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THE ART NEWSPAPER
Frieze Los Angeles: 16-17 February 2019
Frieze embraces California cool
First LA edition of the
British fair focuses on
local artists and takes a
cinematic perspective
A
s if on cue, dealers at the
first Los Angeles edition of
the Frieze art fair, held at
Paramount Pictures Studios,
have channelled the movie
industry setting and are
spotlighting artists from the
city’s robust art scene. The day before the fair
opened, the local artist Dave Muller was busy
painting the walls of Blum & Poe’s stand, which
he has transformed into a cartoonish vision of
Hollywood, complete with its famous white
sign. Muller’s mural serves as a backdrop for
works by the gallery’s Los Angeles artists.
Next door, cinematic works by the quin-
tessentially Californian artist Doug Aitken
adorn the walls of New York’s 303 Gallery. The
space’s founder Lisa Spellman likens one piece,
Midnight Sun (distant view with pools) (2019,
priced at $250,000), to a projection that “creates
this cinematic scene of the mountains with a
classic Los Angeles night-time view”.
Exposing the darker underbelly of popular
culture is Mike Kelley’s Unisex Love Nest (1999)
at Hauser & Wirth, which is being shown for
the first time in Los Angeles, 20 years after it
was first conceived for the city. The late artist’s
unnerving installation of a child’s bedroom,
BLUM AND POE; CORDEN AND FOSTER; KOREK, PITT AND BROAD: © DAVID OWENS. MARIN: MELISSA RICHARDSON BANKS
James Corden with Jodie Foster, and Bettina Korek, the fair’s executive director, with Brad Pitt and Eli Broad
THEARTNEWSPAPER.COM | DOWNLOAD THE FREE DAILY APP
GREATER THAN THE SUM OF ITS ART
Enhanced database access to 5,000 curated works
of fine art via FADA.org, the Trusted Gallery Network.
which challenges conventional gender roles,
sold to a private European foundation for
$1.8m. A portion of the proceeds from the sale
will benefit the Mike Kelley Foundation for the
Arts in Los Angeles, which provides grants for
artists’ projects.
| @ THEARTNEWSPAPER
Blum & Poe’s stand, painted by the
local artist Dave Muller
More understated, but no less emphatic,
is a display of nine ink paintings by Ken Price
at New York- and Los Angeles-based Matthew
Marks Gallery. Priced between $20,000 and
$35,000, they feature panoramic views of Los
Angeles, created at the time of Price’s return
Stargazing
Famous faces spotted
at Frieze Los Angeles
As the first Frieze art fair in Los Angeles
opened among the fake New York stoops,
storefronts and production trailers at Paramount
Pictures Studios on Thursday, a parade of
Hollywood stars braved the torrential rain,
scurrying into the tent beneath fluorescent pink
umbrellas that matched the fair’s branding. “The
rain is dramatic, we love drama here,” the actor
Brad Pitt told The Art Newspaper. The downpour
failed to dampen sales at the VIP preview too.
At the White Cube stand, James Corden, the
presenter of the popular Late Late Show and
man behind carpool karaoke, said he bought
Tracey Emin’s gouache My Heart for You (2015)
as “a Valentine’s gift for my wife”, while Leonardo
DiCaprio was rumoured to have purchased Andy
Warhol’s painting of Georgia O’Keeffe at Galerie
Thaddaeus Ropac (see p2). Hollywood stars
Amy Poehler, Jane Fonda, Sylvester Stallone,
Jodie Foster and Michael Keaton were also seen
perusing the aisles. A.S.
| @ THEARTNEWSPAPER.OFFICIAL
TM
to the city in the early 1990s. “You can feel him
falling in love with the city all over again as
he mythologises both its wonder and urban
sprawl,” says Jacqueline Tran, the gallery’s
senior director. All nine works sold out on the
fair’s opening day.
The glamorous face of Hollywood can be
seen at Pace gallery, which has a black-and-white
painting of Judy Garland by Warhol (works on
the stand range from around $10,000 to $4m),
while dealer Thaddaeus Ropac has designed his
stand around a “Californian road trip theme”.
Oscar fever has gripped other art institu-
tions in Los Angeles. Photographs by Carlos
Somonte, shot during the filming of Alfonso
Cuarón’s 2018 film Roma are at the Los Angeles
County Museum of Art (until 19 February). “The
fact that Roma gets this artistic status is pretty
cool, but cynically, you could say it’s all just
advertising for the big day,” says Ossian Ward
of Lisson Gallery, which is showing two artists
with Los Angeles connections: Channa Horwitz
and Roy Colmer.
Indeed, with the Oscars around the corner,
Frieze Los Angeles’s bid to woo Angelenos tied
to Hollywood’s production schedule appears
to have paid off. But, as Doug Aitken notes, it
is artists who have been at the forefront of the
city’s drive for creative experimentation over
the past 50 years.
“The thing about Los Angeles is that it has
resisted the urge to tighten up and become
more official. That’s why it is an artists’ city
rather than a collectors’ city,” he says. “At its
best, what Frieze can contribute has nothing to
do with capitalism. Instead it can act as a beacon
for people to seek out different encounters in
the city, as focus shifts to this region.”
Anny Shaw
Chicano art museum to stage
de la Torre brothers show
The actor and art collector Cheech Marin (above) is
planning to stage an exhibition on the Guadalajara-
born brothers and glass sculptors Einar and Jamex
de la Torre when the new Cheech Marin Center
for Chicano Art, Culture and Industry opens at
the Riverside Art Museum. The centre, which last
year received $9.7m in state funding, is due to be
completed by 2021 and will house one of the largest
collections of Chicano art in the country, carefully built
by Marin since the 1980s, but which he says “belongs
to the public”. H.S.
• For an interview with Cheech Marin, see p22
 2 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019
NEWS
Los Angeles
Frieze brings satellite fairs into its orbit
A local stalwart
celebrates its tenth
edition, a New Yorker
goes West, and a
young upstart sets
out its stall at the
Roosevelt Hotel
W
ith its
star-pow-
ered host
commit-
tee and
opening
day celeb-
rity visitors, the inaugural edition of
Frieze Los Angeles has already pulled
a few satellite art fairs into its orbit.
But in a city where Hollywood is the
sun around which everything turns,
what are all these events actually
gravitating towards?
The hype surrounding the
newcomers to the scene has partially
eclipsed the fact that Art Los Angeles
Contemporary is celebrating its tenth
anniversary. The Santa Monica-based
event, which rebranded itself as ALAC
and debuted a new visual identity
this year, has “nurtured [collector]
relationships and acted as an incuba-
tor” for the city’s booming art scene,
according the fair’s director Tim
Fleming. There are several fresh faces
among the exhibitors, who chose the
established art fair to dip a toe in the
waters of Los Angeles’s art scene.
“We’ve been wanting to test the
market here for a while and new
Main Museum’s mysterious closure serves as a cautionary tale
The Main Museum in Downtown Los
Angeles quietly closed its doors to the
public last month, and it is unclear
when or if they will reopen. The
closure comes just weeks after three
key staffmembers—the museum’s
director Allison Agsten, deputy direc-
tor Alex Capriotti and curatorial asso-
ciate Monica Rodriguez—announced
their departures.
A statement released by Agsten
did not specify her reason for leaving,
though she told The Art Newspaper:
“I resigned when I didn’t see a clear
path forward, for me and the work
I’m most devoted to.”
The Main Museum was founded
just two years ago by Tom Gilmore
and Jerri Perrone, property devel-
opers who have had a large hand in
reshaping the city’s historic core over
the past two decades. Located in the
Hellman Building, a historic property
owned by Gilmore, it was intended
as a non-collecting institution that
would focus on contemporary
Angeleno artists, with a residency
programme at its centre. Agsten also
The first Los Angeles edition of the Spring/Break fair is held in a Downtown storage facility
competition has a way of raising the
bar,” says the Denver-based dealer
Adam Gildar. Sara Salamone of New
York’s upstart Mrs gallery says sales
slumped a bit on day two of the ALAC
fair—the day Frieze opened—but
that Friday proved better and she has
“already met so many new-to-me col-
lectors out here to make it worth it”.
Of the new events to spring up
around Frieze this year, Felix LA was
expected to be the most innova-
tive. Founded by the former Walt
Disney executive and art collector
Dean Valentine, along with the Los
Angeles-based Morán Morán gallery,
its installation in the Hollywood
Roosevelt Hotel is modelled on the
old-school hotel-room exhibition of
the early 1990s, when art fairs were
just becoming a “thing”.
“Working in this kind of space is a
lot more playful,” says the London-
based dealer Antonia Marsh of Soft
Opening, who has a group show of
The historic Hellman Building in Downtown Los Angeles was the Main Museum’s home
spearheaded an annual programme
called Office Hours, in which she
would have one-on-one meetings with
dozens of local artists, culminating in
an exhibition showcasing their work.
“The most extraordinary thing
about this project was the creative lat-
itude that Tom gave me,” Agsten said
of her time at the Main. “I’ll forever
the Los Angeles-based artists she
works with. She made use of every
space in the hotel room, including
the shower, where she has installed
a small makeup-smeared pillow
piece by the performance artist Liz
Quezada-Lee. “I haven’t had the
chance to show much in the US and
this seemed a less intimidating way to
try it,” Marsh says.
Yet many visitors to Felix LA
found the layout frustrating and felt
that much of the work on view was
overshadowed by the luxe interior
design of the rooms. Also, there
was a wait of more than an hour
during the opening days to get to
the exhibitors on the top floor of
the hotel’s tower rooms. “If you’re a
newcomer to the work, the layout is
a bit overwhelming,” the art adviser
Tracy Kinnally says.
Across town, the first West Coast
iteration of the Spring/Break Art
Show, a young addition to New York’s
be grateful for that.”
Last June, the Museum began
an exploratory partnership with
the ArtCenter College of Design in
Pasadena, which involved collabo-
rative programming and financial
support from the school. Currently
installed at the museum is an exhibi-
tion called Sanctum: Micro-Dwellings
March fair calendar dedicated to
emerging artists, faced some “logisti-
cal challenges”, according to the fair’s
co-founder Andrew Gori. Spotlighting
local artists and dealers, the fair
opened on Friday in a Downtown
storage facility after announcing
its Los Angeles edition only a week
before, leaving some exhibitors
feeling rushed. But Gori says that,
even with the added challenge of
holding this event so close to the
New York flagship edition, “we were
excited to surprise everyone with our
Frieze LA alignment and take part in
the international conversation while
spotlighting the very artists and art-
ist-run spaces that make the energy in
Los Angeles right now so great”.
As most Angelenos know,
however, once the flash of being fresh
wears off, it takes savviness to stay in
Hollywood. “We know our audience,”
Fleming says.
Margaret Carrigan
for LA’s Homeless, featuring
temporary housing solutions from
ArtCenter’s Environmental Design
class. It can now be visited by
appointment only.
“ArtCenter’s partnership with the
Main has opened up new possibilities
for the college and we’re in ongoing
conversations with Tom Gilmore
about the space previously occupied
by the museum,” the school said in
a statement. A representative for
Gilmore said he had no comment.
While the reasons behind the
closure are still unknown, some see it
as a cautionary tale for a Los Angeles
art world whose recent expansion
seems to know no bounds, with a
crop of private museums springing
up over the past few years. Writing
about the museum’s closure for his
Los Angeles County Museum on
Fire blog, the commentator William
Poundstone opined: “If there’s a
moral, maybe it’s this: don’t start
your own museum unless you’re
prepared to fund it in perpetuity.”
Matt Stromberg
Notable
Frieze sales
Did DiCaprio buy
Warhol portrait?
Sources say that a 1980 painting of
Georgia O’Keeffe by Andy Warhol,
on sale at Galerie Thaddaeus Ropac
for $875,000, sold to the film star
and collector Leonardo DiCaprio
at the VIP preview. Ropac says he
first placed the work in 1988 with
a Swiss collector who called him
last month saying he wanted to
sell the piece, 30 years after the
original deal. Warhol made six
versions of the work after visiting the
Modernist painter in New Mexico.
Private collection
pays $1.3m for El
Anatsui wall hanging
A work by the Ghanaian artist El
Anatsui made of found aluminium
and copper wire was sold to a US
private collection for $1.3m by Jack
Shainman Gallery of New York. The
artist is making his presence felt this
year with a major survey due to open
next month at the Haus der Kunst in
Munich, curated by Okwui Enwezor
and Chika Okeke-Agulu, which is due
to travel to Mathaf: Arab Museum of
Modern Art in Doha.
SPRING/BREAK:© DAVID OWENS. MAIN MUSEUM: WIKIMEDIA COMMONS. WARHOL: COURTESY OF GALERIE THADDEAUS ROPAC, REYES: PHOTO: © PEDRO REYES; COURTESY OF LISSON GALLERY
Marciano buys
Reyes totem work
Pedro Reyes’s volcanic stone
sculpture, Totem (Kisosen) (2017),
sold at Lisson Gallery for $100,000
to the Marciano Art Foundation,
which is housed in a 1960s former
Masonic temple in Los Angeles. The
sculpture, built in sections that can
be reconfigured, has an optional
birdbath and can be installed inside
or outdoors. A.S. and G.H.
New York – Chelsea London Hong Kong

The Young and Evil Franz West Neo Rauch

Curated by Jarrett Earnest February 21–April 5 Propaganda
February 21–April 13 March 26–May 11

Tamuna Sirbiladze
R. Crumb February 21–April 5 Thomas Ruff
Drawing for Print: Mind Fucks, Kultur May/June
Klashes, Pulp Fiction & Pulp Fact
William Eggleston
Organized by Robert Storr
April–June
February 21–April 6

Luc Tuymans
Alice Neel Portraits
Freedom
April–June
February 26–April 13

Oscar Murillo
Josh Smith June/July
April–June

Joan Mitchell
May–July

New York – Upper East Side

Sherrie Levine
After Reinhardt
February 28–April 20

Chris Ofili
May/June

Art Fairs

Frieze Los Angeles

February 14–17
Booth C13

ADAA’s The Art Show

A joint presentation of works by
Diane Arbus and Alice Neel
February 27–March 3
Booth A6

Art Basel Hong Kong

A special presentation of new work
by Carol Bove
March 27–31

David Zwirner
 4 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019
NEWS
Research
How a protest
poster inspired
Basquiat’s work
The artist’s 1983 depiction of an infamous case
of police brutality goes on display in New York
A
painting by
Jean-Michel
Basquiat, created
after his friend
and fellow street
artist Michael
Stewart was
beaten to death by New York City
police in September 1983, is going
on public display for the first time in
Manhattan. Daubed directly onto the
wall of Keith Haring’s Soho studio by
Basquiat—who said at the time “it
could have been me”—Defacement
(The Death of Michael Stewart) (1983)
is the centrepiece of an exhibition
at the Guggenheim Museum in New
York (21 June-6 November).
The work is just as poignant today,
at a time when police brutality is again
in the spotlight. “Defacement does not
have definitive answers to the current
political climate, but it is very pow-
erful to see an artist who is speaking
their truth in an unfiltered way,” says
Chaédria LaBouvier, the curator of the
show, whose own brother, Clinton
Roebexar Allen, was shot dead by
Dallas police in 2013. “Defacement
stands as evidence of sorts, even before
legal proceedings had begun, that
Jean-Michel felt that justice would not
be served and the painting steps in as
an alternative to the justice system”.
“The painting
steps in as an
alternative to the
justice system”
Stewart was attacked in custody after
allegedly tagging a wall in an East
Village subway station. In 1985, an
all-white jury acquitted the six transit
police officers indicted in the case.
According to new research,
Basquiat is likely to have painted
Defacement between 29 September
and 5 October after seeing a poster
for a rally protesting Stewart’s then
“near-murder” in Union Square on
26 September. LaBouvier believes the
poster could have been one made
by the US activist and artist David
Wojnarowicz. “We are going through
the authentication channels, but
having had a chance to speak with
people, including Wojnarowicz’s first
gallerist, it’s clear we have found
something interesting which helps
us better understand Defacement’s
composition,” LaBouvier says.
The poster will be shown alongside
other works created in response to
Stewart’s death by artists including
Haring, David Hammons and Andy
Warhol. Haring’s work, Michael
Stewart—USA for Africa (1985) depicts
a naked man being strangled by a pair
of disembodied pink hands. Around
a year earlier, he had cut Defacement
from his studio wall and hung it over
The Art
Newspaper
PODCAST
in association with
Basquiat painted Defacement (1983)
onto Keith Haring’s studio wall. Haring cut
it from the wall and hung it over his bed
his bed in an elaborate, baroque-style
frame. The work remained in Haring’s
possession until he died in 1990, when
it was given to the Italian curator
Francesco Clemente’s daughter, Nina. Conversation and debate
For the show’s catalogue, LaBouvier from inside the art world
has interviewed people directly
involved in the aftermath of Stewart’s
Listen and subscribe
A new episode debuts every
BASQUIAT: PHOTO ALLISON CHIPAK, © SOLOMON R. GUGGENHEIM FOUNDATION
death, including Michael Warren,
the family’s lawyer, and Peter Noel, Friday via the usual podcast
the lead reporter for the New York channels, including iTunes, TuneIn
Amsterdam News. The curator has
even tracked down the person who
and SoundCloud. From a desktop
or laptop, find the show at
leased studio space to Stewart. “This
cements the fact that Michael thought theartnewspaper.com/podcast
of himself as an artist,” LaBouvier says.
“It makes it clear why so many East
Village artists made works in response theartnewspaper.com
to his death. Michael Stewart was a ␣ 
member of their community.”
Anny Shaw
 6 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019

DIARY OVERHEARD AT FRIEZE PROJECTS

“Excuse me, is this art? Can you tell
me where I can find more of it?”
Insider edition —A visitor to the backlot during the VIP opening

 A towering erection
True Confessions  Counting stars
Alex
A sculpture by Chris Burden
on Gagosian’s stand at Frieze
Los Angeles looks like another

Freedman
Co-founder, Freedman
Fitzpatrick gallery, Los Angeles
The most underrated art
movement is…
Ethiopian icon painting.
The artist I should have signed…
George Bush.
Dealers are misunderstood
because…
We are not magicians.
complex masterwork by the
late mischief-maker. But this
towering, seemingly abstract
piece is making people blush.
On learning that the gold
leaf-topped sculpture, made
by Burden in 1986, is called Sex
Tower (Architectural Model
of 125 foot high Sex Tower),
one fairgoer simply uttered:
“Oh my. It kinda looks phallic,
thinking about it.” The gallery is
also showing a 2008 drawing
by Burden depicting his
outlandish plan for a sculpture
to be installed in the private
gallery space of the former
Disney president Michael Ovitz.
Burden’s proposal consisted
Smiles all around: Brad Pitt with fan at the fair of dropping into the space
some “very old triple-plated
Two truths and a lie: the gallerist Pilar Corrias is Jane Fonda’s niece, everyone still hot-riveted girders”.
swoons over Brad Pitt, and Leonardo DiCaprio loves having his picture taken. “How
about you stop filming me, buddy?” Leo was heard to hiss at the Frieze VIP opening as
he zoomed around with his vaping entourage. Pitt was seen to come together genially
with Sylvester Stallone in front of some Tracey Emin drawings at White Cube’s stand—  Fuck me, it’s performance art
but not before sweetly snapping selfies with some fans. Later, the actor and chat show
host James Corden bought one of those same works by Emin. Eric Garcetti, the mayor Tino Sehgal’s This is Competition, a “con- works, forcing the dealers to co-operate
of Los Angeles, who keeps a pair of Catherine Opie photographs in his office, chatted structed situation” (aka performance) in as they compete to sell the artist’s work”,
up the owners of Kurimanzutto, while the fashion god Raf Simons darted around the Frieze Projects section on the backlot a project statement explains. But not
looking for inspiration at Tanya Bonakdar and Greene Naftali galleries. We may have of the Paramount Pictures Studios, pits every dealer could take on the challenge.
missed actress Jodie Foster and Broadway star Idina Menzel, but we did see the artist representatives from two of the artist’s Matt Carey-Williams of Victoria Miro says
Sarah Cain’s boyfriend (and podcaster of note) Marc Maron hanging out in front of her galleries against each other in a kind of that he would rely on just one word. “I’d
Frieze Project. Stars—they’re just like us… art people. rap battle. “[The participants] alternate only say ‘fuck’,” the cheeky London-based
words as they explain and enact his dealer quips.

The next big thing…

Coding as a blue-collar job.

Life’s too short to…

Pick on people smaller than you.
Things that keep me awake at 3am
include…
Miss Vanjie, Miss Vanjie, Miss
Vaaaaaannjie [from RuPaul’s Drag
Race television series]
I’d rather visit a museum than…
Hang out in an airport.
Soft furnishings and screen tests
What better place to look at three
never-before-seen Andy Warhol screen
tests than at Elvis Presley’s old house?
On Friday night, collectors headed to
the star’s former home in Beverly Hills,
now Casa Perfect, an outpost of New
York-based design showroom The Future
Perfect (aka “the house of the $100,000
sofa”). They teamed up with longtime
Warhol collector Jim Hedges to present
the screen tests—including of Lou Reed,
Artoon by Pablo Helguera
Edie Sedgwick and Kipp Stagg, bought
directly from the Andy Warhol Diaries
editor Pat Hackett—as well as a series
of unique gelatin prints, and Polaroid
portraits, including snapshots of OJ
Simpson and Dolly Parton. “We’re only
45 minutes into the opening, and I’ve
heard half-a-dozen have sold,” said
Hedges, with a smile and a shrug.

Small talk is…

When you’re so worried you’ll
offend someone, you talk about PITT: © DAVID OWENS. BURDEN: GARETH HARRIS. WARHOL: MAXWELL WILLIAMS
English weather.

I last cooked for…

The joy of cooking.

My favourite box set is….

One with a cooling eye mask and
lipliner in it.

Los Angeles matters because…

Girl, really?

Where creativity,
culture and commerce collide
We are proud to partner with Frieze for the
inaugural edition of Frieze Los Angeles.
NeueHouse.com
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T:251 mm

T:389 mm

publication
client Baron and Baron line screen
job 110822 dmax
212.229.0009
due date trim
 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019
FEATURE
Public art
BEAU STANTON MURAL: COURTESY OF THE ARTIST. SHEPARD FAIREY: PHOTO JON FURLONG; IMAGE COURTESY OBEY GIANT ART
L
Los Angeles
os Angeles is a
painted city, known
for its long history
wears its
of street murals. And
these works ignite
a fierce response
from its residents,
whether it be a sense of pride or an
ART ON ITS
urge to protest.
The power of such public art can
be seen in the recent uproar over a
mural portrait of the late Hollywood
actress Ava Gardner, painted by
SLEEVE
the street artist Beau Stanton at
the Robert F. Kennedy Community
Schools complex in central Los
Angeles. In December, Korean activ-
ists complained that the sunburst
background was similar to Imperial
The city’s street murals, vehicles
Japan’s Rising Sun flag–which many
now view as a symbol of aggression
and a reminder of war crimes—and
for protest since the 1930s, the school appeared to cave to pres-
sure to remove the mural.
continue to be a flashpoint. But then the street art star
Shepard Fairey stepped in, threat-
ening to remove his own portrait
By Anny Shaw
NYABF_ArtNews_dbl-banner.pdf
1 2/7/19 4:57 PM
of Senator Kennedy from the front
APRIL 12–14, 2019
OPENING NIGHT
APRIL 11
printedmatter.org
of the school’s library, metres from
where the politician was murdered
in 1968. “Ironically, the only way to
serve what [Kennedy] stood for is to
use the threat of the removal of his
portrait mural to stand up for artistic
expression over reactionary misin-
terpretation and censorship,” Fairey
writes on his website.
For now, Stanton’s painting is
safe—as we went to press, the school
was discussing the future of the
work with interested parties—but
PRINTED MATTER’S
The Geffen Contemporary at MOCA
9
When Beau Stanton’s controversial
mural of actress Ava Gardner at Robert
F. Kennedy Community Schools (left) was
at risk of removal, Shepard Fairey (below)
threatened to remove his painting of
Senator Kennedy from the same complex
the standoff shows just how high
emotions can run when it comes to
the city’s murals.
The earliest surviving public mural
in Los Angeles caused scandal when
it was painted by the Mexican artist
and communist activist David Alfaro
Siqueiros in 1932. América Tropical
was commissioned by F.K. Ferenz, the
director of the Plaza Art Gallery. But
instead of painting something idyllic
celebrating “the land of plenty”, as
requested, Siqueiros came up with
the image of a crucified Indian figure,
with an American eagle looming
above him. Two sharpshooters take
aim at the bird of prey from nearby.
The reaction to the brazenly
anti-American work was severe: the
sharpshooters were painted over
within two years and the mural was
completely whitewashed by the end
of the decade. The Los Angeles Times
critic, Arthur H. Miller, wrote in 1934:
“It is a powerful work. Some people
think it very ugly. A week ago, fifteen
feet of the fresco was whitewashed […]
This brings up once more the question
of artist’s rights versus owner’s rights.”
Renewed interest in the piece
came in the 1960s with the rise of the
Chicano mural movement, a form
of resistance and way of expressing
particular blends of Mexican-American
culture. The art historian Shifra
Goldman started a campaign to pre-
serve América Tropical, which eventu-
ally reopened to the public in 2012.
“What is eerie is how timely it is
today,” Rainer says, noting how, during
the late 1920s and early 1930s, as many
as 1.8 million Mexicans and Mexican-
Americans were deported from the US.
Siqueiros never returned to Los
Angeles—his visa was not renewed—
but the Mexican artist’s anti-imperi-
alism stamp was left indelibly on the
city, inspiring others to do the same.
In the decades that followed,
the faces of Che Guevara, Lenin and
other revolutionary figures began to
spring up in neighbourhoods such
as Boyle Heights, Highland Park and
East Hollywood. Further challenges to
the white, capitalist hegemony came
with the multiculturalist muralist
movement that mushroomed across
Los Angeles in the 1970s and 1980s.
One of south Los Angeles’s
most revered murals, Our Mighty
Contribution (2000-02), depicting
African-American figures including
Martin Luther King Jr and the former
Black Panther leader Kathleen
Cleaver, was defaced in November
 CONTINUED ON PAGE 10
 10
FEATURE
Public art
 CONTINUED FROM PAGE 9
with swastikas. Created by around
a dozen local artists including
George Combs, Alonzo Davis, David
Hammons and Roland Welton, the
vandalised part of the mural was
quickly repainted.
There are now plans to build
Destination Crenshaw, a 1.3-mile
open-air museum in south Los Angeles
that planners say will revitalise the
heart of black Los Angeles. As part
of the $100m project, Our Mighty
Contribution is due to be fully restored
and treated with a protective coating.
Murals in their myriad forms
are just one part of the rich tapestry
of outdoor works in Los Angeles,
however. The dealer Jeffrey Deitch,
who is showing at Frieze Los Angeles
this week, notes how the photo-realis-
tic art of someone like Kent Twitchell,
whose monumental portrait of the
Los Angeles artist Ed Ruscha adorns
the American Hotel, differs from the
work of the street artist RISK, who
brought a version of New York City’s
“wildstyle” graffiti to Los Angeles.
“Murals are quite beloved in Los
Angeles; when television shows pan
across scenes of the city, they often
include these murals. But graffiti is
not treated in the same way,” says
“Everyone drives
here—the billboard
is the image
that is visible as
you go rushing
by at 50mph”
THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019
Deitch, who in 2011 organised the
exhibition Art in the Streets at the
Museum of Contemporary Art, Los
Angeles while director there.
Billboard culture is prevalent in
Los Angeles—Sunset Strip has long
exhibited monolithic hoardings
advertising rock bands. “Everyone
drives here—the billboard is the
image that is visible as you go rushing
by at 50mph,” Deitch says. “It’s a
completely different visual culture to
London or New York.”
In 2002, a row over the prolif-
eration of commercial billboards
resulted in a decade-long embargo on
murals, with no distinction between
artistic works and commercial signs.
The moratorium was lifted in 2013,
but by then organisations such as the
Social and Public Art Resource Center
estimated that half of the city’s
murals had been lost. Above: Our Mighty Contribution (2000-
The Los Angeles mural artist Art 02), depicting key African-American
Mortimer recalls how, once the ban figures, was recently defaced with
was revoked, “murals just exploded; swastikas. Right: an artist working
they were everywhere”. Now, he says, on one of the city’s many murals
“it’s not about history or the commu-
nity: it is art on walls”. front of it sparked outrage last year.
OUR MIGHTY CONTRIBUTION: AP PHOTO/KEVIN TERRELL. MURAL OF GIRL: LORD JIM/CC BY 2.0
Mortimer also observes how the While Deitch detects a growing
art form has become professionalised. number of artists who are using street
“When I painted Brandelli’s Brig in art’s new-found prestige to create
1973 [a mural inside a mural, outside brands and cash in, he also supports
a bar], it was all done on a handshake. the talented muralists, taggers and
We agreed on what it was going to street artists who have become part
be and how much they were going to of the mainstream art discourse.
pay me, and I got busy,” he says. “Now “Almost every ambitious artist
the contracts are drawn up by lawyers I’ve met, whether they started on
and you have to have insurance.”
As street art becomes increasingly
the street or went to Yale School
of Art, wants to participate in art
marketable, its public function is
starting to be eroded. One mural on
history,” he says. “Regardless of
background, street art gives people
Melrose Avenue that only allowed
verified social media influencers with
a profile and an opportunity to prac-
tise their craft. I believe it should be
more than 20,000 followers to pose in open for everybody.”
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 12 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019 13

STUDIO TOUR
Frieze Projects

Film-making and art poetically intertwine at the inaugural

edition of Frieze Projects in Los Angeles. The curator Ali
Subotnick has brought together 14 works that are dotted
around the New York street movie set on the backlot of
Paramount Pictures Studios, with another two installed
elsewhere on the grounds. “The results are magical,
otherworldly, surreal and hyper-real but never dull,” she
says. The local artist Trulee Hall has created a fluorescent
serpentine monster that snakes in and out of the windows and
fire escapes of a classic mock Manhattan brownstone. Around
the corner, clothes lines bedecked with garments painted by
Hannah Greely bring to mind bustling residential blocks. “It
is interesting to work with artists in unconventional contexts,
pushing them to wrestle with untraditional limits,” Subotnick
says. “This is so different from a park or a tent, it is an extra
layer to play with. It demonstrates one way of bringing art to
an urban environment like Los Angeles, a way of living with
and engaging with art in the real world.” Subotnick points
to the sculptural installation by Karon Davis, which depicts
a high school principal and two students with antlers. “It is
about how schools have become a site for the hunted,” she
says of the work, which was unveiled at Frieze on the first
anniversary of the Parkland mass shooting in Florida.
By Gareth Harris Hannah Greely, High and Dry (2019)
Photographs by David Owens

Trulee Hall, Infestation (2019)

© DAVID OWENS, WWW.DAVID-OWENS.CO.UK

Paul McCarthy, Daddies Tomato Ketchup Inflatable (2007)

Max Hooper Schneider, Female Odobenid (2019)

Lisa Anne Auerbach, Psychic Art Advisor (2019)

Karon Davis, Game (2019)

 14 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019

INTERVIEW
Lisa Anne Auerbach, artist

Should I spend my
life’s savings on a
BALLOON
DOG? By Gabriella Angeleti

W
hat is the best wall-hung and wearable. In the 2014 Whitney
way to spend your Biennial, Auerbach presented large-scale knitted
money at Frieze Los pieces with text and images referencing grass-
Angeles? The answer roots activist groups ranging from the Russian
may be written in feminist punk band Pussy Riot to the Danish
the stars, according movement Honsestrik (“chicken knit”), which
to the artist Lisa encourages people to create their own knitting
Anne Auerbach. For the fair’s first edition, she is combinations rather than succumb to mass-
presenting a performance piece called Psychic produced patterns.
Art Advisor (2019) in which visitors enter a She has had solo shows at the Aspen Art
brownstone in the backlot of Paramount Pictures Museum, the University of Michigan Museum of
Studios to receive one-on-one psychic readings Art and Nottingham Contemporary in England,
that aim to unshroud their doubts around collect- among others. She currently has an exhibition at

AUERBACH: ANTHONY LEPORE

ing and the art market.
The Los Angeles-based artist is an associate
professor of art at Pomona College. She is pri-
marily known as a photographer and for her
politically charged textile works, which are both
Gavlak gallery in Hollywood (until 16 March). 
THE ART NEWSPAPER: How did the idea for a
psychic art advisory come about?
LISA ANNE AUERBACH: I have an ongoing series

Helen Lundeberg
Interiors
January 19 – March 9, 2019

In celebration of Frieze Week, the gallery will be open for

extended hours on Friday and Saturday evening.

Join us for a nightcap on Saturday evening from 5 to 9 pm.

Refreshments will be served.

Friday, February 15, 10 am to 7 pm

Saturday, February 16, 11 am to 9 pm

Louis Stern Fine Arts

9002 Melrose Avenue
Untitled, 1970, acrylic on canvas, 54 x 30 in; 137.2 x 76.2 cm West Hollywood, CA 90069
©The Feitelson / Lundeberg Art Foundation
louissternfinearts.com
 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019
“A
A lot of art advisers and psychics use their homes
as their office, and they are primarily women”
that I started in 2003 where I photograph small
freestanding businesses around the US, and in
CARDS: © VYACHESLAV VOLKOV. BROWNSTONE: © DAVID OWENS, WWW.DAVID-OWENS.CO.UK.
2014 I began another project that focused on
storefronts for psychic advisers in Los Angeles.
Most of these “apartment psychics” are running
businesses out of their homes or in these half-
closed places where you can’t exactly tell
whether it’s a real business or a front. When I
visited the backlot of Paramount Pictures Studios
and thought about what I could do for Frieze, it
struck me that the brownstones look similar to
the types of places these psychics operate from
in urban cities.
This project also builds on the idea of artists
opening businesses of some sort. Around two
years ago, I opened my own freestanding busi-
ness out of a shed in our backyard called The
Meow, and we had different people operate in
Free Admission hammer.ucla.edu | @hammer_museum
ALLEN RUPPERSBERG: INTELLECTUAL PROPERTY 1968–2018 IS ORGANIZED BY THE WALKER ART CENTER, MINNEAPOLIS.
ALLEN RUPPERSBERG, GREETINGS FROM CALIFORNIA, 1972. ACRYLIC ON CANVAS. WHITNEY MUSEUM OF AMERICAN ART, NEW YORK. PURCHASE WITH FUNDS FROM RON BAILEY, PETER NORTON,
PHIL AARONS, KEVIN BRINE, BETH RUDIN DEWOODY, RAYMOND J. MCGUIRE, JON SANDELMAN, AND DAVID WASSERMAN, 2005.16. COURTESY OF THE WHITNEY MUSEUM OF AMERICAN ART
that space, including a tattoo shop, a record
store and a store specialising in Sillisculpts [the
kitschy statuettes popular in the 1960s and 70s].
So the Frieze project brings together those ideas.
How does the businesses of psychic advisory
and art advisory overlap?
A good connecting idea is that you’re entrusting
the people in both jobs with potentially big deci-
sions. You’re asking them to predict the future, or
you’re asking them to think about choices you’ve
already made and affirm that those are the right
decisions. Often, when people go to psychics,
they go there knowing what they want to hear
but they want someone else to validate it. With
art advisers, that relationship is very similar.
It’s also been illuminating to understand
the relationship between the psychic and the
Tools of the trade: can cards and dice guide your
arty-buying decisons? Left: Auerbach’s Frieze
Project, Psychic Art Advisor (2019)
customer. It’s the same relationship between
the collector and the adviser, or someone who is
interested in art and the artist. The relationships
are both one-on-one opportunities to make a dif-
ference in someone’s life or proselytise about
something that you’re really interested in, in a
way that feels real and intimate. Also, a lot of art
advisers and psychics use their homes as their
office, and they are primarily women, in my per-
sonal experience.
What does your Frieze Project look like?
It’s intentionally funny. There’s a big neon sign
and it reflects on art advisory as another kind
of freestanding business that someone might
open in a backlot. What’s interesting to me is
work that’s not totally didactic and humourless
but that uses humour as a way to maybe help
FEBRUARY 10–MAY 12, 2019
15
the audience look at something in a different or
more meaningful way.
What can the art world expect from their
psychic readings?
I’m not the one performing the readings. Alpine
Moon, the nom de psychic of the Los Angeles-
based performance artist Estela Sanchez, is the
psychic art adviser for most of the [fair’s run]
and then a few other performers are also step-
ping in. Each person has a 25-minute session
and none of it has been pre-rehearsed. It’s all
improvised on the spot. People bring in their
questions about the three Cs—curating, collect-
ing and creative endeavours—and through some
tools we will settle some of those issues.
We have five-sided rainbow dice to roll for
divination and there are a deck of oracle-style
cards with my photographs called the Readings
Deck. Around 100 copies of these decks are
being printed and the images are evocative of
a number of different things. I believe you can
tease out all sorts of illusions and ideas in any
image when you really take the time to examine
them. Inside the space, there are some of my
textile pieces as part of the decor.
You’ve said that Los Angelenos seem to be
interested in alternative spirituality. Why?
I feel like that’s always been the case with
California in general. It’s this place for seekers
and dreamers—or at least that’s the myth of
California, anyway. I grew up in Michigan and
we always referred to California as the land of
fruits and nuts. It’s the reputation of the state,
although I don’t know if it’s even that emblem-
atic of California anymore. It seems to be every-
where now, especially among young people I
know who refer to astrology as a real thing and
spend their time consulting decks and the stars.
Outside of the fair, where else can the Frieze
Los Angeles crowd see your work?
I have a show called Libraries at Gavlak gallery
consisting of a series of knitted images of book-
shelves. The bookshelves are based on a few
different libraries, including that of a colleague
who teaches sociology classes focused on ter-
rorists and extremists, the library of a yoga
studio and an imagined library belonging to
Donald Trump that is, as you might imagine,
stocked primarily with books he has written.
• Lisa Anne Auberbach: Libraries, Gavlack gallery,
1034 North Highland Avenue, until 16 March
April 11 -14

Presented By

Sponsored By
Preview Benefit
Thursday, April 11th
6:00 PM - 10:00 PM

Fashion Industry Gallery

1807 Ross Avenue
Dallas, Texas 75201

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and sponsors dosist and UGG. / Media Partners: Art in America, Artnet, ARTnews, frieze magazine, Greater Palm Springs Convention & Visitors
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 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019 19

CALENDAR
Frieze week

Anri Sala’s film Take Over (2017) will
be screened at Paramount Theatre
○ Talks and events
SATURDAY 16 FEBRUARY
11.30AM Film: Cécile B. Evans, AGNES
(the end is near), Hyperlinks or It Didn’t
Happen, What the Heart Wants
A screening of three films by the Belgian-
American artist.
Paramount Theatre
2PM Conversations on Patronage:
Evolution of the Human, Art in the
Age of AI and Synthetic Bio
Synthetic biologist Drew Endy of Stanford
University and Tobias Rees of the
Berggruen Institute, in discussion with the
conceptual artist Agnieszka Kurant.
Sherry Lansing Theatre, Paramount Studios
3.30PM Film: Anri Sala, Take Over
A special screening of the Albanian artist’s
2017 film
Paramount Theatre
5PM Artist Talk
The artists and film-makers Cauleen Smith
and Sondra Perry in conversation
Sherry Lansing Theatre, Paramount Studios
SUNDAY, 17 FEBRUARY
12PM Film: Tala Madani, The Audience
The Los Angeles-based artist presents a
compilation of seven short animations
Paramount Theatre
3.30PM Artist Talk: Mary Weatherford
The US painter in conversation with the
academic and critic Suzanne Hudson
Sherry Lansing Theatre, Paramount Studios
3.30PM Film: Jenn Nkiru, Black to Techno
Gucci and Frieze present the fourth film in
the Second Summer of Love series
Paramount Theatre
5PM Artist Talk: Liz Larner
RUPPERSBERG: PHOTOS BY GARY KRUEGER; DIGITAL SCANS BY AUGUSTA WOOD; COURTESY THE ARTIST. ANRI SALA: PHOTO © ANDREA ROSSETTI; COURTESY OF ESTHER SCHIPPER
Crackers and
cacti cuisine
anyone?
The Hammer dishes up a feast for Allen
Ruppersberg’s first major US show in 30 years
Allen Ruppersberg: Intellectual
Property 1968-2018
Hammer Museum
UNTIL 12 MAY
“The strength of
Ruppersberg’s work is that it
has managed to be accessible
through references to American
vernacular and literary histories
while also being of a hardcore
conceptual bent,” says Aram
Moshayedi, the curator of the
Hammer Museum’s retrospective
dedicated to the hometown hero
Allen Ruppersberg: his first
comprehensive one in the US since
1985, when a mid-career survey was
mounted by the Museum of
Contemporary Art, Los Angeles.
(This exhibition debuted at
Minneapolis’s Walker Art Center in
2018.) While 1960s Conceptual artists
in New York, London and Europe
tended to approach language from a
philosophical or Structuralist
position, Ruppersberg was always
more interested in literary fiction,
screenwriting and poetry—not to
mention wry humour.
Born in 1944, Ruppersberg has
long been a mythical presence in
the Los Angeles art world—which
was perhaps his intention. “Evasion
stories and horrific current events”.
Over the past five decades he has
pursued these interests quietly,
often seemingly from the margins,
operating from rented offices
and moving frequently between
California, New York and Europe.
Where’s Al? (1972/2006) is the title
of an early installation of typed
index cards and photographs,
a landmark piece included in
this show.
Ruppersberg got off to an aus-
picious start. Soon after graduating
from Chouinard (now CalArts) in
1967, he was invited to participate
in Harald Szeemann’s legendary
exhibition, Live in Your Head:
When Attitudes Become Form,
held at the Kunsthalle Bern in
1969. Ruppersberg did not travel
to Switzerland because he was
working on a project in a store- Above: Street view and façade of Al’s Café at 1913 West 6th Street, Los Angeles
front in downtown Los Angeles. (1969). The Hammer show includes the full set of dishes (below) in Meals from
Part installation, part participatory Al’s Cafe (1969)
performance, Al’s Café (1969) was
a short-lived enterprise that, while of Land Art, in another it was a self-portrait”, The New Five Foot
it looked much like any other social sculpture, bringing together Shelf (2001) is a room-sized instal-
American diner, served dishes interested participants and gener- lation of books and posters that
listed on the menu as “three rocks ating discourse around an event. It reproduce, on one-to-one scale,
with crumpled paper wad” ($1.75) preceded the Relational Aesthetics Ruppersberg’s former New York
or “simulated burned pine needles of Rirkrit Tiravanija and Thomas studio. A major new 13-hour video
à la Johnny Cash, served with a Hirschhorn, for example, by a debuting at the Hammer, Over and
live fern” ($3.00). The Hammer’s quarter of a century; in the 1990s, Over, Again and Again (2019)—a col-

The Los Angeles-based sculptor speaks
with the poet Ariana Reines
Sherry Lansing Theatre, Paramount Studios
5PM Artist Talk: Miranda July
The film-maker and artist speaks with the
writer Maggie Nelson
5 Carlos Place, Paramount Studios Backlot
has always been part of his work,”
Moshayedi says. The artist once
listed his influences as “youth,
serial killers, magic, movies and
film history, Raymond Roussel,
reading and looking, fate, suicide,
the fountain of youth, surrealism,
fiction and reality, high and low
cultures, hell, Hollywood, Bible
iteration of Intellectual Property
(1968-2018) boasts the only full set
of dishes from Al’s Café, a recent
gift from the family of collectors
Stanley and Elyse Grinstein, and too
delicate to travel to Minneapolis.
While on one level Al’s Café was
an irreverent way of disseminating
assemblage sculptures parodic
Ruppersberg was latterly celebrated
as a progenitor of the movement.
While Ruppersberg is often
physically and conceptually central
to his projects, he always seems to
stand just out of shot. Described
by Siri Engberg, the curator of the
Minneapolis show, in her cata-
logue essay as his “most ambitious
laboration with Thomas and Lucas
Cvikota—collates images of an
anonymous record collector’s typed
index cards, accompanied by audio
recordings from Ruppersberg’s own
collection. Sound and image may
or may not relate; Ruppersberg
remains an elusive presence.
Jonathan Griffin

○ Satellite Fairs
ART LOS ANGELES CONTEMPORARY
Until 17 February
The Barker Hangar
3021 Airport Avenue, Santa Monica 90405
FELIX LA
Until 17 February
The Hollywood Roosevelt Hotel
7000 Hollywood Blvd, Los Angeles 90028
SPRING/BREAK ART SHOW
Until 17 February
The Stalls at Skylight ROW DTLA
71925 East 8th Street, Los Angeles 90021
STARTUP
Until 17 February
The Kinney Venice Beach
737 West Washington Blvd, Venice 90292

August 1-4, 2019

CenturyLink Field Event Center
Seattleartfair.com
Presented by
 20 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019
CALENDAR
Frieze Week
Our pick of shows
Charles White’s General Moses (Harriet Tubman) (1965) depicts the abolitionist and political activist
One Day at a Time: Manny
Farber and Termite Art
Museum of Contemporary Art (MoCA), Grand Avenue
UNTIL 11 MARCH
The late painter and film critic Manny Farber—who in 1962 wrote the underground essay
White Elephant Art vs Termite Art—mainly defined termite art by its opposite, stating that it
does not strive to be a masterpiece. In the catalogue for this show, featuring work by Farber
and other artists, the museum’s former chief curator Helen Molesworth similarly writes: “In
a nutshell, “[termite art] can perhaps be described as [a work of art] that dives deep into—
and is fascinated by—banal or minute details, arriving at that subject matter which might
otherwise be typically overlooked.” The show describes the phenomenon by example, with
one of the most telling choices being Wolfgang Tillmans and his diaristic photos of half-eaten
meals and cluttered desks or tables. It also nods to the oddly comic rhythms of daily life with
a selection of Fischli & Weiss’s Suddenly This Overview (1981-2010): 20 small unfired clay
vignettes, including one of Albert Einstein’s parents asleep in bed. After all, what could be Manny Farber examines the banal in works like Cézanne avait
more ordinary than a couple sleeping, even if they are on the verge of creating a genius? J.F. écrit (1986)
“Everywhere in L.A. takes 20 minutes”
As if! Don’t be Clueless: use our handy guide to plan your drivetime from Frieze
• Non-commercial
galleries are marked
with ✪
10-minute drive
David Kordansky Gallery
5130 W Edgewood Place, Los Angeles 90019
Fred Eversley: Chromospheres
UNTIL 2 MARCH
Evan Holloway: Outdoor Sculpture
UNTIL 2 MARCH
Freedman Fitzpatrick
6051 Hollywood Boulevard, #107,
Los Angeles 90028
Nicolas Roggy
UNTIL 23 MARCH
Jeffrey Deitch
925 North Orange Drive, Los Angeles 90038
People
UNTIL 6 APRIL
✪ LAXART
7000 Santa Monica Boulevard,
West Hollywood 90038
Elijah Burgher: Four Paintings
UNTIL 17 FEBRUARY
✪ Los Angeles Contemporary
Exhibitions (LACE)
6522 Hollywood Boulevard, Los Angeles 90028
Take My Money, Take My Body
UNTIL 24 FEBRUARY
The Archival Impulse: 40 Years at LACE
UNTIL 31 DECEMBER
Stacey Dash (left), Alicia Silverstone (middle) and Brittany Murphy from the ✪ MAK Center for Art and Architecture
1995 hit film Clueless 835 N Kings Road, West Hollywood 90069
Charles White:
a Retrospective
Los Angeles County Museum of Art
17 FEBRUARY-9 JUNE
Los Angeles’s museums are celebrating the
life and legacy of Charles White (1918-
79) with a trio of exhibitions, including a
100-piece career retrospective at the Los
Angeles County Museum of Art. The artist
and activist is known for creating paintings,
drawings and murals over a 40-year period
that chronicled African-Americans’ struggle
for equality. White was active in the Chicago
Black Renaissance movement in the 1930s
and early 1940s before moving to New
York in 1942. Health reasons brought White
to Los Angeles in 1956 and his impact on
students at Otis College of Art and Design is
explored in Life Model: Charles White and
His Students at Charles White Elementary
School Gallery (16 February-15 September).
Finally, on 6 March, the California African
American Museum will open Plumb Line:
Charles White and the Contemporary
(until 25 August), which looks at work by
contemporary artists that resonates with
White’s oeuvre. E.S.
Shelter or Playground: the House of Dust at
the Schindler House
UNTIL 2 JUNE
✪ Marciano Art Foundation
4357 Wilshire Boulevard, Los Angeles 90010
Ai Weiwei: Life Cycle
UNTIL 3 MARCH
Glenn Ligon: Selections from the Collection
UNTIL 5 MAY
Matthew Marks
1062 North Orange Grove Avenue
and 7818 Santa Monica Boulevard,
West Hollywood 90046
Gary Hume
UNTIL 30 MARCH
Regen Projects
6750 Santa Monica Boulevard, Los Angeles
90038
Glenn Ligon
UNTIL 17 FEBRUARY
Tanya Bonakdar
1010 N Highland Avenue, Los Angeles 90038
Tomás Saraceno
UNTIL 2 MARCH
20-minute drive
11301PE
6150 Wilshire Boulevard, Los Angeles 90048
Petra Cortright: Lucky Duck Lights Out
UNTIL 2 MARCH
✪ 18th Street Arts Center
1639 18th Street, Santa Monica 90404
Stephanie Keitz: Doubts About Spaces
UNTIL 16 FEBRUARY
✪ A+D Architecture and Design Museum
900 E 4th Street, Los Angeles 90013
Rios Clementi Hale: Volume
Burgher’s works draw on the occult and queer sex magic
Elijah Burgher: Four Paintings
LAXART
UNTIL 17 FEBRUARY
An artistic coda to LAXART’s collaborative group exhibition
Sperm Cult, which closed in January, the works in this show were
created by Berlin-based Elijah Burgher while he was in residency
in Los Angeles last autumn, thanks to a grant from the Mike
Kelley Foundation for the Arts. Burgher’s interest in the occult
and queer sex magic comes through the raw canvases, which are
meant to serve as “visual hexes” painted with the artist’s own
“arcane language” of symbols. They also serve as a backdrop for
LAXART’s Winter Event Series, which runs through this week at
the non-profit art space and at Frieze Los Angeles. H.S.
Ruines Américaines (around 1858-60) by Désiré Charnay shows
the pre-Columbian Pyramid of the Magician in Uxmal, Mexico
Monumentality
Getty Research Institute, Getty Center
UNTIL 21 APRIL
The Getty Research Institute (GRI) is wading into the conten-
tious monuments debate with an exhibition that asks why some
monuments endure while others do not. Historic photographs,
prints, political ephemera, books and contemporary works
by Theaster Gates, Ed Ruscha and Tacita Dean, among others,
“take a broad view of both the varied life of monuments
and the concept of the monument from the classical to the
contemporary”, says the GRI’s acting director Andrew Perchuk.
Monuments include the Nazca lines, Peru’s 2,200-year-old geo-
glyphs; a statue of Napoleon pulled down during the 1871 Paris
Commune; and Gates’s Dancing Minstrel (2016), an oversized
bobble-head of a black minstrel which the artist has decon-
structed as an act of stripping it of its racist stereotype. E.S.
CHARLES WHITE: PHOTO COURTESY OF SWANN AUCTION GALLERIES; © THE CHARLES WHITE ARCHIVES. MANNY FARBER: COURTESY OF QUINT GALLERY, SAN DIEGO. MONUMENTS: GETTY RESEARCH INSTITUTE, LOS ANGELES. CLUELESS: © SHUTTERSTOCK
UNTIL 17 FEBRUARY The Notion of Family
Persistent: Evolving Architecture in a UNTIL 3 MARCH
Changing World
UNTIL 17 FEBRUARY
California Bound: Slavery on the New
Frontier 1848-65
P810: Dark Mode
UNTIL 17 FEBRUARY
UNTIL 28 APRIL
Adia Millett: Breaking Patterns
Anat Ebgi UNTIL 25 AUGUST
2660 S La Cienega Boulevard, Los Angeles ✪ Charles White Elementary
90034
Faith Wilding
School Gallery
2401 Wilshire Boulevard, Los Angeles 90057
UNTIL 9 MARCH Life Model: Charles White and His Students
✪ Art + Practice 16 FEBRUARY-15 SEPTEMBER
3401 W 43rd Place, Los Angeles 90008 Château Shatto
Time Is Running Out of Time: Experimental 1206 Maple Avenue #1030, Los Angeles 90015
Film and Video from the L.A. Rebellion and Cécile B. Evans: Something tactical is coming
Today UNTIL 24 FEBRUARY
UNTIL 14 SEPTEMBER ✪ Chinese American Museum
Blum & Poe 425 N Los Angeles Street, Los Angeles
2727 S La Cienega Boulevard, Los Angeles Lightscapes: Re-envisioning the
90034 Shanshuihua
Parergon: Japanese Art of the 1980s & 1990s UNTIL 10 NOVEMBER
UNTIL 23 MARCH Cirrus Gallery
The Box 2011 S Santa Fe Avenue, Los Angeles 90012
805 Traction Avenue, Los Angeles 90013 Bruce Nauman Prints: 1971-81
Pierre Guyotat and Christoph von Weyhe UNTIL 2 MARCH
UNTIL 30 MARCH Charlemagne Palestine: 356
✪ The Broad CcornUuoOrphanosS
221 S Grand Avenue, Los Angeles 90012 UNTIL 2 MARCH
The Collection Commonwealth and Council
ONGOING 3006 West 7th Street, Suite 220, Los Angeles
Yayoi Kusama’s Infinity Mirror Rooms 90005
ONGOING David Alekhuogie: To Live & Die in LA
✪ California African American Museum UNTIL 2 MARCH
600 State Drive, Exposition Park, Kenneth Tam: Tamborine
Los Angeles 90037 UNTIL 2 MARCH
Robert Pruitt: Devotion ✪ Craft Contemporary
UNTIL 17 FEBRUARY 5814 Wilshire Boulevard, Los Angeles 90036
Los Angeles Freedom Rally, 1963 Beatriz Cortez: Trinidad/Joy Station
UNTIL 3 MARCH UNTIL 12 MAY
 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019 21

MARY CORSE
Untitled (1969)
Glass microspheres in acrylic on canvas
$100,000–150,000

ED RUSCHA
Mocha Standard (1969)
8-color screenprint on paper
$80,000–120,000

FRED HAMMERSLEY
Black for more (1972)
Oil on linen
$60,000–80,000

FRED EVERSLEY
Untitled (1969)
3-color, 3-layer cast polyester
$30,000–50,000
Pink Dots—LA-based interdisciplinary artist Math Bass’s site-specific mural for the Hammer Museum’s lobby

Focus Iran 3 Los Angeles, 90069 ✪ Fowler Museum at UCLA

UNTIL 12 MAY Keltie Ferris 308 Charles E Young Drive N, Los Angeles
Gagosian UNTIL 20 MARCH 90024
420a North Camden Drive, Beverly Hills 90210 ✪ Museum of Contemporary Art New Orleans Second Line Parades:
Albert Oehlen: Drawings (MoCA) Grand Avenue Photographs by Pableaux Johnson
UNTIL 2 MARCH 250 South Grand Avenue, Los Angeles 90012 UNTIL 28 APRIL
Ghebaly Gallery One Day at a Time: Manny Farber and Summoning the Ancestors: Southern
2245 E Washington Boulevard, Los Angeles Termite Art Nigerian Bronzes
90021 UNTIL 11 MARCH UNTIL 10 MARCH
Kelly Akashi: Figure Shifter Cameron Rowland: D37 ✪ J. Paul Getty Museum
UNTIL 10 MARCH UNTIL 11 MARCH Getty Center, 1200 Getty Center Drive,
Zhang Ruyi: Bonsai ✪ MoCA Geffen Contemporary Los Angeles 90049
UNTIL 10 MARCH 152 North Central Avenue, Los Angeles 90012 Monumentality
Ibid Gallery Laura Owens UNTIL 21 APRIL
8825 Beverly Boulevard, West Hollywood UNTIL 25 MARCH Spectacular Mysteries: Renaissance
90048 Zoe Leonard: Survey Drawings Revealed
Pale White UNTIL 25 MARCH UNTIL 28 APRIL
UNTIL 19 FEBRUARY Barbara Kruger: Untitled Questions Pontormo: Miraculous Encounters
✪ Institute of Contemporary Art, 1990-2018 UNTIL 28 APRIL
Los Angeles UNTIL 30 NOVEMBER 2020 ✪ Getty Villa
1717 E 7th Street, Los Angeles 90021 ✪ MoCA Pacific Design Center 17985 Pacific Coast Highway, Pacific
B. Wurtz: This Has No Name 8687 Melrose Avenue, Los Angeles 90069 Palisades 90272
UNTIL 17 FEBRUARY One Day at a Time: Kahlil Joseph’s Fly Paper Underworld: Imagining the Afterlife
Maryam Jafri: I Drank the Kool-Aid But I UNTIL 24 FEBRUARY UNTIL 18 MARCH
Didn’t Inhale Night Gallery Palmyra: Loss and Remembrance
UNTIL 23 JUNE 2276 E 16th Street, Los Angeles 90021 UNTIL 27 MAY
Lucas Blalock: an Enormous Oar Derek Fordjour: Jrrnnys ✪ Hammer Museum
UNTIL 21 JULY UNTIL 2 MARCH 10899 Wilshire Boulevard, Los Angeles
Hannah Hoffman Gallery Tau Lewis 90024
1690 S Victoria Ave, Los Angeles, CA 90019 UNTIL 2 MARCH Math Bass
Tony Cokes Park View/Paul Soto UNTIL 17 MARCH
UNTIL 15 MARCH 2271 W Washington Boulevard, Los Angeles Tschabalala Self
Hannah Hoffman Gallery 90018 UNTIL 28 APRIL
Public Storage, 3611 W Washington Mark A. Rodriguez: Account Jamilah Sabur
Boulevard, Los Angeles 90018 UNTIL 20 APRIL UNTIL 5 MAY
By appointment only Parker Gallery Allen Ruppersberg: Intellectual Property
D’Ette Nogle 2441 Glendower Avenue, Los Angeles 90027 1968-2018
UNTIL 27 APRIL Nancy Shaver and Emi Winter UNTIL 12 MAY
Hauser & Wirth UNTIL 30 MARCH Dirty Protest: Selections from the Collection
901 East 3rd Street, Los Angeles 90013 Jim Drain UNTIL 19 MAY
Annie Leibovitz: the Early Years, 1970-83 UNTIL 30 MARCH ✪ The Huntington
UNTIL 14 APRIL Parrasch Heijnen Gallery 1151 Oxford Road, San Marino 91108
Piero Manzoni: Materials of His Time 1326 S Boyle Avenue, Los Angeles 90023 Rituals of Labor
UNTIL 7 APRIL Alteronce Gumby: Catching the Holy Ghost UNTIL 25 FEBRUARY
✪ Japanese American National Museum UNTIL 23 MARCH Celia Paul

MODERN ART & DESIGN AUCTION

100 N Central Avenue, Los Angeles 90012 Philip Martin Gallery UNTIL 8 JULY
Kaiju vs Heroes 2712 S La Cienega Boulevard, Los Angeles Venice: Real and Imagined
UNTIL 24 MARCH 90034 UNTIL 25 FEBRUARY
Karma International LA Louver

FEBRUARY 17, 2019

4619 W Washington Boulevard, Los Angeles
90016
Chuck Arnoldi
UNTIL 27 APRIL
Kayne Griffin Corcoran
1201 S La Brea Avenue, Los Angeles 90019
Beverly Pepper: New Particles from the Sun
UNTIL 9 MARCH
Kopeikin Gallery
2766 S La Cienega Boulevard, Los Angeles
90034
Kiel Johnson: Prepping for the Edge
UNTIL 9 MARCH
Alejandro Cartagena Presence
UNTIL 9 MARCH
✪ Los Angeles County Museum of Art
5905 Wilshire Boulevard, Los Angeles 90036
Outliers and American Vanguard Art
UNTIL 17 MARCH
Merce Cunningham: Clouds and Screens
UNTIL 31 MARCH
Teresa Hubbard/Alexander Birchler: Flora
UNTIL 7 APRIL
Rauschenberg: the 1/4 Mile
UNTIL 9 JUNE
Charles White: a Retrospective
Ericka Beckman
UNTIL 23 FEBRUARY 45 N Venice Boulevard, Venice 90291
Roberts Projects David Hockney: Something New in Painting
5801 Washington Boulevard, Culver City 90232 (and Photography) [and even Printing] ...
Amoako Boafo: I See Me Continued
UNTIL 16 FEBRUARY UNTIL 23 MARCH
✪ Roy and Edna Disney CalArts Theatre Alison Saar: Grow’d
(REDCAT) UNTIL 23 MARCH
631 West 2nd Street, Los Angeles 90012
Morgan Fisher/Passing Time
✪ Norton Simon Museum
411 West Colorado Blvd, Pasadena 91105
ANDY WARHOL | KEITH HARING | MAY RAY
UNTIL 16 FEBRUARY
Sprüth Magers
Once Upon a Tapestry
UNTIL 27 MAY
KENNETH NOLAND | JENNIFER BARTLETT
5900 Wilshire Boulevard, Los Angeles 90036
Sterling Ruby: Damnation
Titian’s Portrait of a Lady in White
UNTIL 25 MARCH
DE WAIN VALENTINE | ALEXANDER CALDER
UNTIL 23 MARCH The Pit FRANCOISE LALANNE | CAMPANA BROTHERS
Susanne Vielmetter Los Angeles Projects 918 Ruberta Avenue, Glendale 91201
6006 Washington Boulevard, Culver City Nora Shields: Harder Volumes ROY LICHTENSTEIN | MEL BOCHNER | MALOOF
90232 UNTIL 17 FEBRUARY
Ellen Berkenblit: Paintings Tim Presley: Under the Banner of Concern BILLY AL BENGSTON | ROBERT IRWIN
UNTIL 16 FEBRUARY UNTIL 17 FEBRUARY
Inaugural Exhibition ✪ Skirball Cultural Center CHARLES ARNOLDI | GEORGE RICKEY
UNTIL 23 MARCH 2701 N Sepulveda Boulevard, Los Angeles
✪ USC Fisher Museum of Art 90049
823 W Exposition Boulevard, Los Angeles Notorious RBG: The Life and Times of Ruth
90089 Bader Ginsburg
Staged Meaning/Meaning Staged UNTIL 10 MARCH
UNTIL 13 APRIL ✪ Vincent Price Art Museum
✪ UTA Artist Space
250 LOTS OF MODERN & CONTEMPORARY ART
BOND#7900405194

17 FEBRUARY-9 JUNE 1301 Avenida Cesar Chavez, Monterey Park

Maccarone 403 Foothill Road, Beverly Hills, CA 90210 91754
300 S Mission Road, Los Angeles 90033 Dreamweavers Wang Xu: Garden of Seasons
Trulee Hall: the Other and Otherwise UNTIL 13 APRIL UNTIL 9 MARCH PREVIEW OPEN EVERY DAY (10AM-6PM)
UNTIL 2 MARCH Regeneración
Marc Selwyn Fine Art UNTIL 16 FEBRUARY
KAIJU VS HEROES: © BRIAN MCCARTY

9953 South Santa Monica Boulevard, ✪ Wende Museum

Beverly Hills 90212 40-minute-plus drive 10808 Culver Boulevard, Culver City 90230
Allen Ruppersberg: What a Strange Day it Crumbling Empire 1 6 1 4 5 H A R T S T R E E T, VA N N U Y S , C A L I F O R N I A 9 1 4 0 6
Has Been Casa Perfect UNTIL 2 JUNE
16 FEBRUARY-23 MARCH 1174 N Hillcrest Road, Beverly Hills Upside-Down Propaganda: The Art of North 323-904-1950 | LAMODERN.COM
Morán Morán Andy Warhol Korean Defector Sun Mu
937 N. La Cienega Boulevard UNTIL 22 MARCH UNTIL 2 JUNE
 22 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 16-17 FEBRUARY 2019

COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why

B
y 2021, California will because that’s how they get a public THE ART NEWSPAPER
have a new institution face. A good gallery owner would
Frieze Los Angeles editions
dedicated to Chicano put them in the right collection and
art, thanks to the the right museums and distribute it.
Editorial and contributors
efforts of the Riverside Because when art becomes a com- Editor, The Art Newspaper Alison Cole
Art Museum and the modity, it’s like the stock market. Deputy Editor, The Art Newspaper Julia
actor and comedian Cheech Marin, Michalska
whose 700-work collection will soon What’s the most valuable piece in Fairs and special projects editor Emily Sharpe
be housed in the new venue. “The your collection, or the work that Editor, Frieze Los Angeles editions Helen
Cheech”, as the art centre is already means the most to you? Stoilas
affectionately called, will be one of There’s a group of watercoloured Contributors
the largest public displays of Chicano etchings by Alvarez—my favourite Gabriella Angeleti, Margaret Carrigan, Aimee
art in the country. “It’s not a crowded little precious pieces. They’re very Dawson, Jon Finkel, Jonathan Griffin, Gareth
Harris, Anny Shaw, Emily Sharpe, Helen Stoilas,
field, you know?” the actor joked in an rare and they’re incredibly delicate Matt Stromberg, Sarah Vitale, Maxwell Williams
interview with The Art Newspaper. and moving, and erotic and exotic at
Editorial production
“There are other big collectors. the same time. I think he’s one of the Designers James Ladbury, Kate Johnston
Maybe some of them have more world’s great painters. I just watched Copy editors Peter Kernan, Andrew McIlwraith,
pieces, but over the years, I’ve his documentary, which I partici- Vivienne Riddoch
realised that a collection is pated in—it’s a wonderful, unflinch- Picture editors Katherine Hardy, Gabriella
defined by its quality. That takes ing look into his life and the way he Angeleti, Winnie Lee
a long time to put together.” paints, he’s like the John Coltrane of Photographer David Owens
Marin began acquiring work paint. He has such mastery over his Digital Aimee Dawson
in the 1980s, but his interest technique that is at once very con-
stretches back to his most forma- trolled and very free. Publishing and Commercial
Publisher Inna Bazhenova
tive years, when he would look at
Honorary chairman Anna Somers Cocks
art books in the local library. An Is there work you regret not Chief executive Russell Toone
academic education in Western buying when you had the chance? Associate publisher, fairs and events media
art followed and Marin has So many. But I’m not really the Stephanie Ollivier Head of subscriptions and
created work himself as an kind of art collector that can say: membership James Greenwood Head of sales
apprentice to the Canadian “Hey, send over two tons of that (UK) Kath Boon Head of sales (the Americas)
ceramicist Ed Drahanchuk— art shit.” Kathleen Cullen Advertising sales director
Henrietta Bentall Marketing manager (the
“my Mexican artistic genes
Americas) Steven Kaminski Design/
came busting out,” he says of What is the most surprising production (commercial) Daniela Hathaway
his last semester in college, place you’ve displayed work? Digital development director Mikhail
when he took his first In the guest bathroom of Mendelevich System administrator Lucien
pottery class. His collec- my house. That’s where the Ntumba Management accountant Evgenia
tion then is the result of Almaraz pieces are. I put Spellman Accountant Matha Murali
a life-long dedication to them there because it is the Administrator/book-keeper (the Americas)
Anthony Shao Team assistant UK Hannah Burt
art. “When I discovered one room that everybody
Team assistant US Sarah Vitale
the Chicano painters, I goes into. I was talking to
thought: ‘These guys are a novice collector and she
To advertise, please contact:
UK, Europe and rest of world
really good. I know every said: “God, you put that art
Kath Boon
painter in the world, how in the bathroom? I would T: +44 (0)203 586 8041
come they’re not getting never do that.” I said: “What E: k.boon@theartnewspaper.com
any shelf space?’ So, that do you do? Shit on the walls? Americas
became my collecting process, to Come on, babe, get with it.” Kathleen Cullen
make sure they got shelf space.” T: +1 212 343 0727
Which artist, dead or alive, E: k.cullen@theartnewspaper.com
THE ART NEWSPAPER: What is the would you invite to your Contact us:
first work you purchased? dream dinner party? In the UK: The Art Newspaper, 17 Hanover
CHEECH MARIN: I believe there My friend, [the painter] John Square, London W1S 1BN
were three I bought at the same time. Valadez, he’s a wonderful guy Tel: +44 0203 586 8054
There was a piece by George Yepes, to talk to. So intelligent and Email: info@theartnewspaper.com
a piece by Carlos Almaraz, and one knowledgeable in many dif- In the US: 130 West 25th Street, Suite 9C,
New York, NY 10001
by Frank Romero. I bought them ferent areas—and soulful.
Tel: +1 212 343 0727 Fax: +1 212 965 5367
through Robert Burman, who was the And [the muralist] Margaret Email: nyoffice@theartnewspaper.com
dealer of note in the Chicano world. Garcia, just so that she could Website: theartnewspaper.com
start a bunch of arguments. Published by U. Allemandi & Co. Publishing Ltd, 17 Hanover
What is your most recent Square, London W1S 1BN, and by Umberto Allemandi & Co.
Publishing USA Inc, The Art Newspaper, 130 West 25th Street,
purchase? What’s the best collecting Suite 9C, New York, NY 10001. Registration no: 5166640.
I just bought a beautiful Chaz advice you’ve been given? © The Art Newspaper, 2019.
Bojorquez piece. It’s graffiti ele- If you have the money Printed by Southwest Offset Printing
All rights reserved. No part of this newspaper may be reproduced
ments of three different panels on and you see a piece that without written consent of the copyright proprietor. The Art
Zolatone—a spray paint that comes you are thrilled about, Newspaper is not responsible for statements expressed in the
signed articles and interviews. While every care is taken by the
out speckled—and then he puts get it right then. Don’t sit publishers, the contents of advertisements are the responsibility of
figures on top of that. around the whole show, wait the individual advertisers
WALLIS ANNENBERG: ROBIN LAYTON

a couple weeks, because it

What’s your preferred way of will be gone. That will be one of your Subscribe online at

Cheech Marin
buying art: galleries, artist’s biggest regrets. But it also depends on theartnewspaper.com
studios or art fairs? developing your eye; that is the most @theartnewspaper
All of the above. I always encour- important thing in collecting. @theartnewspaper
@theartnewspaper.official
age painters to work with galleries Interview by Helen Stoilas

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 MODERN ART & DESIGN AUCTION
FEBRUARY 17, 2019
ANDY WARHOL | KEITH HARING | MAY RAY | ED MOSES | JENNIFER BARTLETT
DE WAIN VALENTINE | ALEXANDER CALDER | FRANCOISE LALANNE | ROY LICHTENSTEIN
MEL BOCHNER | SAM MALOOF | BILLY AL BENGSTON | ROBERT IRWIN | CHARLES ARNOLDI
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