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self-help guide to frieze
[http://newartnetwork.net/frieze-art-fair/ frieze magazine] - The question on the inaugural edition of Frieze may be whether or not the British interlopers would upset the Armory Show, our increasingly moribund local art fair, as New York's leading festival of contemporary art and conspicuous consumption.
For that dealers and the collectors it's too quickly to share with - Frieze opens on Friday after having a collectors' preview on Thursday. But this is a much better fair than has been expected initially out, though in contrast to its old school cousin this can be a safer affair, with little grit and a lot of gloss.

[http://newartnetwork.net/frieze-art-fair/ frieze magazine] - The best news: Amanda Sharp and Matthew Slotover made the right call by holding Frieze on Randall's Island, a park inside the East river usually frequented only by little-league baseball players. New Yorkers had been sceptical - it is with enough contentration to have us to cross Manhattan, not to mention have a ferry (or limousine) across the water. But around the island, Frieze has enough space to get a sinuous white tent, produced by the young Brooklyn architectural duo SO-IL, which curves over the waterfront. The tent offers continuous vistas down and up the fair - handsomer than other events' gridded chicken coops, though a little intimidating as well. You can find 180 galleries here, but nowhere to hide.
The initial Frieze art fair, for those its wealth, remains better its scruffy east London roots compared to old-money fairs in Basel or Maastricht. There is however no mistaking that Frieze Ny is all business, and provocations of the type London audiences have come to expect - wrecked booths, disruptive performances, installations that mock art market absurdities - are not in evidence. Maccarone, a typically confrontational gallery, is showing a sculpture through the brothers Oscar Tuazon and Eli Hansen, incorporating a tree from an Alaskan island where they lived for weeks - but also a 12-metre abstract striped painting by Ann Craven, elegant but benign. Even Gavin Brown, a once reliably provocative Anglo-American dealer, has mounted a beautiful but extremely safe booth, centered on seven achingly delicate paintings by Laura Owens, all linked together with a wooden mesh.

[http://newartnetwork.net/frieze-art-fair/ www.newartnetwork.net/frieze-art-fair] - As stated on this frieze review: The greatest galleries have taken few chances. Require a monochrome Anish Kapoor disc to embellish your third home? Get a huge yellow one or perhaps a slightly smaller version in tasteful bronze - otherwise just hold back until both you and your 1% friends meet later this spring in Hong Kong or Basel, where you can try again. It's more rewarding to spend time in the single-artist installations by younger galleries, which Sharp and Slotover have placed smack at the heart with the fair. One of the lessons you'll learn: Ny is over and all sorts of the cool American kids have moved to LA. At Redling Fine Art, Liz Glynn has created papier-mache replicas of gold jewellery from pawn shops over the Town of Angels. Money is inconsistent, she reminds us, and there is market for everything.