Sling Hook by Jeff Koons

Frieze New York

May 5 – May 9, 2021
New York

We are pleased to bring together a selection of works by 25 leading artists working across a range of media, offering a snapshot into our expansive global program.

Art Fair Details

Frieze New York
May 5 – 9, 2021

Online Preview

May 4, 2021

Above: Jeff Koons, Sling Hook, 2007-2009, polychromed aluminum and coated steel chain, 77-1/2" × 37-3/8" × 39-3/8" (196.9 cm × 94.9 cm × 100 cm) plus chain at variable length, Edition of 3 + 1 AP © Jeff Koons

The Shed
Booth B11
545 West 30th Street
New York

Yto Barrada, Untitled (After Stella, Melilla IV), 2021, cotton and dyes from plant extracts, 60" × 61" (152.4 cm × 154.9 cm), unframed 60-1/2" × 61-1/2" × 2-1/2" (153.7 cm × 156.2 cm × 6.4 cm), framed

Yto Barrada

Yto Barrada’s work is intrinsically imbued with politics, often subtly suggested in symbolic visuals and instilled with a poetic sensibility rather than obvious directives and political positions. The artist’s new series of large-scale textile works continues her exploration into dyeing processes using natural pigments, and alludes to Frank Stella’s Moroccan paintings—begun in 1964 and completed the following year. Each of the 12 paintings in Stella’s series are titled after a city in Morocco. The geometry and brilliance of the fluorescent alkyd paints mimics the colorful tile patterns found during his travels there beginning in the 1960s. Citing his paintings in Barrada’s titles, these hand-sewn textile works similarly present luminous tones in alternating diagonal bands of color. Barrada’s textile works are equally inspired by the painters Mohamed Chebaa, Farid Belkahia, and Mohamed Melehi of the Casablanca Art School in the 1960s. After Morocco gained independence in 1956, these artists pioneered a style of North African modernism that belied traditions of French colonialist history, approaching abstraction through integrating materials and motifs of their local heritage and visual culture. For the present series, Barrada expands Stella’s list of Moroccan cities, adding her hometown of Tangier in compositions using indigo, cochineal, and madder.

Lynda Benglis, Back Bone, 2017, cast sparkles on handmade paper over chicken wire, 50" × 32" × 12-1/2" (127 cm × 81.3 cm × 31.8 cm)

Lynda Benglis

Over her seven decades of artmaking, Lynda Benglis has been celebrated for her unorthodox choices of media. Using materials ranging from beeswax and latex to gold-leaf and porcelain, Benglis has long been a pioneer in pushing the boundaries of sculpture with a radically exuberant artistic output that defies convention. Back Bone, made in 2017, is part of a series of colorful sculptures made from cast sparkles on handmade paper and chicken wire that Benglis began exploring in 2013. Benglis first employed chicken wire in the 1970s with polyurethane and plaster pieces, which she would later combine with paper in the 1980s in her bowtie sculptures. Bending the chicken wire into shape is a highly involved, physical process, and even something of a dance, as two people—four hands—are required to manipulate the material. Constructed from handmade paper stretched over a partially exposed wire structure, Back Bone has a lumpen, glittery surface composed of tracts of yellow, orange, purple, turquoise, and silvery blue. By pairing an open, organic form with colorful, sparkling embellishments, Benglis presents a sculpture that is celebratory and joyful, like the kites and floats the artist loved as a child growing up in Louisiana.

Mary Corse, Untitled (White Narrow Inner Band with White Sides), 2020, glass microspheres in acrylic on canvas, 42" × 42" (106.7 cm × 106.7 cm)

Mary Corse

Over the last five decades, Mary Corse has investigated perception, properties of light, and ideas of abstraction. Her pioneering approach to painting explores the medium’s capacity to utilize and refract light through subtly gestural and precisely geometric works. For the artist, the essence of painting addresses underlying structures of visual experience and their presence within space and time. Corse often emphasizes that her paintings are “not on the wall,” but instead suspended in a visual relationship between viewer and canvas.

Corse has pursued an interest in perception since the late 1960s when she began incorporating glass microspheres—an industrial material used to enhance pavement markings—into the surfaces of her paintings. This element, present in Untitled (White Narrow Inner Band with White Sides) (2020), reflects and refracts light depending on the viewer’s position relative to the optically rich surface.

Torkwase Dyson, Liberation Scaled #2 (Bird and Lava), 2020, charcoal, acrylic, oil stick, graphite and collage, 102" × 91" (259.1 cm × 231.1 cm)

Torkwase Dyson

Torkwase Dyson’s multidisciplinary approach to artmaking interrogates historical and existing infrastructure and architecture, particularly how Black and brown bodies compose, perceive, and negotiate space. Examining ideas of distance and scale and the history and future of black spatial liberation strategies, Dyson’s abstract works grapple with how space is perceived and negotiated, particularly by Black and brown bodies. Black Compositional Thought is integral to understanding Dyson’s practice and functions as a mode of awareness that contends with the formal applications of mark-making and constructions of space to examine the legacy of environmental justice and Black spatial practices.

Liberation Scaled #2 (Bird and Lava) (2020) is part of Dyson’s ongoing project, Bird and Lava, which is a multifaceted expression of a question: “If blackness is already an architectonic developed out of liquidity (ocean), can the work embody this phenomenon and offer sensation (sensoria) at the register of liberation?” Interested in the phenomenological presence of geometric forms, painting, and dimensionality, the artist’s hand is present throughout the work, in the layers of wax and ink on paper, and the compositions that gesture to horizon lines and ocean depths. In particular, this wall-sized abstract graphite work offers a surface that appears to shift and move under light and with movement, like waves contained within geometry.

Elmgreen & Dragset, Dirty Socks (Stainless Steel), 2021, stainless steel, steel, lacquer, socks, 46-7/8" × 24-7/16" × 31-1/2" (119.1 cm × 62.1 cm × 80 cm) unique

Elmgreen & Dragset

Michael Elmgreen and Ingar Dragset have collaborated as the artistic duo Elmgreen & Dragset since 1995. Their practice has developed various modes of making, spanning sculpture, architecture, performance, and installation, to explore the politics of institutions and draw attention towards how art is presented and perceived. Their work radically re-contextualizes objects and alters traditional modes of representation. Often playful and subversive, their work pursues complex questions and themes relating to identity, sexuality, and mortality, as well as the use of public space.

Elmgreen & Dragset’s Dirty Socks (2021) subverts traditional notions of objectification and desire. The visual appearance of this sculpture responds to Peter Hujar’s black and white photograph, Christopher Street Pier #2 (Crossed Legs) (1976). The position of the crossed legs of the sculpture is drawn directly from the subject in this iconic work. Just as Hujar powerfully captured queer life in New York City, the queer experience also plays a profound role in Elmgreen & Dragset’s work.

Sam Gilliam, Untitled, 2020, watercolor on washi, 39-1/2" × 71-1/2" (100.3 cm × 181.6 cm), paper

Sam Gilliam

Known for his canonical Drape paintings, which expanded the tenets of Abstract Expressionism, Sam Gilliam is considered one of the great innovators in post-war American painting. Gilliam emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of the Washington Color School. Since completing his art education in the early 1960s, Gilliam has been creating richly colored abstract compositions using watercolors on Japanese washi paper. The techniques that Gilliam has explored in watercolor—staining, folding, and otherwise distressing the surface of the paper—have exerted a powerful effect on his artistic practice as a whole. As Gilliam’s practice matured, his watercolors began to play a powerful role in shaping his own approach to the canvas, developing a new sense of freedom and an embrace of abstraction.

Gilliam’s most recent watercolors expand on his practice, making color palpable, a physical, textural presence that seems to belong more to our world than to the surface of the painting. Color and support are inseparable: the paper becomes the color, rather than a vessel for it. Like his draped canvases, the creases and folds of the fabric evoke a sense of depth which is echoed in the composition of each watercolor painting. In Untitled (2020), vertical washes of color on each flattened surface create the illusion of folds or pleats within rich and rhythmic planes of light and dark that bleed and overlap. Like much of Gilliam’s work, both chance and choice play an important role, echoing the artist’s love of jazz, with its improvisatory ethos and spontaneity.

Loie Hollowell, Fourteen Saints, 2020, oil, acrylic medium, epoxy resin, on linen over panel, 28" × 21" × 2-1/4" (71.1 cm × 53.3 cm × 5.7 cm)

Loie Hollowell

Jeff Koons, Sling Hook, 2007-2009, polychromed aluminum and coated steel chain, 77-1/2" × 37-3/8" × 39-3/8" (196.9 cm × 94.9 cm × 100 cm) plus chain at variable length

Jeff Koons

Jeff Koons’ Popeye series, begun in 2002, incorporates some of the artist’s recurrent signature ideas and motifs, including surreal juxtapositions of everyday objects, cartoon and kitsch imagery, art-historical references, and children’s toys. Having used inflatables in his work since the late 1970s, the sculptures featured in this series demonstrate Koons’ continued interest in cast metal readymades.

In Sling Hook (2007–2009), an example from the Popeye series, two inflatable lobster and dolphin pool toys—both meticulously rendered from aluminum and steel—are suspended from glossy red chains attached to separate hooks. At once hard and soft, familiar and uncanny, these objects defy reason and material use. Here, Koons imbues a postmodern nostalgia to mass-produced pool toys with incredible deft energy.

Maya Lin, The Traces Left Behind (From the Great Bear Lake to the Great Lakes), 2019, recycled silver, 28 individual cast pieces, 10' 3" × 11' 2" × 3/8",overall installation dimensions

Maya Lin

Maya Lin’s long-established environmental activism and interest in geology, topography, and cartography have informed her practice ever since the artist’s earliest site-specific sculptures and experiments with earthworks. This site-specificity, wherein Lin’s artworks respond to their site, space, and surrounding architecture allows for a meditative and critical consideration of our environment and the natural world. Lin’s practice incorporates not only traditional approaches to design, architecture, and artmaking but also comprises scientific methods such as satellite technology and cartographic techniques.

The Traces Left Behind (From the Great Bear Lake to the Great Lakes) (2019) is an archetypal example of the practical implementation of Lin’s comprehensive environmental, historical, and ecological research, as well as her preferential use of recycled materials. Originally exhibited as part of the artist’s 2019 solo exhibition at the Grand Rapids Art Museum in Michigan, this expansive relief cast from recycled silver is a continuation of Lin’s decades-long investigation into bodies of water and their meaning as a finite resource. For The Traces Left Behind, Lin raises awareness of the Great Lakes of North America and their geographical and geological histories by mapping the spread of bodies of water—stretching from the Arctic to the Great Lakes—that were once created due to the melting of the Laurentide Ice Shelf that at one time covered much of North America. As Lin has stated about this work, “A lot of my work has been about mapping the natural world and revealing aspects of the environment that you may not be aware of…[The Traces Left Behind] takes a very recognizable mapping of the Great Lakes but adds the series of large lakes formed during the last ice age—creating a constellation-like flow of water that drifts along an invisible boundary line where the glaciers carved out these bodies of water when they retreated.”

Maya Lin’s latest public commission, the installation Ghost Forest at Madison Square Park, New York, is currently on view until November 14, 2021.

Agnes Martin, Untitled, 1995, pencil, ink and watercolor on paper, 11 x 11" (27.9 x 27.9 cm) 15-1/4" × 15-1/4" × 1-1/4" (38.7 cm × 38.7 cm × 3.2 cm), frame

Agnes Martin

Beatriz Milhazes, Uva Passa, 1999, acrylic on canvas, 90" × 38-3/8" (228.6 cm × 97.5 cm)

Beatriz Milhazes

Beatriz Milhazes juxtaposes South American imagery with European modernist influences within a practice consisting of painting, collage, printmaking, textiles, and architectural installations. A pioneering figure of the Brazilian Geração 80 movement in the 1980s, Milhazes embraced the group’s appreciation of aesthetic value and promotion of a return to painting following the proliferation of conceptual artworks during the previous decade. The artist’s recognizable approach to abstraction, described by Milhazes as “chromatic free geometry,” combines decorative arabesque forms, repeated stylized motifs, and a flamboyant celebration of color. Many of these shapes and hues derive from the botanical gardens, Tijuca forest, and oceanfront that neighbor the artist’s studio and reflect Milhazes’s innate interest in flora and fauna of her native Brazil.

Here, Milhazes employs her patented mono-transfer painting method, a unique form of monoprinting she has developed since 1989. Milhazes paints directly onto firm plastic sheeting before imprinting imagery onto canvas, a technique that, when repeated, creates multilayered yet smooth-surfaced paintings. The innovative process does, however, produce and expose occasional unintentional erratum or involuntary variations, an idiosyncrasy welcomed by Milhazes. Uva Passa, which translates as “raisin,” presents many of Milhazes favored motifs—stars, spirals, flowers, and hearts—in a kaleidoscopic carnival of color and form. Inspired by the aforementioned Brazilian wildlife and the country’s rich cultural history of ceramics, couture, and jewelry, Milhazes acknowledges these conventional crafts through her use of satisfying patterns and sumptuous ornamentation.

Robert Nava, Eye to Eye Riders, 2020, acrylic, crayon, and grease pencil on paper, 30" × 22" (76.2 cm × 55.9 cm)

Robert Nava

Driven by his desire to “make new myths” responsive to our times, Robert Nava has created a chimerical world of metamorphic creatures, drawing inspiration from sources as disparate as prehistoric cave paintings, Egyptian art, and cartoons. Rendered through a raw, energetic mixing of acrylic, crayon, and grease pencil, his works on paper of fantastical beasts exude a playful candor, which belies the pretensions of high art and invites viewers to reconnect with the unbridled imagination of their childhoods.

To develop his uncompromisingly personal style, Nava first dispensed with the rules and conventional attitudes that he had learned while obtaining his MFA at Yale University—a perspective that aligns him with the irreverent “bad” painting first theorized in 1978 by the New Museum’s founding curator Marcia Tucker. Nonetheless, Nava’s hybrid monsters, which range from the dragon-like to the angelic, are thought-out composites that the artist continuously reworks in his sketchbooks. Drawing, a daily investigatory discipline for Nava, constitutes the bedrock of his practice.

Kohei Nawa, PixCell-Violin#5, 2021, mixed media, 35.7 cm × 35 cm × 35 cm (14-1/16" × 13-3/4" × 13-3/4")

Kohei Nawa

Kohei Nawa is a multidisciplinary artist whose diverse practice explores the perception of virtual and physical space and examines the relationship between nature and artificiality and between the individual and the whole, illustrating how parts aggregating together like cells create complex and dynamic structures.

Kohei Nawa, Direction #120, 2014, paint on canvas, 63" × 39-3/8" × 2-3/8" (160 cm × 100 cm × 6 cm)

Direction #120 (2014) is a monochromatic painting that probes gravity and its effects on both the individual and the whole. Rendered in a palette of black and silver paint, Nawa rotated the vertical canvas fifteen degrees and dripped paint from the top edge of the painting, allowing the material to flow naturally with the weight of gravity. As the paint slowly made its way down the canvas, it left behind bold parallel stripes of varying thicknesses. The stark geometric result evokes movement, direction, and gravity while simultaneously investigating the physical phenomena of liquid materials. Direction #120 pushes the boundaries of painting, as the artist’s hand is completely removed, and the artistic process is transmuted into form, repetition, and flow.

Thomas Nozkowski, Untitled (9-30), 2014, oil on linen on panel, 22" x 28" (55.9 cm x 71.1 cm)

Thomas Nozkowski

Thomas Nozkowski is recognized for his richly colored and intimately scaled abstract paintings and drawings that push the limits of visual language. For the artist, an awareness of perception and the desire to explore the possibilities of seeing is at once grounded in reality and released from specific legibility.

Nozkowski’s concurrent practices of painting and drawing reflect specific places and experiences—from the deeply symbolic to the notational—translating sensations and memories into abstract compositions. His paintings draw from personal experience: objects, ideas, books, places, and, more often than not, his reverent walks through nature. Expanding the possibility of landscape painting and the physical presence of an abstract form with each negotiation of the picture plane, Nozkowski’s paintings offer a view of the world that is both rooted in the subjective terrain of experience and an otherworldly space of art and vision.

Trevor Paglen, Bloom (#7a5a4e), 2020, dye sublimation print, 69" × 92" (175.3 cm × 233.7 cm) 70-1/8" × 93-1/8" × 2" (178.1 cm × 236.5 cm × 5.1 cm), framed

Trevor Paglen

Trevor Paglen’s complex and pioneering work examines the systems and technologies that shape society. Computing systems that collect, interpret, and operationalize data that defines and tracks identity, movement, and habits fuel the artist’s broad practice. Paglen’s Bloom series recalls the vanitas tradition in art, in which symbolic objects such as flowers remind us of mortality, the fragility of life, and the vanity of worldly pleasures. In contrast to the vanitas paintings of the 15th and 16th century, Paglen plays with these symbolic tropes, bringing them into the present day and addressing new measures of mortality in the digital era such as Zoom, AI, policing, and even threats such as COVID-19.

Bloom (#7a5a4e) (2020) is part of a series of large-scale photographs that depict flower formations conceptualized by various computer vision algorithms created to analyze the constituent parts of real-life photographs. The colors and shapes in the images represent similar areas that the AI has detected in learning from other images of flowers. The varying densities within the final image do not represent naturally occuring colors so much as what the AI has previously identified as a “flower.”

Joel Shapiro, untitled, 2017-2019, painted bronze, 72" × 61-1/4" × 27-1/2" (182.9 cm × 155.6 cm × 69.9 cm), approximately, Cast of 3 +1 AP

Joel Shapiro

The work of Joel Shapiro engages with the American minimalist tradition—prevalent during his formative years spent studying in New York during the 1960s—while simultaneously considering a modernist approach to figuration. By combining a bold, geometric reflection on form with an economy of line and mass, Shapiro’s sculptures are more suggestive than representational. Eschewing gender, race, and physique in favor of a thorough examination of a person’s relationship to space and their surroundings, Shapiro’s figures reflect the universality of the human condition. They have become a popular feature for public commissions, as the artist presents over 30 public sculptures worldwide.

Untitled (2017–2019) is in keeping with the stick-figure compositions begun by Shapiro in the 1980s. Here, figuration is distilled to six rectangular shapes, reducing the almost life-sized human form to sharp lines and hard corners while still retaining a dynamism of implied movement that engages and excited the viewer. Conveying a pioneering approach to balance, Shapiro’s sculptures often depict a figure in the act of dancing, running, jumping, contorting, or falling, always choreographed in just a way as to seemingly simultaneously defy, and succumb to, earth’s gravitational pull. Untitled encapsulates Shapiro’s amalgamation of postmodernist Minimalism and Geometric abstraction, with an additionally playful approach to color and composition.

Raqib Shaw, Summer Dance I-V, 2018, acrylic, graphite, enamel, and rhinestones on paper, 8-1/16" × 8-1/16" (20.5 cm × 20.5 cm), 5 images, each 10-1/2" × 10-1/2" × 1-1/2" (26.7 cm × 26.7 cm × 3.8 cm) frames, each

Raqib Shaw

Raqib Shaw mines the personal experiences of both his childhood in Kashmir, India, and his emigration to the UK in 1998 to create labor-intensive artworks that unite eastern and western iconography and visual history. Shaw’s practice centers around the use of enamel paint diligently applied and manipulated with a porcupine quill to achieve an impressive level of meticulous detail and surface texture. Additionally, Shaw furnishes his opulent, paradisal scenes with gemstones and rhinestones, as well as embossed gold detailing comparable to the traditional cloisonné technique used in early Asian pottery. Though incorporating fantastical subject matter and fanciful narratives, Shaw’s artworks are rooted in the artist’s rich and diverse interests and influences, including Persian carpets and miniatures, Japanese architecture and ceremonial garments, Renaissance paintings, and medieval heraldic symbols.

The five chapters of Summer Dance each depict an avian-human hybrid, resplendent in bejeweled finery, energetically performing in a celebratory or ritualistic manner. Playing traditional Indian instruments such as a sitar, tabla and a sringa—references to Shaw’s Kashmiri heritage—the five mythical characters form an orchestral ensemble surrounded by parakeets, flowers, blossoming plants, platters of ripe fruits and ornate tumblers of wine. The scene depicted across the five panels of Summer Dance is typical of Shaw’s lavish and luxurious portrayals of a personal, imagined utopia.

Pace Gallery will present Raqib Shaw’s latest solo exhibition at the gallery’s Geneva location in June 2021.

Arlene Shechet, Sudden Love, 2018, glazed ceramic and painted steel, ceramic, 21" × 17" × 17" (53.3 cm × 43.2 cm × 43.2 cm) painted steel, 9-3/4" × 9" × 9" (24.8 cm × 22.9 cm × 22.9 cm) overall, 30" × 17" × 17" (76.2 cm × 43.2 cm × 43.2 cm)

Arlene Shechet

Arlene Shechet’s expansive approach to sculpture has led her to experiment with materials as diverse as plaster, porcelain, clay, and cast paper. Since the mid-1980s, she has crafted a new visual lexicon of richly textured, chromatic, and visceral surfaces. In the last decade, Shechet worked extensively with ceramics, engaging in the delights of a chance-based process that allows her to robustly manipulate her materials—casting, painting, firing, carving, and stacking clay with no predetermined end.

Sudden Love (2018) demonstrates Shechet’s technically demanding glazing method that produces seductive, textured surfaces in wide chromatic variation. The polymorphic form of Sudden Love provides a stunning visual contrast between the sculpture’s distinct ridges and its deep, hollowed cavities. Here, Shechet harnesses the inherent hollow nature of ceramics to create an astonishing object that is at once architectural and fluid.