NEW YORK, NY.- Rockefeller Center has been transformed into a free public sculpture park for the second iteration of Frieze Sculpture at Rockefeller Center, a large-scale public art installation - presented by Frieze New York and Tishman Speyer - featuring site-specific works from leading international artists Ghada Amer, Beatriz Cortez, Andy Goldsworthy, Lena Henke, Camille Henrot, and Thaddeus Mosley.

Usually held in the spring as part of the wider programming of Frieze New York, Frieze Sculpture at Rockefeller Center was postponed and readapted this year due to the Covid-19 pandemic. This iteration is inspired by the site’s and the city’s natural materials of earth, rock, and plants, and by the 50th anniversary of Earth Day, the original date when Frieze Sculpture at Rockefeller Center was scheduled to debut.

Frieze Sculpture at Rockefeller Center provides visitors the opportunity to experience and enjoy renowned artwork free of charge, at any time, with ample space to follow social distancing guidelines.

The Frieze Sculpture at Rockefeller Center program includes:




Ghada Amer (Goodman Gallery, Marianne Boesky): Egypt-born New York-based artist Ghada Amer presents an ambitious garden installation, titled Women’s Qualities. The piece was first conceptualised and installed in Busan, South Korea, in 2000 after the artist undertook a simple study, asking members of the public what qualities they found most important in women. 20 years on, the artist revisits the piece in New York, combining gender stereotypes that she encountered in Busan in 2000 with perspectives from Americans in 2020. The responses are written with flowers to create a living portrait of the impossible “woman ideal”.

Beatriz Cortez (Commonwealth and Council): Awarded the inaugural Frieze LIFEWTR Sculpture Prize, Cortez will present a new commission selected for inclusion by a jury chaired by Brooke Kamin Rapaport (Deputy Director and Martin Friedman Chief Curator, Madison Square Park Conservancy), and guest judges Taylor Aldridge, Brett Littman, Loring Randolph, and Michaella Solar-March. Made of steel frame and sheet metal, Glacial Erratic evokes an ancient boulder, like the numerous glacial erratics that populate the landscape in New York City. Placed in the context of Rockefeller Center, the sculpture will age as it is exposed to the elements and human traffic while marking different temporalities and making visible the planetary nature of ancient migration.

Andy Goldsworthy (Galerie Lelong & Co.): Red Flags (2020) is a major new installation looking at the contexts of flags – their inherent and potential meanings – in one of New York’s most iconic flag flying sites. Goldsworthy replaces Rockefeller Center’s flags with flags colored with earth gathered from each of the 50 states.

Lena Henke (Bortolami): Two new sculptures, R.M.M. (Power Broker Purple) (2020) and R.M.M. (Organ, Organ, Organ Red) (2020) combine Henke’s personal experience and the history of New York City’s urban planning, in particular the controversial designs of architect Robert Moses (1888-1961). The sheer size of these new works was based on Henke's own height, and determined with the help of Le Corbusier's, Modular, and anthropometric scale of proportions, placing her own body in direct relation to Rockefeller Center's canonical architectural space. In their new context, set in front of the main entrance at Rockefeller Center's formal Art Deco-influenced complex, the large, colorful hooves become objects of irrational, organic flux. They are an ode to the many equestrian symbols in and outside of Rockefeller Center's buildings, the horse motifs In Carl Milles' three-part work Man and Nature (1937-41); Attilio Piccirilli's glass block panel Youth Leading Industry (1936), installed over the Fifth Avenue entrance at the International Building North; and Robert Garrison's fantastical stone bas-relief, Morning, Present, Evening (1932) including the head of the mythological horse at the 1270 entrance.

Camille Henrot (Metro Pictures): Inside Job is a bronze sculpture to be installed in Rockefeller Center’s Channel Gardens. Evoking both the shape of a shark and also the beak of a bird, the work explores concurrent themes of threat and tenderness. Henrot will also present a series of small-scale works from Is it possible to be a revolutionary and like flowers? taking inspiration from previous collaborations with artists undertaken at the Sōgetsu School. The title of each piece is taken from a book, creating a library of literature translated into flowers.

Thaddeus Mosley (Karma): Three monumental freestanding sculptural editions, all specifically fabricated for Frieze Sculpture, entitled Illusory Progression, True to Myth, and Rhizogenic Rhythms have been sited on 5th Avenue in front of the Channel Gardens. These bronze works are the first multiple cast works in Mosley’s 60-year career and are based on his unique sculptures with salvaged Pittsburgh timber and discarded wood fragments and demonstrates what he describes as ‘weight in space.’