William Kentridge, Milton Avery, Cornelia Parker: Artists Showing at London Museums and at the Fairs

Discover work at Frieze London and Frieze Masters by artists featuring in ground-breaking solo exhibitions throughout the city during Frieze Week

in Frieze London & Frieze Masters , News | 11 OCT 22

From 12-16 October 2022, Frieze London and Frieze Masters will be held in The Regent’s Park. Beyond the fairs, there is a full programme of events and exhibitions taking place throughout the city, many of which include works by artists showing at Frieze. Highlights include... 

Chilean artist and poet Cecilia Vicuña will create an exciting new artwork for Tate Modern’s Turbine Hall this October. At Frieze London 2022, Vicuña’s Precarios – intimately scaled sculptures made of found environmental materials – pay tribute to the suffering of nature, the sacredness of land, and the perilousness of being (Lehmann Maupin, New York, Frieze London, Stand F2).  

Cecilia Vicuña, Caracol Azul (Blue Snail), 2017, unspun wool, site-specific installation, 30.25 x 201.75 x 40.5 inches (installed)76.8 x 512.4 x 102.9 cm, Courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London. 
Cecilia Vicuña, Caracol Azul (Blue Snail), 2017, unspun wool, site-specific installation, 30.25 x 201.75 x 40.5 inches (installed)76.8 x 512.4 x 102.9 cm, Courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London.

A retrospective of etchings by Lucian Freud, to coincide with the National Gallery exhibition, 'Lucian Freud: New Perspectives', opening October 2022. Etching was an important part of Freud’s work and sat equally alongside his painting practice, often revisiting subjects, poses, and sitters in both mediums (Lyndsey Ingram, London, Frieze Masters, Stand C8).

At Frieze London 2022, Victoria Miro will showcase a group exhibition featuring works by Milton Avery, whilst at the Royal Academy of Arts, the first solo exhibition of his works in Europe demonstrates his vision of the world through harmonious colour and simplified form (Victoria Miro, London, Frieze London, Stand C17).

Lucian Freud, Kai, 1991-1992, Etching. Initialled in pencil and inscribed 'B.A.T.' The bon-à-tirer impression before the edition of 40. Printed on Somerset Satin White paper by Marc Balakjian at Studio Prints, London. Published by Matthew Marks Gallery, New York. (Bernard Birdsall 246, Feaver 262, Figura 64, Hartley 45, Treves 65). Plate: 69.8 x 54.5 cm. Sheet: 78.7 x 62.4 cm. Courtesy of the Artist and Lyndsey Ingram. 
Lucian Freud, Kai, 1991-1992, Etching. Initialled in pencil and inscribed 'B.A.T.' The bon-à-tirer impression before the edition of 40. Printed on Somerset Satin White paper by Marc Balakjian at Studio Prints, London. Published by Matthew Marks Gallery, New York. (Bernard Birdsall 246, Feaver 262, Figura 64, Hartley 45, Treves 65). Plate: 69.8 x 54.5 cm. Sheet: 78.7 x 62.4 cm. Courtesy of the Artist and Lyndsey Ingram.

Featuring pieces by a range of international artists, Goodman Gallery brings, to a group show, works by William Kentridge. This September, The Royal Academy of Arts launched a new, immersive works by the multi-sensory artist. His artistic method combines studio-based and collaborative practices to create works of art that are grounded in politics, science, literature and history, and maintain a space for contradiction and uncertainty (Goodman Gallery, Johannesburg, Frieze London, Stand E3).

Prints by Cornelia Parker, which use light and glass objects to create a new hybrid form of printmaking, will be displayed in the Editions section of Frieze London. At Tate Britain, her exhibition will bring together iconic suspended works such as Thirty Pieces of Silver (1988–9) and Cold Dark Matter: An Exploded View (1991) (Cristea Roberts Gallery, London, Frieze London, Stand A6). 

Cornelia Parker: Nightfall, 2020, image courtesy the artist and Cristea Roberts Gallery. 
Cornelia Parker: Nightfall, 2020, image courtesy the artist and Cristea Roberts Gallery.

Find out more about Frieze London and Frieze Masters.

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Main image: Lucian Freud, Woman with an Arm Tattoo, 1996, Etching. Initialled in pencil and inscribed 'B.A.T.'The bon-à-tirerimpression before the edition of 40. Printed on Somerset Textured White paper by Marc Balakjian at Studio Prints, London. Published by Matthew Marks Gallery, New York. (Figura 40, Hartley 54, Treves 79) Plate: 59.3 x 81.6 cm. Sheet: 70 x 91.7 cm. Courtesy of the Artist and Lyndsey Ingram.

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