for modesty; she wants to draw us in, to make works that can sustain close looking.
Strapped into a harness beneath Saraceno’s inflated sculpture, we are carried aloft, peaceful and ecstatic, merging with the air.
Liu Shiyuan’s videos, photos, and installations wrangle with the deluge of information and imagery we’re constantly fed without veering into incoherence.
Slavs and Tatars come on in full force, filling both floors of Tanya Bonakdar Gallery with their irony-imbued mixed-media work.
It takes a few minutes for the avian residents of Mark Dion’s “The Library for the Birds of New York” to settle back into their chirping and fluttering after you’ve entered the giant cage and stepped below the strange white oak laden with books.
It’s a common promise made in many press releases and artist statements: rather than delivering an artwork with hermetic, built-in meaning and context, the art, by being loose in some way, will provide its viewer with materials and tools with which to construct meaning.
Frieze New York opens its doors to the public today, but already during yesterday’s press and VIP preview the aisles were crowded, the common areas and restaurants filled with worn-out fairgoers, and it seemed as if the only empty seats were sculptures.