Artists
213 篇
Explore highlights from Frieze New York's section for solo projects by galleries aged 10 years or younger - 探索Frieze New York的专区中10岁或10岁以下画廊的个人项目的亮点
From Alex Katz to Elvira Bach to Paul Nash, read about highlights from the celebrated section for 20th-century pioneers - 从Alex Katz到Elvira Bach，再到Paul Nash，请阅读20世纪著名先驱节的精彩内容。
We could not have hoped for a better inaugural edition of Frieze Los Angeles in terms of attendance, atmosphere and sales - Victoria Siddall, Director of Frieze Fairs - 从出席人数、气氛和销售情况来看，我们不可能希望洛杉矶Frieze的开幕式能有一个更好的版本——Frieze Fairs总监Victoria Siddall
‘Do the easy thing first,’ Tom Sachs’s film Paradox Bullets (2018) begins, while a time-lapse video follows workers moving around an artist’s studio with the efficiency of a pit crew. ‘Do the easy thing first. As a warm-up to ease into the hard thing.’ After a moment of reflection on the approach, the scene starts up again. ‘The opposite is equally valid,’ continues the unmistakable voice of Werner Herzog. ‘Do the hard thing first because it takes more time, you are fresh, you can work in daytime, stores are open, and help is not out to dinner.’ In the studio, a team constructs and erects the geodesic dome that they had struggled with just a few seconds earlier. - 汤姆·萨克斯（TomSachs）的电影《悖论子弹》（2018年）以“先做容易的事”开始，而一段延时视频则关注着工人们在艺术家工作室里以一个维修站工作人员的效率移动。“先做简单的事。作为一个热身，轻松进入困难的事情。'经过一段时间的思考，接近，场景又开始了。“相反的情况同样有效，”维尔纳·赫尔佐格明确的声音继续说道。“首先要做困难的事情，因为这需要更多的时间，你是新鲜的，你可以在白天工作，商店是开放的，帮助不是出去吃饭。”在工作室，一个团队建造和安装了测地穹顶，他们刚刚挣扎了几秒钟。
Spreads of stapled zines in cheerful hues of cantaloupe, berry, and pistachio sherbet with titles like Making Art During Fascism, Emergency Health Grant Resource Guide and Mapping Feminist L.A.'s "Angelena Atlas” line the shelves; grass-green and indigo bumper stickers, neon graphic tote bags, and flower and logo pins hang from every surface, along with little note cards bearing messages like “Culture-making is a fundamental human and societal experience.” and “We are a process, not the product.”—Women’s Center has managed to make dissent amusing, even rosy. - 以哈密瓜、浆果和开心果果子露的欢快色调，在货架上以“法西斯主义时期的艺术制作”、“紧急健康补助资源指南”和“女权主义者L.A.的“安杰丽娜阿特拉斯”等标题，将钉好的锌片铺开；草绿色和靛蓝的保险杠贴纸、霓虹图案手提包以及花饰和标志别针挂在每一个表面上。长长的卡片上写着“文化制作是人类和社会的基本经验”之类的信息，“我们是一个过程，而不是产品。”——妇女中心设法使异议变得有趣，甚至是乐观。
Rafa Esparza grew up painting and drawing but was more familiar with the murals and crafts within his family and community than with contemporary galleries or museums. As he got older, he nurtured a relationship to performance by joining his East L.A. neighbors’ sweat lodges and ceremonies, questioning their creation myths and rigid gender roles while enacting their ancient traditions. The modern institution would become more alienating, so he went back outside. - 拉法埃斯帕扎在绘画和绘画方面长大，但他对家庭和社区中的壁画和工艺品比对当代画廊或博物馆更熟悉。随着年龄的增长，他加入了他的东洛杉矶邻居的汗流浃背和仪式，在继承他们古老的传统的同时质疑他们的创造神话和僵化的性别角色，从而培养了与表演的关系。现代制度会变得更加疏远，所以他回到外面去了。
Frieze Projects features work by 15 artists on the backlot of Paramount Pictures StudiosSarah CainTrulee Hall - 在派拉蒙影业的后场，15位艺术家的作品以中楣为特色。
What do we gain from straining to decipher a language at the edge of our understanding? In struggling to find the right word to say? Continuous Wave (2019), Emily Mast’s project for the RU.in.ART lounge at Frieze Los Angeles — floats these questions like bubbles, offering brief moments of reflection and connection. - 在我们理解的边缘，通过努力去破译一种语言，我们能得到什么？在努力寻找合适的词语时？连续波（2019年），艾米丽·马斯特为洛杉矶中楣的Ru.in.Art酒廊设计的项目——像气泡一样漂浮着这些问题，提供短暂的思考和联系时刻。