Returning to magnificent Regent’s Park in the heart of London, the 2024 editions of Frieze London and Frieze Masters brought together over 270 galleries from 43 countries and attracted 90,000 visitors from over 110 nations worldwide. With a strong presence of major international collectors, institutions, and art enthusiasts, galleries reported major sales throughout the fairs’ five-day run.
“It’s been an extraordinary week, marked by continued sales and a vibrant international presence on every day,” Eva Langret, Director of Frieze London, shared with Art & Object. “The fair has attracted growing interest from a diverse range of collectors, both established and emerging, which is immensely encouraging.”
Nathan Clements-Gillespie, Director of Frieze Masters, added, “Frieze Masters continues to deliver unparalleled opportunities for collectors and curators, cementing its position as a must-attend event in the global art calendar. This year, we witnessed exceptionally strong demand for works spanning all eras, from classical art to 20th century masterpieces, with major sales reported throughout the week. Our exhibitors truly brought their finest works, and were rewarded for it with resounding success.”
Delving into the latest contemporary art at Frieze London and viewing Frieze Masters to survey centuries-old art alongside more recently created works, Art & Object has compiled a curated list of the best booths at the fairs.
- Miles McEnery Gallery, Frieze Masters
Energizing its booth with vibrant color, Miles McEnery Gallery presented a solo show of paintings and works on paper from 1962 to 2008 by the American abstract painter Emily Mason. The daughter of Alice Trumbull Mason, a founding member of the American Abstract Artists, and the wife of Wolf Kahn, a German-born American painter who combined Realism with Color Field painting, Mason emerged on the 10th Street gallery scene in 1960 and exhibited regularly in museums and galleries across America until her death in 2019.
Layering transparent washes of brightly colored oils in most paintings on view, and oils mixed with expressive marks of pastels in others, Mason worked directly on the canvas or paper, defining spatial relationships while letting the paintings guide her hand, eye, and mind until their sublime completion.