Super Mario's Art: Fine Art in the Fast lane

Frieze Los Angeles 2026 (A Review)

2026-04-20T19:56:00.000-07:00

Since it arrived in Los Angeles, Frieze Los Angeles has become a barometer of both the Los Angeles art scene and the art world. This is year is particularly true in the continued wake of the wildfires in Pacific Palisades and Altadena, economic uncertainty, and the political turmoil brought about by the second term of Donald Trump. So, with the beginning of 2026, there were a lot of questions about this year’s Frieze Los Angeles. The most important was whether the sales were going to reflect an economic slowdown both in the art world and the economy. The good news is that sales were robust and optimism was very high. Throughout the fair, galleries’ reactions in every booth were optimistic and positive. Collectors and buyers were putting aside any doubt that the art market is stronger than expected. Since it arrived in 2018, Frieze Los Angeles has become the lynchpin to an ever growing and influential art scene. This is new weight that’s brought upon the entire Los Angeles scene.

With new weight came good sales and strong turn-out. Frieze Los Angeles 2026 saw strong activity across major galleries, with David Zwirner leading the fair thanks to a standout $2.8 million sale of a mixed‑media work by Njideka Akunyili Crosby, one of the highest confirmed transactions of the week. Gagosian also reported brisk early sales, placing works by Ed Ruscha and Frank Gehry, while Hauser & Wirth drew attention for selling out its entire booth of new paintings by Conny Maier on opening day. Pace Gallery secured a notable sale of a James Turrell installation for $950,000, and upper‑tier galleries like White Cube, Gladstone, Garth Greenan, and Karma moved multiple works in the high six‑figure to near‑million‑dollar range. On the emerging side, Make Room sold out its presentation of Erica Mahinay’s paintings and sculptures, and several galleries in the Focus section, including Anthony Gallery and Hannah Traore Gallery, reported full booth sellouts, underscoring strong collector interest across both established and rising artists. With sales, attendance matched the enthusiasm as well. Frieze Los Angeles 2026 welcomed more than 32,000 visitors over its four‑day run. This included attendees from over 45 countries and representatives from 160 museums and institutions.

This year’s Frieze Los Angeles, it was the solo booths that stood out.

Jim Hodges at Anthony Meier Fine Arts exhibited new works which combined alchemical pictorial strategy with magic and abstraction. Elise Peroi at Carvalho textile art was the best booth of the entire fair. Combining decorative textiles with decolonial approach to materials, Peroi’s work highlighted the expanded possibility of textiles.

John Baldassari at Spruth Magers created a stage that is reminiscent of Magritte’s paintings.

Clare Woods at Night Galley exhibited still life works that gave a sense of painterly fluidity where the picture plane was unsettled.

The Focus section of the fair was well curated by Essence Harding, who returned for a third consecutive year to oversee the celebrated section of bold solo presentations. Harding brought together an expanded group of 15 US-based galleries operating for 12 years or less. Among this year's participants are Bel Ami, Company Gallery, Dreamsong, Fernberger, Lyles & King, Make Room, Ochi, Patron, Sea View and Hannah Traore Gallery. Each gallery had solo shows that were outstanding. The booths were so good that it was difficult to choose which one was the best. In the end, the best was Mexican artist Sergio Miguel’s exploration of the legacies of old master paintings gave a fresh perspective on portraits. Miguel’s brilliance was his subtle queue of tension and magic. Alchemical symbols mark each portrait as if each were the result of ritual. A close second was Make Room’s booth which showed Erica Mahinay. Mahinay’s paintings which were a visual feast in Gestural Baroque that were a visual feast.

Amongst the gallery booths with group displays Galerie Max Hetzler, David Zwirner, Gagosian, David Kordansky and Alexander Grey and Associates were the best. Museum quality works were the highlights of the fair.

Museum quality and the exclusiveness of the fair seem to be trend when it comes to Frieze.

In conclusion, Frieze Los Angeles 2026 was aesthetically and financially a success. The booths presented artists whose work is rarely seen in Los Angeles and offered opportunities to Los Angeles art professionals to network and make connections. Of course, the collectors seemed satisfied reflecting the strong sales. Despite the success, there were some signs of possible distress. First there were fewer booths. The fair was smaller and one was able to go through the fair within a few hours. Second the crowds seemed smaller as well. Despite this I really enjoyed Frieze Los Angeles. Let’s see what the year ahead brings as far as both the art world and the economy that ultimately supports it. Frieze Los Angeles seems here to stay. Depending on the art market, there seems to be the support to maintain its presence.

Frieze Week Los Angeles Guide 2026 (Updated 02/20/2026)

2026-02-18T20:22:00.000-08:00

Frieze Week is here! So many great events and art fairs happening this coming week. This site will be updated throughout the week. I look forward to seeing you around town.

Monday, February 23, 2026

6 pm to 10 pm, Frieze Party: Eileen Harris Norton and Christina Quarles – Hauser & Wirth, 901 East 3rd Street, Los Angeles, CA 90013; http://www.hauserwirth.com

6 pm –8 pm David Salle: My Frankenstein - February 24–April 18, 2026; Sprüth Magers Los Angeles, 5900 Wilshire Boulevard, Los Angeles, CA 90036 +1 323/634 0600

6 om – 10 pm, Paging Dr. Feelgood, pop-up group show located at the former Spago’s,1114 Horn Ave., Los Angeles, CA; more information at www.perrotin.com

12 pm – 6 pm, Sneak Peek of Exhibitions with drinks at Vielmetter Los Angeles, 1700 S. Santa Fe Ave., #101, Los Angeles, CA 90021; www.vielmetter.com

Tuesday, February 24, 2026

6 pm to 8 pm; Leiko Ikemura “Riding Horizon” at Lisson, 1037 N. Sycamore Ave., Los Angeles, CA; www.lissongallery.com

6:30 pm to 8:30 pm; “Sunset: The Jubilation of the Baboons” at The Pit, 3015 Dolores Street, Los Angeles, CA 90065; RSVP@the-pit.la

6 pm to 8 pm, Luc Tuymans and Raymond Sanders - David Zwirner, 606 and 616 N Western Avenue, Los Angeles, CA 90004. www.davidzwirner.com

6 pm to 8 pm, Monica Majoli, New Work at Hoffman Donahue, 725 N. Western Ave. Los Angeles, CA 90004 www.hoffmandonahue.com

6 pm to 8 pm “Nature Morte, 1982–1988” at Erlich Steinberg, 5540 Santa Monica Blvd., Los Angeles, CA 90038; Alan Belcher, Gretchen Bender, Jennifer Bolande, Louise Lawler, Kevin Larmon, Sherrie Levine, Ken Lum, Allan McCollum and Laurie Simmons, Richard Milani, Peter Nagy, Joseph Nechvatal, Joel Otterson, Steven Parrino, Richard Pettibone, David Robbins, Not Vital, Julia Wachtel, with Text by Blake Oetting; February 24 - April 18 2026; Opening: Tuesday February 24 5-8pm

6 pm to 9 pm “Infinite Planes High” at the El Royale at 450 N. Loyal Gallery from Stockholm, Sweden is hosting its yearly Frieze Week group exhibition and celebration at a famous Hollywood location on Rossmore Ave in Los Angeles, CA.

Wednesday, February 25, 2026

Felix Art Fair, Hollywood Roosevelt Hotel, 7000 Hollywood Blvd, Los Angeles, CA 90028; Wednesday, February 25 – 11am to 5pm (VIP Preview), 5pm-8pm (Public); Thursday, February 26 – 11am to 7pm; Friday, February 27 – 11am to 7pm; Saturday, February 28 – 11am to 7pm; Sunday, March 1 – 11am to 5pm. https://felixfair.com/

Kunié Sugiura in Conversation with Mika Yoshitake 4 pm at Moskowitz Bayse, 743 N. La Brea Avenue, Los Angeles, CA 90038; (323) 790-4882; info@moskowitzbayse.com; click link to RSVP https://www.moskowitzbayse.com/kunie-sugiura-in-conversation-with-mika-yoshitake-rsvp

Kelly Lamb “Pomegranate Moon” at Gallery 33 at The Georgian Hotel,1415 Ocean Ave., Santa Monica, CA 90401 reception from 6:30 pm to 9:00 pm . RSVP: Info@curatedbymargot.com

Leonard Baby “Resting Babyface” Pop up show for Half Gallery at the Villa Carlotta 5959 Franklin Ave., Los Angeles, CA; 7 pm to 9 pm

“Here Now and Then” a group show from Tanya Weddemire Gallery in partnership with Hamilton Solway Gallery, 8678 Melrose Ave., West Hollywood, CA 90069; 5 pm to 9 pm.

“Steven Arnold: Cocktails in Heaven” at Del Vaz Projects; 259 19^th Street, Santa Monica, CA; 1pm to 6 pm

Panel Discussion featuring Sayre Gomez, Jonas Wood, and Ed Schad at 5 pm at David Kordansky Gallery, 5130 W. Edgewood Place, Los Angeles, CA

Lauren Quin Frieze VIP Walkthrough & Reception; Wednesday, Feb 25, 2026; 11 AM – 12:30 PM; 1201 South La Brea Avenue, Los Angeles, CA https://www.pacegallery.com/events/lauren-quin-walkthrough/

Thursday, February 26, 2026

Frieze Los Angeles, Santa Monica Airport, 3027 Airport Avenue, Santa Monica, 90405; Thursday, February 26: 10am – 7pm (invitation only); Friday, February 27: 11am – 7pm (invitation only 11am – 1pm, open to the public from 1pm) Saturday, February 28: 11am – 7pm; Sunday, March 1: 11am – 6pm. https://www.frieze.com/fairs/frieze-los-angeles

Post Fair, 1248 5th St, Santa Monica, CA 90406; February 26th: 11 am - 8 pm; February 27th: 11 am - 6 pm; February 28th: 11 am - 6 pm. https://post-fair.com/

ENZO Art Fair is FREE for all attendees. Enzo will be presenting galleries solely from New York’s Chinatown and Lower East Side. Days/Hours: February 26-28 2-8pm; ENZO Art Fair, 1634 W Temple St. Los Angeles, CA 90026; For additional info, see the website – https://enzolosangeles.com

The Other Art Fair, at 3Labs, 8461 Warner Drive, Culver City, CA 90232; Thursday, February 26: 6 – 10 PM (OPENING NIGHT); Friday, February 27: 5 – 10 PM (FRIDAY LATE); Saturday, February 28: 11 AM – 7 PM; Sunday, March 1: 11 AM – 6 PM; https://www.theotherartfair.com/la/

Friday, February 27, 2026

Start Up Art Fair, The Kinney Venice Beach, 737 Washington Blvd, Venice, CA 90292

February 27 – March 1, 2026; Friday, February 27: VIP Early access: 5-7pm; All Access: 7-10pm; Saturday, February 28: 12 noon - 9pm, Sunday, March 1: 12 noon - 7pm

https://www.startup-art.com/los-angeles/

7:00 pm Launch of Wallace – A Los Angeles Arts Review at OCHI Los Angeles, 605 N. Western Ave., Los Angeles, CA; www.ochigallery.com

Saturday, February 28, 2026

Arlene Shechet in Conversation with Stephanie Barron and David Salle; Saturday, Feb 28, 2026; 10:30 AM – 12 PM; 1201 South La Brea Avenue, Los Angeles; https://www.pacegallery.com/events/arlene-shechet-in-conversation-with-stephanie-barron-and-david-salle/

StarQuest; A Performance by Maya Man ; Saturday, February 28, 2026 at the LA Dance Project, 2245 E. Washington Blvd. Los Angeles, CA 90021, Installation on view from 7-8PM, Performance-lecture begins at 8PM, click the link to purchase tickets https://ci.ovationtix.com/35353/production/1265481?performanceId=11765773

Bendix Building Night for Frieze Week. 1206 Maple Ave, Los Angeles, CA 90015; 7:00 pm to 10:00 pm; Studios and Galleries Open with food and refreshments.

MOHILEF Studios, Open Studios, February 28, 2026, 12 pm to 4 pm, 720E. 18^th Street, Los Angeles, CA; - 30 artists open their studios for an exciting afternoon of art.

Last day for Post Fair, 1248 5th St, Santa Monica, CA 90406; February 26th: 11 am - 8 pm; February 27th: 11 am - 6 pm; February 28th: 11 am - 6 pm. https://post-fair.com/

Last day for ENZO Art Fair is February 28^th 2-8pm; ENZO Art Fair, 1634 W Temple St. Los Angeles, CA 90026; For additional info, see the website – https://enzolosangeles.com

SYNTHESIS II: EARTHBOUND: Speculating the World, Worldbuilding the Present Spectra Studio and Rip Space are partnering up to present a full day of talks, performance, and music featuring LA-based artists, theorists, practitioners and musicians working across media and emergent technologies. February 28, 2026 from 3 to 10 pm. Tickets available at https://luma.com/5pujjke4

Sunday, March 1, 2026

Last day for Frieze Los Angeles, Santa Monica Airport, 3027 Airport Avenue, Santa Monica, 90405; Sunday, March 1: 11am – 6pm. https://www.frieze.com/fairs/frieze-los-angeles

Last day for Felix Art Fair, Hollywood Roosevelt Hotel, 7000 Hollywood Blvd, Los Angeles, CA 90028; Sunday, March 1 – 11am to 5pm. https://felixfair.com/

Last day for Start Up Art Fair, The Kinney Venice Beach, 737 Washington Blvd, Venice, CA 90292; March 1: 12 noon - 7pm

https://www.startup-art.com/los-angeles/

Last day for The Other Art Fair, at 3Labs, 8461 Warner Drive, Culver City, CA 90232; Sunday, March 1: 11 AM – 6 PM; https://www.theotherartfair.com/la/

Happy Halloween!

2025-10-31T00:00:00.000-07:00

Halloween is a great time for art. Enjoy this annual Halloween art post. I hope everyone enjoys their Halloween. Here is some Halloween art to get you in the mood for spooky delight. #halloween #halloweenart #spookyart

"Fire and Life: Beatrice Wood’s ceramics and drawings with new works by Durimel, Cecilia Granara, Amy Steel, and Yuwei Tu" at Charlotte Call (Review)

2025-10-15T22:45:00.000-07:00

There has always been a tension between ceramics as an object of utility and as an object of art. A new gallery, Charlotte Call, opened in Los Angeles brings together a pioneering ceramic artist with contemporary artist that draw upon the connection ceramic as design and ceramic as an art form. “Fire and Life” connects Beatrice Wood (1893 – 1989), with a diverse group of artists, Durimel, Cecilia Granara, Amy Steel, and Yuwei Tu, that embody a sense that art, life and utility, which are connected in inextricable ways. To each of these artists, including Wood, the object is more than useful. The object is a conduit to both the corpus erotic nature of art and the utilitarian aspect where ceramics emerges.

The exhibition begins with Beatrice Woods. Woods was a pioneering ceramic artist who was based in nearby Ojai. The works by Woods reflect a desire to draw parallels between the sensuality of ceramics and irreverent nature of form that is both aesthetically pleasing and humorous in its presentation. Wood is the starting point. The exhibition features both ceramic and works on paper which straddle the form as a body and the form as use. This kind of dichotomy frees Woods’ work from a utility to an artform. The works on paper complement and reinforce this movement with a dialogue between the body and the feminine nature of form. Curves and female figures show an almost Bauhaus approach of a playful and humorous nature.

The feminine and playfulness continues with the four artists, Durimel, Cecilia Granara, Amy Steel, and Yuwei Tu. Three of the four are not ceramic artists like Woods. However, they continue to explore the ideas of femineity, form and nature. Durimel is a Parisian duo who create photographic still life pictures where shadow and object are displayed in dialogue. The photos are chiaroscuro in their composition where the various objects of wood and stone recede and advance in the photographic plane. Cecilia Granara and Amy Steel are painters add a humorous dimension to the exhibition. Granara’s “Whale {Love} III” depicts two lovers swallowed and entwined in embrace within the belly of a whale. Amy Steel’s “Winter” has a woman lying down with a rabbit in a strange erotic encounter. The landscape is painted in broad loose strokes in pink and pastels that give it a fluid landscape. Out of the four artist in dialogue with Wood’s work, Yuwei Tu is the only ceramicist in the show. In Tu’s “In Brace” long finger like figures begin wrap themselves around a painting as if to capture and squeeze the canvas.

In the end, “Fire and Life” offers a new approach to seeing Beatrice Wood in bringing together art in light of four current artist practicing in a dialogue and playful embrace of the iconic artist. Woods and the accompanying artist invite us to both compare and contrast with humor and wit. Charlotte Call and its exhibition mark an excellent entry into LA's growing scene on Western Ave in Melrose Hill, joining neighbors such as David Zwirner, Chateau Shatto, and Ochi.

Beatrice Wood "Fusion"

Beatrice Wood "Coffee Break"

Beatrice Wood "Three Works (Detail)"

Amy Steel "Winter (detail)"

Beatrice Wood "I Lost Him"

Beatrice Wood "Zero Hour"

Beatrice Wood "Teapot"

Beatrice Wood "Double Chalice"

Cecilia Granara "Whale (Love) III"

Cecilia Granara "Pregnant"

Durimel "Pine I"

Yuwei Tu "In Brace"

Beatrice Wood

Durimel "Honor Roll"

Beatrice Wood "Fisherman"

Beatrice Wood "Fisherman (detail)"

Frieze Los Angeles 2025 (A Review)

2025-03-19T21:59:00.000-07:00

This year’s Frieze Los Angeles felt different in a good way. This year’s fair had a sense of optimism and renewal. The fires on January 7^th in Pacific Palisades and Altadena affected many artists, curators, collectors and gallerists. Many lost their homes, studios, and collections in the fires. The immediate aftermath of the fires resulted in delays and, in some cases, the cancellation of scheduled exhibitions and shows at galleries and art spaces throughout the Los Angeles area. There was debate as to whether Frieze should continue as planned. The fair proceeded at pace, and I am glad. It would have done a great deal more damage to postpone or cancel the fair since many galleries have exerted time, and great expense. Local businesses, including hotels, would have suffered a great loss if it was postponed or canceled, “The show must go on!” and Frieze opened with a great deal of fanfare and excitement. The optimism, I think, came from the fact the art community rallied and came together to support one another. The fair became a symbol of that resilience and strength of the Los Angeles art community.

The art world did come out to the Frieze (as well as other area art fairs) and it did not disappoint. Frieze Los Angeles conveyed strong sales. Galleries reported seven-figure sales, including David Zwirner's sale of an Elizabeth Peyton painting for $2.8 million, a Noah Davis work for $2.5 million, an Alice Neel painting for $1.8 million, and a Lisa Yuskavage painting for $1.6 million. Gladstone Gallery saw quick success with a Keith Haring painting on glass for $2 million, as well as several Robert Mapplethorpe photograph editions priced between $200,000 and $300,000 each, and an Ugo Rondinone painting for $240,000, among other works. Thaddeus Ropac made significant sales including a painting by Georg Baselitz for €1m and a painting by Alex Katz for $800,000. Michael Rosenfeld Gallery placed multiple works, including a Ruth Asawa sculpture in the region of $1m. Johyun reported opening-day sales totaling seven figures from its dual presentation of Lee Bae and Kishio Suga. Pace sold multiple works, including a 2021 installation by James Turrell for $900,000, Robert Indiana’s 1966–1996 sculpture LOVE (Red Outside Blue Inside) for $600,000 and a new painting by Loie Hollowell for $325,000. Many galleries reported sold out booths and sales were brisk.

For those of us not able to buy works at the gallery booths, it was an opportunity to see works not normally shown here in Los Angeles. Almost every booth contained strong and impressive works of art. It was difficult to determine which booth and gallery were the best of the fair. In the end, the best booths were those that went above the good quality that was prevalent at Frieze Los Angeles. These were best booths at Frieze Los Angeles.

Dastan Gallery – This gallery has a special place in my heart. Based in Tehran, Iran, Dastan never fails to provide thought provoking and poetic displays. This year’s booth was a memorial to a deceased artist whose work ruminated on a poem about life and pots. The allegorical poem is a reflection of both the existence of life and its fragility. Themed around Earthenware Imagery, specifically the earthenware jar and how it is implemented in the quatrains of Omar Khayyam. The exhibition features artworks by Reza Abedini, Hadi Alijani, Reza Aramesh, Ida Aslanian, Sahand Hesamiyan, Hoda Kashiha, Mirza Hamid, Jacopo Pagine, Roksana Pirouzmand, Iman Raad, and Mamali Shafahi & Domenico Gutknecht. The booth is provocative and runs deep. This was both Dastan and Frieze at its best. Being more than a display, the booth was an experience that caused reflection and contemplation.

Almine Rech – Almine Rech presented a solo show of Tomokazu "Matsu" Matsuyama’s paintings. Matsuyama’s works are visually stunning combining both Japanese and Western aesthetic that create an almost immersive experience. Using Japanese visual language of flatness, décor, and color, Matsuyama portrays domesticity with a queer subjectivity that encompasses the pictorial field. The installation’s palate compliments the experience for the viewer. Almine Rech’s was one of the best at Frieze by far.

James Cohan – Eamon Ore-Giron’s paintings are rich with color, form and compositional panache. Using Mexican and indigenous pictorial strategies, Ore-Giron explores a kind of sacred geometry that provides a connection to the artist’s Peruvian heritage and to the viewer which receives a beautiful and transformative experience. Ore-Giron’s painting depict gods that are both from a lost past but also from an emerging future. The work is compelling both symbolically and visually. James Cohan’s booth was an amazing experience.

Gagosian – In 2001, Chris Burden participated in the seventh Istanbul Biennial with “Nomadic Folly,” a large-scale installation and sculpture made up of oriental textile tents. Viewers were allowed to meet, gather and socialize inside each tent. This installation was one of the most popular at Frieze. It gave a sense of community and belonging. After the walking and looking, “Nomadic Folly” offered visitors a nice resting place and communal meeting spot. It demonstrates Burden’s unique ability to combine social engagement and art. It’s a brilliant piece of work and its placement makes it even more splendid.

Paul Kasmin – Diana Al-Hadid was featured at the Paul Kasmin booth. What made this booth’s work so impressive was Al-Hadid’s ability to portray both control and instability. Chaos and control. The paintings are contradictory in nature and yet seem in harmony with the picture plane. Each work was a visual challenge to notions stability and the idea of painting itself as a flat self contained medium. The gesture escapes, weaves, and gives the impression of coming apart while staying in place. During a recent trip to New York, I saw Al-Hadid’s installation at the subway station at Madison Square Garden. Her work exudes the same kind of confidence that welcomes travelers and commuters daily.

David Kordansky – Maia Cruz Palileo solo booth for David Kordansky’s was a terrific introduction to Los Angeles. Both the booth and her current solo show, Palileo explores identity, nature, and perception. Based on their familial experiences in the Philippines, Palilieo is a master of the optical where figures appear and disappear within the canvas. Deep jungle and green landscapes hide and reveal a complicated history that is both personal and political. Smartly composed and stunning in their presentation, I was struck by Palileo’s focus and urging of the viewer to seek that which is uncomfortable and haunting. I am definitely looking forward to seeing more of Palileo’s work in the future.

Among the galleries that had group exhibitions, Night Gallery, David Zwirner, Pace, and Xavier Hufkins were definitely notable with works by Elizabeth Peyton, Dahn Vo, Nicole Eisenmann, James Turell, Lisa Yuskavage, Tracy Emin, Jesse Mockrin, Cynthia Daignault and John Currin. The Focus group of booths curated by Essence Harden was excellent with the emphasis on personal memory and public histories with Carlye Packer and Superposition being the best booths within the group. Frieze was at its best with galleries, both solo and group shows giving everyone something to savor and enjoy.

In the end, Frieze Los Angeles was a roaring success. The Los Angeles art community came together, raised money for the fire victims, and demonstrated to the world its endurance. Yet at the end of Frieze on Sunday night, on my way back to my car, I was thinking about Los Angeles as one of the many centers for the art world. There is no doubt that Los Angeles has attracted many world class art galleries, art spaces, and museums. It is now grown up and no longer provincial. I look forward to Frieze Los Angeles returning. With its return, more collectors and more galleries. Frieze’s success is also the success of every art fair in the area.

Frieze Week Los Angeles Guide 2025

2025-02-10T20:28:00.000-08:00

Art Fairs

L.A. Art Show - February 19 to 23
Los Angeles Convention Center - South Hall
1201 S Figueroa St, Los Angeles, CA 90015
https://www.laartshow.com/

Felix - February 19 to 23
Hollywood Roosevelt Hotel
7000 Hollywood Blvd.
Los Angeles, CA 90028
https://felixfair.com/

Frieze - February 20 to 23
Barker Hanger
Santa Monica Airport
3027 Airport Avenue, Santa Monica, 90405
https://www.frieze.com/fairs/frieze-los-angeles

Post Fair 2025 - February 20 to 23
1248 5th St, Santa Monica, CA 90406
https://post-fair.com/

Gallery Openings and Happenings

David Zwirner - Lisa Yuskavage (February 18th, opening 6 to 8)
606 N Western Avenue
Los Angeles, CA 90004
https://www.davidzwirner.com/exhibitions/2025/lisa-yuskavage

Loyal, El Royale III Party and Opening
An opening reception will be held Tuesday, February 18, from 6 to 9 p.m. at 450 N. Rossmore Avenue, Los Angeles. The exhibition runs through March 1, daily from 11 a.m. to 6 p.m.
Please rsvp@loyalgallery.com to attend the opening reception. Valet parking provided.
https://www.loyalgallery.com/exhibitions/el-royale-iii-los-angeles/

Coates & Scarry at Subliminal Projects, February 22, 2025
Opening of Visual Language: Vistas 7pm to 10pm
1331 W. Sunset Blvd., Los Angeles, CA
RSVP at subliminalprojects.com

Frieze Opening: ‘David Hammons’ & ‘George Rouy’ February 18, 2025
Opening 6 to 8 pm
Hauser and Wirth: Los Angeles
901 East 3rd Street
Los Angeles CA 90013
https://www.hauserwirth.com/events/frieze-opening-david-hammons-and-george-rouy/

Intertwined: Public Art & Private Collecting with Alison Croney Moses
Date: Wednesday, February 19 · 3 - 4:30pm PST
Location: Abigail Ogilvy Gallery, 1923 S Santa Fe Avenue, Los Angeles, 90021
RSVP Link: https://www.eventbrite.com/e/1230720099949/?aff=oddtdtcreator
Free admission with code FRIEZE25
Join Abigail Ogilvy Gallery in conversation with artist Alison Croney Moses and cultural producer Kate Gilbert as they discuss the works on view in our current exhibition, Alison Croney Moses: Brown Out. The discussion will explore the interplay between public and private art forms, including installations, exhibitions, and discussions about how these realms influence and complement each other. Moses and Gilbert will discuss the ways art can move beyond traditional boundaries, especially woodworking, to inspire shared cultural experiences. This conversation will be held at Abigail Ogilvy Gallery, 1923 S. Santa Fe Ave, Los Angeles, CA. Nearby street parking can be found on 11th and 15th street.

Frieze Weekend Brunch
Luis De Jesus Los Angeles
1110 Mateo Street
Los Angeles, CA 90021
213 395 0762
luisdejesus.com
Frieze Weekend Brunch on Saturday, February 22, from 9am to 12pm in celebration of our Los Angeles community and current gallery exhibitions: Maggie Michael: Root Chords, Earth to Sky, and Margaret Morgan: Love Must Be Reinvented – both artists will be present, along with a special group exhibition of works by gallery artists. Please contact the gallery to RSVP.

Bendix Art Night

Saturday, February 22, 2025
7:00 PM 10:00 PM

860 South Los Angeles Street,

Suite 900
Los Angeles, CA 90014

Super Mario's Art: Art in Fast Lane Has Moved

2025-02-10T19:54:00.000-08:00

Hello,

I am pleased to announce that I have moved from blogspot to Substack.

You can subscribe to my blog by clinking the following LINK.

I will continue to post exclusive content here once in a while.

See you on Substack. 😀

https://marioartwld.substack.com/?r=77mh0&utm_campaign=pub-share-checklist

Wildfires, Los Angeles, and The Challenges that Await

2025-01-22T21:06:00.000-08:00

It's a New Year. I was going to say "Happy New Year." After January 7th, that all changed. Wildfires in Pacific Palisades, and in the Pasadena and Altadena areas changed the tone of the new year. So many friends and people I know lost everything. Artists were particularly affected. As Matthew Stromberg in Hyperallergic stated "With much of it now in ruins and decades’ worth of heritage burned — from Gary Indiana’s personal library to the sprawling Zorthian Ranch arts community to countless homes and structures — and no clear picture of recovery, artists are reflecting on the staggering loss and beginning to imagine what the future might look like" Planned solo shows and exhibitions are irretrievably altered. Alta Beto, a gallery run by Brad Eberhart, was burned to ground along with a solo show of paintings by Mary Anna Pomonis. Camilla Taylor, Kelly Akashi, and Alec Egan lost their homes, studios, and works that were scheduled to be shown for solo shows at the end of this month, January. Kathryn Andrews lost her home in Pacific Palisades for the second time to wildfires. The damage is incalculable.

With the damage and loss, the question becomes "What do we do?" I am so grateful that the question is being answered not only by the art community in Los Angeles, but by the entire community who are volunteering their time, donating clothes and goods, and donating money to help those who are affected by the disaster. The rallying and the outpouring of help is truly inspiring. However, as time goes on and the disaster fades from memory, the needs will still be there. The rebuilding has to begin and continue. Our challenge to maintain some sort of momentum or movement where a recovery can be acceptable. Unfortunately, things will never be the same. The recovery can reach a point of satisfaction where the people who lost everything can live a good life after the tragedy.

When horror and tragedy hits, plans change, and priorities shift to focus on urgent needs. The first post was going to be an art review. After January 7th, the plans of this blog changed, and priorities shifted. There will be time for art review and criticism. Now is not the time. Below are links to organizations to help artists and their families recover what was lost. It may be cliche, Los Angeles will rise from the ashes like a Phoenix. The artist will make new work. In the end, the art community will be stronger than before. It will take time. I am confident that that LA will emerge stronger. Please give and donate. Thank you

https://www.cciarts.org/relief.html

Grief and Hope

Armory Fire Relief

Art Center Emergency Relief Fund

How to help artists and art workers devastated by Los Angeles wildfires

Merry Christmas and Happy New Year!

2024-12-23T23:03:00.000-08:00

I want to wish everyone a Merry Christmas and Happy New Year. I took a sabbatical this year from writing. 2025 will a year to hit the ground running and continue to write. I look forward to sharing with you art from Los Angeles, Southern California and the world. #christmas #christmasart #victorianchristmascards

Happy Halloween!!

2024-10-30T21:54:00.002-07:00

My annual Halloween art post is here! Enjoy this Halloween art.

Whitney Biennial 2024 " Even Better Than the Real Thing" (Review)

2024-07-31T20:41:00.000-07:00

There are ideas and concepts that were revolutionary for its time. These are the ideas that were counter to the prevailing cultural or political trends. Sometimes exhibitions signal changes that were about to happen. The 1993 Whitney Biennial was one of those moments; a bell weather of the emerging culture wars and the rise of identity politics. The 2024 Whitney Biennial "Even Better Than the Real Thing", is a biennial trying to recreate that moment in time. The curators consisted of Chrissie Iles and Meg Onli with Min Sun Jeon and Beatriz Cifuentes. The performance program is organized by Iles and Onli, with guest curator Taja Cheek. The film program is organized by Iles and Onli, with guest curators Korakrit Arunanondchai, asinnajaq, Greg de Cuir Jr, and Zackary Drucker. From this committee of curation, the 2024 Biennial became the biennial about decline and redefinition of what is real within the context of the current political, cultural, and social climate of this time. Curators sought to recreate the 1993 Biennial for the 21st century. What resulted is an underwhelming exhibition trying to be relevant in an art world that is dominated by race, class, and gender politics. However, despite the uneven and stale curatorial approach, the art is what saves this biennial.

This year's Whitney Biennial is replete with exceptional art from artists who have a clear sense of the zeitgeist of this age. Maja Ruznic polychromatic paintings, which is one of the best of the biennial, presents a subjective world of emotion and empathy. Ruznic seeks to translate form, color, and composition as a means to heal and recover from the traumatic world around. Eddie Rodolfo Aparicio speaks of objects in encasing them in amber. Aparicio, who is based in Los Angeles and recently had a solo show at the Museum of Contemporary Art, Los Angeles, uses amber and objects as way of creating a material narrative that speaks to both immigrant community and the politics in connection with that community.

Pippa Garner, a Los Angeles based artist who was also featured in the recent Made in LA Biennial at the Hammer Museum, is also concerned with objects. However, Garner is interested objects in the context of emerging consumerism that arose in the post war late twentieth century. Rebellious and biting in her criticism, Garner mines and exposes the hypocrisies of American culture. Lotus L. Kang explores the consequences of American greed and disregard for the environment by creating an installation of photographs showing dark and smog filled atmosphere as a result of climate change. Kang photographs are menacing and seeks to immerse the viewer in both the perilous present and an apocalyptic future.

Some artists address the past as a prologue to the future where indigenous cultures are recreated and disseminated as a futurism and a decolonized present. Eamon Ore-Giron's paintings reimagine ancient Mexican and Peruvian gods and places them in the context of contemporary ideas and society. Clarissa Tossin film, 'Before the Volcano Sings" contemplates the recreation of an indigenous culture and uses modern interpretations of Pre-Columbian architecture as a launching point to address what has been lost as a result of colonization and a way to re-establish lost indigenous societies.

Some artist focus on the current condition of a society on the verge of being lost. Kiyan Williams’s outdoor sculpture "Ruins of Empire II or The Earth Swallows the Master’s House", one of the most provocative works in the Biennial, places the White House, and democracy as symbols of white supremacy. Holly Hendron and Mat Dryhurst, "xhairymutantx Embedding Study 1", 2024 is an AI generated painting of a woman with red hair and long uncontrollable hair. The work is a product of text to image generation through AI. The painting explores the conflict between human and machine generated creativity. In a AI generated art, the distinctions between human and non-human is complicated. The breakdown of purity is also reflected in the paintings of Santa Monica-based painter Takako Yamaguchi whose works takes form from the recognizable to the abstract using cues from Mexican muralism to Japanese decorative art. Yamaguchi's work is poetic in its beauty and lyricism.

Isaac Julian's poetic and moving installation "Once Again . . . (Statues Never Die)" is clearly the best of the Whitney Biennial. Focusing on the debate between Alain Locke (1885–1954), philosopher, educator, and cultural critic of the Harlem Renaissance, and Dr. Albert Barnes (1872–1951), the collector who is known for the Barnes Foundation and Collection in Philadelphia. Barnes collected African art and adapted the notion that African art as primitive where modern art used it as a venue of civilizational purity. Locke rejected this idea and that the West's idea of primitive art ignored the complexity and intellectual depth of African Art, which was not "primitive." Walking throughout the installations, the screens, mostly in black and white, portray the intersection of modernism and African Art as way to recontextualize that relationship. In the scenes with Locke and his lover, there is connection between a liberation and reassertion of Black Art and Queer engagement. The screens converge and overlap each over in poetic dialogue of culture, class, race, and the relationship between the Black diaspora and notions of collecting and coloniality. Julian's installation is masterpiece in video installation where engagement leads to an understanding of the past, present and future.

In order for the Whitney Biennial to have a future, it needs to start by rethinking and reimagining what kind of Biennial it wants to be. Does it want to try to recapture a moment long gone? Or does it want to be relevant and focus on American art? It seems to be confused about what is American art, and afraid of defining he very essence of American art. Why not focus on what is actually happening in the United States? The biennial does not need a committee of 8 curators to create a meaningful biennial. Why not focus on art scenes outside of New York and Los Angeles? The true art scene is neither afraid nor hesitant of what it is. The Whitney Biennial suffers from a lack of vision and imagination. The 2024 Whitney Biennial was a missed opportunity. It now has two years to recover and to go back to the drawing board. Let's hope it can recover.

Dora Budor

Maja Ruznic

Cannupa Hanska Luger

Mary Lovelace O’Neal

Isaac Julien

Takako Yamaguchi

Karyn Olivier

Constantina Zavitsanos

Tourmaline

Eamon Ore-Giron

Lotus L. Kang

Jes Fan

Dala Nasser

Clarissa Tossin

Diane Severin Nguyen

Kiyan Williams

Eddie Rodolfo Aparicio

Seba Calfuqueo

Nikita Gale

Suzanne Jackson

ektor garcia

Clarissa Tossin

Holly Herndon and Mat Dryhurst

Eddie Rodolfo Aparicio

Maja Ruznic

Dora Budor

Isaac Julien

Pippa Garner

Frieze Los Angeles 2024 (Review)

2024-04-03T20:28:00.000-07:00

Frieze Los Angeles 2024 was held again at Santa Monica Airport from February 29, 2024, to March 3, 2024. This year’s Frieze was remarkedly different. First, the fair was smaller than previous years. It was held in one building as opposed to two separate buildings. Last year’s fair was in two buildings where fair goers had to either walk a distance or take a golf cart between the venues. Everything was concentrated in one building. This allowed better accessibility to booths and vendors at Frieze.

This year’s Frieze was strong both in the quality of booths and vendors, and the special curated sections focusing on the local art galleries and spaces. Organized for the first-time by Essence Harden (Visual Arts Curator and Program Manager, California African American Museum), Focus comprised of 12 young US-based galleries showing solo stands by emerging or overlooked talent. Curated by Harden, the featured presentations explore the intimate, environmental and urban dimensions of ecologies. With the majority of participating spaces based in LA, Focus is a celebration of the city’s vibrant and evolving art community. Each booth had strengths in depth and substance of the artists exhibited. However, the best booth of Focus was the ebony glazed ceramic portraits by LA based sculptor, Mustafa Ali Clayton at Dominique Gallery, and the textile works by Akea Brionne at the Lyles & King booth. Working from her archive of family photographs, Brionne uses a digital loom to weave diaristic tapestries that chart her ancestral history, everyday experience and Black identity while Clayton affirms the beauty, heritage, and strength of the Black woman figure.

Among the gallery exhibitors, the best booths displayed art from women and people of color. Jack Shainman Gallery always is strong in its presentation. The Frieze Los Angeles booth was no exception. Works by Jessie Krimes, Lynette Yiadom-Boakye, Odili Donald Odita, Nick Cave and others were a visual delight and exemplified a strong Black visual language. Another booth was the Casey Kaplan exhibit of new works by Jordan Casteel. Casteel’s paintings display the interaction between community, family, and the natural world. Family and intimacy are strong in Casteel’s work. Definitely a great booth. Another noteworthy booth was Gagosian’s “Social Abstraction” with works by the intergenerational group of Black artists Derrick Adams, Theaster Gates, Cy Gavin, Lauren Halsey, and Rick Lowe who try go beyond the abstraction to elevate experiences instead. A truly powerful booth that was one of the best. Gary Tyler’s powerful work of struggle and redemption while in prioson was the recipient of this year’s Frieze Impact Award of $25,000. Tyler’s work In Memoriam of an Ashanti Warrior (2024) was acquired by the Santa Monica Art Bank. This year’s edition is realized in partnership with Endeavor Impact and The Center for Art and Advocacy and its fellowship program, Right of Return, a non-profit dedicated to providing a direct path to sustainability and equity for artists directly impacted by the criminal legal system. Finally, The Pit, one of the best art galleries in Los Angeles, which just opened a new space in Glassell Park, exhibited new works by California-based artist Allison Schulnik, her first presentation in her home state since 2016. An important figure in the LA art scene, Schulnik was born in San Diego, CA in 1978 and lives and works in Sky Valley, CA. The booth was painted in blue-green and yellow with both ceramic works and paintings. Schulnik’s personal approach to art is inviting and engaging. Schulnik reflects and welcomes the viewer into her world. The Pit booth at Frieze Los Angeles was one of the best and definitely stood out. Other booths that stood out were for Pace, Kasmin showing vanessa german, and Gladstone Gallery.

The 2024 edition of Frieze Los Angeles was a success with reports from galleries of strong sales throughout the week and praise from both local and international fairgoers, attracting 32,000 visitors from 48 countries across the four days of the fair. The fair hosted over 95 galleries spanning 21 countries in a bespoke structure designed by Kulapat Yantrasast’s architectural studio WHY, alongside some of the city’s renowned non-profits, local restaurants and partner activations. The enthusiasm level was greater than past iterations and it was noticeable. With Frieze Los Angeles coming to close, it would be safe to say that Frieze will be back. My only hope is that Frieze would expand in both size and length of days. With more and more of the community wanting to experience and attend the fair, it would be smart to expand the fair to a larger venue and to add a day or two. Los Angeles is hungry for more Frieze and looking forward to 2025.

Frieze Week Los Angeles Guide 2024 (Updated)

2024-02-23T00:00:00.000-08:00

This year I have created a special Frieze Week Guide for some of the events happening in and around Frieze Art Fair and LA Gallery Week. This will be updated when I get new events and information. Enjoy this amazing week in Los Angeles for art.

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February 25, 2024, Sunday

- Art School Portraits from 1974 by Nick Taggart at Gallucci Tull, 21658 Encina Rd, Topanga, CA 90290. Opening Sunday, February 25th, 1–4pm; on view from February 26th–March 3rd, 10am–5pm

- Jennifer West "Space Webs" and Lyndsey Marko "The Beach" at Gattopardo, 918 Ruberto Ave., Glendale, CA opening from 3:00 pm to 6:00 pm https://gattopardo.la

- James Herman "Homework" and Jane Corrigan "The Noise Upstairs" at Sea View, 4166 Sea View Ave., Los Angeles, CA opening from 3:00 pm to 6:00 pm sea-view.us

February 26, 2024, Monday

- John Garcia "Low" at Del Vaz Projects, 259 19th Street, Santa Monica, CA 90402, Opening from 3:00 to 6:00 pm - on view from February 26 - April 6, 2024; February 27, 2024, Tuesday

- Tali Lennox "Tremors" at Nicodim, 1700 South Santa Fe #160, Los Angeles, CA 90021, Opening from 4:00 pm to 7:00 pm

February 27, 2024, Tuesday

- Spring Break Art Show (opening), 5880 Adams Blvd., Culver City, CA. opening reception from 5:00 pm to 9:00 pm www.springbreakartshow.com

- "Evocation Field" A Collaboration with Bavan Gallery at Mey, 638 N Doheny Dr, West Hollywood, CA 90069; Opening Reception: February 27, 5-8 PM

- Ai Jing "All the World is Green" at Helen J Gallery, 929 Cole Ave., Los Angeles, CA, opening reception from 6:00 pm to 8:00 pm https://helenjgallery.com

- Secundino Hernández and Nicola Tyson at Nino Mier Gallery 7277 Santa Monica Blvd, West Hollywood, CA; Opening and Walking Dinner from 6:00 pm to 9:00 pm; on view to March 30, 2024

- Loyal @ El Royale II, Opening Reception, 450 N. Rossmore Ave., Los Angeles, CA from 5 to 9 pm. Please email the gallery to RSVP at loyal@loyalgallery.com

- A’Driane Nieves’ "self-evident truths" Various Small Fires, 812 N. Highland, Los Angeles, CA 90038; Opening Reception: Tuesday, February 27th, 5 - 7pm Various Small Fires (vsf.la)

- Opening of Nora Turato "it’s not true!!! stop lying!" February 28–April 27, 2024 Public Reception: February 27, 5–8pm with performance at 6:30 pm at Sprüth Magers, Los Angeles, 5900 Wilshire Boulevard, Los Angeles, CA 90036; Sprüth Magers (spruethmagers.com)

- Samantha Joy Groff "Huntress" at Half Gallery, 2249 Mountain Oak, Los Angeles, CA; Artist Reception: February 27th, 3-7 PM; Los Angeles — HALF GALLERY

- "Evocation Field" a group exhibition organized in collaboration with Bavan Gallery and curated by Ashkan Zahraei at Mey Gallery, 638 N. Doheny Drive, West Hollywood, CA; opening 5:00 pm to 8:00 pm. Evocation Field — MEY می (meygallery.com)

Jason Rhoades: Drive | Catherine Goodman: New Works - Hauser & Wirth DTLA, 901 East 3rd St. Los Angeles, CA 90013, Tuesday, February 27 at 6:00 PM – 10:00 PM Hauser & Wirth - Contemporary & Modern Art Gallery (hauserwirth.com)

February 28, 2024, Wednesday

- Felix Art Fair (opening) 7000 Hollywood Blvd, Los Angeles, CA 90028 - hours 6pm - 8pm Felix Art Fair (felixfair.com)

- Spring Break Art Show, 5880 Adams Blvd., Culver City, CA. opening reception from 2:00 pm to 9:00 pm www.springbreakartshow.com

- Terry Allen & the Panhandle Mystery Band, Masonic Hall at the Hollywood Forever Cemetary (LA Louvre) Link for Tickets

- "Rooted in Africa" artists curator talk from 7 pm to 9 pm, at The Loft at Liz, 453 S. La Brea Ave, Los Angeles, CA 90036

- Aaron Spangler "Stung by a Lie I Believe" at Rusha & Co., 244 West Florence Ave., Los Angeles CA 90003; Opening from 7:00 pm to 9:00 pm

- bitforms gallery "Interreality" 5500 Wilshire Blvd., Los Angeles, CA 90036 12 pm to 11 pm; VIP party in partnership with ARSNL and On Approval on Wednesday, February 28, 2024, 7-10 PM. INTERREALITY is pleased to welcome guests for complimentary drinks, music, a showcase of work by Nadya Tolokonnikova, creator of Pussy Riot, and live art performances by Millie Brown and Preston Douglas to kick off Frieze Week. Millie Brown, known for performances that test the limits of the artist’s body, will launch her new video on NOWNESS during Frieze week and perform a portion of the piece incorporating fire for INTERREALITY’s VIP guests. Preston Douglas will present a three-part multidisciplinary art piece combining performance, couture, sound, and a full choir. Frieze Week Programming — Interreality

- Curator-Led Walkthrough of Thirty Years: Written with a Splash of Blood on Wednesday, February 28, 4pm at BLUM Los Angeles, 2727 South La Cienega Boulevard, Los Angeles, California 90034.

Click here to register. BLUM (blum-gallery.com)

- Mario Joyce "Amaryllis’ Garden" a special celebration from 6:00 pm to 8:00 pm at UTA Artist Space, 403 Foothill Rd., Beverly Hills, CA 90210 Amaryllis' Garden - UTA Artist Space

- John McCracken, and (group show) Dan Flavin, Donald Judd, On Kawara, Sol LeWitt, Palermo, Robert Ryman, Fred Sandback, and Richard Serra, at David Zwirner, 612 North Western Avenue
Los Angeles CA, 90004 Wednesday, February 28, 6–8 PM; David Zwirner: New York, Los Angeles, London, Paris and Hong Kong Art Galleries

February 29. 2024, Thursday

- Frieze Los Angeles - Thursday Preview, February 29 (invitation only): 10am – 7pm 3027 Airport Avenue, Santa Monica, 90405 Frieze Los Angeles | Frieze

- Felix 7000 Hollywood Blvd, Los Angeles, CA 90028 - hours 11 am - 7pm Felix Art Fair (felixfair.com)

- Spring Break Art Show, 5880 Adams Blvd., Culver City, CA. opening reception from 2:00 pm to 9:00 pm www.springbreakartshow.com

- "The Wrinkle Room Frieze Edition Presents Transformer at Track 16" Thursday, February 29, 2024, from 4:00 pm to 8:00 pm at Track 16 | First Floor, 1206 Maple Ave., Los Angeles, CA; www.track16.com

- Terry Allen & the Panhandle Mystery Band, Masonic Hall at the Hollywood Forever Cemetary (LA Louvre) Link for Tickets

- "Crescent Heights," an expansive group exhibition encompassing gallery artists, friends, and new faces at Harper’s Los Angeles, 8115 Melrose Avenue, Los Angeles, CA 90046; opening on Thursday, February 29, 6:00 pm to 8:00 pm Crescent Heights - Exhibitions - HARPER'S (harpersgallery.com)

March 1, 2024, Friday

- Frieze Los Angeles - Friday Preview, March 1: 11am – 7pm (Last entry is 30 minutes before closing time on each day.) 3027 Airport Avenue, Santa Monica, 90405 Frieze Los Angeles | Frieze

- Felix, 7000 Hollywood Blvd, Los Angeles, CA 90028 - hours 11 am - 7pm Felix Art Fair (felixfair.com)

- Spring Break Art Show, 5880 Adams Blvd., Culver City, CA. opening reception from 2:00 pm to 9:00 pm www.springbreakartshow.com

- A GOD OF HER OWN MAKING is an immersive spatial opera performed by JOJO ABOT accompanied by intricately woven layers of voices, dancers, and mesmerizing visuals. Special Performance at LA Louver, 45 North Venice Boulevard, Venice, CA 90291, doors open at 6 and performance starts at 7:00 pm. Attendance is full, but waitlist is here.

March 2, 2024, Saturday

- Frieze Los Angeles - Saturday, March 2: 11am – 7pm (Last entry is 30 minutes before closing time on each day.) 3027 Airport Avenue, Santa Monica, 90405 Frieze Los Angeles | Frieze

- Felix 7000 Hollywood Blvd, Los Angeles, CA 90028 - hours 11 am - 7pm Felix Art Fair (felixfair.com)

- Spring Break Art Show, 5880 Adams Blvd., Culver City, CA. opening reception from 12:00 pm to 8:00 pm www.springbreakartshow.com

- "Palenque Queerteñx" at 6:00 PM (Saturday of Frieze Week) at Laband Art Gallery, Loyola Marymount University1 LMU Drive, Los Angeles, CA 90045 as part of "Queerteñx," a two-person exhibition, guest curated by Erika Hirugami and featuring artists Salvador de la Torre and José Villalobos.

- Closing of "Spray Paintings1969-1971" Michael Todd and the opening of "Double Take" Ladan Sedighi x Rubén Ortiz Torres from 12:00 pm to 5:00 pm at royale projects | 432 S Alameda St., Los Angeles, CA 90013

- "VIP RIP" group show celebration. at RIP Space. to RSVP and for location to https://rip.space/ in the spirit of all things VIP during Frieze Week LA, Rip Space is pleased to invite you to “VIP RIP.” Presented works reflect the contemporary condition of personal experience filtered through the sensory deluge of content, media, news, and information. Join us Saturday March 2 from 7-10PM for a program of screen-based works from Casey Kauffmann, Wednesday Kim, and Cassie McQuater, a mixed media installation from Ásgerður “Ása” Arnardóttir, and a special DJ set from Ice Wall.

Co-Curated by Valerie Amend
Free with RSVP; Saturday, March 2nd, 7:00 pm - 10:00 pm; 1250 Long Beach Ave, unit 326, Los Angeles, CA

- "Import/Export" at Noon Projects, Saturday, March 2, 2024, opening from 5–8pm; 508 Chung King Court, Los Angeles, CA - Noon Projects (noon-projects.com)

- "Parallel Time: Brian Hubble and Jose Guadalupe Sanchez III," at Tiger Strikes Asteroid, special reception 7 to 10, Bendix Building, 1206 Maple Ave #523Los Angeles, CA 90015

- Vielmetter Los Angeles, 1700 S Santa Fe Ave, Los Angeles, CA 90021 +1 213 623 3280

vielmetter.com book signing and artist talk with Deborah Roberts and Essence Harden to celebrate Roberts' newest monograph, “Deborah Roberts: Twenty Years of Art / Work” 3:00 pm 4:30 pm. Please RSVP by clicking here.

- Artist walkthrough with Wanda Koop at Night Gallery, at 1:00 pm, followed by a book signing with Hayley Barker at 2:00 pm, 2050 Imperial Street Los Angeles CA 90021. Night Gallery RSVP is required to attend at rsvp@nightgallery.ca.

Good Mother Art Week Gallery Mixer & Art Show at Soho Warehouse in Los Angeles!
In collaboration with San Francisco-based galleries Glass Rice & Jonathan Carver Moore, Saturday, March 2nd, 2024 from 6pm-10pm at Soho Warehouse, 1000 S. Santa Fe Ave, Los Angeles, CA - RSVP is required. RSVP to Soho House LA Gallery … | Partiful

March 3, 2024, Sunday

- Frieze Los Angeles - Sunday, March 3: 11am – 6pm (Last entry is 30 minutes before closing time on each day.) 3027 Airport Avenue, Santa Monica, 90405 Frieze Los Angeles | Frieze

- Felix 7000 Hollywood Blvd, Los Angeles, CA 90028 - hours 11 am - 5pm Felix Art Fair (felixfair.com)

- Spring Break Art Show, 5880 Adams Blvd., Culver City, CA. opening reception from 12:00 pm to 6:00 pm www.springbreakartshow.com

(Review) Joan Brown at the Orange County Musuem of Art, Costa Mesa, California

2024-02-14T21:09:00.000-08:00

When one enters the galleries, I imagine the artist introducing herself with a name tag that reads “Hi! My name is Joan.” From her work, you do get to know Joan and her fascinating life. Joan Brown’s retrospective, currently at the Orange County Museum of Art, is an invitation to explore the life and loves of the Bay Area artist. Brown’s work reflects a menagerie of interests and loves that is deeply personal. By the end of looking through the four rooms of the exhibition, the viewer will leave not only knowing Brown, but also sense of love for this great artist who died tragically at the age of 52 in 1990. The joie d’vivre is Brown’s lasting impression which is a gift to both artist and art lover alike.

The first encounter with Brown’s work happened in 1958 when at the age of 20 the Museum of Modern Art acquired for their permanent collection a painting, “Thanksgiving Turkey.” At such a young age, Brown was destined for something greater. Her early works fit into the gestural approach to figuration that was common in both Abstract Expressionism and subsequent Pop Art movements with thick and heavy paint applied to the canvas. The subjects Brown chose were domestic with her son Noel playing center stage in many of her early works. She also had a love of art history with paintings based on Rembrandt and Delacroix. Although her works are very personal, Brown played a very important role in the Bay Area art scene, in particular the Beats with friends like Wallace Berman, George Hermes, and Bruce Conner. Until 1964, Brown was popular with bay area figurative artists such as Paul Wonner, David Park and Richard Diebenkorn. Everything changed in 1964.

In 1964, Joan Brown changed the direction of her art. She stopped making paintings that were quite popular with her dealers in New York and San Francisco. She went into exile until around 1966. Brown then began making work that was flat, illustrative and almost cartoon-like figuration turning away from the expressionist style that was prevalent in her early works.

The change in style gave Brown a confidence that seemed to have freed her from the constraints of the market and the art world at large. She was now able to paint what she wanted and to tell the viewer her passions and joy. She loved to swim. Brown was involved in swimming from San Francisco to Alcatraz Island and back. In fact, she almost drowned when a cargo ship went by her as swam the bay. There are several works that show the bay, Alcatraz Island, and her swimming. She loved animals. Brown would frequent the San Francisco Zoo and then paint self-portraits with animal faces. Brown loved to dance. She met her fourth husband while going to dance halls in the city. She loved Egyptian art and traveled the world. Finally, Brown wanted to create a spiritual connection. Brown became interested in religions of the world. She made trips with her fifth husband who was a fellow traveler in world religions and was also a San Francisco police officer. This final group of works was not only connected with a passion for a spiritual course of life, but it was also connected with a premonition that she was going to die young. In a freak accident, Brown was killed when a column she was building in India collapsed on her.

Brown’s life may have been cut short, but her spirit and passion continue in her work. Throughout the galleries, you not only see Joan Brown as an artist, but you also see her as a person. From seeing her as a dancer with her husband, to portraits of her as an animal, as a swimmer, and to the embrace of the world’s religion, Joan was a truly free spirit who embraced the world around her. Although the survey is slimmed down from its original location at the San Francisco Museum of Modern Art, the exhibition is effective and inspiring. One feels her presence in this show as if she is saying “Hi, my name is Joan and here’s my life." Joan Brown is someone you will really want to get to know.

#joanbrown #orangecountymuseumofart #bayareafigurative #bayareaart

100 Word Review: Jonathan Casella "The Palace" at The Pit

2024-01-19T23:11:00.000-08:00

Jonthan Casella’s solo show at The Pit, “The Palace” is an intriguing exhibition of paintings where Casella inquiries about the state of images and how they relate to time, memory and emotion. Each canvas is occupied by mid-century like patterns, color, form, images allowing the viewer to chart a narrative course. The title refers to Henry David Thoreau “Walden” where the poet refers to a palatial setting as a site for settling fictions to engage with the real. Casella effectively maps a world where the poetic image leads the viewer to the unexpected. The paintings are engaging and fun.

On View through February 17, 2024
The Pit
918 Ruberta Rd.
Glendale, CA 91201

HAPPY NEW YEAR! I'M BACK

2024-01-08T20:18:00.000-08:00

I want to wish everyone a Happy New Year. After a long hiatus, I am back blogging again. This year is going to be quite exciting. I will be doing reviews on shows around Los Angeles as well as places I will be visiting in 2024. I will be covering Frieze Los Angeles as well as events and gallery openings during gallery week Los Angeles. For the first time, not only will I be doing a review of Frieze Los Angeles, but I will also be creating a guide to events surrounding Frieze. Parties. Talks. Events. You will be in the know for one of the most exciting times to be in Los Angeles and Southern California. If you have any suggestions, please email me at mvasquez9@hotmail.com. I will continue to give you the best that the LA art scene has to offer as well as from around the world. Thank you for your patience and I look forward to exploring a dynamic and amazing art scene.

George Condo “People are Strange” at Hauser & Wirth, West Hollywood, California (Review)

2023-05-10T21:58:00.001-07:00

A deceased artist once said in an interview that Picasso will not be remembered in 20 years. George Condo’s solo show “People are Strange” which was on view at Hauser & Wirth’s new location in West Hollywood, California, would beg to differ. The 20^th century modern master’s presence is felt and deeply influenced in Condo’s most recent work. The title is taken from the song by the Doors, the idea of the “strange’ is explored a way of seeking the contemporary condition. Condo uses Cubist pictorial strategies to construct identities and figures within the canvas.

Using Cubism as a means and a way to create a figure, Condo’s paintings are exercises in the creation of form and space. His paintings are also psychological in nature. The multiple vantage points form an instability as each portrait makes an emotional state. Multiple views depict an inner state of the viewer. Besides Picasso, Condo takes cues from other modernism’s past. Artists such as Philip Guston, Matisse and Willem De Koning are quoted and utilized with Condo’s canvases. He adds the splatter on the paintings as if to give a wink and a nod to the gestural of the Abstract Expressionist. This seems more a deliberate exercise in wreckage and entropy. Out of the maelstrom, Condo creates portraits that are freakish and distorted in their presence. In his pursuit of form and distortion, Condo is reasserting faith in painting’s past and current practice. From all this, Condo is really saying that people are “strange” and that politics and contemporary society are making them this way. The artist is only revealing what is hidden. Condo makes his case by laying and overlapping, distorting and twisting the figures within each other. Bodies and figures converge and dissipate onto each other as if nothing is solid and everything is in flux. The figure is at the mercy of political and social forces that distort and manipulate.

George Condo’s “People are Strange” was the perfect solo show to open at Hauser & Wirth’s new West Hollywood location. Condo is placing a mirror darkly onto the society that can truly be described as strange. With the proliferation of falsity, misinformation, and deep-fakes, Condo is only making a case that the strange is the new normal. “People Are Strange” is the first solo show since his 2019 show at Sputh Magers where Condo follows the same approach where the line between reality and the forces that distort that reality. It is also driving people apart from each other. That is what’s strange.

George Condo. "People Are Strange"

15 February – 22 April 2023

Hauser & Wirth West Hollywood

Felix 2023 - Photo Essay

2023-03-27T21:16:00.000-07:00

Felix, co-founded in 2018 by Dean Valentine, Al Morán, and Mills Morán, is an art fair created with the intention to foster intimate experiences that prioritize conversation, collaboration, and community. With over 60 galleries participating, Felix 2023 edition took place February 15-19 at the Hollywood Roosevelt Hotel in Los Angeles.

Frieze Los Angeles 2023 - Review

2023-03-27T21:09:00.001-07:00

Frieze Los Angeles 2023

If Frieze Los Angeles 2023 can be summed up in any way, it’s “better than before but hard to get.” Situated in a new location at the Santa Monica Airport in the Barker Hanger, Frieze Los Angeles 2023 expanded and grew into 4 separate tents with over 120 galleries participating at the art fair. The galleries and the artworks were quite exquisite with each gallery bringing their best to the LA art fair. What made Frieze “hard to get” was the location itself making traffic and accessibility problematic. There was a confusing method of trying to get parking. The only way to truly get into the location was either by ride share or by shuttle that drove back and forth between the offsite parking lots and the fair. The traffic was the most frustrating aspect of this year’s fair. Hopefully next year, the organizers of the fair will do a better job at planning accessibility to the fair.

Within Frieze there was Barker Hanger and the main tent. The main tent had three sections each containing the gallery booths, the art fair provided the viewer with visual Easter eggs. The galleries brought their best and the public benefited from the visual delights. In the Barker Hanger, LALouver had a two-person exhibition of Ed and Nancy Kienholz and focused its attention to Kienholz’s examination of Native America and American history. GarthGreenan Gallery of New York City brought an installation of works by the late James Luna, whose work explores the plight the Luiseno Indians in California. Luna places himself as both subject and model as he explores notions of identity and memory into a personal testimony. Marianne Boesky showed works by the late artist Jennifer Bartlett, who passed away late last year. The selection of works by Bartlett was an intelligent display demonstrating her skill in both abstraction and figurative. Barker Hanger also hosted LA Focus area which had booths from Los Angeles based galleries such as Sow & Tailor, OchiProjects among others. Barker Hanger section of Frieze was strong and added a local feel that made Frieze unique.

The main section of Frieze, which was located 800 feet from Barker Hanger, was presented as the heart of the art fair. The best booths were by some of the biggest and most influential galleries in the art world. JeffreyDeitch had a wonderful solo show of ceramics by Los Angeles legend Billy Shire. Gagosian Gallery presented abstract paintings by Rick Lowe, who explores the concepts of Black abstraction. Marian Goodman Gallery had a terrific display of William Kentridge, which complemented the current show at The Broad Museum. It was so easy walking around the fair to find great artwork. It was very much like an Easter egg hunt for the art world. If there was a best of Frieze Los Angeles, it would have to be Dastan Gallery from Tehran, Iran. Featuring work by Mamali Shafahi, and Peybak, the Iranian gallery brought compelling and thought-provoking works that were visually interesting. Shafahi’s work is an intersection of technology, fear and the natural world. Peybak’s landscapes combine myth and politics. Dastan’s return to Frieze was a welcome presence to a growing and ever evolving Frieze Los Angeles.

Frieze Los Angeles was a large and sprawling visual party with gems and treasures in almost every booth. While the fair’s layout was a logistical nightmare that made accessibility difficult, Frieze is definitely here to stay in LA. The work at the fair was probably the best since Frieze made its appearance. What this means for the Los Angeles art scene is hard to say. Since Frieze came to LA in 2019, major galleries have also set up locations within Los Angeles. The LA art scene is growing in both influence and prestige. The concern is for the artists who are starting their careers. Will an artist have the kind of freedom, which has defined the LA art scene, when New York galleries are moving in? Will the growing LA art market crowd out the cutting edge? There are questions that will be answered sooner rather than later. Frieze was an enjoyable visual experience.

Merry Christmas and Happy New Year!

2022-12-24T00:00:00.045-08:00

I want to wish all my followers and visitors a Merry Christmas and Happy New Year. The year 2022 was a fantastic year for art. I look forward to the next year and bringing you the best of the art world here in Los Angeles and from around the world.

Happy Halloween!

2022-10-31T00:00:00.016-07:00

Halloween is a great time for art. Enjoy this annual Halloween art post. #halloween #halloweenart #spookyart #spiritphotography #batwomen

Frieze Los Angeles (February 17th to 20th, 2022), Beverly Hills, CA (Photo Essay)

2022-03-01T22:25:00.001-08:00

It's been two years since Frieze Los Angeles was last opened. The two years was definitely worth wait. First, Frieze Los Angeles moved from its original location at the Paramount Studios on Melrose to the back of the Beverly Wilshire Hotel in the heart of Beverly Hills. Occupying three tents, Frieze Los Angeles 2022 was the art fair of all art fairs happening simultaneously in the city that week. Without the movie studio lot, the fair felt more business-like in its presentation. However, this was a good thing. It may not have been the LA or Hollywood experience that the previous fairs may have been, but it was the art fair that LA needed. The biggest complaint going back years has been the lack of a collector base. This year's Frieze has dispelled that complaint. What did sell?

Hauser & Wirth sold out its entire stand – a solo exhibition by celebrated French artist Camille Henrot at prices ranging from $20,000 and $140,000. In another early sale, Gagosian placed Chris Burden’s large-format sculpture Dreamer’s Folly to an important European institution. Vielmetter was another gallery that found favor, selling out their booth of works by Samuel-Levi Jones. Goodman Gallery sold a work by William Kentridge priced above $500,000 to a prominent Los Angeles collection; Pace sold a ‘Gazing Ball’ sculpture by Jeff Koons in the region of $3,000,000, a large-scale sculpture by Louise Nevelson, and all five NFTs on view from Leo Villareal’s ‘Cosmic Reef’ series sold for 2.0 ETH; Lehmann Maupin sold out of works by McArthur Binion for a combined total of $550,000; David Kordansky Gallery sold all works from their solo presentation of paintings by artist Michael Williams, each priced at $100,000; David Zwirner sold a number of works by Lisa Yuskavage for between $600,000 and $1.5 million, a painting by Alice Neel for $1 million and two new paintings by Katherine Bernhardt for $150,000 each; Château Shatto sold major works within the first hours of the fair by Aria Dean, Van Hanos, Helen Johnson, Emma McIntyre, Jonny Negron and Katja Seib; White Cube reported numerous sales including a five panel work by Imi Knoebel for €395,000, a Beatrix Milhazes painting for $1,200,000 and collage for $200,000, and a work by Tracy Emin for £60,000; Thaddeus Ropac sold a Georg Baselitz work for €1,350,000 and a Robert Rauschenberg work for $1,100,000; Jessica Silverman sold the artist proof of an outdoor bronze by Woody De Othello for $400,000, a Clare Rojas painting for $150,000 and four works on paper by Claudia Wieser; Galerie Lelong & Co sold a new sculpture by Leonardo Drew sold for $80,000 to an American private collection with paintings by Tariku Shiferaw for $10,000 to $40,000; François Ghebaly sold two Kathleen Ryan works at $225,000 and $75,000 and one Sayre Gomez painting for $95,000; Xavier Hufkens sold out their booth of Thomas Houseago works, each priced at $350,000; Stephen Friedman Gallery sold out their booth of works by Denzil Forrester in the price range of £15,000 to £185,000.

The fair also saw the return of the Focus LA, the section of the fair that provides a platform for emerging Los Angeles spaces, which was curated this year by Amanda Hunt (Director of Public Programs & Creative Practice, Lucas Museum of Narrative Art). Parker Gallery placed two paintings by Melvino Garretti priced at $25,000 and $35,000 with a major European public collection; Charlie James Gallery sold all twelve new Jay Lynn Gomez acrylic on magazine page works presented; Stanley’s sold out of their presentation in the opening hours of the fair, which presented stained glass works by Timo Fahler in the range of $7,500 to $30,000 as well as ceramic works by Amia Yokoyama in the range of $4,000 to $15,000; Garden sold a work by Sarah Rosalena for $40,000 along with two ceramic works each for $6,000; in lieu placed five felted wool tapestries by Pauline Shaw in the $10,000 to 20,000 range and two works by Ficus Interfaith each under $10,000.

My hope is that some of the sales went to institutions here in the Los Angeles area. I would like to see a lot of these works in museums or public collections for the enjoyment of the public. I was discouraged by hearing that some of the most impressive pieces, such as Chris Burden's installation, were going to institutions abroad. Overall, the third iteration of Frieze marked something of a sea change. With New York galleries preparing to plant new spaces in the new city, and LA galleries doing the same in New York, Los Angeles is quickly becoming an even greater powerhouse. Frieze was a momentous occasion. I am hoping that it's not a canary in the coal mining to something that crowds out the freedom and experimentality that has defined the LA art scene. The openness is what makes the LA art scene attractive without the weight of the market or art historical pressures. Only time will tell.

Felix Art Fair 2022, Hollywood Roosevelt Hotel, Los Angeles, California (Photo Essay)

2022-02-25T20:01:00.002-08:00

Out of the three art fairs occurring the week of February 16th to the 20th, 2022, the most "LA" of the art fairs was Felix. Featuring more than 50 galleries from all over the world, the Felix Art Fair was located at the Roosevelt Hotel, in the heart of Hollywood. Each of the galleries invited were situated either in the bungalows along the David Hockney painted swimming pool or on the 11th and 12th floors of the hotel overlooking the Mann's Chinese Theater. This year's fair was larger than last, and the eventual end of the pandemic, made the setting an almost celebratory event. It was easy to find something enjoyable and likable about each gallery presentation. The gallerists were more than willing to share information about the art and artists. It was a wonderful experience, and I was glad to be able to share the photos below.

#felixartfair2022

#56Henry #NicelleBeauchene #MichaelBenevento #THEBREEDER #Broadway #MatthewBrown #AdamsandOllman #Baik+Khneysser #CANADA #C L E A R I N G #DOCUMENT #Downs&Ross #AnatEbgi #GalerieFrankElbaz #FitzpatrickGallery #Gavlak #GriceBench #KaviGupta #JackHanleyGallery #Harkawik #Harpers #Kasmin #KLEMMS #JoshLilley #TanyaLeighton #Lomex #LINNLÜHN #LuceGallery #Lyles&King #M+B #Misako&Rosen #CharlesMoffett #MoránMorán #motherstankstation #Mrs #NicodimGallery #Nonaka-Hill #OneTrickPonyGallery #ParraschHeijnen #Patron #PeresProjects #PPOW #Ramiken #RasterGallery #Ratio3 #ResidencyArtGallery #ChrisSharpGallery #SoftOpening #ThomasSolomonArtAdvisory #The Ranch #TierraDelSolGallery #RachelUffnerGallery #VanHorn #VolumeGallery #Wentrup #KateWerbleGallery #WhiteColumns #KadelWillborn #MaximillianWilliam and #ZERO

LA Art Show 2022 (January 19 to January 23) Photo Essay

2022-01-31T21:19:00.000-08:00

LA Art Show 2022

The LA Art Show returned this year with the flair that the art fair always brings. The LA Art Show is always a mixed bag of quality in the galleries and the art displayed. However, the best of the LA Art Show really stood out.

The best of the fair was DIVERSEartLA, which addressed environmental issues. Curated by Marisa Caichiolo, the curated part of the LA Art Show explores how the environment is represented in art, but how humanity’s place in the world is depicted. This exhibition will open up an important dialogue about the Earth’s past, present, and future, uniting the community around discussions of the global climate crisis and potential solutions. This topic is already at the heart of a growing number of art narratives and DIVERSEartLA is honored to provide it with an additional platform. For this year’s edition of the highly popular element of the LA Art Show, DIVERSEartLA invites art museums and institutions to partner with Science and Environmental Museums. With 8 participating projects spanning from an eye-opening exhibit about the lack of clean water in Jalisco to the locally focused “Recognizing Skid Row As A Neighborhood:Skid Row Cooling Resources,” which calls attention to the Urban Heat Island in close proximity to the convention center itself, the exhibition and conversation is considerate and, as the name suggests, diverse. Caichiolo explains, “DIVERSEartLA 2022 will encourage visitors to confront the complex challenges of our global climate crisis and imagine potential solutions. This topic is at the heart of a growing number of art narratives, including exhibitions built with high-tech innovations, designed to inspire artistic appreciation and the desire to respond to environmental challenges, reinforcing the value of translating environmental advocacy into art.”

As the first live show to join the NFT craze, introducing attendees to the incredible trend in digital art, the LA Art Show has established a reputation for leading the pack. This year was no exception. The LA Art Show continues to be on trend with NFTs, making sure the contemporary art conversation is comprehensive. This year included a preview of Little Beasts by artist Johnny ‘KMNDZ” Rodriguez, presented by Merry Karnowsky of KP Projects, in partnership with LGND, the return of Vellum LA, Los Angeles’s premier art gallery for NFT-backed digital art, with their latest show Elsewhere is a Negative Mirror which simultaneously debuted as an in-person NFT exhibition at the LA Art Show and at Vellum LA gallery, and specially displayed NFTs from Fabrik Projects. With the NFT conversation comes a conversation about environmental conservation, the other focus of the show. Unifying the show’s themes of environmentally driven discussions and new technologies, Arts Help presented Conscious Crypto Creator: ICEBERGS. The Conscious Crypto Creator, aka CCC, is a global movement developed by Arts Help to empower artists to use their art in the fight for transparency and sustainable crypto-validation practices. ICEBERGS highlighted the impact of our daily decisions on the melting of polar ice caps.

#LAArtShow2022 #LAArtShow

Merry Christmas and Happy New Year! (Christmas Art 2021)

2021-12-24T00:00:00.001-08:00

It is hard to believe that it's been 10 years since the first posting of Christmas art. I hope for another 10 years. Let's hope the new year will bring great art for you to enjoy.

I want to wish all of you a very Merry Christmas and Happy New Year.

See you in 2022.

#christmasart #christmas #dali #dalichristmascards #florinestettheimer #gabrielemunter #suewilliams #hollywoodchristmas #vintagechristmasphotos #leonoracarrington #dorotheatanning #maxernst