Skip to content

Frieze New York

Preview (invitation-only): May 5 - 6, 2021 / Public Days: May 7 - 9, 2021

May 7 – 9, 2021

Alexander Gray Associates, Frieze New York 2021

Alexander Gray Associates

Frieze New York 2021

Installation view

Alexander Gray Associates

Alexander Gray Associates
Frieze New York 2021
Installation view

Alexander Gray Associates

Alexander Gray Associates
Frieze New York 2021
Installation view

Alexander Gray Associates

Alexander Gray Associates
Frieze New York 2021
Installation view

Alexander Gray Associates

Alexander Gray Associates
Frieze New York 2021
​Installation view

Alexander Gray Associates

Alexander Gray Associates
Frieze New York 2021
​Installation view

Alexander Gray Associates

Alexander Gray Associates
Frieze New York 2021
​Installation view

Frank Bowling Tyger Tyger, 2008

Frank Bowling
Tyger Tyger, 2008
Acrylic and acrylic gel on canvas
23 5/8 x 41 in (60 x 104.1cm)

 

Teresa Burga 23 / Marzo / 2019, 2019

Teresa Burga
23 / Marzo / 2019, 2019
Mixed media on paper
8 1/4 x 11 5/8 in (21.1 x 29.7 cm)
11 1/8 x 14 5/8 x 1 5/8 in framed (28.3 x 37.1 x 4.1 cm framed)

Teresa Burga Dibujos viendo mal - 4 Amigos - Sab. 10/03/2018 - Lun. 12/03/2018, 2018

Teresa Burga
Dibujos viendo mal - 4 Amigos - Sab. 10/03/2018 - Lun. 12/03/2018, 2018
Felt tip pen and ballpoint pen on paper
8 1/8 x 11 1/2 in (20.6 x 29.2 cm)
12 7/8 x 16 1/8 x 1 3/8 in framed (32.8 x 41 x 3.5 cm framed)

 

Teresa Burga Fachada con personaje en ventana, 1967-1968

Teresa Burga
Fachada con personaje en ventana, 1967-1968
Felt pen on paper
8 1/2 x 7 in (21.6 x 17.8 cm)
13 3/4 x 12 1/8 in framed (35 x 30.5 cm framed)
 

Teresa Burga Insomnia Drawing (41), 2001

Teresa Burga
Insomnia Drawing (41), 2001
Black and red pen on paper
4 x 5 1/4 in (10.16 x 13.34 cm)
13 x 11 x 1 1/4 in framed (33 x 27.9 x 3.2 cm framed)
 

Melvin Edwards Composição de Instrumentos (Instrumental Composition), 2019

Melvin Edwards
Composição de Instrumentos (Instrumental Composition), 2019
Initialed and dated on bottom
Welded steel
14 1/8 x 19 x 15 1/2 in (35.9 x 48.3 x 39.4 cm)
 

Melvin Edwards Conversations with Igun, 1996

Melvin Edwards
Conversations with Igun, 1996
Stainless steel
8 1/2 x 10 1/2 x 8 1/8 in (21.59 x 26.67 x 20.95 cm)
 

Melvin Edwards Daniel Johnson, 2017

Melvin Edwards
Daniel Johnson, 2017
Welded steel
11 1/8 x 6 1/2 x 6 5/8 in (28.57 x 16.51 x 17.14 cm)
 

Melvin Edwards Música das Correntes Partidas (Song of the Broken Chains) (Modelo para Monumento | Model for Monument), 2019

Melvin Edwards
Música das Correntes Partidas (Song of the Broken Chains) (Modelo para Monumento | Model for Monument), 2019
Welded steel in 2 parts
26 3/8 x 63 1/4 x 25 1/2 in overall (67 x 160.7 x 64.8 cm overall)
 

Melvin Edwards Tilt, 2015

Melvin Edwards
Tilt, 2015
Welded steel
13 x 7 1/2 x 5 in (33.02 x 19.05 x 12.7 cm
 

 Melvin Edwards


Melvin Edwards
Untitled, c. 1975
Signed on verso
Watercolor and ink on paper
17 5/8 x 22 7/8 in (44.8 x 58.1 cm)
20 1/2 x 26 x 1 5/8 in framed (52.1 x 66 x 4.1 cm framed)
 

Melvin Edwards Untitled, n.d.

Melvin Edwards
Untitled, n.d.
Watercolor and ink on paper
17 5/8 x 23 in (44.6 x 58.3 cm)
26 x 20 1/2 x 1 5/8 in framed (66 x 52.1 x 4.1 cm framed)
 

Melvin Edwards Variações de correntes em cor (Chain Variations in Color), 2019

Melvin Edwards
Variações de correntes em cor (Chain Variations in Color), 2019
Watercolor on paper
8 7/8 x 12 in (22.5 x 30.5 cm)
11 x 14 1/8 x 1 1/2 in framed (27.9 x 35.9 x 3.8 cm framed)
 

Harmony Hammond Marker II, 2011-2020

Harmony Hammond
Marker II, 2011-2020
Signed, titled, and dated on verso
Oil and mixed media on canvas
26 x 20 x 2 3/8 in (66 x 50.8 x 6 cm)

 

Harmony Hammond Nocturno IX, 2006

Harmony Hammond
Nocturno IX, 2006
Signed, titled, and dated on verso
Monotype on paper
13 7/8 x 10 3/8 in (35.2 x 26.4 cm)
17 1/4 x 14 1/2 x 2 in framed (43.8 x 36.8 x 5.1 cm framed)
 

Harmony Hammond Rims (Dark Red on Light Red), 2011

Harmony Hammond
Rims (Dark Red on Light Red), 2011
Signed and dated on verso
Monotype on grommeted Twinrocker paper
12 5/8 x 10 in (32.38 x 25.4 cm)
16 x 13 1/4 x 1 1/4 in framed (40.6 x 33.7 x 3.2 cm framed)
 

Harmony Hammond Rims 3, 2016

Harmony Hammond
Rims 3, 2016
Monotype on grommeted Twinrocker paper
13 x 10 in (33.02 x 25.4 cm)
16 x 13 1/4 x 1 1/4 in framed (40.6 x 33.7 x 3.2 cm framed)
 

Harmony Hammond Small Brown Cross, 2020

Harmony Hammond
Small Brown Cross, 2020
Signed, titled, and dated on verso
Oil and mixed media on canvas
36 x 52 in (91.4 x 132.1 cm)
 

Jennie C. Jones

Jennie C. Jones
Untitled (The Glass House works), 2018
Collage, acrylic, and ink on paper
20 x 16 in (50.8 x 40.6 cm)
22 3/4 x 18 3/4 x 1 1/2 in framed (57.8 x 47.6 x 3.8 cm framed)
 

Jennie C. Jones

Jennie C. Jones
Untitled (tone burst, cropped score), 2021
Collage, acrylic, and ink on paper
20 x 16 in (50.8 x 40.6 cm)
23 x 19 x 1 5/8 in framed (58.4 x 48.3 x 4.1 cm framed)
 

Jennie C. Jones

Jennie C. Jones
Untitled, (Black, Cropped, Crescendo), 2021
Painted acoustic panel and acrylic on canvas in 2 parts
Left: 12 x 36 in (30.5 x 91.4 cm)
Right: 24 x 30 in (61 x 76.2 cm)
 

Lorraine O'Grady Dream, 1991/2019

Lorraine O'Grady
Dream, 1991/2019
Archival pigment print on Hahnemühle Baryta pure cotton photo rag paper in 4 parts
24 x 20 in each (61 x 50.8 cm each)
24 7/8 x 20 7/8 x 1 3/4 in framed each (63.2 x 53 x 4.4 cm framed each)
Edition of 10 plus 3 artist's proofs
 

Lorraine O'Grady Gaze, 1991/2019

Lorraine O'Grady
Gaze, 1991/2019
Archival pigment print on Hahnemühle Baryta pure cotton photo rag paper in 4 parts
24 x 20 in each (61 x 50.8 cm each)
24 7/8 x 20 7/8 x 1 3/4 in framed each (63.2 x 53 x 4.4 cm framed each)
Edition of 10 plus 3 artist's proofs
 

Betty Parsons Red Sea, 1963

Betty Parsons
Red Sea, 1963
Not signed; titled and dated on verso; orientation marked
Acrylic on linen
21 x 12 5/8 in (53.34 x 32.38 cm)
23 x 14 1/2 x 2 1/2 in framed (58.4 x 36.8 x 6.3 cm framed)
 

Betty Parsons Untitled, 1961

Betty Parsons
Untitled, 1961
Signed and dated on recto
Gouache on paper
7 5/8 x 5 1/2 in (19.68 x 13.97 cm)
15 1/4 x 13 1/8 x 1 1/2 in framed (38.7 x 33.3 x 3.8 cm framed)
 

Betty Parsons Untitled, 1976

Betty Parsons
Untitled, 1976
Signed and dated on recto
Acrylic on paper
23 3/4 x 18 in (60.33 x 45.72 cm)
21 x 26 3/4 x 1 5/8 in framed (53.3 x 67.9 x 4.1 cm framed)
 

Betty Parsons Untitled, c. 1952

Betty Parsons
Untitled, c. 1952
Gouache on paper
14 1/8 x 11 in (35.9 x 27.9 cm)
18 5/8 x 21 3/4 x 1 5/8 in framed (47.3 x 55.2 x 4.1 cm framed)
 

Betty Parsons Untitled, c. 1976

Betty Parsons
Untitled, c. 1976
Gouache on paper
23 5/8 x 17 3/4 in (60 x 45.1 cm)
26 3/4 x 20 3/4 x 1 5/8 in framed (67.9 x 52.7 x 4.1 cm framed)
 

Betty Parsons Untitled, c. early 1950s

Betty Parsons
Untitled, c. early 1950s
Gouache on paper
6 5/8 x 5 in (17.14 x 12.7 cm)
14 3/8 x 12 1/2 x 1 3/4 in framed (36.5 x 31.8 x 4.4 cm framed)
 

Joan Semmel High Five, 2021

Joan Semmel
High Five, 2021
Signed and dated on recto
Oil on canvas
30 x 30 in (76.2 x 76.2 cm)
31 3/4 x 31 3/4 x 2 1/2 in framed (80.6 x 80.6 x 6.3 cm framed)
 

Joan Semmel Untitled, 2016

Joan Semmel
Untitled, 2016
Oil crayon on paper
22 1/2 x 17 1/2 in (57.15 x 44.45 cm)
25 1/2 x 20 1/2 x 1 5/8 in framed (64.8 x 52.1 x 4.1 cm framed)
 

Joan Semmel Study for Side Pull, 1978

Joan Semmel
Study for Side Pull, 1978
Oil crayon and collage on paper
21 1/2 x 30 in (54.61 x 76.2 cm)
25 x 33 1/2 x 1 5/8 in framed (63.5 x 85.1 x 4.1 cm framed)
 

Joan Semmel Untitled, 2016

Joan Semmel
Untitled, 2016
Signed and dated on recto
Oil crayon on paper
13 1/8 x 19 7/8 in (33.3 x 50.5 cm)
16 x 23 x 1 5/8 in framed (40.6 x 58.4 x 4.1 cm framed)
 

Valeska Soares Doubleface (Cobalt Green), 2017

Valeska Soares
Doubleface (Cobalt Green), 2017
Oil paint and cut out on vintage oil painting
28 x 18 x 3/4 in (71.12 x 45.72 x 1.91 cm)
 

Valeska Soares For To (XI), 2021

Valeska Soares
For To (XI), 2021
Collaged book pages in 2 parts
34 x 58 in each (86.4 x 147.3 cm each)
41 1/2 x 61 1/2 x 2 1/4 in framed each (105.4 x 156.2 x 5.7 cm framed each)
 

Press Release

Frieze New York 2021 | The Shed | New York Main Section | Booth B-05 | May 5–9, 2021

545 W 30th St, New York, NY

Preview (invitation-only): May 5 - 6, 2021, 11am - 7pm
Public Days: May 7 - 9, 2021, 11am - 7pm; Sunday: 11am - 5pm

Frieze New York at The Shed
will host more than 60 of the world’s leading galleries and feature the fair's much-celebrated section Frame, devoted to emerging galleries. The fair will be accompanied by an expanded program of collaborations, special projects and talks.

Frieze Viewing Room will run alongside Frieze New York at The Shed and benefit from enhanced digital functionality, reaching a global online audience and those that might not be able to travel to New York.

Alexander Gray Associates presents an exhibition of recent works by six Gallery artists: Melvin Edwards, Jennie C. Jones, Harmony Hammond, Lorraine O’Grady, Joan Semmel and Valeska Soares. The works on view evoke, complicate, and reimagine the nature of links and relationships between people and artworks while revealing various facets of each artist’s practice. Each of the artists in the Gallery’s presentation is the subject of a recent, ongoing, or upcoming major institutional exhibition.

Melvin Edwards’s pioneering works are rooted in African American history and in a lifelong exploration of the physical and representational possibilities of sculptural materials. In Song of the Broken Chains (2019), Edwards expands on a series of chain works he began to create in the early 2000s. While the majority of these pieces feature upright columns of forged links, Song of the Broken Chains presents a trio of shattered chains scattered on the ground. While the broken chains might suggest a narrative of freedom from slavery or oppression, Edwards insists on a more extensive reading: For him, the chains are also visual manifestations of kinship, the connections between individuals. Song of the Broken Chains anchors the Gallery’s presentation, while the monumental sculpture for which it serves as a maquette is included in Brighter Days, Public Art Fund’s survey exhibition of the artist’s outdoor sculptures, on view at City Hall Park from May 4 – November 28, 2021. Edwards’s work is also included in Grief and Grievance: Art and Mourning in America, on view at the New Museum through June 6, 2021.

The elusive structure of connections between human beings, history, and aesthetics is a central concern in the work of Lorraine O’Grady. In 1991, when she was best known for eruptive performances like Mlle Bourgeoise Noire, O’Grady’s first one-person exhibition marked a significant conceptual shift for the artist, as she turned her focus from performance interventions to works on the wall. Among the photomontages she produced are a pair of quadriptychs, Gaze and Dream (1991/2019), which display a new aesthetic spareness and psychological directness. These pivotal works signal the distillation of key concepts for O’Grady––the operation of the body in relation to itself, to other bodies, and to the vicissitudes of perception and representation––and the ways in which bodies and artworks can simultaneously be subject to and resistant to history. In conjunction with the Gallery’s presentation, Gaze and Dream are featured in the artist’s retrospective, Lorraine O’Grady: Both/And, on view at the Brooklyn Museum through July 18, 2021.

Jennie C. Jones’s rigorously minimal compositions engage viewers visually and aurally, working across mediums including painting, sculpture, sound, and installation. Conceptually and historically nuanced, Jones’s works absorb and rework legacies of modernism and minimalism, deploying meticulously pared-down compositions to highlight the experience of sound within the visual arts. A new corner piece, Untitled, (Black, Cropped, Crescendo) (2021) continues Jones’s recent practice of painting acoustic absorber panels. Here Jones parallels visual occlusion with auditory muffling: by covering the panels in black acrylic, she hides them from both sight and hearing. The process of allowing the paint to evenly soak into the fabric panel to create subtle texture variations, Jones states, “became an existential back and forth struggle … towards an impossible flawlessness.” The artist’s work is included in Grief and Grievance: Art and Mourning in America, on view at the New Museum through June 6, 2021. Jones’s solo exhibition at the Guggenheim Museum opens January 2022.

Valeska Soares’s works find an evocative equilibrium between affect and abstraction. Meticulously composed, the works deploy formally restrained strategies of minimalism and conceptualism to parse the nature of interpersonal connections and evoke tender, sometimes painful emotions. Her For To series features dedication pages torn from antique books. The pages reveal the forgotten emotional lives of authors and gift givers, with each inscription gesturing to an experience of emotional connection. Soares’s precise arrangements of the pages into pale gradients and fluid, organic shapes render the works aesthetically moving compositions in their own right, balancing their emotional and visual aspects.

Throughout her career, Joan Semmel has been recognized for her striking figurative paintings and inventive incorporation of the camera in composing her images. High Five (2021) furthers Semmel's use of the camera as it relates to her process, by signaling its presence through the use of cropping and her reflected image. At the same time, Semmel's technique combines gestural brushwork and expressive color, which links back to her roots in Abstract Expressionism. As she explains, "While my work developed through series, the connecting thread across decades is a single perspective: being inside the experience of femaleness and taking possession of it culturally. I have used both the mirror and the camera as strategies to destabilize the point of view (who is looking at whom), and to engage the viewer as a participant." This presentation precedes the artist’s retrospective, Joan Semmel: Skin In The Game, opening at the Pennsylvania Academy of The Fine Arts on October 28, 2021.

In recent years, Harmony Hammond has deepened the complex texture and materiality of her paintings with interplays of scale and hue. Among the most recent paintings is Small Brown Cross (2020) which incorporates found burlap and grommets inserted in an irregular grid along the surface of Hammond’s signature layers of thick paint. Building on her recent series of Chenilles, works like Small Brown Cross are punctuated with protrusions, holes, seams and fraying edges, foregrounding notions of suture and concealment—of hidden layers, spaces, or narratives that lie beneath the surface. A pioneer of feminist and queer discourse, Hammond continues to parse––and refute––the strictures of modernist compositions while refiguring modernist tools including grids, crosses, and monochromes in order to invite content into the realm of abstraction. The artist’s survey exhibition Harmony Hammond: Material Witness opened in 2019 at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut and traveled to the Sarasota Art Museum, Florida in the Fall of 2020.