Emma Tucker took part in ARTiculation in 2016 and won our writing Prize designed with Frieze Masters. Emma will join the course ‘How to Write About Art’ with the editor of Frieze Magazine Jennifer Higgie.
In October 2017, the ARTiculation organization offered Alumni the opportunity to attend Frieze Masters, an event organized by Francesca Wilson. Our group, some of whom competed in ARTiculation as many as six years ago, were taken into Frieze Masters before its opening to the public on Saturday 7th October 2017. We were then given an insight into Frieze Fairs and Careers Possibilities in the arts, as well as an introduction to Frieze Magazine from its editorial director, Jennifer Higgie. After independently touring this year’s display, which boasted a rich profusion of elegantly curated art from all ages, I concluded that my favourites were undoubtedly booths G6 and E2.
Frieze Masters’ Booth G6, entitled ‘Egyptomania’, is a collaboration between Salon 94 and Antiquarium Fine Ancient Arts Gallery. It serves as a powerful emblem of the transcendentalism of art by explicitly showing how 20th century artists have added their own signature to the remnants of Ancient Egypt. This is exemplified in Keith Haring’s ‘Pyramid Sculpture’ (1989), whose brilliantly blue and gold surface serves as a modern inversion of the Pyramids of Giza. Haring’s trademark comic aesthetic makes hieroglyphics decipherable and accessible while simultaneously parodying them. Niki de Saint Phalle similarly parodies the falcon-headed deity Horus by presenting him as a throne for the viewer. The shine of his smooth exterior makes an Egyptian coffin opposite look like a dusty piece of furniture consigned to the attic, which ultimately demonstrates how this booth is both a shrine to the ancient and a celebration of the triumph that is modern art.
Richard Green’s showcase in Stand E2 offers a rich representation of Hepworth, Moore and Richter. A dark grey “sub-booth” displays nine of Hepworth’s late works that she once described as a ‘fulfilment of her youth’1. A particular favourite is ‘Three Forms (October 3rd)’, which presents her three children as roughly spherical/cylindrical shapes. The juxtaposition of a candid playfulness and solidity transforms a potentially impersonal portrayal into a display of maternal nurture and affection. The display of sculptures adhering to the concept of ‘truth to materials’, including Moore’s delicate maquettes of reclining figures, is set alongside Richter’s explosively colourful oil paintings, such as ‘Fuji’ (1996). The overall effect is a compelling collection of impactful artworks that reflect the versatility of 20th century artwork and exemplify the talent of the artists on display.