Frieze 2022

The art fairs have returned, and with such a burst of optimistic energy! Maybe they’re signaling the lifting of the curse of COVID—or our fervent hope for its end.  And maybe artists, during all the imposed quarantines and self-isolations, have devoted themselves to making work that requires concentration, time, and thoughtfulness.  For an artist, turning inward can be a very good thing.

During my walkthroughs of Frieze Los Angeles (Feb. 17–20), I was thoroughly enchanted by beautiful, and beautifully made, art.  First the number of galleries has jumped from 70 to 100—with the tent in three parts, not just one.  The location has changed to Beverly Hills, in a lot across from the Beverly Hilton, and I have to compliment the logistics people for keeping Merv Griffin Way flowing all the time — quick drop-offs, holding the traffic for pedestrians, with pickups in the Hilton driveway. Also thankful that the fair remained COVID-cautious, checking vaccinations and insisting on masks upon entry.  Parking was a bit of a pain — you didn’t really want to park in the hotel lot for $65—but if you were willing to walk 15 or 20 minutes, you could park in city lots for a reasonable fee.

Here were a few of my favorites—Mindy Shapero’s hypnotic paintings made with spray paint, acrylic, copper, gold and silver leaf on Belgium Linen at Nino Mier.  A recreation of Betye Saar’s mural from 1983, “L. A. Energy,” on the outer wall of Roberts Projects, a playful array of the letters “L” and “A” and colorful, curved shapes. Julie Roberts told me that Betye herself, at 95, came to the fair to supervise.

Gagosian Gallery exhibited only one art piece, but it was a showstopper—the 2010 installation “Dreamer’s Folly” by Chris Burden, never before seen in the US. Three cast-iron gazebos brought together under a draping of diaphanous lace with a “tree of life” pattern occupied their booth, inviting visitors to sit, pause, take Insta photos—which they did in droves. The work seemed remarkably gentle, even sweet—in a good way—compared to Burden’s best-known works, such as the  “Urban Light” installation at LACMA’s entrance. “Dreamer’s Folly” sold during preview to a European institution. Of course, I’m sorry it couldn’t stay in the U.S., but I assume the price (which is undisclosed) would have been in the low millions.

In the Focus LA section were terrific selections coming from “emerging” spaces or, basically, smaller and younger galleries such as Charlies James, Luis de Jesus, Marta, and Parker.  I was especially drawn to the work of Ben Sakoguchi at Bel Ami, with his suite of paintings showing the bleak dwellings and landscapes of the 10 concentration camps Japanese-Americans were sent to after the bombing of Pearl Harbor.  In the center, the largest painting is a group portrait of those who lived in Block 13 at Poston, Arizona — adults and children making the best of their imprisonment.  In 1942 President Roosevelt signed Executive Order 9066, sending more than 100,000 Japanese Americans living on the West Coast to these camps, in the belief that they were a real security risk. German-Americans and Italian-Americans were not subject to the same abusive treatment—go figure.

Reportedly, over 30,000 people came to Frieze LA over its four-day run. Thursday and Friday were preview days, with Saturday and Sunday regular days.  I went on a preview day and a regular day—and both were jammed, especially the Saturday.  Interestingly, the announcement for Frieze New York just came out, and they’re holding it again at The Shed, as they did last year—that’s the multipurpose art space in Manhattan — and they’re keeping their galleries to “over 65.” Take note, that means Frieze LA has become larger than Frieze NY.

The LA Art Show (Jan. 19–23) seemed remarkably quiet when I went by to visit on a Friday afternoon, staying till evening, but this was after the winter holidays Omicron surge.  Intersect Palm Springs (Feb. 10–13) debuted a few weeks later, an extension of an art fair that has already had some success in Aspen and Chicago, and which basically replaces Art Palm Springs which had been struggling. Lots of exuberant, fun work there, quite suited to the whimsical mood of Palm Springs.

Qiu Anxiong, The Doubter, 2010

LACMA gets a major gift

Recently the Los Angeles County Museum of Art has had a run of remarkable exhibitions of Chinese contemporary art—The Allure of Matter: Material Art from China (2019), Ink Dreams: Selections from the Fondation INK Collection (2021), and  Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation (through March 13). On March 7 they announced that seven artworks in the current exhibition will enter their permanent collection — a generous gift from Budi Tek, one of the world’s leading collectors of Chinese contemporary, and the Yuz Foundation.

The works are by artists among the best known in China and internationally.  They include Qiu Anxiong’s installation The Doubter (2010), three works from Shi Jinsong’s Blade series (2003), Yu Youhan’s painting Mao in New York (1995), Zhou Tiehai’s painting Venus and Cupid (2006), and Ai Wei Wei’s celebrated installation Circle of Animals/Zodiac Heads (2011).  All, except for Ai Wei Wei, will be new to LACMA’s holdings.

“Twenty Years of Painting: 2001-2021” at the historic Santa Monica Post Office last January.

Comings, goings and pairings 

More New York galleries are moving into Los Angeles.  In November Vito Schnabel launched a new gallery in the Old Santa Monica Post Office, with a major show of Francesco Clemente, “Twenty Years of Painting: 2001–2021.” The space is huge—15,000 square feet—with a double-height ceiling, and some nice 1930s details.  I’m told they’ve rented the space for a year.

Pace is merging with Griffin Kayne, with gallery founders Bill Griffin and Maggie Kayne becoming managing partners of Pace. The two will continue to run the gallery, with its enclosed grassy courtyard, which will take on the Pace name in April.  Thus the New York mega-gallery regains an Angeleno presence again after parking in Beverly Hills from 1995 to 2000.

The ever-popular The Other Art Fair (March 31–April 2) returns this spring, but is leaving Barker Hangar in Santa Monica and moving East.  Their new address is an event space at 4317 Beverly Blvd, near Western Avenue

California Institute of the Arts has announced the next dean of its School of Art, Steven Lam, who takes over from Tom Lawson on July 15.   Lam leaves his post as associate vice president of research and dean of graduate studies at the Emily Carr University of Art + Design in Vancouver, British Columbia.  Before that he worked at the School of Art + Design at Purchase College, State University of New York, and Cooper Union in New York.  Tom Lawson has been art dean at CalArts for the last 30 years.