The art and fashion industries make for the very best of bedfellows – and never more so than in early October, when the September show season culminates in Frieze London, an annual riot of style, artistry and extraordinarily good people-watching. This year, AnOther hit the preview with Alexander Coggin to track down the fair’s best-dressed attendees, and ask them about their favourite artworks.
Knight Landesman on Lynda Benglis, Centerfold, 1974 at Cheim and Read and Thomas Dane Gallery (above)
AnOther Magazine: What do you like about this piece?
Knight Landesman: The curvage.
Angela Marie Hurst on Lynette Yiadom-Boakye, The Measures, 2017, at Jack Shainman Gallery
AnOther Magazine: You look fabulous!
Angela Marie Hurst: Thank you! I have to confess this isn’t my ordinary get-up – I’m performing in a piece in the Frieze Projects space later. It’s called Androgynous Egg by Georgina Starr.
AM: What has been your favourite thing that you have seen so far?
AMH: I’ve seen a couple of pieces by Lynette Yiadom-Boakye. From far I always feel I can spot it out – I feel the warmth of her work and I am drawn to it immediately. I see it out of the corner of my eye and I think “what is that? It’s a Lynette!”
Eva and Adele on Tracey Emin, This is exactly how I feel right now, 2016, and Where is Home, 2017, at White Cube
AnOther Magazine: What have been your favourite works so far?
Eva and Adele: As performance artists we never talk about other artists; our favourite piece is always our own piece.
AM: Have you seen anything you like?
E&A: We have seen the newest paintings of Tracey Emin.
AM: What do you like about them?
E&A: They are so free. They are painterly and are a mixture of drawings, paintings, and sculptures as one. It is very good, and unexpected from her.
Laurence Chandler on Cory Arcangel, Three Stripes, 2017, at Lisson Gallery
AnOther Magazine: What have you seen that you’ve loved so far?
Laurence Chandler: Kaari Upson has these big pencil drawings that are a little bit unexpected for her. Kordansky is showing a solo with Will Boone, which I think is very cool. And there are two new Cory Arcangels, that actually deal with brands – these tri-panel Adidas works.
AM: What interests you about them in particular?
LC: I think they are something new from him that I haven’t really seen before – it’s the same inkjet process, but what he is doing is playing with Modernism and how it trickles into everything, like a brand. He touches on that idea that although you feel like you’re dressing differently you’re actually wearing what everybody else is wearing – the idea that you’re trying to be original but someone has actually already made the decision for you, in terms of what you are wearing. He is great.
Lara Bohinc on Peter Davies, Talisman, 2017, at The Approach
AnOther Magazine: What’s your favourite piece that you’ve seen so far?
Lara Bohinc: What do I really love? I took some pictures... I think I am going to go for this. It’s by Peter Davies, and it matches my coat.
AM: What do you like about it?
LB: I love the colour, I love the composition, I love how it is kind of thrown together but still very geometric. It just appeals to me.
AM: Did you know his work already before you came here?
LB: I knew a little bit, but I am not an expert on his work in any way.
Coline Milliard on Dorothy Iannone, Wiggle Your Ass For Me, 1970, at Air de Paris
AnOther Magazine: What have you seen that you’ve enjoyed so far?
Coline Milliard: I absolutely love the Sex Work section. I’m not too sure about the actual title of the section, but the work is great – it’s all these artists from the 70s who were really involved with strident feminism, but in the best possible sense of the term. So you have got Dorothy Iannone, Renate Bertlmann, Judith Bernstein...
AM: What do you love about Dorothy Iannone’s Wiggle Your Ass For Me in particular?
CM: The playfulness of it is really something special. The art world is still a really macho place, people don’t say that enough. Frieze art fair is, after all, run by a woman now. I feel like this is sending a strong and positive message for the sisterhood, which obviously I’m totally pro! Back to Iannone's words – how often do women get that kind of comment? When you reverse it, it still feels shocking, 40 years down the line. So I think it’s an important work.
Freda Uziyel on Emma Hart, Commercial Breakz, 2017, at The Sunday Painter
AnOther Magazine: Do you have a favourite piece so far?
Freda Uziyel: I saw so many good works!
AM: Is there one that you specifically liked?
FU: I tell you, if I want to speak specifically about a young gallery – you cannot put in the same lane with Thaddeus Ropac and Gagosian – but there is this gallery, it’s H-something, which is on the edge, on the other side. They are a young gallery, and young artists, and I like very much: The Sunday Painter. They are showing fantastic work by Emma Hart.
AM: Why do you like her in particular?
FU: I think she’s a very profound artist, but bringing a lot of fun to art, at the same time. Also, her art seems very simple, but I think you have to be a very good artist to achieve this simplicity. They seem, only, simple. For example, she brought photography onto the ceramics. I love her works.
Katie Eary on Sarah Lucas, Washing Machine Fried Egg, 2016, at White Cube
AnOther Magazine: What do you like about this piece?
Katie Eary: I have always loved Sarah Lucas. I like this piece because just reminds me of how I feel: a flat-chested miserable woman. With the hump thing it kind of brightens your day. I just love everything about Sarah Lucas – she’s an androgynous, amazing woman. To me, she is so strong.
Georgia Carr on Eduardo Terrazas, Selection, at Timothy Taylor Gallery
AnOther Magazine: What have you seen that you’ve loved so far?
Georgia Carr: I actually really like this! [Gestures around at the Timothy Taylor stand.] I really like the geometric shapes, and he is a really interesting artist.
AM: What’s this artist’s name name?
GC: Eduardo Terrazas. He is primarily an architect and so the way that he works from that is he takes the forms and tries to make them into spaces. He is also really interested in Mexican yarn work. I haven’t got a particular favourite.
AM: Is there anything you are especially excited to see while you’re here?
GC: I want to have a look at the sculpture garden, actually, and I am looking forward to seeing Tracey Emin.
AM: We just went to see her at the White Cube stand. She doesn’t disappoint, does she?
GC: No, she doesn’t.
