{"id":18033,"date":"2015-10-22T03:20:00","date_gmt":"2015-10-22T03:20:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=18033"},"modified":"2023-12-10T03:26:10","modified_gmt":"2023-12-10T03:26:10","slug":"frieze-masters-2015","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/frieze-masters-2015\/","title":{"rendered":"Frieze Masters 2015"},"content":{"rendered":"\n<p>Never go to Frieze&nbsp;<em>after<\/em>&nbsp;Frieze Masters. It will always disappoint. The comparison is unfair\u2014it is called \u201cMasters\u201d for a reason. For me, the most extraordinary item displayed was a Qing-dynasty taxation map. Huang Qianren\u2019s \u201cBlue Map of the World\u201d of 1811 was extraordinary historically, culturally, aesthetically and a steal at GBP 400,000 (Daniel Crouch Rare Books). Another Asian masterpiece was the beautiful (but now tragic) Head of a Nobleman, 4<sup>th<\/sup>\/5<sup>th<\/sup>&nbsp;Century, Afghanistan, at Carlton Rochell Asian Art. As ever, there were numerous Renaissance, Baroque and Neo-classical sculptures and paintings. Striking for its execution and display was Francesco Pozzi\u2019s \u201cJupiter in the guise of a satyr, seduces the river nymphe Antiope\u201d from 1828 at Cesar Lampronti.<\/p>\n\n\n\n<p>Moving up the centuries, Picasso\u2019s \u201cMaya au Bateau\u201d from 1938 at Richard L. Feigen &amp; Co. was colorful, disarming and a reminder that not all the artist\u2019s works from this period are yet in museums.<\/p>\n\n\n\n<p>It is clear the colossal resurgence of abstract painting has spread far beyond New York and Paris and is reaching both forwards and backwards in time. The contemporaneous Euro-German Zero Group and Japanese Gutai artists from the 1970s\u20131980s are suddenly everywhere. Axel Vervoordt Gallery showed Jiro Yoshihara, Shozo Shimamoto, Gotthard Graubner, G\u00fcnther Ueker and Raymond Girke. Meanwhile, Dominique Levy showed Yves Klein, Sergio Camargo and G\u00fcnther Ueker. Similarly, minimalist artists who had slipped from view are being revived, most notably Los Angeles veteran DeWain Valentin with a solo show at Almine Rech Gallery.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"294\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-474.png\" alt=\"\" class=\"wp-image-18034\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-474-300x167.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-474-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-474-500x278.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-474.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Huang Qianren, \u201cComplete Geographical Map of the Everlasting Unified Qing Empire\u201d, large woodcut map printed in 16 sections on eight sheets, 52.25 by 87.75 inches, 1811, at Daniel Crouch Rare Books.<\/figcaption><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/10\/Huang-Qianren-The-Blue-Map-1811.jpg\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"687\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-475.png\" alt=\"\" class=\"wp-image-18037\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/IpmtKNx5-image-475-231x300.png 231w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-475-115x150.png 115w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-475.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Picasso\u2019s \u201cMaya au Bateau\u201d from 1938 at Richard L. Feigen &amp; Co.<\/figcaption><\/figure>\n\n\n\n<p>Richard Hamilton remains one of the most underrated British artists. Fortunately, Alan Cristea, his gallerist of over 30 years, continues to work hard to promote this promethean artist. The booth was full of fascinating works, including an experimental photographic self-portrait form 1974, \u201cPalindrome\u201d.<\/p>\n\n\n\n<p>Spr\u00fcth Magers displayed a large but incomplete selection of Hanne Darboven\u2019s scores, while Helly Nahmad tried to repeat his theatrical success from last year when they built a fake 1960s collector\u2019s apartment. This time, a fake mental asylum was chosen as an ideal scenario to present Jean Dubuffet. It looked nice, but did it really have to be a mental asylum? Sadly the high production values only delivered a B-Grade horror flick.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"364\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-476.png\" alt=\"\" class=\"wp-image-18040\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-476-300x207.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-476-150x103.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-476-435x300.png 435w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-476.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">A rare Gilbert &amp; George drawing from 1971, \u201cTHE HEAD AFLOAT ON TOP LEVELS ON THE HORIZON OF OUR THOUGHT\u201d at Sperone Westwater.<\/figcaption><\/figure>\n\n\n\n<p>Sperone Westwater showed a rare Gilbert &amp; George drawing from 1971, \u201cTHE HEAD AFLOAT ON TOP LEVELS ON THE HORIZON OF OUR THOUGHT\u201d; renowned London dealers Annely Juda Fine Art showed a number of important small-scale Christo works, including \u201cPacked Supermarket Cart\u201d from 1963.<\/p>\n\n\n\n<p>Let us finish with something quite different, though: Charles Ray\u2019s \u201cAll My Clothes\u201d from 1973 at Matthew Marks Gallery \u2014a series of photos of the artist wearing his limited wardrobe, mainly jeans and flannel checked shirts; it is the opposite of a grand gesture and status symbol. And it is a masterpiece.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-477.png\" alt=\"\" class=\"wp-image-18043\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-477-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-477-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-477-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-477.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Charles Ray \u201cAll My Clothes\u201d (1973) at Matthew Marks Gallery.<\/figcaption><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/10\/frieze-London-and-Masters-2015-28.jpg\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"423\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-481.png\" alt=\"\" class=\"wp-image-18055\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-481-300x240.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-481-150x120.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-481-374x300.png 374w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-481.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Jiro Yoshihara \u201cUntitled\u201d (1968), at Axel Vervoordt<\/figcaption><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/10\/frieze-London-and-Masters-2015-22.jpg\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"631\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-482.png\" alt=\"\" class=\"wp-image-18058\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/VHGgwvyQ-image-482-251x300.png 251w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-482-126x150.png 126w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-482.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Michelangelo Pistoletto at Galeria Continua<\/figcaption><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/10\/frieze-London-and-Masters-2015-27.jpg\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-483.png\" alt=\"\" class=\"wp-image-18061\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-483-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-483-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-483-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-483.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Francesco Pozzi \u201cJupiter in the guise of a satyr, seduces the river nymphe Antiope\u201d, (1828) at Cesar Lampronti<\/figcaption><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2015\/10\/frieze-London-and-Masters-2015-1.jpg\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-484.png\" alt=\"\" class=\"wp-image-18064\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-484-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-484-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-484-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/12\/zh-hant\/image-484.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Jean Dubuffet and fake asylums like those the artist once visited for inspiration, maybe, at Helly Nahmad London<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Never go to Frieze&nbsp;after&nbsp;Friez &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/frieze-masters-2015\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":18067,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[23],"tags":[673,11722,86,11723,149,562,415,67,11724,503,11725,11726,11727,11728,95,88,11729,11730,11731,11733,11252,11732,9071,11565,11734,11735,11736,6857,11737,9261,402,9262,510,11738,1500,91,9267,66,11739,11740,11741,9911,11529,518,11742,374,393,11743,11744,1692,11745,11746,11748,11747,9274,521,646,11749,11750,458,210,460,230,421],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Frieze Masters 2015 - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/frieze-masters-2015\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frieze Masters 2015 - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Never go to Frieze&nbsp;after&nbsp;Friez &hellip; 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