IN THE NEWS

 

A Vision of America: Major exhibition of new works by Bob Dylan opens in London

Bob Dylan, music legend and Nobel laureate, is also a prolific painter whose works depicting the landscapes and culture of the United States are now the focus of a major London exhibition. Around 200 paintings by the US singer-songwriter, produced by the 75-year-old in the last two years, are on show from Saturday at the Halcyon Gallery in the British capital's plush Mayfair district. The collection of oil, acrylic and watercolour paintings reveals a different side to Robert Allen Zimmerman, an icon of 20th century US popular music, whose poetic lyrics earned him the Nobel Prize for literature last month, to much surprise. Dylan announced last week that he would travel to Stockholm to receive the prize, making the timing of this exhibition all the more apt. "It's a great honour for us hosting the exhibition and for him to have received that honour at the same time," Paul Green, president of the Halcyon Gallery, told AFP.

 

Art Money, a New Startup, Offers Collectors Free Money to Buy Art                 (via Artsy)

Gallery-hopping in Chelsea on a Thursday night or strolling through the booths of an art fair can be a masterclass in window shopping. For most people, the pieces on sale are simply impossible to afford or financially irresponsible to buy. Even for those with means, who would technically be capable of purchasing pieces at the lower end of the market, $1,000 to $50,000 can feel like a prohibitively expensive amount to spend all at once. But Art Money, a company that launched in the U.S. during EXPO Chicago, is looking to change the mental math behind buying a work of art.

Art Money offers buyers interest-free loans, allowing art buyers to pay off the price of a work over the course of 10 monthly installments rather than shell out the full price tag of the piece in one fell swoop. A $10,000 work becomes an initial deposit of $1,000 and nine equal subsequent payments.

Payment plans have long existed in the art world. But they’re rife with risk for the gallery. It’s routine to hear of payments stretching long past their initial schedule, leaving both artist and dealer in the lurch. Given their cost and the attention they draw, lawsuits aren’t generally a practical option to enforce delays or non-payment for most sales, particularly on the lower end of the price spectrum. With Art Money, galleries are paid within two weeks.

Payment plans also have drawbacks for collectors. Buyers may not be able to take a work home until it has been paid for in full. This is particularly the case for those who are new to collecting and thus don’t have a longstanding relationship and established trust with a gallery. (A notable 25% of the company’s loans thus far have gone to first-time collectors.) Art Money’s loans, however, allow the piece to be taken home with the buyer on day one. “It may sound trite, but it really is a win-win,” says founder and CEO Paul Becker.

Since launching, Art Money has partnered with a growing handful prominent New York galleries. Becker said he’s designed the company to make it easy for galleries to say yes because it “doesn’t cost them anything unless they make a sale.” Art Money doesn’t charge galleries to partner but rather charges a set fee, framed in its agreements as a percentage discount against the total cost of any work sold using the service.

For buyers, signing up is as simple as visiting Art Money’s website, putting in some personal information, and waiting 10 minutes for a credit check to run. The company’s algorithm looks at this and other basic financials to determine whether it’s comfortable with the risk exposure for the collector’s requested loan. “A lot of people say this is for people who can’t afford” to purchase art, said Becker. He reports that 90% of Art Money loan applicants have been well-qualified for the amounts they’ve requested. “It’s not about the money, it’s about the psychology of it, it’s about feeling responsible. Spreading out the payments makes sense, just as it makes sense with everything else you purchase in your life.”

In the U.S., the company currently offers loans from $1,000 to $30,000. The average amount of the over 500 loans granted since Art Money’s initial launch in Australia in April 2015 has been around $5,000. There have been zero defaults to date. Though Becker concedes that the inevitability that this will occur is “part of the risk we built into our business model,” and that the company then has immediate rights to repossess the work.

Becker expects the U.S. market to push its average loan size higher and notes that even blue-chip galleries have a significant stock of prints and works on paper that would be eligible for Art Money loans. Buyers can sign up at the time of a sale or be given a credit amount in advance to spend when a work strikes their fancy. The loaned amount can include shipping, framing, or any other service the buyer and gallery agree on. “We’re an enabler,” jokes Becker.

The benefits don’t mean galleries, often weary of change, are all rushing to adopt the service. “This is a new way to buy art,” said Becker. “It’s about culture change. This option has never been available.” Becker suggests that partner galleries integrate his company’s payment plans into their initial sales pitches rather than leaving them as a last-ditch attempt to close. “I say to galleries: There are two prices for every work now. $20,000 or $2,000 a month.”

Making art more affordable (or at least an easier cost to swallow) has significant potential to grow the number of buyers—something dealers are sorely looking for. According to the 2016 TEFAF report, some 73% of dealers said that growing their clientele is something they worry about. And despite what multi-million-dollar auction results might lead you to believe, the lower end of the market serviced by Art Money is where the majority of purchases by volume and value occur. According to the same report, 77.6% of all transactions in 2015 by volume (64.4% by value) were for works priced at less than $50,000, while 27.1% of sales, by volume, were for works priced between $1,000 and $5,000.

Art Money offers the potential to further expand and solidify this unsung segment of the market’s base. And ultimately, the company’s goal is a simple one, said Becker: “We want more people to buy art.”—Isaac Kaplan

 
 
On Friday, Germany passed a bill containing some of the world’s strictest rules concerning the import and export of cultural goods, prompting backlash from dealers and collectors.
 
Authorities hope the legislation will prevent black market trading of looted antiquities as well as place controls on blue-chip artworks leaving the country. More than 48,000 citizens signed an online petition opposing the proposed Cultural Property Protection Law, arguing for “the preservation of private collecting.” Under the new regulations, all objects with cultural significance that fit certain age and value specifications must receive permission from German officials before they can be legally exported. Additionally, artifacts designated for sale must have an export license from their native country. A group of museum directors cautioned that the impending legislation had already resulted in a series of valuable works being shipped out of the country, resulting in “enormous” damage that “cannot be reversed.” Germany’s culture minister, Monika Grütters, has argued that the law is a necessary step in ensuring that the country “live[s] up to its responsibilities for mankind’s cultural heritage—nationally and internationally.”
 
The Online Art Market’s Interesting Response to Brexit

During the anticipatory countdown towards Brexit, there were many doubts and questions about how it would affect London’s art auction on June 21, 2016. As for the results? Pretty extraordinary and here’s why. First off, Picasso’s 1909 Cubist painting “Femme Assise” sold for 43.4 million pounds, surpassing the estimated target of 30 million pounds. Just a few moments later, Modigliani’s “Jeanne Hebuterne (au Foulard)” was taken for 38.5 million pounds, wickedly exceeding the targeted estimate of more than 28 million pounds. With this encouragement, the depth of bidding also affected other works to receive impressively surpassed estimates.

After the big news on the Brexit result, the outlook is interesting for the ONLINE ART MARKET. Ion Ovidiu Fratiloiu, ARTSTAQ partner for the UK market, has confirmed a huge interest in trading emerging artists on the Artex500 exchange. "Investors have realized that art will continue its effective function as an alternative currency which hedges against inflation and currency depreciation,” he shared.

In this context, it's important to keep in mind that today the art market is truly a global affair. Buyers and sellers from around the globe are using new online trading models. Making any specific comments on the long-term impact on the art market would be premature, but we are ready to see how things will unfold.  - courtesy of ArtStaq

 

 

 

Peter Brant Takes Over Art Magazines

The contemporary art collector and publisher Peter M. Brant announced that he had assumed full control over Art in America magazine and ARTnews, as well as a stable of other publications that were part of a merger in 2015.

In the deal, Mr. Brant agreed to sell Art in America, which has been published since 1913 but has struggled recently, to the company that owns ARTnews, published since 1902. Mr. Brant sold the magazine for about $17 million.

Under plans announced last year, Art in America is to continue its regular publication schedule of 11 issues a year, and ARTnews will come out in print about four times a year, continuing popular themed editions such as the annual list of “The World’s Top 200 Collectors.” Online, Mr. Brant said, the consolidation would move “under one umbrella” some of “the most important cultural publications that together provide the complete content and history of decorative arts, classical arts and art-related news.”

 

 

Donald Trump and Art

The Republican primary is effectively over with Donald Trump’s win in Indiana, and while he  dominaties the 2016 election news cycle little is known about The Donald's interest in the art world. 

Donald Trump claims to be worth $10 billion, but unfortunately for me, it doesn’t seem to be invested in fine art. Other savvy investors and real estate moguls, such as Aby Rosen, are driving the art market higher and higher, but there is little evidence that blue chip artworks are among Trump's assets.

I am not 110 percent on this, but I’ve been told the French-impressionist paintings that decorate his homes are likely — don’t call them fakes — reproductions.

A smaller version of the real “La Loge” by Renoir — an 1874 painting in the collection of the Courtauld Institute of Art in London — was sold by Sotheby’s in 2008 for $9.67 million to an unidentified buyer. But what is probably a skillfully painted copy hangs in Melania Trump’s office in the Trump Tower on Fifth Avenue.

If Trump’s paintings were originals, his collection would be valued at hundreds of millions of dollars. And most people have no idea they aren’t real. “When it comes to investing, he prefers higher-return investments,” said one longtime Trump friend. “Trump can appreciate great art, but he finds the New York arts crowd elitist and phony. He prefers real estate.”

    The Met Gala, 2016      

The Met Gala, formally called the Costume Institute Gala and also known as the Met Ball, is an annual fundraising gala for the benefit of the Metropolitan Museum of Art's Costume Institute in New York City. Tonight, celebrities from the worlds of fashion, film, sports, art, and music will gather at The Met for the Museum's Costume Institute Benefit. This year's gala celebrates the exhibition Manus x Machina: Fashion in an Age of Technology, on view May 5–August 14, 2016. Beginning at 6:30 pm EDT, gala Co-chairs Taylor Swift, Idris Elba, Jony Ive, and Anna Wintour and red-carpet-ready guests will walk the iconic steps of The Met Fifth Avenue. The evening's celebration provides The Costume Institute's annual funding for exhibitions, publications, acquisitions, and capital improvements. Manus x Machina features more than 150 examples of haute couture and avant-garde ready-to-wear dating from the early 1900s to the present. The exhibition examines various creative processes and unravels how designers reconcile the handmade with the machine-made in a world increasingly influenced by technology. The Metropolitan Museum of Art, colloquially "the Met", is located in New York City and is the largest art museum in the United States, and among the most visited art museums in the world.

 

New Paris Museum for Luxury Goods Mogul Francois Pinault's Art Collection                                                                                                                      

Mayor of Paris Anne Hidalgo (2nd R) poses with French businessman Francois Pinault (R), his son Francois-Henri Pinault (L), head of French luxury group Kering, and grandson Francois (2nd L) after holding a press conference to announce an art museum project within the Bourse du Commerce building in central Paris which will house Pinault's private art collection, on April 27, 2016, in Paris. One of the world's biggest private art collections is to be housed in a new Paris museum within a stone's throw of the Louvre, the French billionaire said on April 27. Francois Pinault, the luxury goods mogul who also owns the auction house Christie's, is taking over the Bourse de Commerce in the centre of the French capital to show his 1.4-billion-dollar (1.2-billion-euro) collection of modern masters. BERTRAND GUAY / AFP.

 

Philanthropist David Geffen makes $100 million gift to the Museum of Modern Art

NEW YORK, NY.- The Museum of Modern Art announces that Los Angeles-based philanthropist David Geffen has given a $100 million gift toward the Museum’s renovation and expansion, the largest gift to the institution’s Campaign.  

In recognition of Mr. Geffen’s extraordinary gift, three floors of new galleries, created as part of the Museum’s expansion into the tower being constructed immediately to the west of the Museum at 53 West 53rd Street, will be named The David Geffen Wing. In addition, the fourth-floor suite of galleries in the current museum building will be named The David Geffen Galleries this spring.  

The building project will add 50,000 square feet of gallery space, allowing the Museum to reconceive the presentation of its collection and exhibitions, and will provide greater visitor accessibility through the enhancement of the Museum’s public areas.  When making the pledge, Mr. Geffen stated, “My passion for art began while visiting The Museum of Modern Art as a young man. Art has been an important part of my life ever since, so I am delighted to lend my support to this exciting effort to celebrate the museum's history and contribute to its future.” 

“David Geffen is an extraordinarily gifted collector and an unstintingly generous philanthropist,” said MoMA Director Glenn D. Lowry. “We are honored to recognize his commitment to modern art, and to the city of New York, here at the museum where he first encountered the art that was to have such a deep impact on his life.” 

"Whether through his professional success, his discriminating eye and passion for collecting, his unparalleled generosity to arts institutions, or his commitment to education and medical research and clinical practice, David Geffen has changed the cultural, social, and healthcare landscape of this country,” said Marie-Josée Kravis, President of the Board of Trustees. “We are thrilled that his transformative gift to MoMA will support our efforts to grow our audiences and deepen and improve our programs and collections. We are deeply grateful to David, a longtime and loyal MoMA friend."  

 

                  A Year of Highs and Corrections in the Art Market                                 

Looking back at the headlines, 2015 was a momentous year for the art market.

In May, Picasso’s 1955 painting “Les Femmes d’Alger (Version ‘O’)” sold at Christie’s in New York to an as-yet-unidentified telephone bidder for $179.4 million, a high for any artwork at auction.

Led by that sale, Christie’s became the first auction house to sell more than $1 billion worth of art in a week, with a double bill that included 20th-century masterworks on one night and a selection of big-name contemporary pieces the next. Many of them were secured by the company’s policy of courting owners of valuable artworks with hefty guarantees and no commission fees.

Then, in November at Christie’s, the billionaire Chinese collector Liu Yiqian offered a winning bid of $170.4 million for Modigliani’s 1917 “Nu couché.”

These dizzying and highly publicized auction peaks created a sense that the art market was booming. But overall, sales at auctions, the one element in the market for which demand can be statistically quantified, showed signs of slowing growth and even contraction in 2015.

According to data provided by the London analysts ArtTactic, Christie’s and Sotheby’s raised a total of $3.7 billion last year from sales of postwar and contemporary works in New York and London. That figure was 6 percent less than in 2014, although sales of modern and Impressionist works, which were given a boost by that Modigliani, increased 14 percent year-over-year to $2.7 billion.

“There is a plateauing of prices at the highest end of blue chip,” said Allan Schwartzman, a co-founder of Art Agency, Partners, an advisory company in New York. “And this is healthy after five or so years of unprecedented rise. But this may be more a sign of how difficult it is to source top material.”

While the best of artists like Bacon, Basquiat, Richter and Warhol might be at short supply at auction, Mr. Schwartzman said there was still a tremendous amount of dealer activity in postwar and contemporary art in the under-$2 million range. But it is difficult to quantify private sales in galleries and at art fairs.

“What I would say is that there are at least 10 times more collectors seriously engaged in the market than there were a decade ago,” Mr. Schwartzman said.

 

Drips, Dropped: Pollock and His Impact

Any exhibition of older art drawn from a museum’s permanent collection is a palm held out for us to read, a snapshot of the museum’s sense of its role over time, its present ambitions and its view of art history. Place two such exhibitions side by side and an especially intense and revealing frisson can occur.

Thus we have the palpable electricity between “Jackson Pollock: A Collection Survey: 1934-1954” and “Take an Object,” two shows at the Museum of Modern Art. The Pollock is a dazzling 58-work account of that leading Abstract Expressionist’s achievement, with special focus on the development of his signature drip paintings in the mid-1940s. “Take an Object” is a survey of worldlier, more externalized art-making by 20 post-Pollock artists from the United States and Europe, made between 1955 and the mid-70s. It takes its title from a notebook entry by Jasper Johns: “Take an object. Do something to it. Do something else to it.”

These shows say a lot about postwar history and the Modern’s representation of it; moreover, they define a watershed moment when painting began to share the stage with a new kind of art-making that was emerging.

This narrative is overly simple, but it’s true enough. Pollock’s drips were so extreme they stopped painting in its tracks, at least momentarily, deflecting some young ambitious artists, often painters, toward the use of actual objects, often along paths opened foremost by Mr. Johns. The shows are nearly side by side on the second floor. And so, crossing a small lobby, you can walk from an almost overwhelming overview of the greatness — and finality — of Pollock’s drip paintings into a gallery full of some of the first signs of a whole new way of art-making, as if from one explosion to another.

The Pollock display is about as succinct a summary of his short, steep trajectory as any you are likely to see. Organized by Starr Figura and Hilary Reder in the department of prints and drawings, this cache of paintings, drawings and especially prints also testifies to the Modern’s determined accumulation of works by artists it deems all-important. Pollock is, in essence, the Modern’s postwar Picasso and, not surprising, its holdings are unsurpassed. Reading the works’ credit lines conjures the patrons of the Modern’s halcyon days: Guggenheim (Peggy), Rockefeller, Paley, Haupt and Janis (two paintings in 1967, plus funds for a third!).

The plentiful prints here soften the stereotype of Pollockian machismo by revealing his supreme delicacy. Full of linear traceries, they came foremost from his widow, the painter Lee Krasner, and help measure her growing artistic independence. The credits of the 23 prints given in 1969 read “Gift of Lee Krasner Pollock.” Two early paintings and one drawing given in 1980 are “Gift of Lee Krasner in Memory of Jackson Pollock.” Much better.

Pollock’s ambition and experimental drive registered while he was still under the influence of the regionalist painter Thomas Hart Benton. An expansive, all-over energy — influenced by the Baroque tendencies of Benton’s own roiling compositions — enlivens a small rural scene painted on the top of a wood cigar box (around 1930-33) and a fabulous little painting bristling with shards of black, white, red and yellow called “The Flame” (around 1934-38). His interest in materials is strikingly apparent in “Landscape With Steer” (around 1936-37), a lithograph whose bright colors he subdued with sprayed-on black lacquer. The darkness recurs in the small “Painting” from around 1944, in which bright Picassoid planes and symbols are curtained with black.

Pollock was not the only painter to experiment with the all-over drip technique in the early- and mid-40s. Norman Lewis, Hans Hofmann and Janet Sobel came up with similar approaches. But only Pollock pursued its possibilities, doggedly and methodically circling the technique, trying it out, then retreating, then finally embracing it wholeheartedly around 1946. This embrace is evident in the two classic drip paintings in the last of the show’s three sections, but in many ways its evolution is more exciting, at least as conveyed by five paintings in the second section. In two midsize canvases, “Gothic” (from around 1944, bequeathed by Krasner in 1984), and the less-familiar “There Were Seven in Eight,” from around 1945 (a 1980 purchase), Pollock achieves an abstract composition with forceful, choppy strokes, no drips.

In the wonderful “Shimmering Substance” of 1946 — the very title is a poetic tribute to paint — Pollock covers the surface with juicy commalike curls and circles, mostly in light-filled yellows and whites. Next to it hangs “Full Fathom Five” of 1947, from Peggy Guggenheim, whose oceanic depths are crisscrossed with drips that form a web of thread-thin strands. In “Free Form,” a smaller canvas from 1946 (part of the Sidney Janis gift) we see greater control with looping, dancing lines and poolings of paint. Standing among these canvases, it seems as though Pollock’s mantra could have been: “Take some paint. Do something with it. Take some more paint. Do something else with it.”

 

$40 Million MoMA Gift from Kenneth C. Griffin Brings Naming Rights to Johnson Wing

The Museum of Modern Art has announced one of the largest monetary gifts in its history, a $40 million unrestricted donation from the Chicago hedge-fund billionaire Kenneth C. Griffin, whose name will now adorn one of the museum’s best-known buildings, the 1964 black steel-and-glass East Wing, designed by Philip Johnson.

Mr. Griffin, the founder and chief executive of Citadel, is a noted collector and has been extremely active in recent years in giving to educational institutions and to museums, primarily in Chicago. He also serves on the board of the Whitney Museum of American Art, whose lobby in its new building in the Meatpacking District is named for him.

This will be the first time that the Philip Johnson wing has been given the name of a patron. In a statement, Glenn D. Lowry, director of the Museum of Modern Art, said that Mr. Griffin’s “commitment to our mission and vision is truly extraordinary.” Mr. Griffin said of the donation, his first substantial gift to the museum: “It is my hope that visitors, artists and students from around the world will experience all that MoMA has to offer for generations to come.”

The museum, which is in the process of an expansion that has included tearing down its next-door neighbor on West 53rd Street, the former home of the American Folk Art Museum, has received a number of sizable gifts over the last several years to enlarge its endowment and programming, including a $100 million pledge in 2005 from David C. Rockefeller, the emeritus chairman of its board.

 

Ellsworth Kelly, Who Shaped Geometries on a Bold Scale, Dies at 92        

Ellsworth Kelly, one of America’s great 20th-century abstract artists, who in the years after World War II shaped a distinctive style of American painting by combining the solid shapes and brilliant colors of European abstraction with forms distilled from everyday life, died on Sunday at his home in Spencertown, N.Y. He was 92.

Mr. Kelly was a true original, forging his art equally from the observational exactitude he gained as a youthful bird-watching enthusiast; from skills he developed as a designer of camouflage patterns while in the Army; and from exercises in automatic drawing he picked up from European surrealism.

Although his knowledge of, and love for, art history was profound, he was little affected by the contemporary art of his time and country. He was living in France during the heyday of Abstract Expressionism in New York and only distantly aware of art in the United States.

Mr. Kelly’s importance in American postwar art was increasingly acknowledged from the late 1970s onward, in part thanks to strong gallery representation. In the 1970s and 1980s, his work was handled jointly by Leo Castelli and Blum Helman. In 1992, he joined the Matthew Marks Gallery in Manhattan and the Anthony d’Offay Gallery in London. Along with gallery and museum shows, those decades also brought numerous public and institutional commissions.

A characteristic permanent installation might consist of a series of large single-color painted canvases or steel panels in varying shapes — wedges, arcs, triangles, trapezoids — cartwheeling across an expanse of wall.

One of his most moving installations, though, was one of his quietest. Made for the United States Holocaust Memorial Museum in Washington, it consisted of a plain white fan-shaped form floating opposite a triptych of three rectangular white panels. Suggesting the image of a great bird lifting upward over closed windows, the piece distilled the rigorously refined visual vocabulary Mr. Kelly had developed over a long career.

In 2013, Mr. Kelly received the National Medal of Arts, considered the nation’s highest honor for artistic excellence, from President Obama.

Mr. Kelly was as adamant about what his art was not as about what it was. Unlike the work of the early European modernists he admired, it was not about social theory. It was not about geometry or abstraction as ends in themselves. And although he derived many of his shapes from the natural world, his art was not about nature.

“My paintings don’t represent objects,” he said in 1996. “They are objects themselves and fragmented perceptions of things.”

Although he was interested in history and concerned about his place in it, he spoke of his own work as existing “forever in the present.”

“I think what we all want from art is a sense of fixity, a sense of opposing the chaos of daily living,” he said. “This is an illusion, of course. What I’ve tried to capture is the reality of flux, to keep art an open, incomplete situation, to get at the rapture of seeing.”

 

With $170.4 Million Sale at Auction, Modigliani Work Joins Rarefied Nine-Figure Club      

In an overheated art market where anything seems possible, a painting of an outstretched nude woman by the early-20th-century artist Amedeo Modigliani sold on Monday night for $170.4 million with fees to Liu Yiqian, a former taxi driver turned billionaire art collector, in a packed sales room at Christie’s. It was the second-highest price paid for an artwork at auction.

The painting became the 10th work of art to reach nine figures under the hammer. The bidding was palpably tense, with six people vying for the lot, and it took nine minutes to sell, with the winning bid coming from the phone. Mr. Liu, who with his wife Wang Wei is among China’s most visible art collectors, confirmed on Tuesday that he is the buyer. He said he planned to bring the work back to Shanghai, where he and his wife have two private museums.

 

Continue reading the main story

Amedeo Modigliani’s “Nu Couché” (1917-18). Creditvia Christie’s

The seller of the Modigliani, Laura Mattioli Rossi, the daughter of the Italian collector Gianni Mattioli, was guaranteed at least a $100 million minimum price. Just before the sale, Christie’s announced that a third party had stepped forward to share the risk — as well as any proceeds above the guaranteed price. The night’s sale of 34 lots brought $491.4 million.

But it was Modigliani’s 1917-18 canvas, “Nu Couché,” that was the star lot around which Christie’s built its themed “Artist’s Muse” auction, designed to attract international buyers of the world’s most expensive art. With some collectors concerned about a bubble in the market for so-called cutting edge contemporary art, investment-conscious buyers have been looking for blue-chip names from earlier periods. Modigliani nudes are regarded as among the ultimate trophy paintings of the 20th century.

Frieze London: Regent’s Park, London October 14–17, 2015 

Though Art Basel may be the most famous art fair, the June event is far from the only  art-world tentpole. Indeed, there’s a growing circuit of international bashes attended by the arterati throughout the year, from FIAC in Paris to America’s PULSE and TEFAF Maastricht in the Netherlands. Freize London events, though, is a must-see on the global merry-go-round and the contemporary art event of the year- definitely the most glamorous of the trade fairs.

For over a decade, Frieze has been the catalyst around which London’s busiest art week has flourished. Frieze London, dedicated to contemporary work, and Frieze Masters, (just a short walk from Frieze London) which covers thousands of years of art history, bring together 300 leading galleries from around the world, while a team of ten curators produce a series of commissions, talks and innovative feature sections across both fairs. The big task? To see everything that is to be seen and fathom the perplexing profundities of global contemporary art during Frieze Week

The quality and breadth of the work on show and the events on offer will make Frieze Week 2015 an unmissable moment to be in London.