After a sleepy summer, the trade springs back to life with the Frieze Art Fair (10-14 October). It has rapidly become one of a powerful triumvirate, alongside Art Basel and Art Basel Miami Beach.
Every year, sales increase and more galleries apply: 300 were turned away this time. Despite competing to pay £225 for a square metre of space, sizeable sums of money are not enough to put the hopefuls off.
Despite this, many artists and curators are less than enamoured of the art fair experience. The deal-making atmosphere and enormous sums changing hands is off-putting for some.
The most notable aspect of Frieze this year is that it has its biggest programme of non-commercial events, from the Glenn Branca Symphony for 100 guitars at the Roundhouse, to US artist Richard Prince's major commission. There are talks, tours, films and a £150,000 acquisition fund to buy works for the Tate.
The Frieze Effect will be the subject of an Alan Yentob documentary for BBC1. Even without it, the scale of the visitor numbers, galleries and press coverage says it all.
Perhaps art museums should be slightly concerned that a fair is becoming a must-see event - 63,000 people attended Frieze last year, the same daily average as Tate Modern.
But unlike the Tate, a ticket last year to Frieze cost up to £18. Clearly large amounts of money, and the buzz of the art market, didn't put the public off.
Jane Morris is an arts journalist and editor.
www.friezeartfair.com
Every year, sales increase and more galleries apply: 300 were turned away this time. Despite competing to pay £225 for a square metre of space, sizeable sums of money are not enough to put the hopefuls off.
Despite this, many artists and curators are less than enamoured of the art fair experience. The deal-making atmosphere and enormous sums changing hands is off-putting for some.
The most notable aspect of Frieze this year is that it has its biggest programme of non-commercial events, from the Glenn Branca Symphony for 100 guitars at the Roundhouse, to US artist Richard Prince's major commission. There are talks, tours, films and a £150,000 acquisition fund to buy works for the Tate.
The Frieze Effect will be the subject of an Alan Yentob documentary for BBC1. Even without it, the scale of the visitor numbers, galleries and press coverage says it all.
Perhaps art museums should be slightly concerned that a fair is becoming a must-see event - 63,000 people attended Frieze last year, the same daily average as Tate Modern.
But unlike the Tate, a ticket last year to Frieze cost up to £18. Clearly large amounts of money, and the buzz of the art market, didn't put the public off.
Jane Morris is an arts journalist and editor.
www.friezeartfair.com
