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    At Frieze New York, Performance Art Takes Center Stage

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    This year, Frieze New York will offer three pieces by artists who approach performance “in radically different ways.”Listen to the birds sing, strike up a conversation with a stranger or walk along the High Line, a potted seedling in hand. Those are the ideas behind the performance pieces that will unfold at Frieze New York.Performance art has been a feature of the fair since its debut in 2012, but this year will see the most expansive lineup to date.“Frieze’s investment in performance art began with the recognition that much of today’s exciting, relevant work happens live in ways that are process-driven, participatory and time-based,” Christine Messineo, the director of Frieze New York and Los Angeles, said.This year’s edition of the fair — which runs from Thursday through Sunday at the Shed at Hudson Yards — will offer three performance pieces: “Immortal Coil” by the Berlin-based Asad Raza; “Freestyle Hard,” from Carlos Reyes, who divides his time between Williamsburg, Brooklyn, and Caguas, P.R.; and “The Pin” created by the Berlin-based Pilvi Takala. All three have previously participated in Frieze London but are newcomers to the New York edition.The focus on performance works is specific to New York, Messineo said, because the city has a “rich history of dance, theater and avant-garde performance.”In 2022, Frieze New York began a partnership with the nonprofit arts gallery Artists Space in TriBeCa that debuted with a performance, “Grandmother Cindy,” by the dancer and choreographer Devynn Emory.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Joseph Gitnig, Central Park Minstrel Known as Pegasus, Dies at 95

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      For nearly two decades, he delighted children and adults in New York City with songs and silly antics. He also scored a victory for free speech.Pegasus, the mythological winged stallion, symbolized divine inspiration and boundless freedom. So did Joseph Gitnig, the itinerant minstrel who called himself Pegasus and delighted children and adults who gathered spontaneously for nearly two decades to see him perform at the Central Park Zoo.Pegasus, the stallion, achieved immortality when Zeus transformed him into a constellation in the northern sky. Pegasus, the man, died on Sunday in Tilburg, the Netherlands, where he had lived since he gave up his New Age performance art in 1984. He was 95.Tineke Gitnig-Bertrums, his wife and only immediate survivor, said the cause was kidney failure.Pegasus — referring to him formally as Mr. Gitnig would be demystifying — epitomized a more innocent era, or at least one in which children, and adults, could be distracted and even entertained by a ballad, a soap bubble or a balloon and other less mind-blowing diversions than violent video games, Super Bowl halftime pyrotechnics and Las Vegas extravaganzas.“I’m a poet, writer, actor, dancer, and I put it all together in the package of a clown,” he told The New York Times in 1974. He once told Dramatics magazine, “I’ve been called an astronaut of inner space, a cosmonaut of the imagination, bard of brotherhood, troubadour, rhapsodist, folklorist and the indefinable fool.”Whatever you want to call him, he did more than entertain. After being arrested twice in the mid-1970s, he helped establish a precedent for free speech: For better or worse, according to Arthur Eisenberg, executive counsel of the New York Civil Liberties Union, the city agreed that performance art in parks and other public spaces is a form of free expression protected by the First Amendment.“Creative Sharer” was how he described himself on the business cards that he handed out, hoping to be booked at children’s parties and other events as a way to supplement the up to $3,000 a year in coins and small bills he collected in a basket at the zoo. He made a living in the off-season as a clerk and shoe salesman.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ben Vautier, Artist Whose Specialty Was Provocation, Dies at 88

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      A core member of the anti-art movement Fluxus, he died by suicide hours after the death of his wife of 60 years.Ben Vautier, a French artist and agitator who often worked under the moniker Ben, and who as a core member of the anti-art collective Fluxus blurred the boundaries of high and low, art and life, while adhering to the credo “Everything is art,” died on June 5 at his home in Nice, France. He was 88.He died by suicide shortly after his wife, Annie Vautier, a performance artist he married in 1964, died of a stroke, his children, Eva and Francois, posted on social media. “Unwilling and unable to live without her,” they wrote, “Ben killed himself a few hours later at their home.”Theirs was an intense, if tangled, relationship. “We called her “Sainte-Annie,” Mascha Sosno, a friend, was quoted as saying in a recent article on the France Info website.“It was difficult to live with him,” she added. “They argued all the time, but in fact they adored each other, and he was inseparable from Annie, too.”Forever looking to provoke, Mr. Vautier found a kindred spirit in 1962 when he met George Maciunas, who spearheaded the avant-garde Fluxus movement of the 1960s, which included Yoko Ono, Nam June Paik and other artists, and which drew from the iconoclastic Dada movement of the early 20th century.Fluxus, as articulated in Mr. Maciunas’s 1963 manifesto, was intended as a revolution, a call to comrades to “promote living art, anti-art, promote non-art reality,” while purging the world of “dead art, imitation, artificial art.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More