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| Frieze Art Fair Pitches Its Tent in New York | Frieze Art Fair Pitches Its Tent in New York |
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| LONDON — When the Frieze Air Fair, the cool teenager of the contemporary art world, set up shop in New York last year, there did not seem to be much surprise. But Frieze New York, which opens its second edition Friday in Randall’s Island Park in Manhattan, remains a daring move and a gamble for the London show and its organizers. | LONDON — When the Frieze Air Fair, the cool teenager of the contemporary art world, set up shop in New York last year, there did not seem to be much surprise. But Frieze New York, which opens its second edition Friday in Randall’s Island Park in Manhattan, remains a daring move and a gamble for the London show and its organizers. |
| The fair, which runs through Monday, comes just two months after the centennial edition of the huge Armory Show in New York, and competes with Art Basel Miami Beach, another important U.S. destination for serious collectors. | The fair, which runs through Monday, comes just two months after the centennial edition of the huge Armory Show in New York, and competes with Art Basel Miami Beach, another important U.S. destination for serious collectors. |
| There is also a risk that the expansion of Frieze to the United States could dilute the impact or panache of its London edition, take galleries and collectors away from the mother ship, or attempt too close a clone of London in a very different context. | There is also a risk that the expansion of Frieze to the United States could dilute the impact or panache of its London edition, take galleries and collectors away from the mother ship, or attempt too close a clone of London in a very different context. |
| Amanda Sharp, who co-founded Frieze with Matthew Slotover in 2003, said that although it “did seem like a very big challenge,” the impetus to take Frieze to New York came largely from the European galleries that were showing at the London fair. | Amanda Sharp, who co-founded Frieze with Matthew Slotover in 2003, said that although it “did seem like a very big challenge,” the impetus to take Frieze to New York came largely from the European galleries that were showing at the London fair. |
| “I had mentioned the idea to about two people,” Ms. Sharp, a Briton, said by telephone from New York, where she has been based since 1999. “Then a German newspaper got wind of it, and wrote about it, and the deluge of interest was so extreme that I knew I had to find a location.” She describes how she went to Google to look for large green spaces and eventually drove out to Randall’s Island. “I knew it could be perfect for us,” she said. | “I had mentioned the idea to about two people,” Ms. Sharp, a Briton, said by telephone from New York, where she has been based since 1999. “Then a German newspaper got wind of it, and wrote about it, and the deluge of interest was so extreme that I knew I had to find a location.” She describes how she went to Google to look for large green spaces and eventually drove out to Randall’s Island. “I knew it could be perfect for us,” she said. |
| The choice of the island, a part of Manhattan between the East River and the Harlem River that is unknown to many New York City residents, was a contentious one. In the 19th century, it featured a poorhouse, a reformatory for juveniles and a hospital; now it is mostly parkland with a multipurpose sports complex. Getting there involves either taking a 20-minute ferry or a fairly long car ride via the Robert F. Kennedy Bridge, anathema to the New York love of convenience. | The choice of the island, a part of Manhattan between the East River and the Harlem River that is unknown to many New York City residents, was a contentious one. In the 19th century, it featured a poorhouse, a reformatory for juveniles and a hospital; now it is mostly parkland with a multipurpose sports complex. Getting there involves either taking a 20-minute ferry or a fairly long car ride via the Robert F. Kennedy Bridge, anathema to the New York love of convenience. |
| “People said we must be crazy,” Mr. Slotover said by telephone. “But to an amazing degree, in the first few minutes of arriving, the consensus changed 180 degrees.” | “People said we must be crazy,” Mr. Slotover said by telephone. “But to an amazing degree, in the first few minutes of arriving, the consensus changed 180 degrees.” |
| Ms. Sharp and Mr. Slotover engaged the New York firm SO-IL Architects to design the tent for the fair, a caterpillar-like, curvy, light-filled structure that Holland Cotter described in The New York Times as “the architectural equivalent of a white stretch limo.” | Ms. Sharp and Mr. Slotover engaged the New York firm SO-IL Architects to design the tent for the fair, a caterpillar-like, curvy, light-filled structure that Holland Cotter described in The New York Times as “the architectural equivalent of a white stretch limo.” |
| The attractive environment, together with Ms. Sharp and Mr. Slotover’s attention to detail — the food on offer, the V.I.P. lounges, the special projects scattered throughout the tent and the sculpture park outside — contribute to Frieze’s trademark theatrical charm, which is deemed a considerable factor in drawing galleries. | The attractive environment, together with Ms. Sharp and Mr. Slotover’s attention to detail — the food on offer, the V.I.P. lounges, the special projects scattered throughout the tent and the sculpture park outside — contribute to Frieze’s trademark theatrical charm, which is deemed a considerable factor in drawing galleries. |
| “They are very good at managing the environment and putting artists’ projects at the center of the fair,” said Louisa Buck, the contemporary art correspondent for The Art Newspaper. “People do go from the U.K. to exhibit because it’s a chance to show in a place that’s a lot less creaky than the Armory. It provides a much more stylish, highly regarded alternative.” | “They are very good at managing the environment and putting artists’ projects at the center of the fair,” said Louisa Buck, the contemporary art correspondent for The Art Newspaper. “People do go from the U.K. to exhibit because it’s a chance to show in a place that’s a lot less creaky than the Armory. It provides a much more stylish, highly regarded alternative.” |
| Last year, Frieze New York offered a strong showing of North American work, with 35 percent of participating galleries coming from North America, 51 percent from Europe and 14 percent from other regions. Those proportions remain more or less consistent this year. | Last year, Frieze New York offered a strong showing of North American work, with 35 percent of participating galleries coming from North America, 51 percent from Europe and 14 percent from other regions. Those proportions remain more or less consistent this year. |
| The London fair, on the other hand, has a higher European-to-American ratio; last year, about 63 percent of the galleries came from Europe and 24 percent from North America. But Mr. Slotover added that there was already a high crossover of gallery applications for the two fairs, suggesting that if curators like the Frieze brand, they consider it worthwhile showing in both cities. | The London fair, on the other hand, has a higher European-to-American ratio; last year, about 63 percent of the galleries came from Europe and 24 percent from North America. But Mr. Slotover added that there was already a high crossover of gallery applications for the two fairs, suggesting that if curators like the Frieze brand, they consider it worthwhile showing in both cities. |
| But there is at least one market that Frieze London has struggled to capture. “There is certainly a bunch of New York-based collectors who don’t travel that much,” Mr. Slotover said. “And what astounded us when we started the London fair was the depth of collecting in New York and across the U.S. It really is much bigger than any other country, and galleries want access to that market.” | But there is at least one market that Frieze London has struggled to capture. “There is certainly a bunch of New York-based collectors who don’t travel that much,” Mr. Slotover said. “And what astounded us when we started the London fair was the depth of collecting in New York and across the U.S. It really is much bigger than any other country, and galleries want access to that market.” |
| Maureen Paley, whose gallery in London has been a longtime Frieze participant, exhibited at both the London and New York Frieze fairs last year. She said it seemed obvious to her that the opportunity to be in New York, at what she described as a prime time on the international arts calendar, was not to be missed. | Maureen Paley, whose gallery in London has been a longtime Frieze participant, exhibited at both the London and New York Frieze fairs last year. She said it seemed obvious to her that the opportunity to be in New York, at what she described as a prime time on the international arts calendar, was not to be missed. |
| “The galleries that do involve themselves with Frieze are often creating stands that are very curated, rather than just displaying their wares,” Ms. Paley said. “It creates a particular atmosphere that is a little bit niche. In that way, New York was very consistent with the feeling of the London fair.” | “The galleries that do involve themselves with Frieze are often creating stands that are very curated, rather than just displaying their wares,” Ms. Paley said. “It creates a particular atmosphere that is a little bit niche. In that way, New York was very consistent with the feeling of the London fair.” |
| Despite that consistency, the New York fair has a different feel, Ms. Buck of The Art Newspaper said. “They hired American curators, they take collectors around to local galleries. They are very context-specific, so in that way it is very different to Frieze London. Yes, they are both in tents in parks, but in very different tents, in very different parks.” | Despite that consistency, the New York fair has a different feel, Ms. Buck of The Art Newspaper said. “They hired American curators, they take collectors around to local galleries. They are very context-specific, so in that way it is very different to Frieze London. Yes, they are both in tents in parks, but in very different tents, in very different parks.” |
| But Kim Stern, an art consultant and curator who divides her time between New York and South Africa, said that the works on display at the first Frieze New York fair last year did not differ significantly from what she had seen in London. | But Kim Stern, an art consultant and curator who divides her time between New York and South Africa, said that the works on display at the first Frieze New York fair last year did not differ significantly from what she had seen in London. |
| “What people take to Frieze New York is, for the moment, very much based on its London reputation,” Ms. Stern said. “As it grows in New York, that will shift, and we will start to see a very different landscape, particularly since I think people feel the perception is that, in America, they can be more bold than in Europe.” | “What people take to Frieze New York is, for the moment, very much based on its London reputation,” Ms. Stern said. “As it grows in New York, that will shift, and we will start to see a very different landscape, particularly since I think people feel the perception is that, in America, they can be more bold than in Europe.” |
| That potential differentiation could be an important factor for Frieze, as two very similar fairs could lead regular London exhibitors to shift their allegiance to New York. | That potential differentiation could be an important factor for Frieze, as two very similar fairs could lead regular London exhibitors to shift their allegiance to New York. |
| Ozkan Canguven of the Gallery Rampa in Istanbul, which exhibited twice at Frieze London before going to Frieze New York last year, said that the New York edition had been the best fair the gallery had ever done. “I had thought we would do better business in Europe, but New York had such an international crowd of collectors,” she said. “Americans, Brazilians, Mexicans, and lots of Europeans. I think London was more local.” | Ozkan Canguven of the Gallery Rampa in Istanbul, which exhibited twice at Frieze London before going to Frieze New York last year, said that the New York edition had been the best fair the gallery had ever done. “I had thought we would do better business in Europe, but New York had such an international crowd of collectors,” she said. “Americans, Brazilians, Mexicans, and lots of Europeans. I think London was more local.” |
| Although Ms. Canguven said her gallery would continue to show at both Frieze fairs, Ms. Sharp acknowledged that some regular exhibitors felt that New York was a more important market. But “it works the other way round, too,” she hastened to add. | Although Ms. Canguven said her gallery would continue to show at both Frieze fairs, Ms. Sharp acknowledged that some regular exhibitors felt that New York was a more important market. But “it works the other way round, too,” she hastened to add. |
| “Some galleries who came to us first in New York have now applied for London,” Ms. Sharp said. “And New York gives us a broader group to market to, which is the whole idea — to establish more relationships, that people understand what we do.” | “Some galleries who came to us first in New York have now applied for London,” Ms. Sharp said. “And New York gives us a broader group to market to, which is the whole idea — to establish more relationships, that people understand what we do.” |
| Mr. Slotover said that while the first edition of Frieze New York had lost money, he hoped that the event would break even this year and be profitable in 2014. The real issue for Frieze, then, may not be whether there is a conflict of interest between its editions in Britain and the United States, but whether there is a sufficiently deep pool of collectors to support both Frieze New York and the Armory Show. | Mr. Slotover said that while the first edition of Frieze New York had lost money, he hoped that the event would break even this year and be profitable in 2014. The real issue for Frieze, then, may not be whether there is a conflict of interest between its editions in Britain and the United States, but whether there is a sufficiently deep pool of collectors to support both Frieze New York and the Armory Show. |
| “I’m not sure that the New York art market can really support two enormous fairs that draw upon the same collector base and same galleries,” Ms. Buck said. “Which one will it be? The jury is still out.” | “I’m not sure that the New York art market can really support two enormous fairs that draw upon the same collector base and same galleries,” Ms. Buck said. “Which one will it be? The jury is still out.” |
This article has been revised to reflect the following correction: | This article has been revised to reflect the following correction: |
| Correction: May 11, 2013 | Correction: May 11, 2013 |
An earlier version of this article incorrectly stated that | An earlier version of this article incorrectly stated that Maureen Paley participated in the Armory Show in 2012. She did not. Additionally, an earlier version of this correction referred to Maureen Paley as an artist. She is a gallery owner in London, not an artist. |