Frieze art fair preview

Yayoi Kusama | Matt Johnson | Nick Mauss | Kim Gordon | Cerith Wyn Evans | Richard Tuttle

The Frieze effect – an explosion of exhibitions rippling from the art fair’s Regent’s Park base, through London’s museums, galleries and experimental project spaces – is no longer confined to living artists. The Frieze fair now offers a fresh double-whammy of contemporary art and old masters.

At the fair itself (Regent’s Park, NW1, Wed to 19 Oct), where the world’s top-notch galleries set up shop, works dotting the sculpture park include one of Yayoi Kusama’s giant spotty pumpkins and Matt Johnson’s scaled-up version of a model woodcraft dinosaur. The fair’s special commissions are dance-themed. They include Nick Mauss’s Living Stage, which kicks off with the Northern Ballet and live music by Kim Gordon, while Cerith Wyn Evans stages a performance in London Zoo.

Away from the main drag, the artist formerly known as Spartacus, Marvin Gaye Chetwynd, is unleashing her film and installation Hermito’s Children 2 at Studio Voltaire (SW4, Wed to 14 Dec).

A major addition to London’s commercial gallery landscape is New York mega-dealer Marian Goodman’s eponymous new outpost, which opens with new work by Gerhard Richter (W1, Wed to 20 Dec). It features his ongoing series, Strip.

Oscar-winning director Steve McQueen is returning to his art roots with an installation at Thomas Dane gallery (SW1, Tue to 15 Nov). Ashes, the film at the show’s centre, was shot in the West Indies where his parents were born.

Beyond Frieze, Tate Modern and the Whitechapel Gallery are teaming up to introduce the seminal American artist Richard Tuttle (SE1 and E1, Tue to 6 Apr & 14 Dec). A huge tri-coloured textile work will be hung in the Turbine Hall while the Whitechapel has a five-decade survey focused on his work with fabrics.

Rembrandt’s Late Works at the National Gallery (WC2, Wed to 18 Jan) leads the pack of autumn’s golden oldies. Created during dark times, which included the death of his lover and child, the Dutch master’s late paintings were his most innovative. Around the corner, William Morris: Anarchy and Beauty at the National Portrait Gallery explores the radical Victorian’s “art for the people” (WC2, Thu to 11 Jan).

Finally, the Sunday Art Fair provides an indie alternative to it all, with edgy small galleries and not-for-profits (Ambika P3, NW1, Thu to 19 Sep).


Skye Sherwin

The GuardianTramp

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