A History of Frieze Art Fair

Origins in Frieze Magazine (1991)

The origins of Frieze Art Fair are deeply tied to the founding of Frieze magazine in 1991 by Amanda Sharp and Matthew Slotover. The magazine focused on contemporary art and culture, quickly gaining a reputation for its critical analysis and innovative thinking. It became a vital voice in the art world, influencing curators, collectors, and artists alike. By 2003, Sharp and Slotover capitalised on the magazine’s success and launched the first Frieze Art Fair, seeking to bring the same curatorial rigour and intellectual engagement from the page to the physical space of an art fair.

The First Frieze Art Fair (2003)

The inaugural Frieze Art Fair took place in 2003 in London’s Regent’s Park. With tickets priced modestly at £12, compared to today’s rates of around £46, the fair distinguished itself by focusing exclusively on contemporary art, at a time when many other fairs were more commercially oriented or catered to broader periods in art history. From the beginning, Frieze set a new standard by emphasising curatorial excellence, integrating ambitious installations, commissioned projects, and performance art. This curated approach not only differentiated Frieze from more market-driven fairs like Art Basel, but also established it as a critical venue for experimental art, something it continues to strive for in 2024 under its current London director, Eva Langret.

Frieze New York (2012)

In 2012, Frieze expanded its footprint across the Atlantic with the launch of Frieze New York, held on Randall’s Island. The fair brought its hallmark blend of contemporary art and curatorial innovation to the U.S. and quickly became one of the most significant art fairs in the country. Galleries from around the world gathered at Frieze New York, which set itself apart by embracing site-specific projects and performances, much like its London counterpart.

Frieze Los Angeles (2019)

By 2019, Frieze moved westward, launching Frieze Los Angeles at the iconic Paramount Studios. Frieze LA embraced the unique intersection of contemporary art and Hollywood culture, reflecting the city’s thriving art scene. Its engagement with film and media creatives distinguished it from other fairs, positioning Frieze as a cultural connector, not just a marketplace.

Frieze Seoul (2022)

Frieze’s expansion to Seoul in 2022 marked a significant milestone not only for the fair but also for the global art market. As its first venture into Asia, this move underscores the growing influence of the Asian art market, which has seen exponential growth in both collector base and artistic production. Asia, particularly regions like China, South Korea, and Japan, has emerged as a critical player in shaping the future of contemporary art, with a new generation of collectors and patrons actively participating in the global art economy. Seoul, specifically, was chosen for its dynamic and fast-growing contemporary art scene, home to a mix of internationally recognised artists, innovative galleries, and major institutions. Furthermore, this expansion signals the fair’s ambition to remain at the forefront of international art trends by diversifying its geographical reach and embracing the cultural diversity that defines contemporary art today.

However, as Frieze expands into new markets, it faces increasing scrutiny regarding the sustainability of transporting art across the globe, especially when environmental concerns are at the forefront of public discourse.

Launch of Frieze Masters

In 2012, the Frieze team introduced Frieze Masters, held concurrently with Frieze London, to showcase art from antiquity to the 20th century. Frieze Masters stands out for its unique juxtaposition of historical and modern works, offering collectors and visitors an opportunity to explore art across time periods. This blend of the old and the new has broadened Frieze’s appeal, making it a fair not just for contemporary art enthusiasts, but for those with more diverse tastes.

Impact on the Art Market

Frieze Masters has played a key role in broadening the fair’s market appeal. Collectors now have a venue where they can experience the dialogue between historical masterpieces and contemporary art. The section attracts a broader audience, many of whom are drawn to the opportunity to acquire significant older works while exploring how these pieces resonate with contemporary practice.

Frieze Art Fair remains a significant platform that balances the exposure of both emerging and established artists, offering lesser-known talents a chance to present their work alongside industry icons. Its commitment to showcasing innovative practices keeps it relevant in the ever-evolving art world. However, while this curatorial balance contributes to its cultural significance, its role in shaping market dynamics is more complex.

Frieze serves as a high-profile platform for galleries to showcase new works and maintain their presence, but its direct impact on art market sales is less straightforward. While the fair is often regarded as a key indicator of market health, many galleries participate less for immediate commercial success, and more for visibility and prestige, creating an atmosphere where ‘keeping up appearances’ often overshadows actual transactions. This suggests that while Frieze is a cultural and curatorial highlight, its influence on market health is more symbolic than substantial, with many sales happening post-fair in quieter, private settings rather than on the floor.

Furthermore, Frieze Art Fair's relevance is increasingly questioned in light of the growing digitalisation of the art market and the emergence of online platforms that facilitate art transactions and exhibitions. As collectors and artists gravitate towards digital spaces, the necessity of large-scale physical fairs like Frieze diminishes. The environmental impact of these events cannot be overlooked; the extensive shipping of artworks, energy consumption, and waste generated from constructing temporary exhibition spaces contribute significantly to the carbon footprint of the art world. This concern is particularly pressing as climate change becomes an urgent global issue. In an era where sustainability is paramount, the art market may benefit more from embracing digital engagement models that reduce environmental strain rather than maintaining traditional, resource-intensive formats like Frieze. Consequently, the art community might reconsider whether such grandiose events are still necessary, or if they no longer align with contemporary values and priorities.

Conversely, Frieze has garnered a reputation not only as a commercial hub for art transactions but also as a platform for bold and boundary-pushing initiatives like Frieze Projects. This section of the fair invites artists to create site-specific installations, performances, and interventions that challenge conventional notions of what can be presented at an art fair. These commissions often tackle pressing social, political, and cultural issues, making the fair as much a space for artistic innovation and dialogue as for commerce. For instance, Frieze London 2017 showcased SPIT! (Standing for Sodomites, Perverts, Inverts, Together!), an intervention by the artist collective Carlos Motta, John Arthur Peetz, and Carlos Maria Romero. This performance-based project used speeches and performative gestures inspired by queer manifestos from the 1960s to the present day to address ongoing issues of sexual and gender oppression. These live performances brought the voices of queer activism into the heart of the art fair, turning the traditionally commercial space into a platform for social and political discourse.

Adaptation During the COVID-19 Pandemic

In response to the global pandemic, Frieze launched the Frieze Viewing Room, a digital platform that allowed galleries to showcase works virtually. This move was crucial in maintaining global engagement during travel restrictions, helping galleries reach collectors who could no longer attend in person.

While Frieze has returned to in-person events, the success of the Viewing Room points to a hybrid future. Digital platforms now complement physical fairs, allowing Frieze to engage a global audience year-round, thus ensuring its relevance in an increasingly digital world.

As the art world continues to evolve, the question of whether Frieze remains relevant and necessary is a compelling one. While the fair still holds significant cultural and curatorial prestige, offering a platform for artistic experimentation, critical dialogue, and innovative exhibitions, its role in the marketplace is less clear-cut. The rise of digital platforms, alternative models of art engagement, and the increasing commercialisation of the art fair landscape have challenged the traditional dominance of fairs like Frieze. Furthermore, the environmental implications of Frieze's extensive logistics, ranging from artwork transportation to the resources consumed in setting up temporary exhibition spaces, raise pressing questions about sustainability. The need for a reevaluation of Frieze's role and format becomes paramount; while it continues to foster artistic innovation and cultural discourse, the fair must adapt to contemporary values that prioritise both digital accessibility and environmental responsibility. Ultimately, the future of Frieze may lie not in its prestigious physical presence, but in its ability to embrace new models that reflect the changing priorities of artists, collectors, and society at large.