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THE ART NEWSPAPER

Frieze Los Angeles: 14-15 February 2019

Agents
of change
Having for years viewed each other
with suspicion, entertainment
agencies and art dealers may start

C
getting cosier
ould the arrival
of Frieze Los
Angeles provide
a turning point
in the art world’s
tense relationship
with entertain-
ment agencies? Drawing around
70 international galleries, it is the
first new iteration of Frieze since
Hollywood’s Endeavor entertainment
group bought a major stake in the
UK-based fair organiser in 2016. By
planting a flag at the centre of the
commercial art industry—fairs—the
move showed a significant expansion
of agency interest and investment in
art and artists. But relations between
art dealers and agents have been slow
to warm.
“Maybe I will start working with
actors—it makes as much sense,” says
the Los Angeles dealer Michael Kohn
of agency interest in the art world.
There is, however, an argument to
be made that the art business has
changed—billions of dollars of annual
Steve McQueen receiving his Oscar
for the 2013 film 12 Years a Slave
worldwide art sales have transformed
AITKENS: © DAVID OWENS. MCQUEEN: © LOS ANGELES TIMES
Agencies have until recently
focused on supporting individual
artists in projects unrelated to their
“[Endeavor] made a
smart move—it bought
into the only vertical
in the art world”
art. Nearly a decade ago, both William
Morris Endeavor (WME) and Creative
Artists Agency (CAA) quietly began
working with Takashi Murakami,
Julian Schnabel and Steve McQueen
under the auspices of furthering their
film work. The situation changed in
2015 when the art lawyer and agent
Josh Roth established the Fine Arts
division of United Talent Agency
(UTA), creating an agency branch
exclusively for art-world clients. UTA
now boasts a roster of artist clients
including the Haas Brothers and Ai
Weiwei. Before Roth’s untimely death
in 2018, he also went so far as to
launch an exhibition platform, Artist
Space. However, he said that it was
not meant to function as a commer-
cial gallery displaying works for sale,
Doug Aitken’s ghostly figures come home
but rather a venue to highlight pro- “It’s something you discover, could be driving at 1am and pull up to a that was a bit more off the grid, that
jects by artists the agency supports. you find it,” the Los Angeles- traffic intersection and see this very raw, wasn’t inside the gallery/museum
“More artists are looking for ways based artist Doug Aitken says of his 60s strip mall glowing and pulsating.” system with this project,” Aitken says.
to control their own markets these pop-up installation Don’t Forget to First shown last June as part of his solo “We’re coming in to a new chapter of
days,” says the art adviser Lisa Schiff, Breathe. Its three ghostly translu- show at Galerie Eva Presenhuber in Zurich, perception, we’re open to the possibil-
citing figures such as Richard Prince, cent glass figures lit from within are the work has been brought to the West ity of seeking something out, or maybe
Mark Grotjahn and Alex Israel, who installed in an abandoned storefront Coast by the media production studio even not knowing it’s there but coming
is represented by CAA. While dealers at Santa Monica Boulevard and North Ryot, in collaboration with the artist’s across it. And in that sense, everything
are focused on closing sales on work, Highland Avenue (until 17 February). galleries, Regen Projects and Galerie Eva around us, the entire landscape,
what artists need more of is legal and “It’s something that someone that Presenhuber. “I wanted to do something becomes a possibility for art.” H.S.
contract advice to help them make
the right kinds of sales, as well as
develop brand partnerships, film and
TV opportunities, Schiff says. “Agents
can do all of that easily.”
A million Artsy account reportedly offered for sale on the dark and email and IP addresses. Exposed

a once cottage industry into a global
enterprise. Kohn says the trend is a
simple matter of “adapt or perish”,
although until there is huge demand
for works of art that can be repro-
duced and distributed like movies
and music, “the singularity of the art
object will pose a challenge for those
who do not value the art first and
foremost”.
Yet agents might also be seen as
a destabilising force because they
diversify an artist’s revenue stream
and remove much of the insider
exclusivity that fuels the art market,
according to Marine Tanguy, who
started the London-based artist-only
agency MTart in 2017 after working in
several Los Angeles galleries. Agents
 CONTINUED ON PAGE 2
details exposed in
large-scale hack
The online art marketplace Artsy
was among 16 websites involved in
a large-scale hack that resulted in
around 617 million online account
details (including 1 million from Artsy)
web for less than $20,000 in Bitcoin on
11 February. In a statement, Artsy’s chief
technology officer Daniel Doubrovkine
says there is “no evidence that
commercial or financial information was
involved” and Artsy has “not received
reports from Artsy users of actual or
attempted fraud as a result of this
incident”. The compromised data con-
sisted mainly of account holders’ names
passwords were “hashed”—“a type of
password protection… considered indus-
try best practice”, Doubrovkine says, but
“out of an over-abundance of caution”
the company recommends that users
change their passwords. An investigation
into the hack is ongoing, but Artsy is
“taking steps to contain this incident and
to prevent [it] from happening in the
future”, Doubrovkine says. A.S.

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 2 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019
NEWS
California
Hits and misses at second Desert X biennial
Some half-baked
works mean this
year’s event fails to
live up to the promise
C
of the first edition
limb behind the
Two Bunch Palms
Resort in Desert
Hot Springs, side-
step the clumps of
cacti, and you will
find a sculpture
by Katie Ryan that looks like the love
child of a palm tree and a Victorian-
era chandelier. With a steel trunk,
glittering plastic fronds and a skirt
of acrylic rods, the translucent Ghost
Palm is one of the most engaging
works in this year’s Desert X biennial
(until 21 April).
Unfortunately, other ghosts also
haunt the exhibition. Jenny Holzer’s
plans for an anti-gun violence
text piece to be projected on a
Whitewater Preserve mountainside
were scrapped after permission was
rescinded out of concern for bighorn
sheep that had been devastated by
pneumonia. And then there is the
spectre of the memorable first Desert
X in 2017, when the artistic director
Neville Wakefield commissioned
high-impact (and Instagrammable)
installations in the desert by artists
such as Richard Prince, Doug Aitken
and Tavares Strachan.
For this edition, Wakefield
teamed up with the Los Angeles-
based curators Amanda Hunt and
Matthew Schum to diversify the artist
list and extend events beyond the
Palm Springs area, going as far east
as the Salton Sea, 60 miles away. The
good news is that they toned down
the event’s macho swagger. The bad
news is that there are fewer must-see
pieces and more half-baked,
research-driven works. Or, as a
frustrated New Yorker said on my
bus tour, “too grad school”.
Take the installation It Exists
in Many Forms by the collective
Postcommodity. The artists inter-
viewed owners of mid-century homes
and had actors read the transcripts
for part of a seven-channel sound
installation at the 1950s Wave House
Agents
of change
 CONTINUED FROM PAGE 1
bring artists’ work to a broader
audience—and that “inherently
challenges the value system of the
industry”, Tanguy says.
Indeed, although supportive of
their artists who choose to collaborate
with agencies, dealers keep a degree
of cautious distance. Rashid Johnson,
who is represented by mega-dealer
Hauser & Wirth, recently made his
directorial debut with the film Native
Ghost Palm by Katie Ryan, recreates California’s iconic palm trees in steel, glass and plastic
in Palm Desert, currently undergoing
restoration. But no matter where you
stand in the house, you cannot make
out what anyone is saying. The work
is so unintelligible that visitors might
not even register it as art.
Is it too much to ask for public art
to remember its audiences? Those
that do include a series of photo-
graphic billboards on the Gene Autry
Trail by Cara Romero, Jackrabbit,
Cottontail & Spirits of the Desert,
featuring startling but also welcom-
ing images of boys from her tribe, the
Chemehuevi. She calls them “time
travellers that came to the Coachella
Valley to visit sister tribes”.
In another work that complicates
clichés about the American dream,
Pia Camil has made a pair of large,
eye-catching rainbows out of rebar.
She set one against the mountains in
Rancho Mirage and planted another
in Baja, Mexico—in effect, spanning
Son, for which he was represented
by UTA. Ahead of its Sundance Film
Festival premiere last month, the
movie was picked up by HBO. Marc
Payot, a partner and vice president at
Hauser & Wirth, says that “any impor-
tant project that catalyses public
interest in an artist is a very positive
thing”, but adds: “We do not expect
this film to have a direct impact on
the market for his art.” The intersec-
tion between entertainment agents
and galleries is a “dynamic [that]
really does not affect us”, he says.   compete with the biggest global
Agents seem intent on remaining
separate too. “The role of art is to
illuminate lives, and we want to help
the border.
Julian Hoeber’s Going Nowhere
Pavilion #01, in Desert Hot Springs,
is a mind-bending building made of
perforated bricks that works as an
architectural Möbius strip. As you
walk along the curves, you have the
disorienting feeling of not knowing
what it is, or what it is for. “I tell
architects it’s sculpture, and I tell
sculptors it’s architecture, so they
don’t bring their own stuff to it,” the
artist says.
Finally, some works made near
the Salton Sea—a shrinking body
of water that endangers the health
of nearby residents with its algae
blooms and chemical irritants—are
worth the drive. Iván Argote’s A Point
of View, a cluster of five concrete-
and-wood viewing platforms at the
edge of the water that are essentially
brutalist staircases, is by far the best.
The Spanish/English words engraved
artists illuminate as many lives as
possible,” says CAA’s art and design
agent, Thao Nguyen, who also curates
the firm’s art collection. She worked
with McQueen on his Oscar-winning
2013 film 12 Years a Slave and is
currently representing Rachel Rose
as she develops her first feature film,
and Rob Pruitt, who is launching a
series of children’s books. “We have
no interest in being art dealers”.
Ultimately, Kohn thinks it is
“impossible” for the agencies to
galleries. “The infrastructure and
overhead are expensive, [and] the
supply of saleable art is erratic and
on the stairs nod to our stewardship
of the land: with sightseeing comes
responsibility.
Steve Badgett and Chris Taylor
have also been working on the Salton
Sea, in a pontoon boat they built
to act as a floating laboratory. They
plan to spend days, and some nights,
on the boat to plumb the water’s
depths with sonar imaging, looking
for things such as buried railway ties,
dead fish and underwater craters
from dummy nuclear bombs once
dropped from a nearby test base.
The actual work produced is
rather meagre, however: some
abstract sonar images are sent to the
visitor centre to be interspersed with
the usual tourist videos. If only the
artists could turn their excavation
of the sea into something visually or
materially compelling—an archaeol-
ogy of objects, not ideas.
Jori Finkel
highly competitive,” he says. Indeed,
working with individual artists pre-
sents a price ceiling for agents, since
the market for one artist can only
grow so much.
WME is the first agency to expand
beyond singular artist representa-
tion, by investing in a platform for
dealers with numerous artists each
in what could be seen as a more
large-scale commitment. Of all the
Hollywood agencies moving into the
contemporary art market, Schiff says,
“[Endeavor] has made a smart move—
it bought into the only vertical in the
art world”.
Margaret Carrigan
Kordansky’s
artist roster
on the rise
When word spread last autumn that
David Kordansky is planning to double his
gallery’s Los Angeles footprint, only four
years after moving to a big new space, it
looked like the latest example of galleries’
oversized property ambitions. But an even
more remarkable expansion has come
in Kordansky’s artist roster, which is now
surprisingly large and diverse for a gallery
with just one location. It is an interesting
model: not a mega-dealer, exactly, but
a hyperactive one, with no shortage of
paintings in the backroom to sell.
Lauren Halsey joined Kordansky last year
The growth last year was especially
striking: every few months, the dealer
picked up another artist. First was the
digital-age painter Michael Williams, then
Light and Space pioneer Fred Eversley, then
the assemblage master Huma Bhabha and
the installation artist Lauren Halsey—fresh
from her success in the Hammer’s Made in
LA biennial—bringing the number of artists
represented to 38, including the estate
of Tom of Finland. The gallery’s losses
meanwhile have been few, with the biggest
being Thomas Houseago, who jumped ship
to Gagosian.
Speaking while preparing for Frieze Los
Angeles, for which he was on the selection
committee, Kordansky says the point of
the current gallery expansion is to create
more (and more flexible) exhibition space,
“I came out of skateboard
graphics and poster art
as much as CalArts… the
gallery should represent
a similar worldview”
including a courtyard for sculpture, as well
as storage and office space for 24 full-time
staff. More space will also allow for more
performances and readings, he says,
“shows by artists outside the programme,
outdoor sculpture installations, film
RYAN: PHOTO: PHOTO: LANCE GERBER. HALSEY: PHOTO: RAFAEL HERNANDEZ; © CALARTS 2018.
screenings” and the like.
The roster expansion, Kordansky says,
comes from a “democratising” impulse.
“I came out of skateboard graphics and
poster art from the 1960s as much as
CalArts, and I believe the gallery should
represent a similar worldview, an expan-
sive, diverse sense of history and culture.
I’ve also always wanted to enlarge the
dialogue around and between our artists,
both reflecting their networks of influence
and creating new contexts for their work.”
But he admits that “putting this all under
one roof is a bit carnivalesque, with voices
simultaneously complementing and
contrasting with each other”. J.F.
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 14-15 FEBRUARY 2019
NEWS
D
oes Frieze
have what it
takes to charm
Tinseltown?
Los Angeles
The city’s long
misunderstood
art market has
caused other art fairs to fold, but
Will Frieze L.A.
the clout of Frieze’s invitation-only
roster of 68 blue-chip exhibitors at its
debut Los Angeles edition as well as
its star-studded host committee have
succeed where
many of the cit’s dealers feeling cau-
tiously optimistic about the future.
“We’re not interested in supporting
fairs; we’re only interested in fairs
others have failed?
that support us,” says Peter Goulds,
the founding director of the inveterate
Venice Beach gallery, LA Louver, which
opened in 1975. Goulds says the gallery
has participated in just 29 fairs in 44
years—Frieze Los Angeles will be its
Shrugging away doubts, the city’s art dealers are first Frieze fair. Nevertheless, he sees
the British fair group’s arrival on the
cautiously optimistic of the fair’s future Los Angeles art scene as timely: “Now
the critical mass is here, not just in
terms of artists but young museums
still building their collections and new
collectors moving into the area.”
Whether the market has grown
enough to accommodate a fair of
Frieze’s stature is one of the most
pressing questions facing the launch
of its Los Angeles edition. Other
fairs have struggled to gain atten-
tion because “they could not attract
enough galleries of international
stature [and] the local audience, the
West Coast, hasn’t been big enough
to attract the galleries and outside
collectors required for a successful
venture”, says Michael Kohn of
Hollywood’s Kohn Gallery, which is
not exhibiting at Frieze Los Angeles,
despite having participated in London
and New York editions of Frieze.
Indeed, Fiac Los Angeles and
Paris Photo LA fizzled out faster than
an on-set celebrity romance, while
homegrown fairs such as Art Los
Angeles Contemporary and the LA
Art Show struggle to attract national
and international attention. Frieze,
The fair hopes to build on the success of Los Angeles’s booming downtown Arts District too, has had its own recent setbacks,
including its past two New York
editions being blighted by extreme
weather and the long shadow cast by
The Art
the revelation that Hollywood enter-
tainment group Endeavor, a major
shareholder in the fair, is attempting
to get out of a $400m Saudi invest-
ment following the murder of the
Newspaper
journalist Jamal Khashoggi.
Yet according to Kurt Mueller,
a director at Los Angeles’s David PODCAST
Kordansky Gallery, which is participat-
ing in Frieze Los Angeles after years
of making the journey to the New in association with
York and London fairs, these factors
are not overly concerning. He says:
“Frieze is not just a fair, but a brand
with marketing know-how, presence
and reach. It has the potential to
galvanise popular local interest and
desire—otherwise committed to other
forms of culture, entertainment and
commerce—for contemporary art.”
Maggie Kayne of the neighbouring
Mid-Wilshire gallery Kayne Griffin
Corcoran thinks that Los Angeles
might be a boon for Frieze since, com-
pared with other major cities, there is
more “flexibility and opportunity to
think outside the box”. She says New
York and London have become “pro-
hibitive, financially and reputationally,
for artists and galleries to take risks”.
Most local dealers, however, are
keeping their expectations firmly
in check—and a dose of scepticism
is healthy, especially in a city where
appearance so often triumphs over Conversation and debate
substance. from inside the art world
“I mean, what are we defining as Listen and subscribe
the metrics for success?” asks Alex
A new episode debuts every
Freedman of the Paris and Los Angeles
gallery Freedman Fitzpatrick. “[This] is Friday via the usual podcast
an entertainment town, with Silicon channels, including iTunes, TuneIn
Valley closing in. Ari Emanuel [the and SoundCloud. From a desktop
co-chief executive of Endeavor] is a
or laptop, find the show at
ART DISTRICT: © ROBYN BECK/AFP/GETTY IMAGES
savvy man and will do his damnedest
to make sure the former rallies around theartnewspaper.com/podcast
Frieze, while Frieze’s team will maxim-
ise its own network. The question is,
will the audience acquire works from theartnewspaper.com
a broad enough range of galleries to ␣ 
breed confidence?”
Margaret Carrigan
 6 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019
DIARY
Insider edition
True Confessions
Brian
Faucette
Senior director, Night Gallery,
Los Angeles
The most underrated art
movement is…
I am a recent Los Angeles transplant
who loves Googie post-modern
architecture.
The next big thing…
I feel we are about to see a
resurgence of photography in the
contemporary art market.
Life’s too short to…
Keep works of art on hold!
Things that keep me awake at 3am
include…
“Did I agree to do a studio visit in the
morning?”
I’d rather visit a museum than…
Do my taxes.
Small talk is…
My core competency.  an aerial banner with no airplane, that
I last cooked for…
The artist Cynthia Daignault—whose
show opens at Night Gallery this
September—and her partner Curran
Hatleberg.
My favourite box set is….
My phone?
Los Angeles matters because…
Los Angeles has always represented
a major portion of the US’s creative
output, film, design, etc. It now has
the recognition it rightly deserves
within the art world. I believe this
enough that I just moved here from
New York.
Where creativity,
culture and commerce collide
We are proud to partner with Frieze for the
inaugural edition of Frieze Los Angeles.
NeueHouse.com
Suzanne Jackson’s modest revival
Leibovitz’s photo finish:
In 1968, the artist Suzanne Jackson now behind a Chuck E. Cheese. He’s given
4,000 works in 45 minutes
opened Gallery 32 in the Granada Build- over his space to Jackson, who now lives
ings, a strange old complex of Medi- in Savannah, Georgia, to show a series of
terranean and Spanish Colonial Revival
architectural oddities built in the 1920s off
of Wilshire Boulevard in Koreatown. She
new paintings, as well as ephemera (flyers,
grocery lists) from the Gallery 32 days. “I
don’t know I would say it was ‘influential’,”
put together shows with future legends Jackson said bashfully at the opening
such as David Hammons, Betye Saar and last weekend, wearing a purple dress in
Emory Douglas. Fifty years later, the inde- front of her new purple abstract works. “I
pendent curator Scott Cameron Weaver would,” interjected her friend. “Don’t let
opened O-Town House in the Granada— her modesty fool you.”
Houston, we have a problem
Alice Wang and Ben Tong’s Magic Hour
art space, tucked off a dirt road out in the
middle of the desert landscape of 29 Palms,
California. Then, nothing. “I think the
fuselage didn’t open,” Long opined. “Which
happens,” he tacked on, wryly. Long is a
consummate master trickster. His recent
show at the Hammer Museum featured
“the strange correlation in form between
the surface of the severed tree stump and
the cross-section of the human penis,” and
Annie Leibovitz talks the press through her photojournalistic work this rocket launch was no ordinary space
exploration. In the rocket’s aforementioned
“Everyone have sneakers on?” Annie Leibovitz ribbed the press before taking us fuselage were several caps of psilocybin
on a 45-minute tour through a labyrinth of some 4,000 photographs from the mushrooms (most of the attendees had
1960s and early 1970s at Hauser & Wirth’s Los Angeles outpost, in a restaging of a sampled the payload “to make sure it
show first seen at the Luma Foundation in Arles, France. Leibovitz’s dedication to was the real stuff,” said one woman with
documentation is on full display: photojournalistic assignments for Rolling Stone, a giggle), and the opening was meant to
pictures of basically every celebrity—“That was the first time I’d seen cocaine,” spread spores of love and understanding
Leibovitz quipped about a series of Ike and Tina Turner—on the presidential Rocketman Charles Long into the atmosphere. Well, after a quick
campaign trail with Hunter S. Thompson, the famous shot of John Lennon curled search in the bush, we found the rocket,
up naked on Yoko Ono before he was murdered later that day, wild photos of the The artist Charles Long bellowed the and it had indeed broken apart: mission
Rolling Stones tour in 1975. The exhibition “is an ode to a young photographer”, countdown to the launch of his model accomplished. “That’s one small sliced dick
Leibovitz said, “not only myself as a young girl learning to see, but to show how rocket— “11… 16… 107… 4,562…”—before for man, one giant absence of a phallus for
obsessed and crazy you have to be to do this.” the rocket blasted off into the sky above mankind,” Long said triumphantly.
Destroyer smashes it at Blum & Poe Artoon by Pablo Helguera
There’s a certain candor in Friedrich the musician. Bejar played a mix of old and
Kunath’s paintings, which often have text new songs while propped on a stool on top
crossing lush, romantic landscapes like of a bear rug with a camel sculpture in front
LIEBOVITZ: PHOTO: MAXWELL WILLIAMS. LONG: COURTESY OF THE MAGIC HOUR. DESTROYER: PHOTO: MAXWELL WILLIAMS
of him. “I want to thank Friedrich for letting
pairs well with music. For the launch of me out tonight,” he joked. “It’s nice to get
his monograph, I Don’t Worry Anymore, out of Canada once in a while.”
which includes contributions from a
substantial cast of characters—the poet
Ariana Reines, the novelist James Frey,
and the former tennis player-turned-art
collector John McEnroe—Kunath invited
the Canadian troubadour Daniel Bejar,
aka Destroyer, to perform in front of
one of those dreamy landscapes. The
upstairs gallery at Blum & Poe was packed
(whether there were more people there
to support Kunath or to see Destroyer, we
may never know) and Destroyer’s songs
felt exactly right: romantic without being
mawkish, funny without being inane. The
musician and the painter were a pairing no
DJ could have mixed better. “This is big for
me,” said Kunath, who was a huge fan of Canadian escapee, Destroyer
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 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019
FEATURE
International travel
On the road:
THE
GLOBAL
SEARCH
FOR ART
The peripatetic curator, always on
the move and looking for the artists
of tomorrow, has become part of
art-world folklore. Many of them
will be in Los Angeles this week for
the first West Coast edition of the
British-born fair Frieze. We asked
a selection of leading curators
about their travel schedules,
how technology has shaped their
HOLLYWOOD: NEIL SONI ON UNSPLASH. SIGN: CAPTURING THE HUMAN HEART ON UNSPLASH
visions—and whether they are
aware of their carbon footprints.
Interviews by Gareth Harris and Anny Shaw
NYABF_ArtNews_dbl-banner.pdf 1 2/7/19
APRIL 12–14, 2019
OPENING NIGHT
APRIL 11
printedmatter.org
Describe your schedule
over the past three months
In terms of travel, they have been
relatively lean: trips to Geneva and
Aachen, Germany to see shows related
to my current project—a large-scale
scholarly survey of the Pattern and
Decoration movement—and one to
New York. Last week, I drove to see
Desert X 2019, which was co-curated by
my MoCA colleague, Amanda Hunt.
ANNA KATZ, associate curator, Museum
of Contemporary Art (MoCA), Los Angeles
I recently spent six weeks in Iran
meeting with artists and planning a
forthcoming show—although most
of my time was occupied with daily
Farsi lessons. I returned to Los Angeles
at the beginning of the year and have
been working toward the opening of
our show on Allen Ruppersberg.
ARAM MOSHAYEDI, curator, Hammer
Museum, Los Angeles
My October 2018 schedule: Lanzarote,
where I gave a lecture at the contem-
porary art museum; Lima for two
days, where I was on the jury for
the Peruvian pavilion for the Venice
Biennale, had time for ceviche, studio
and gallery visits and an opening at
Crisis gallery; Rio, five days at home.
4:57 PM
Do you cherry-pick
artists from certain
countries for shows?
I tend to have a more organic
approach, especially with
respect to artists and countries
of origin. Sometimes a bien-
nial requires certain quotas,
imposing limits, and then it’s
a question of being as free as
possible within those. For the
Quebec City Biennial, 50% of
the artists must be Canadian,
and 50% of those must come
from Quebec Province, and
50% of those must come from
Quebec City.
JONATHAN WATKINS, director,
Ikon gallery, Birmingham
Attended a demonstration for the
murdered black social activist Marielle
Franco; Barranquilla, Colombia, where
I took part in a symposium and visited
artist Alvaro Barrios and the under
construction Museum of Modern Art;
three days in Bogotá for ArtBo, meet-
ings and a great afternoon with artist
Doris Salcedo visiting Fragmentos,
the art centre she’s building to
PRINTED MATTER’S
The Geffen Contemporary at MOCA
9
commemorate the signing of the
peace treaties in Colombia.
PABLO LEON DE LA BARRA, curator-
at-large, Latin America, Solomon R.
Guggenheim Museum, New York
We’re a small but ambitious team,
so I must organise meetings and
travel with maximum efficiency. The
past three months, I’ve travelled to
fairs, visited an artist at a foundry in
Washington, visited New York for
openings and meetings, and found
time for quick ski trips. As well as my
curatorial work, I’m also a writer, and
some recent deadlines have been met
while flying. It’s terrific thinking time. 
CATHERINE TAFT, deputy director,
LAXART, Los Angeles
When I was a freelance curator in the
1990s, there were intense periods of
travel—300 days per year. Since 2006,
I’ve been based in London. However, I
still travel many weekends to continue
the research that is essential for the
Serpentine’s programme. As I am no
longer able to stay for long periods
in places, I adopt “marathon” studio
visits, generally from 7am to midnight.
HANS ULRICH OBRIST, artistic director,
Serpentine Galleries, London
 CONTINUED ON PAGE 10
 10 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019

FEATURE
International travel
 CONTINUED FROM PAGE 9

In a globalised art world, For those of us who are lucky to travel

is the idea of nationality
obsolete?
The privileged classes of the art
world have little understanding of
the true burdens of nationality. What
is an inconvenience for some, is for
others a daily reality that has conse-
quences beyond the comprehension
of the art world.
ARAM MOSHAYEDI
No, I don’t believe it is. In our own
moment in the US, nationality is
wielded as a powerful, violent instru-
ment of racism and xenophobia,
nakedly expressed as white nation-
alism—which is to say, in my view,
it would be irresponsible to dismiss
the reality of nationality so long as
immigrants and asylum seekers are
inhumanely subjugated by the state.
ANNA KATZ
As part of the curatorial team at the
Whitney Museum of American Art,
we often discussed what qualified
as “American art”, an institutional
mandate that we, as curators,
inherited. The answers weren’t
always straightforward, but those
conversations were invaluable to
gaining a richer understanding of
the history of artists working, living,
and moving through this country.
nearly visa-free from one country to
the next, it is easy for us to think that
nationality is obsolete. However, our
political context reflects a very differ-
ent situation right now with Brexit
in Europe, Donald Trump in America
and Jair Bolsonaro in Brazil, to name
a few. There are significant segments
of the population who do support
national movements. The role of the
peripatetic curator or director is to
open up conversations that can cross
borders in their many forms, from
the political to the personal.
AARON CEZAR
Yes, in the sense that if an artist is Airports are a familiar
interesting it does not matter at all sight for today’s globe
where they come from. However, I trotting curators
don’t believe that the idea of cultural
identity is obsolete. We all come from
somewhere (though nowadays many an independent curator (in other
people insist on not talking of their In the age of technology, is it more or less crucial words, not having a fixed income),
origins for fear of cultural stereotyp- this is something unavoidable as my
ing) and the cultural background that to see art, artists and colleagues? work takes me all over the place.
has formed us is, to me, an interest- It’s as crucial as it ever was. While the internet is indispensable to locat- KATERINA GREGOS
ing aspect of our identities. The down- ing artists and works, writers and texts, shoe-leather curating has not lost
side of globalisation is increasing its potency, especially when it comes to marginalised art histories. I only take necessary trips for
homogenisation. ANNA KATZ research and exhibitions. I almost
KATERINA GREGOS never go on holidays. I have also
I think some curators find social media to be an increasingly useful tool always tried to travel as much as
for their work. For me—and I love Instagram—there is no substitute for possible by train. I have a great love
Do you watch your seeing work in person and having real conversations with artists and of night trains, having spent much
carbon footprint? colleagues. It is crucial to our industry.
CATHERINE TAFT
of my childhood and adolescence
on them.

AIRPORT: © NICK HARRIS AIRPORT TRAVELLER

Nationality reveals nuance that plays
out in culture in rich and sometimes
perverse ways. Why would we want
to make all that detail obsolete?  But
if we’re talking about visas or borders,
then that’s another story…
CATHERINE TAFT
I recycle religiously, avoid creating
unnecessary waste, mostly now wear
second-hand clothes and eat very
little meat. I don’t own a car, use
public transport where possible, but
my carbon footprint is probably huge
due to the many flights I take. Being
HANS ULRICH OBRIST
Nothing beats looking at art in a gallery, museum or art space and meeting
the artist in person. You cannot curate via Instagram or the internet.
KATERINA GREGOS, chief curator, first Riga biennial; curator, Croatian pavilion, • For more on journeys taken by artists, art
2019 Venice Biennale and curators, see The Art Newspaper’s free
Moving Stories supplement, supported by
Momart, available at www.momart.com
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THE ART NEWSPAPER FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019 Image: Barbara Kruger; Untitled (Stripe 1), 2019. Courtesy of Sprüth Magers
 14 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019
INTERVIEW
Max Hooper Schneider, artist
aquatic
The life
Diving deep to
create a lurid theatre
from biological
forms. By Jori Finkel
I
t would be easy to read the monstrous
sculpture positioned near the Gower
Street entrance of Frieze Los Angeles
as an allegory about the swampy
excesses of the art market. But Max
Hooper Schneider, the artist who
made this part-walrus, part-woman
creature as a Frieze Projects commission, says it
is a component of a larger series he is develop-
ing. Much of his work uses biological imagery,
or actual living organisms, to imagine a world
where man has been displaced from his throne.
Last December, the Los Angeles gallery Jenny’s
featured four of his living tableaux, where tiny
fish swam among mountains of cheap plastic
jewellery and crustaceans made a home out
Max Hooper Schneider of mounds of lingerie. Expect an even more
is currently working immersive experience at the Hammer, where he
on a human-scale will have his first museum show in September.
dioramic landscape
on climate change THE ART NEWSPAPER: What is the thinking
behind a walrus-human hybrid?
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
Untitled, 1970, acrylic on canvas, 54 x 30 in; 137.2 x 76.2 cm
©The Feitelson / Lundeberg Art Foundation
MAX HOOPER SCHNEIDER: It’s a long running
personal fantasy of mine, these marine mammal
hominid hybrid creatures, like half-humans,
half-dolphins. I’ve always been obsessed with
actual marine mammals—manatees, seals, dol-
phins—and I imagine scenarios where they
could come to land and be equal participants in
our civilisations.
And is this creature realistic?
The walrus skull is. I actually went to an ana-
tomical replica company in Palm Desert and
they let me cast a walrus skull, although it’s
oversized compared to the female figure.
What if people see it as trafficking in
women’s body parts?
I’d say I have a pretty democratic approach to
human-nonhuman materials, giving them equal
agency. Other examples in the series include
men, kids and genderless people. It’s my army of
marine-mammal people, across all genders.
And how do coral reefs figure in your work?
MAX HOOPER SCHNEIDER PORTRAIT: NICK DELIETO
In 2016, I won the BMW Art Journey, where
they invite artists to concoct some sort of wild
journey. Mine was my bucket list of ultra-
ultra-remote coral reef sites all over the world:
eight different ones, each with its own typol-
ogy, in various states of flourishing and decay.
I started in New Zealand on an active volcanic
island that is home to extremophiles: organisms
9002 Melrose Avenue
West Hollywood, CA 90069
louissternfinearts.com
 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019
that can live in typically lethal conditions, like
the bacteria that lives in your salt shaker. I was
interested in reefs because coral is the first
responder to global and environmental change—
they are the first to tell us if sea temperature is
rising, or if water chemistry has changed. So I
could use that as a lens for approaching human-
kind’s present moment on the planet. It fur-
nished me with a poetry for thinking about
what’s next, not just dystopia or apocalypse.
You consider some of the works in your last
gallery show “reefs” of a sort.
Two are “reefs” in quotation marks. One was
a whole architecture of lingerie and seductive
wear. In most instances, the polyurethane and
synthetic fabrics would be lethal to a marine
habitat, but I had cultivated and cured it until
it got to the threshold where it could become a
fertile substrate for marine organisms. I chose to
use mainly invertebrates—decorator crabs and
starfish and snails—because I understood their
behaviour. I also tend to use organisms that are
very hardy, the kinds that will, in my imagina-
tion, inherit the world when we’re gone.
Many kids dream of being marine biologists
but this was a real ambition for you.
I’ve always had an obsession with marine
biology. I grew up near the Pacific Ocean doing
tide pooling, and I had a menagerie of aquari-
ums since I was seven or eight. But by the time I
was heavily into it, studying marine biology and
biology at NYU and working in labs, I grew dis-
PET SEMIOSIS 15: PHOTO: MICHAEL UNDERWOOD. FEMALE ODOBENID: COURTESY OF MAX HOOPER SCHNEIDER
enchanted by how data is produced. In many
ways I want to keep things mysterious; the
modes of empirically knowing something are
less interesting to me. My mother is a scholar of
[the 17th-century philosopher] Spinoza, and she
furnished me with a certain type of thinking
that loosened empirical strictures of sciences.
How did you start working for Pierre Huyghe?
In my last year of grad school [at Harvard] in
2011 [where I did an MA in landscape archi-
tecture], I saw Pierre’s aquariums at Marian
Goodman and was enraptured. And fortui-
tously, when I moved back to New York, they
advertised for someone with an understand-
ing of aquariums, marine biology and also con-
temporary art. I walked in and they said there’s
no other candidate. Pierre and I had this weird
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
15
nerd rapport with a macabre sense of humour—
he was into cheesy splatter films and collected
fossils. I freelanced for him for almost three
years as an install technician, helping to manage
all the aquariums, setting up the biology,
water parameters and maintenance.
Some might say your work is the Malibu
version of Huyghe. What makes it different?
I think I introduce a heavier handed narrative. I
tell stories. For instance, with the lingerie reef,
I’m really telling a story about some Big Bang-
like moment, some flash underwater that pet-
rified human garments. I sometimes think of
“I want to keep things
mysterious; the modes
of empirically knowing
something are less
interesting to me”
The artist’s fantastic biological scenarios include Pet Semiosis 15 (2018, above) and Female Odobenid
(2019), a frightening walrus-female hybrid that stands near the entrance of Frieze Los Angeles
the sculptures as short stories. Pierre’s stuff is so do surgery to it. The only thing I can’t do during
much more open-ended; he sets up the rules for it is write academically.
the game, but he won’t tell you what the game is.
Tell us about your Hammer Projects show.
When I first met you, you were wearing a I’m doing a human-scale dioramic landscape that
death metal T-shirt. Is that what you listen addresses issues of climate change, especially
to when you work? desertification—when giant bodies of water dry
Yes, 24/7. I wake up an hour early every morning up. The sculptures themselves won’t move but
just to download new albums: pure death metal there will be some sort of atmospheric move-
or heavy metal. It’s 100% an obsession. I think ments or vibrations. I’m also doing the Istanbul
there are superficial reasons for it but also brain Biennial [14 September-10 November], creating
chemistry or physiological reasons. Sonically it a garden of “telegraph plants”, whose leaves are
calms me down. The more abrasive, the more visibly active, constantly moving towards light.
guttural, the better for me. It’s like giving speed Part of my practice is demonstrating the agency
to someone with ADD. I think this kind of music of the world out there—a decentralised, non-
concentrates the chaos of the world into a small solipsistic, non-anthropocentric approach.
space, like putting it into a Tupperware container, • Hammer Projects: Max Hooper Schneider, Hammer
and then I can relax and focus on minutiae. I can Museum, 22 September-5 January 2020
FEBRUARY 10–MAY 12, 2019
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 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019 19

CALENDAR
Frieze Week

 Talks and events

THURSDAY 14 FEBRUARY
11.30AM Film: Cécile B. Evans
A screening of three films by the Belgian-
American artist: AGNES (the end is
near) (2014), Hyperlinks or It Didn’t Happen
(2014) and What the Heart Wants (2016).
Paramount Theatre
5PM Conversations on Patronage:
Supporting the Ephemeral
A discussion on supporting contemporary
performance with Kristy Edmunds, the
executive director of UCLA’s Center for
the Art of Performance; arts patron Susan
Nimoy; the chair of the National Youngarts
Foundation Sarah Arison; and Olivia
Marciano of the Marciano Art Foundation.
Sherry Lansing Theatre, Paramount
Pictures Studio
FRIDAY 15 FEBRUARY
10AM Conversations on Patronage:
What Is a Civic Artist
Kristin Sakoda from the Los Angeles
County Arts Commission talks about public
art with the artists Andrea Bowers and
Suzanne Lacy
Sherry Lansing Theatre, Paramount
Pictures Studio
12PM Conversations on Patronage:
Expanding the Canon
Los Angeles County Museum of Art director
Michael Govan, Naima Keith, deputy
director at the California African American
Museum, and others discuss broadening
the canon with In Other Words executive
editor Charlotte Burns
Sherry Lansing Theatre, Paramount Pictures
Studio
2PM Hollywood Glamour and
Contemporary Art with Matthew Rolston
Photographer Matthew Rolston in conver-

Photography,
sation with Autre Magazine’s Oliver Kupper
and Summer Bowie More than 20 photographs have been assem-
5 Carlos Place bled at the Institute of Contemporary Art (ICA),
3.30PM Artist Talk Los Angeles for Blalock’s first solo exhibition at
Rafa Esparza and Ron Athey

without the baggage

Sherry Lansing Theatre, Paramount
Pictures Studio
6PM Musical Matches: Suki Waterhouse
Live tracks from the model and musician
5 Carlos Place
6.30PM Film: Tom Sachs
A screening of Paradox Bullets (2018) star-
ring artists Tom Sachs and Ed Ruscha
Paramount Theatre
8.30PM Music: Ghédalia
CONCH AND BERRIES: COURTESY THE ARTIST AND GALERIE EVA PRESENHUBER, ZURICH. GUITAR PLAYER: PRIVATE COLLECTION. GOVAN: © MEREDITH STEINFELS
a US museum. The show, organised by the ICA’s
curator Jamillah James, focuses on portraits,
domestic scenes and still-lives, including the
2015-17 work Conch and Berries, all made
within the past five years.
“Photography is a medium with extraor-
dinary baggage, much like painting or other
traditional forms, but it’s one with tremen-
Lucas Blalock gives dous possibility,” James says. “Blalock isn’t a
“pathetic” objects a new purist about not using digital technologies,

which is what gives his images some freedom

Tazartès and Rhys Chatham
Live music from these underground figures lease of life at the ICA to occupy different spaces and to engage a
broad audience.”
LAXART, 7000 Santa Monica Blvd, Hollywood Among the earliest and most figurative pho-
Lucas Blalock: an Enormous Oar tographs on display is The Guitar Player (2013).
Institute of Contemporary Art, Los Angeles It features a man, whose fragmented face James
UNTIL 21 JULY likens to Cubist depiction of a male, strum-
 Satellite Fairs ming what appears to be a piece of astroturf
“I really like objects that have a pathetic in place of a guitar. Another picture, An Other
ART LOS ANGELES quality,” Lucas Blalock said in an Shadow (2014-16) is of an iron cover on a stick
CONTEMPORARY interview in 2016. The US photographer was that features both a natural shadow and one
13-17 February explaining his interest in working with that the artist has added. For the exhibition, a
The Barker Hangar ordinary items that are not made to be looked sculpture has been placed nearby so as to cast a
3021 Airport Avenue, Santa Monica, 90405 at but rather “still have something left to be third shadow.
discovered within them”. The 41-year-old artist “Lucas is [well] versed in the history of pho-
FELIX LA
takes these unassuming objects, such as a stick tography and its problems,” James says. “He’s
14-17 February
of chewing gum and garden gloves, and makes in love with photography, but also has enough
The Hollywood Roosevelt Hotel
them “sing” with the help of cutting-edge distance to be critical of it and its possible
7000 Hollywood Blvd, Los Angeles, 90028
imaging software. But unlike the Photoshopped limitations. His approach to making pictures is
SPRING/BREAK ART SHOW images that mask all traces of manipulation multidisciplinary and non-hierarchical, which is
15-17 February that we are accustomed to seeing on Instagram a very contemporary answer to a now old ques-
The Stalls at Skylight ROW DTLA and in advertisements, Blalock’s pictures are tion about what photography can do or be.” 
71925 East 8th Street, Los Angeles 90021 surreal, often humorous, and proudly lay bare Emily Sharpe 
STARTUP the photographic processes used in his Conch and Berries (2015-17) and Guitar Player • A discussion with curator Jamillah James and Lucas
15-17 February digital interventions. (2013) demonstrate Blalock’s surreal approach Blalock will be held at the ICA on 17 February at 3pm
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 14-15 FEBRUARY 2019
CALENDAR
Frieze Week
Our pick of shows
Works such as White’s Sound of Silence (1978) highlights the struggle for African-American equality
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 more ordinary
than a couple sleeping, even if they are on the verge of creating a genius? J.F. Manny Farber’s Listo Leads (1976) documents the banality of everyday life
“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 through
the 1930s before moving to New York in
1942. Health reasons brought White to Los
Angeles in 1956 and his impact on students
at the 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
1301PE
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 the Berlin-based Elijah Burgher while he was
in residency in Los Angeles last autumn, thanks to a grant from
the Mike Kelley Foundation. 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.
The Vendome Column, photographed by Bruno Braquehais, was
toppled in 1871 during the Paris Commune
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.
UNTIL 17 FEBRUARY Adia Millett: Breaking Patterns
Persistent: Evolving Architecture in a UNTIL 25 AUGUST
✪ Charles White Elementary
Changing World
UNTIL 17 FEBRUARY School Gallery
P810: Dark Mode
UNTIL 17 FEBRUARY
2401 Wilshire Boulevard, Los Angeles 90057
Life Model: Charles White and His Students
Anat Ebgi 16 FEBRUARY-15 SEPTEMBER
2660 S La Cienega Boulevard, Los Angeles Château Shatto
90034
Faith Wilding
1206 Maple Avenue #1030, Los Angeles 90015
Cécile B. Evans: Something tactical is coming
UNTIL 9 MARCH UNTIL 24 FEBRUARY
✪ Art + Practice ✪ Chinese American Museum
3401 W 43rd Place, Los Angeles 90008 425 N Los Angeles Street, Los Angeles
Time Is Running Out of Time: Experimental Lightscapes: Re-envisioning the
MADELEINE GRYNSZTEJN AND TOM SHAPIRO. MONUMENT: GETTY RESEARCH INSTITUTE, LOS ANGELES. CLUELESS: © SHUTTERSTOCK
Film and Video from the L.A. Rebellion and Shanshuihua
CHARLES WHITE: © THE CHARLES WHITE ARCHIVES; PHOTO © THE ART INSTITUTE OF CHICAGO. MANNY FARBER: COLLECTION OF
Today UNTIL 10 NOVEMBER
UNTIL 14 SEPTEMBER Cirrus Gallery
Blum & Poe 2011 S Santa Fe Avenue, Los Angeles 90012
2727 S La Cienega Boulevard, Los Angeles Bruce Nauman Prints: 1971-81
90034 UNTIL 2 MARCH
Parergon: Japanese Art of the 1980s & 1990s Charlemagne Palestine: 356
UNTIL 23 MARCH CcornUuoOrphanosS
The Box UNTIL 2 MARCH
805 Traction Avenue, Los Angeles 90013 Commonwealth and Council
Pierre Guyotat and Christoph von Weyhe 3006 West 7th Street, Suite 220, Los Angeles
UNTIL 30 MARCH 90005
✪ The Broad David Alekhuogie: To Live & Die in LA
221 S Grand Avenue, Los Angeles 90012 UNTIL 2 MARCH
The Collection Kenneth Tam: Tamborine
ONGOING UNTIL 2 MARCH
Yayoi Kusama’s Infinity Mirror Rooms ✪ Craft Contemporary
ONGOING 5814 Wilshire Boulevard, Los Angeles 90036
✪ California African American Museum Beatriz Cortez: Trinidad/Joy Station
600 State Drive, Exposition Park, UNTIL 12 MAY
Los Angeles 90037 Focus Iran 3
Robert Pruitt: Devotion UNTIL 12 MAY
UNTIL 17 FEBRUARY Gagosian
Los Angeles Freedom Rally, 1963 420a North Camden Drive, Beverly Hills 90210
UNTIL 3 MARCH Albert Oehlen: Drawings
 THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 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
Detail of toy by Mark Nagata in the Japanese American National Museum show, Kaiju vs Heroes

UNTIL 2 MARCH Keltie Ferris 90024

Ghebaly Gallery 15 FEBRUARY-20 MARCH New Orleans Second Line Parades:
2245 E Washington Boulevard, Los Angeles ✪ Museum of Contemporary Art Photographs by Pableaux Johnson
90021 (MoCA) Grand Avenue UNTIL 28 APRIL
Kelly Akashi: Figure Shifter 250 South Grand Avenue, Los Angeles 90012 Summoning the Ancestors: Southern
UNTIL 10 MARCH One Day at a Time: Manny Farber and Nigerian Bronzes
Zhang Ruyi: Bonsai Termite Art UNTIL 10 MARCH
UNTIL 10 MARCH UNTIL 11 MARCH ✪ J. Paul Getty Museum
Ibid Gallery Cameron Rowland: D37 Getty Center, 1200 Getty Center Drive,
8825 Beverly Boulevard, West Hollywood UNTIL 11 MARCH Los Angeles 90049
90048 ✪ MoCA Geffen Contemporary Monumentality
Pale White 152 North Central Avenue, Los Angeles 90012 UNTIL 21 APRIL
UNTIL 19 FEBRUARY Laura Owens Spectacular Mysteries: Renaissance
✪ Institute of Contemporary Art, UNTIL 25 MARCH Drawings Revealed
Los Angeles Zoe Leonard: Survey UNTIL 28 APRIL
1717 E 7th Street, Los Angeles 90021 UNTIL 25 MARCH Pontormo: Miraculous Encounters
B. Wurtz: This Has No Name Barbara Kruger: Untitled Questions UNTIL 28 APRIL
UNTIL 17 FEBRUARY 1990-2018 ✪ Getty Villa
Maryam Jafri: I Drank the Kool-Aid But I UNTIL 30 NOVEMBER 2020 17985 Pacific Coast Highway, Pacific
Didn’t Inhale ✪ MoCA Pacific Design Center Palisades 90272
UNTIL 23 JUNE 8687 Melrose Avenue, Los Angeles 90069 Underworld: Imagining the Afterlife
Lucas Blalock: an Enormous Oar One Day at a Time: Kahlil Joseph’s Fly Paper UNTIL 18 MARCH
UNTIL 21 JULY UNTIL 24 FEBRUARY Palmyra: Loss and Remembrance
Hannah Hoffman Gallery Night Gallery UNTIL 27 MAY
1690 S Victoria Ave, Los Angeles, CA 90019 2276 E 16th Street, Los Angeles 90021 ✪ Hammer Museum
Tony Cokes Derek Fordjour: Jrrnnys 10899 Wilshire Boulevard, Los Angeles
UNTIL 15 MARCH UNTIL 2 MARCH 90024
Hannah Hoffman Gallery Tau Lewis Math Bass
Public Storage, 3611 W Washington UNTIL 2 MARCH UNTIL 17 MARCH
Boulevard, Los Angeles 90018 Park View/Paul Soto Tschabalala Self
By appointment only 2271 W Washington Boulevard, Los Angeles UNTIL 28 APRIL
D’Ette Nogle 90018 Jamilah Sabur
UNTIL 27 APRIL Mark A. Rodriguez: Account UNTIL 5 MAY
Hauser & Wirth UNTIL 20 APRIL Allen Ruppersberg: Intellectual Property
901 East 3rd Street, Los Angeles 90013 Parker Gallery 1968-2018
Annie Leibovitz: the Early Years, 1970-83 2441 Glendower Avenue, Los Angeles 90027 UNTIL 12 MAY
14 FEBRUARY-14 APRIL Nancy Shaver and Emi Winter Dirty Protest: Selections from the Collection
Piero Manzoni: Materials of His Time UNTIL 30 MARCH UNTIL 19 MAY
14 FEBRUARY-7 APRIL Jim Drain ✪ The Huntington
✪ Japanese American National Museum UNTIL 30 MARCH 1151 Oxford Road, San Marino 91108
100 N Central Avenue, Los Angeles 90012 Parrasch Heijnen Gallery Rituals of Labor
Kaiju vs Heroes: Mark Nagata’s Journey 1326 S Boyle Avenue, Los Angeles 90023 UNTIL 25 FEBRUARY
through the World of Japanese Toys Alteronce Gumby: Catching the Holy Ghost Celia Paul
UNTIL 24 MARCH UNTIL 23 MARCH UNTIL 8 JULY
Karma International Philip Martin Gallery Venice: Real and Imagined

MODERN ART & DESIGN AUCTION

4619 W Washington Boulevard, Los Angeles 2712 S La Cienega Boulevard, Los Angeles UNTIL 25 FEBRUARY
90016 90034 LA Louver
Chuck Arnoldi Ericka Beckman 45 N Venice Boulevard, Venice 90291

FEBRUARY 17, 2019

UNTIL 27 APRIL UNTIL 23 FEBRUARY David Hockney: Something New in Painting
Kayne Griffin Corcoran Roberts Projects (and Photography) [and even Printing] ...
1201 S La Brea Avenue, Los Angeles 90019 5801 Washington Boulevard, Culver City 90232 Continued
Beverly Pepper: New Particles from the Sun Amoako Boafo: I See Me UNTIL 23 MARCH
UNTIL 9 MARCH UNTIL 16 FEBRUARY Alison Saar: Grow’d
Kopeikin Gallery ✪ Roy and Edna Disney CalArts Theatre UNTIL 23 MARCH
2766 S La Cienega Boulevard, Los Angeles (REDCAT) ✪ Norton Simon Museum
90034 631 West 2nd Street, Los Angeles 90012 411 West Colorado Blvd, Pasadena 91105
Kiel Johnson: Prepping for the Edge
UNTIL 9 MARCH
Morgan Fisher/Passing Time
UNTIL 16 FEBRUARY
Once Upon a Tapestry: Woven Tales of
Helen and Dido
ANDY WARHOL | KEITH HARING | MAY RAY
Alejandro Cartagena Presence
UNTIL 9 MARCH
Sprüth Magers
5900 Wilshire Boulevard, Los Angeles 90036
UNTIL 27 MAY
Titian’s Portrait of a Lady in White
KENNETH NOLAND | JENNIFER BARTLETT
✪ Los Angeles County Museum of Art
5905 Wilshire Boulevard, Los Angeles 90036
Sterling Ruby: Damnation
UNTIL 23 MARCH
UNTIL 25 MARCH
The Pit
DE WAIN VALENTINE | ALEXANDER CALDER
Outliers and American Vanguard Art Susanne Vielmetter Los Angeles Projects 918 Ruberta Avenue, Glendale 91201 FRANCOISE LALANNE | CAMPANA BROTHERS
UNTIL 17 MARCH 6006 Washington Boulevard, Culver City Nora Shields: Harder Volumes
Merce Cunningham: Clouds and Screens 90232 UNTIL 17 FEBRUARY ROY LICHTENSTEIN | MEL BOCHNER | MALOOF
UNTIL 31 MARCH Ellen Berkenblit: Paintings Tim Presley: Under the Banner of Concern
Teresa Hubbard/Alexander Birchler: Flora UNTIL 16 FEBRUARY UNTIL 17 FEBRUARY BILLY AL BENGSTON | ROBERT IRWIN
UNTIL 7 APRIL Inaugural Exhibition ✪ Skirball Cultural Center
West of Modernism: California Graphic UNTIL 23 MARCH 2701 N Sepulveda Boulevard, Los Angeles CHARLES ARNOLDI | GEORGE RICKEY
Design 1975-95 ✪ USC Fisher Museum of Art 90049
UNTIL 21 APRIL 823 W Exposition Boulevard, Los Angeles Notorious RBG: The Life and Times of Ruth
Rauschenberg: the 1/4 Mile 90089 Bader Ginsburg
UNTIL 9 JUNE Staged Meaning/Meaning Staged UNTIL 10 MARCH
Charles White: a Retrospective UNTIL 13 APRIL ✪ Vincent Price Art Museum
17 FEBRUARY-9 JUNE ✪ UTA Artist Space 1301 Avenida Cesar Chavez, Monterey Park
Maccarone
250 LOTS OF MODERN & CONTEMPORARY ART
BOND#7900405194

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
UNTIL 2 MARCH Regeneración PREVIEW OPEN EVERY DAY (10AM-6PM)
Marc Selwyn Fine Art UNTIL 16 FEBRUARY
9953 South Santa Monica Boulevard, 40-minute-plus drive ✪ Wende Museum
KAIJU VS HEROES: GARY VAN DER STEUR

Beverly Hills 90212 10808 Culver Boulevard, Culver City

Allen Ruppersberg: What a Strange Day it Casa Perfect 90230
Has Been 1174 N Hillcrest Road, Beverly Hills 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
16 FEBRUARY-23 MARCH Andy Warhol UNTIL 2 JUNE
Morán Morán 15 FEBRUARY-22 MARCH Upside-Down Propaganda: The Art of North 323-904-1950 | LAMODERN.COM
937 N. La Cienega Boulevard ✪ Fowler Museum at UCLA Korean Defector Sun Mu
Los Angeles, 90069 308 Charles E Young Drive N, Los Angeles UNTIL 2 JUNE
 22
COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why
W
allis Annen-
berg is one
of the most
powerful and
influential
philanthro-
pists in Los Angeles. The heir of the
billionaire media tycoon, Walter
Annenberg, she took charge of the
Annenberg Foundation in 2009, over-
seeing the distribution of more than
$595m to more than 2,180 organisa-
tions. She is on the board of trustees
at the Museum of Contemporary Art,
Los Angeles, as well as the Los Angeles
County Museum of Art (Lacma),
whose chief Michael Govan is formally
known as the Wallis Annenberg
director, a title that reflects a $10m
grant from her foundation awarded in
2002. In 2008, Annenberg gave a $23m
to Lacma to acquire the Marjorie and
Leonard Vernon collection of 19th-
and 20th-century photographs. The
medium holds a particular interest for
her: she created the Annenberg Space
for Photography in Los Angeles, which
celebrates its tenth anniversary this
year, and has works by photographers
such as Irving Penn, Berenice Abbott
and Jacques-Henri Lartigue in her own
personal collection. 
THE ART NEWSPAPER: What is
your preferred way of buying art?
WALLIS ANNENBERG: I believe in
buying art with my heart, and not
my wallet. So really, my only method
is to ask myself: does this work
astonish me? Does it say something
special to me, something that has
never been said before, something
that will reveal itself more and more
over time? Is it something I want to
live with every day? Owning a great
work of art is really a conversation
that evolves and unfolds. You should
look forward to passing it in your
own home. You should miss it when
you are on vacation, In my humble
opinion, that’s the way to buy a
piece of art.
If money was no object, what
would be your dream purchase?
I would have to say the Mona Lisa.
Simply because that smile—that
coyly courageous expression, which
has been studied and contemplated
and admired for five centuries now—
says boldly and clearly: I know some-
thing that you don’t. It’s what I want
out of my art. I suppose praising the
Mona Lisa is like saying Shakespeare
is the best writer. But some clichés
have the virtue of being true. If you
know anyone who is selling it, give
them my number.
Which work do you regret not
buying when you had the chance?
I try not to look at art that way. It’s
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THEARTNEWSPAPER.COM FRIEZE LOS ANGELES FAIR EDITION 14-15 FEBRUARY 2019
Wallis Annenberg
easy to wish that you were snap-
ping up Andreas Gursky or William
Eggleston or Diane Arbus photo-
graphs when no one knew their
names. But I really try not to look
at this as a futures market. There is
extraordinary art being produced
every single day; I try to buy what
moves me and speaks to me.
Which of your works requires the
most maintenance?
I can’t say I own any works that are
especially high maintenance. But I do
think of art as being a bit like house-
plants. You should give them love and
attention, maybe even talk to them a
bit, if not actually out loud. It exists to
be seen and experienced and adored,
and that can be a type of mainte-
nance, to be sure.
What is the most surprising place
you have displayed a work?
I find that if the art itself is surpris-
ing, any place you display it is surpris-
ing. You’d be amazed how surprising
a living room wall can be under the
right circumstances.
Which artists would you invite to
your dream dinner party?
I would say Cindy Sherman, because
her work is so fun and funny and
personal and emotional at the same
time; I know she would make for
thrilling conversation. Sally Mann,
because she sees so deep inside her
subjects, she would be able to decon-
struct what had really happened at
the dinner the next day. And Jenny
Holzer, because she knows how to
present complex and brilliant ideas in
a public place—which is, after all, the
definition of a great dinner party.
What is the best collecting advice
you have been given?
Don’t collect art as if it is a stamp
or coin or figurine. Let the art
collect you.
Are philanthropists born or made?
I would have to say both, really.
Wanting to share your good fortune,
and support innovative people and
ideas, is an instinct. But knowing how
to do it right—how to leverage real
change, how to support ideas that
will be copied and expanded upon,
many times over—takes real experi-
ence and judgement. No one is born
with that; I know I wasn’t!
Interview by Gareth Harris
THE ART NEWSPAPER
Frieze Los Angeles editions
Editorial and contributors
Editor, The Art Newspaper Alison Cole
Deputy editor, The Art Newspaper Julia
Michalska
Fairs and special projects editor Emily Sharpe
Editor, Frieze Los Angeles editions Helen
Stoilas
Contributors
Gabriella Angeleti, Margaret Carrigan, Aimee
Dawson, Jon Finkel, Jonathan Griffin, Gareth
Harris, Anny Shaw, Emily Sharpe, Helen Stoilas,
Matt Stromberg, Sarah Vitale, Maxwell Williams
Editorial production
Designers James Ladbury, Kate Johnston
Copy editors Peter Kernan, Andrew McIlwraith,
Vivienne Riddoch
Picture editors Katherine Hardy, Gabriella
Angeleti, Winnie Lee
Photographer David Owens
Digital Aimee Dawson
Publishing and Commercial
Publisher Inna Bazhenova
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Chief executive Russell Toone
Associate publisher, fairs and events media
Stephanie Ollivier Head of subscriptions and
membership James Greenwood Head of sales
(UK) Kath Boon Head of sales (the Americas)
Kathleen Cullen Advertising sales director
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Americas) Steven Kaminski Design/
production (commercial) Daniela Hathaway
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© The Art Newspaper, 2019.
Printed by Southwest Offset Printing
All rights reserved. No part of this newspaper may be reproduced
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Newspaper is not responsible for statements expressed in the
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publishers, the contents of advertisements are the responsibility of
the individual advertisers
WALLIS ANNENBERG: ROBIN LAYTON
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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
GEORGE RICKEY | FRED EVERSLEY | FREDERICK HAMMERSLEY | DAVID HOCKNEY

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