THE HOUSE OF THE NOBLEMAN CURATED BY WOLFE VON LENKIEWICZ & VICTORIA GOLEMBIOVSKAYA PRESS CLIPPING (INTERNET) artnet’ http://www.artnet.com/magazineus/reviews/jones/frieze-art-week10-22-10.asp LONDON DISPATCH by Laura K. Jones Powerless against the magnetic force towing them in to the bowels of Regent’s Park, 60,000 visitors to the eighth edition of the Frieze Art Fair were faced with a decision. What to buy from an array of works whose combined price came to $365 million? Would it be The True Artist Helps the World by Revealing Mystic Truths, a sprawling Damien Hirst cabinet containing a school of pickled fish, priced at $5.6 million? The huge work turned out to be the star sale of the fair, as was widely reported, when it was flogged immediately from the White Cube stand during the Frieze preview. Apparently, the cynical press refers to the vernissage as "Billionaires Day," and indeed, attendees included Claudia Schiffer, Charles Saatchi, Steve Cohen (a first timer to the fair) and Dasha Zhukova. So powerful has Frieze become that commercial galleries, public spaces and auction houses now tie their activities to it more than ever. Off-site auctions saw Phillips de Pury selling David Hockney’s Autumn Pool for $2 million and Christie’s flogging Andreas Gursky’s photograph of the New York Stock Exchange for $700,000, almost three times its estimate. Harry Blain and Graham Southern, former directors of Haunch of Venison, inaugurated their new gallery, BlainSouthern, with "Creation Condemned," a hypnotic and troubling show by Mat Collishaw of images of pole dancers, frenzied burning butterflies and the great ravines that were left when the Taliban destroyed the Bamiyan Buddhas. Fusing symbols of decadence and decay, Collishaw makes lithophanes -- in this case, images etched in thin, translucent Corian, lit from behind with slowly pulsating lights. Blain and Southern afterwards invited the art world to the Ivy Club until the early hours of the next morning. Then, it was