Artillery Magazine

Tag: la art show

  • SHOPTALK: LA Art News Art Fairs, Gallery Movement, and more

    SHOPTALK: LA Art News
    Art Fairs, Gallery Movement, and more

    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.

  • Shoptalk: LA Art News Fair reports and Compound Long Beach

    Shoptalk: LA Art News
    Fair reports and Compound Long Beach

    Felix Fair Report

    In some ways the fairs and openings that packed the last week in July were a turning point for Los Angeles. It was the first such convergence since February 2020, with the pandemic shutdown following quickly in March. Would people actually show up for live events at galleries and art spaces, hotel and convention center, with the gloomy news of the new and very contagious COVID Delta variant? The good news is that they did, and in some numbers.

    The preview of the Felix Art Fair (July 29–Aug 1) at the Hollywood Roosevelt Hotel was jammed from the start, then became a comfortable crowd by afternoon. It was well attended throughout, with brisk sales afoot.Then the LA Art Show (also July 29–Aug 1) returned to its usual hefty space at the LA Convention Center, and while attendance was down by half it boasted “double the sales,” according to the post-fair press release.The opening of Compound, a new art/cultural space in Long Beach, was also crowded throughout a full day’s worth of programming for an official celebration Saturday, July 31.

    Felix was the only focused contemporary fair making a live appearance. Frieze LA returned as an online viewing room, after pulling out of their July slot in April citing “continuing uncertainty.” They had been planning to hold the fair at different locations throughout the city—really NOT a good idea as our traffic returns to its clogged normal. Art LA Contemporary was nowhere to be seen, despite its promising relocation to the Hollywood Athletic Club last year. (The L A Art Show includes jewelry and traditional and modern work, as well as contemporary.) Something new was Gallery Weekend Los Angeles (July 28–Aug 1), modeled after gallery weekends in London and Berlin, with galleries having late hours and holding special events.

    This year Felix focused on LA-based galleries, 29 of the heavy-hitters and the hip. Participation in Felix is invitation-only, with about a third of the galleries new to the fair, including such big players as Blum & Poe, Gagosian and David Kordansky. In its first two editions, Felix occupied several floors of the vintage hotel, but this year it stayed on one level, the “cabanas” around the popular swimming pool and bar where critic Jerry Saltz was seen at a table piled with half-eaten food—not to say it was his, of course. (I’d love to know how much Felix paid to fly this New York critic out, to add a sheen to our dull lives.) On the net, you can watch his recorded walkthrough of the fair, trying to “read” the art for us and failing to recognize LA art-world VIPs such as Gagosian LA Director Deborah McLeod—even after she introduced herself, he basically ignored her. And they were in Gagosian’s digs! [Put a laughing-with-tears emoji here.]

    “People really are coming in from out of town,” says Sarah Gavlak of her own gallery, “and we’ve met new people.” First-day sales from their offering of three young artists—Alex Anderson, April Bey and Kim Dacres—were very good, she said. Kurt Mueller of David Kordansky told me their one-man show of Calvin Marcus was sold out—four paintings, six “nose” pots. The paintings are detailed blowups of begonias in all their glory, and the pots are garden pots decorated on the sides with noses that run if overwatered.

    I’m happy to report Felix took health precautions seriously. That meant limiting capacity and requiring visitors to show proof of COVID vaccinations or a negative test. Inside, masks were mandatory.

    LA Art Show Floor 2020 FLOOR

    LA Art Show

    Meanwhile, Gallery Association Los Angeles launched Gallery Weekend, with some 70 of its members and other art spaces sponsoring longer hours, talks and special presentations. Galleries such as L.A. Louver and Château Shatto mirrored their
    in-gallery offerings with what was posted on the Frieze Viewing Room.

    I didn’t have a chance to visit the LA Art Show until the last day—and attendance was quite robust for the 70 some galleries with booths. Everyone was masked, though it was hard to social distance in some booths filled with visitors. As usual, it’s an eclectic fair—from fine jewelry to classical art, from contemporary to kitsch. There were many photo ops—people loved the large sculpture near the entrance showing a giant American flag going through a meat grinder—and becoming a pile of gold coins!

    There was also remarkable art. I was particularly struck by Julio Vaquero paintings at Pigment Gallery from Barcelona, one of the few international galleries that made it this year. “Sala de objetos des hechos” shows a room with antique furnishings that seem to be in the process of dissolving into ether. As always, Arcadia Contemporary showed excellent realist painters, and the Verne Collection some exquisite prints, many from Japanese origins.

    Special programming was in the back. Carmen Argote’s wrenching video, Last Light—of a year gone wrong—was especially impactful—with a large projection in a darkened room. It’s one of the best pieces of art to come out of this difficult time, and well deserves a larger audience.

    V.C.R performing @Compound, photo by Scarlet Cheng.

    Compound Rapture

    Now down to Long Beach. Compound is an unusual hybrid of art/culture/wellness—15,000 square feet of renovated space with an ample courtyard. It’s the vision of one woman, Megan Tagliaferri, who says in an online intro, “Art and wellness both have the ability to strengthen our connections and understanding of ourselves, our communities, and the world around us.” Thank you, Megan!

    Right now there’s an art show in their gallery, “Radical Empathy,” curated by Artistic Director Lauri Firstenberg, with works by EJ Hill, Mildred Howard and others. In the adjoining building there’s a commissioned work by Glenn Kaino—Tidepools, several immersive installations in darkened rooms you are guided through (they do take small groups). I love the last room where you’re given a wish token and get to drop it into an aquarium full of bioluminescent creatures—they get excited and light up! Compound also offers regular yoga and meditation classes—these are free, you just need to sign up.

    The celebration’s evening performances focused on Afrofuturism, and they were electrifying. Among the highlights were a set by V.C.R, a singer/electric violinist,and a screening of the film short BLACK.ECO by choreographer/director Shauna Davis. I’m definitely planning to head back. Check out future programs at https://www.compoundlb.com/

  • Shoptalk Return of Art Fairs, Painting is "In," and What The New Normal Looks Like

    Shoptalk
    Return of Art Fairs, Painting is “In,” and What The New Normal Looks Like

    The New Normal

    We thought the world would end in fire, or possibly in ice. And now we know it can end with a virus. As a child growing up in Taiwan and then later in the US during the Cold War, I often imagined—and literally dreamed—how the world would end. Earthquakes and nuclear holocaust were my usual Apocalyptic scenarios. I did occasionally imagine a strange, contagious disease, but not one quite like COVID-19 where the entire world would be held hostage, so widespread and for so long.

    Now as we slip back into public life, we realize that we have changed, and so has the world we return to. Many people will continue to work from home, in full or in part. Students have gotten trained in online classrooms. As someone who’s been teaching on Zoom, it’s clear that online education can’t match the real-life one, though it can certainly supplement it. Museums and galleries have run virtual exhibitions and presentations, and are now reopening at limited capacity. By the time this is published, they could be at increased or full capacity. However, in the past year programming has undergone a radical shift—with more, deserved attention paid to POC and women artists. The world we return to is not the world we left last March. How could it be? Which changes are to be enduring and systemic remains to be seen.

    “Shattered Glass” show at Deitch Projects

    Painting

    Painting is coming back, and in a big way, but the painters being featured are not the ones highlighted in the past. There was the extraordinarily exciting “Shattered Glass” show at Deitch Projects, curated by Melahn Frierson and AJ Girard, with 40 POC artists, many of them young and emerging and based in California. I went on the closing day, and there were a couple hundred people there—the largest event I’d attended in a while. And what an energy, what a charge as the artists mixed happily with family and friends, old and new, mostly masked but not able to keep distances. Girard was giving tours, there was a fashion show, and lots and lots of photos were sent to Instagram.

    There was also some excellent painting. La Piedra Negra by Vincent Valdez, was one that stopped you in your tracks: a very large painting of the head of a woman, resting sideways on a rock as if listening to something. Her background is a city on fire or perhaps an especially flaming sunset—hauntingly beautiful and not a little unsettling. There were paintings by the Finley brothers: Kohshin Finley’s monochromatically toned Marque and Tiffany shows a young couple in a quiet moment of tenderness, while Delfin Finley’s Rumination portrays the back of a young man with loops of colored ropes slung over his shoulders—a real tour de force of photorealist painting.

    The two-woman show at L.A. Louver with Rebecca Campbell and Heather Gwen Martin was a good pairing, featuring two painters with dramatically divergent aesthetics. I thoroughly enjoyed the first show for Brooklyn-based abstract painter Patricia Treib at Overduin & Co.; her lyrical shapes are part Matisse cut-out and pure whimsy.

    Sister Corita Kent’s studio in Hollywood

    Comings and Goings

    Galleries continue playing musical chairs. Luna Anaïs has moved from a downtown space to Tinflats in Frogtown—and launched with an opening party drawing a lively, multi-generational crowd for a show featuring Gloria Gem Sánchez and Tidawhitney Lek. Owner Anna Bagirov (full disclosure: Bagirov also helps Artillery with its marketing) is very happy with the bigger space, though it’s leased on a temporary basis, so who knows how long they will be there.

    Von Lintel has made another move. They were in Culver City for years, then moved to DTLA, and on May 15 reopened in Bergamot Station with a show by Christiane Feser. “Sadly downtown has suffered immensely from the pandemic,” said Von Lintel via email. “Closed store fronts and countless homeless seem to dominate the scene. I decided that easy access and parking were important for this next post-COVID phase, all of which Bergamot Station in Santa Monica offers.”

    Earlier that month, on May 1, I visited Bergamot for a group show opening at Craig Krull, and it was heartening to see how many people showed up. The reception was out in the parking lot, and it was like homecoming week, with lots of longtime-no-see greetings, and people announcing, “I’m fully vaxxed, too.” Even so, we mostly kept our masks on when not drinking.

    In recent years Bergamot has been gutted by departures and the uncertainly of development. I recall that at one time there were two competing projects, one that included a hotel and other retail, but right now nothing seems to be underway. There are quite a few empty spaces, and it would be great if more galleries could find their way there.

    Hauser & Wirth is adding yet another gallery to its well-feathered cap, with a second LA location. Their current spot in a former flour factory in DTLA is already an art destination, and now they’ve leased a new space at 8980 Santa Monica Blvd. in West Hollywood, scheduled to open fall 2022. The 10,800-square-foot space will be designed by Annabelle Selldorf of Selldorf Architects, designer of their DTLA location. And yes, there will be a restaurant.

    Something that is not coming or going, but staying, is Sister Corita Kent’s studio in Hollywood, which she used for making her activist art and teaching from 1960 through ’68. It’s now in private hands, and the owners were planning to tear it down for a parking lot. (Hmm, remind you of a certain Joni Mitchell song?) On June 2, the LA City Council voted unanimously to approve the studio as a Historic-Cultural Monument, thus saving it from demolition. Eventually, the Corita Art Center, which started the petition to save the building, hopes that it can be made into a cultural center. It is plain, even drab, in appearance, but it is historical, and a very small percentage of sites related to women or POC have achieved Historic-Cultural Monument status. Kudos to the preservationists!

    LA Art Show—coming soon!

    Art Fairs Return

    And they’re baaack! The LA Art Show had to back out of its usual January slot, but it has rescheduled itself into the LA Convention Center for July 29–August 1. They’re billing a “European Pavilion,” which I’m looking forward to seeing. https://www.laartshow.com/

    The Felix Art Fair is also returning that same weekend, and to their old venue, the Hollywood Roosevelt Hotel. This time they’re taking up only the first floor “cabanas” around the pool and focusing on just 29 Los Angeles galleries. Get your tickets early for this one—it’s always crowded. https://felixfair.com/