Nathan Seabrook ’s Rooms with a View Shin Okuda Crafts Elegance
Gracie Hadland at the Beverly Hilton Christopher Yin and John Yoon: On Collecting
Amanda Hunt Puts LA in Focus Math Bass: Lessons from Barbara Kruger
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As we were working on this issue, the great California painter Wayne Thiebaud passed away. In an Art21 clip, Bruce Nauman who had been his teaching assistant at UC Davis
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Table28 for Two John Yoon Christopher& Yin Shin36 LAWakaOkuda’sWakaIsElegance
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This line came to mind when Christine Messineo, the new director of Frieze Los Angeles, suggested we theme this issue on education. I thought about how much there is to take in in this great metropolis and, as the fair moves to an exciting new location in Beverly Hills, how much there is to pay attention to this Frieze Week. Christine herself provides a re-cap of some of the must-see activity around LA (p. 2).
Courtesy:2020–ongoing.theartist
With learning in mind, we also profile some of the artists leading education in the area (p. 16), salute Barbara Kruger as teacher (p. 56) and meet the collector couple who see graduate shows as opportunities to support artists (p. 28 ). Nathan Seabrook’s cover image, from his photo essay (p. 44 ), is all about coming to know Los Angeles through a series of enigmatic glimpses. Learning is a business of looking, too. Matthew McLean, creative lead, Frieze Studios
Keep56 Things Simple On Barbara Kruger
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Frieze Week is printed in the UK by Stephens & George and published by Frieze Publishing Ltd
Jump2 In A guide to the week from our director Telling4 Stories Previewing Focus LA Independence6 Days From Watts Towers to Head11WomanhousefortheHills
A fresh look at Beverly Hills Learning16 Curve Artists in education Deutsche26 Bank Funding new talent
Meet the designer Maestro39 Dobel Window44Tequila of Time Photography by Nathan Seabrook
— described how Thiebaud, as a teacher, “taught people how to pay attention.”
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On the Cover Nathan Seabrook, from the series “Inside Outside,”
Before lockdown, and a few weeks before giving birth, I found myself regularly visiting the Beverly Hills Public Library. Sleep was elusive and, to keep myself occupied, I read mysteries and explored the library shelves. Skimming the arts section, I searched for those thin catalogs, the ones held together by two staples along the centerfold, usually produced in the 1970s by smaller institutions; the kind that are easily mislaid, over looked, or even discarded in a move: and then, decades later, become ridiculously expensive on eBay. I came across one about Joan Brown, an artist from the Bay Area, whose colorful, figurative paintings of pets and patterns I was unfamiliar with. Some online searching also led me to Brown’s strange, spiritual sculptures. Leaving the library, I looked towards the garden and, adjacent to the building almost reminiscent of a palm tree, was a ceramic-tiled, eighteen-foot pillar by the very same Joan Brown. Brown’s The Center Obelisk (1986) is one of many sculptures that form part of an extensive and diverse collection of contemporary art assembled by the city of Beverly Hills, which also includes works by artists from Carol Bove and Yayoi Kusama to Tony Smith.
Our Frieze Impact awardees, Mary Baxter, Maria Gaspar and Dread Scott, will finally, after a delay, present their winning projects in-person as part of an exhibition at the fair. The prize, given in partnership with Art for Justice and Endeavor Impact, brings attention to inequity in mass
Wherever Frieze Week takes you, I hope you will find yourself in the same place I was last January: intent on discov ery and ready to engage with the expan sive cultural landscape of Los Angeles.
There are so many exhibitions not to be missed during LA’s Frieze Week. The Institute of Contemporary Art, Los Angeles, helmed by Anne Ellegood, is presenting a solo show by Jamal Cyrus. At the Underground Museum, Helen Molesworth has curated an exhibition of work by the late Noah Davis the museum’s co-founder and an incredible painter before his untimely death in 2015 which is sure to be an important and moving event. The Ulysses Jenkins show at the Hammer Museum, the artist’s first major retrospective, should also be significant. The Broad and the Getty Center will each be shining a spotlight on recent acquisitions, including works by Julie Mehretu at the former and pieces by Tourmaline and photographer John Brandon at the latter. There’s more powerful photography on view in the California African American Museum’s LaToya Ruby Frazier exhibition. Over at the Museum of Contemporary Art, “Big Heartedness, Be My Neighbor” showcases the ever-inventive Pipilotti Rist. It’s a thrill when presentations “on the gallery grid” and across the city spark connec tions. I’m sure you’ll find works by Calida Rawles and Kehinde Wiley at the fair: both are featured in the Los Angeles County Museum of Art’s survey “Black American Portraits,” grouped around
Above Diedrick Brackens, survival is a shrine, not the small space near the limit of life, 2021, on view in “heaven is a muddy riverbed,” Craft Contemporary, Los Angeles, until May 8
Jump In
Josh Kline will be opening an exhibi tion at LAXART, one of the integral not for profits in the city. The Los Angeles Visual Arts Coalition, founded amidst the pandemic, aligns many of our small to mid-size visual arts organizations in sustaining their missions and sharing information. Human Resources, JOAN, Los Angeles Nomadic Division and The Mistake Room are just a few of the 27 that are deserving of our attention.
Wiley’s and Amy Sherald’s presidential portraits of Barack and Michelle Obama.
I’m interested in the relationship between art, craft and design, which is so strong in this city. Last summer, I saw a great presentation of design and objects by the platform SIZED, including furni ture by Waka Waka studio (see Janelle Zara’s profile on p. 36); I’m excited for the next edition, organized by Alexander May and themed around ikebana, to open in a new space on Western Avenue during Frieze Week. Diedrick Brackens’s woven tapestries are on view at Craft Contemporary: a fantastic Los Angeles space, which is often overlooked.
Because they are so often sensitive observers, I find artists have an innate ability to connect others; some of my closest friendships have formed through introductions facilitated by artists. But that work is rarely seen. Giving it a tangible presence, Los Angeles-based artist Tanya Aguiñiga is organizing a section of the fair dedicated to ten local, BIPOC-led not-for-profits. Drawing on her upbringing as a binational citizen, who daily crossed the border for school, in 2016 Aguiñiga founded AMBOS (Art Made Between Opposite Sides) to connect artists, activists and makers in the border region and use craft and art as vehicles for community self-care.Taking place in the Beverly Hilton’s Wilshire Garden, this section will include organizations such as The People’s Pottery Project, which supports and empowers formerly incarcerated women, trans and non-binary individuals by offering paid training, employment and a creative community. It’s a model of learning at its most powerful. I’m honored that Frieze can be the host for this project and hope it will be a site for art, performance, infor mation sharing and community building.
incarceration and the US prison system. This presentation has been a long time coming, but still has such urgency.
In a similar way, I hope this edition of Frieze Los Angeles, my first as director, will be a moment to shine a light on what is already here the institutions that are integral to the cultural landscape of the city and to make connections.
AROUND TOWN 2FEB 17–20 2022FRIEZE WEEK LOS ANGELES
Christine Messineo is director of Frieze Los Angeles and Frieze New York. She lives in Los Angeles, USA.
BREGUET.COM MARINE 5547
We also have a vast park and garden within our 11-acre campus. As someone who is invested in the communities that institutions occupy, and the possibilities of art in public space, the potential of this outdoor area and the many access points it creates were a huge part of why I wanted to work at this museum. Despite LA having a beautiful temperate climate, the city really has a deficit of green space, especially in South LA.
AH What keeps me going in my curato rial practice is a strong desire to know what’s out there: what’s new and exciting, what’s funky and weird. LA has so much of that to discover. It’s been an interesting experiment, finding new voices and stories that I wanted to highlight. Working where I do now, at the Lucas
What first brought me to California was graduate school in San Francisco. Over the summer of 2010, I explored LA and fell in love with the community of artists here. After that, I always knew I wanted to be in LA. When I moved here in 2011, I began working with LAXART on the Performance and Public Art Festival for the initiative “Pacific Standard Time: Art in L.A. 1945 1980,” organized with the Getty Research Institute. I went from writing my thesis on Eleanor Antin and Lorraine O’Grady, to picking Eleanor up from Union Station for rehearsals for a project she was working on with Malik Gaines. It was an incredible transition.
What are some of the museum’s institutional priorities? Can you give some insight into the collection?
Central to the museum is the idea that narrative is the most accessible artform. We’ve been telling stories for eons; it’s in our DNA. The founder, filmmaker George Lucas, has his own relationship to story, especially through his Star Wars films [1977 2012]: an epic narrative about a hero’s journey. There will be some of that legacy in the collection. Pilar Tompkins Rivas, our chief curator, can speak more specifically to that, but I know we are taking an expansive and diverse approach.
AH Public programming can be many things: academic, performative, it can manifest as a thinktank. There’s undefined potential there. As we start to unfold the museum’s programming and structure, that piece will become clearer.
from Washington D.C. and governmentorganizational work, so it’s an interesting intersection of experience and voices informing the whole.
Ultimately, I see the position as a platform for supporting creative practices that manifest in varied forms and across many disciplines.
Over the last decade, I’ve continued to build relationships with artists, designers and architects. The inspiration I draw from these relationships is what ultimately brought me back to LA in 2017 after working at the Studio Museum in Harlem for three years. It’s a place where I feel comfortable and cared for, where there has always been space for memorable conversations and studio visits. With so many rich and diverse cultural pockets, LA has always felt abundant with opportunity and adventure.
Staff diversity is a priority for the museum. It shapes the thinking in such critical ways. The museum is run by a woman of color who comes from a curato rial and education background, which also feels radical. The staff, more broadly, also reflect a professional diversity. We have librarians and people who come
Courtesy: © Rodrigo Valenzuela and Luis De Jesus, Los Angeles
TELLING STORIES
Amanda Hunt is director of public programs and creative practice at the Lucas Museum of Narrative Art, Los Angeles, USA.
Part of the team at the highly anticipated Lucas Museum of Narrative Art, Amanda Hunt set about curating Focus LA a section of Frieze for local galleries under 15 years old to foreground those offering a prominent platform for Black, Brown, Indigenous and queer artists. “Narrative is visual,” she explains to Olivian Cha.
OLIVIAN CHA
OC How has this shaped your selection and themes for this year’s Focus section at Frieze Los Angeles?
OC Could you talk more about the Lucas Museum of Narrative Art, which opens in 2023, and your work there?
Olivian Cha is a curator and critic. She lives in Los Angeles, USA.
Eric-Paul Riege, who shows with Stars gallery, is an Indigenous artist working in performance and installation. He will be presenting large-scale sculptures that can be used in performance.
Your curatorial history in Los Angeles stretches back more than a decade. Could you speak about your relationship to the city and its artists?
FOCUS LA 4FEB 17–20 2022FRIEZE WEEK LOS ANGELES
Museum of Narrative Art, has shaped my curatorial thinking to consider the ways in which narrative is visual. I had to ask myself whose stories, either collectively or individually, do I want to highlight? Black, Brown, Indigenous and queer voices and practices are an essential part of this year’s Focus LA. I want people to explore work they might not encounter in their usual circuit of commercial galleries and to offer insight into experiences that aren’t in theFormainstream.instance,Rodrigo Valenzuela, who is a teacher at UCLA, is making incredible work right now. His practice looks at the working class and issues of labor, immi gration and protest. Represented by Luis De Jesus gallery, he’s got a beautiful new book out and has put together a striking presentation for Focus.
AMANDA HUNT
Right Rodrigo Valenzuela, Afterwork #5, 2021.
AH We are working to build a new insti tution from the ground up and to undo some long-held institutional problems, including rethinking the hierarchies of conversation and communication.
OC Your title, director of public programs and creative practice, is intriguing. What does it entail?
Below Eric-Paul Riege, my god, YE’ii [2], LosMinneapolis,Riege,Courtesy:2018–21.©Eric-PaulBockleyGallery,andStars,Angeles
On view February 15–May 8, 2022 Getty Center FREE ADMISSION Painting detail: A Bacchanalian Revel before a Term, 1632–1633, Nicolas Poussin. © The National Gallery, London. Micaela Taylor image: © Harrison Glazier. Text and design © 2022 J. Paul Getty Trust
Exterior of the Woman’s Building, Los Angeles, 1975. Courtesy: Getty Research photograph:Institute;Maria Karras
installation and performance space that launched the careers of leading feminist artists such as Suzanne Lacy, Mira Schor and Faith Wilding.
Between 1921 and 1954, an Italian immigrant, Simon Rodia, designed and built the Watts Towers in Los Angeles: epic, three-dimensional collages made from cement, sand and material scraps. In 1964, artist and educator Noah Purifoy co-founded the Watts Towers Arts Center (WTAC) with Judson Powell and Sue
of the rioting. As artists experimented with materiality and fragmentation, they also experimented with the body: in their material practices, Nengudi and Hammons evoked bodies that defied fixed identifications. wattstowers.org
INDEPENDENCE DAYS
The Woman’s Building Feminist artists working in Los Angeles in the 1960s and ’70s developed practices that centered unapologetically on women’s experiences. This shift began in 1970, with the establishment of the Feminist Art Program at California State University, Fresno, by artist Judy Chicago. Chicago then co-founded a similar course, with fellow artist Miriam Schapiro, at California Institute of the Arts (CalArts); it was here that Chicago, Schapiro and their students created work for 1972’s ground-breaking Womanhouse, an art
Initially funded by provision under the Comprehensive Employment and Training Act, LACE’s founding artists collectively envisioned a new kind of exhi bition space that was more accessible and connected to the surrounding community; they were intent on creating a diverse and generative site for cultural exchange through dialogue and experimental per formance. In Axis Mundo: Queer Networks in Chicano L.A. (2017), co-author and art historian Ondine Chavoya describes LACE as ‘a critical nexus for experimen tation and political dissent, especially between queer and Chicano/a artists in Los Angeles’ a fact that is often forgotten in characterizations of the space today. welcometolace.org
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The history of LACE can be traced back to the early-1970s Chicano student-youth movement in East Los Angeles, and the activities in the same period of Asco, an avant-garde performance collective (co-founded by Harry Gamboa Jr., Glugio ‘Gronk’ Nicandro, Willie Herrón and Patssi Valdez) whose name loosely translates as ‘disgust’. Famous for spray-painting the façade of the Los Angeles County Museum of Art in 1972, Asco exposed the discrimi nation that pervaded the mainstream art world, raising questions about what and who is considered avant-garde. In 1978, three of Asco’s members co-founded LACE, along with ten other artists.
It acted as a hub for collaborative and politically engaged feminist artists, culti vating workshops, consciousness-raising groups, performances, coalitions and educational programs. Performance was a central focus for many people working at the Woman’s Building engaging the body in live art allowed female artists to articulate their lived experiences, better understand their relationships to systems of oppression, and subvert patriarchal representations of women.
The 1965 Watts Uprising marked a pivotal social-political moment in the history of Los Angeles, as well as that of the US in general. The riots engendered new and more strategic approaches to assemblage art that attempted to reflect the fragmented experience of Black life in America. A swell of exciting practices grew out of this period of cultural creativ ity, which became known as the Watts Renaissance. For example, Purifoy led the creation of the collaborative work 66 Signs of Neon (1965), a seminal piece made with materials collected in the aftermath
Members of Asco reflect on the influence of the group in the current issue of frieze magazine. Buy it online or subscribe to eight issues a year with In Print Membership
The activities and ideas that germinated at California State and CalArts led to the establishment of the Woman’s Building, a space Chicago co-founded with graphic designer Sheila Levrant de Bretteville and art historian Arlene Raven in 1973.
Lauren Guilford is a curator, art historian and candidate in the MA Curatorial Practices and the Public Sphere, USC Roski School of Fine Arts, Los Angeles, USA. She lives in Los Angeles.
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Welsh, intending it to be a place of crea tive freedom in which Black artists could exhibit work and develop their practices.
The Watts Towers Arts Center
The 1960s and ’70s in Los Angeles saw the emergence of numerous overlapping art communities, making this a pivotal period in which one can trace the roots of the city’s burgeoning modern-day art scene. Back then, Black, female and Chicanx artists, largely dismissed by mainstream culture, established the kind of counterinstitutions they saw necessary to reclaim cultural space. These alternative sites acted as creative incubators, supporting a range of emerging and experimental practices.
The WTAC was a critical social space that catalyzed the careers of artists such as Melvin Edwards, David Hammons, Maren Hassinger, Senga Nengudi, John Outterbridge and Betye Saar.
Los Angeles Contemporary Exhibitions (LACE)
2022 marks the 50th anniversary of LA’s landmark feminist performance space Womanhouse. But this is only one celebrated chapter in the wider story of independent art production in the city. Lauren Guilford gives a primer to three key spaces and the historic contributions they’ve made.
Frieze Los Angeles February 17 – 20, 2022 Booth B02 Olga de Amaral, Memento azulado, 2016. Linen, gesso, acrylic and gold leaf. 200 x 125 cm, 78 5/8 x 49 1/8 in, © Olga de Amaral
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In 2012, Whitney Houston was found dead in the bathtub of her hotel room from an apparent overdose. She was due to appear at the Grammy Awards the next night. Out of respect, the room in which she was staying, suite 434, has been emptied and is no longer in use. In a video titled “Whitney Houston’s Body Leaves the Beverly Hilton” posted on YouTube by RumorFix in February 2012 police, staff and photographers huddle outside the hotel’s parking garage waiting for the coroner’s van to drive off. The proces sion is chaotic; photographers slam their cameras against the vehicle’s back windows, trying to get a picture of the singer’s body. “It’s against the law to take a picture!” an authority figure shouts in vain. People push up against the van; the clicking of cameras makes a grating, violent noise. The security staff is unable to keep the mob of photographers away from the windows, as the van drives out of the parking lot onto Wilshire, past an “Exit Only” sign in the hotel’s signature font.
Since 1961, the Hilton has hosted the Golden Globe Awards. Its red carpet, the ultimate ceremony of arrival, happens around the hotel’s circular driveway. Being there, entering the building, is an event in and of itself. There are infinite images online of people walking that red carpet. I’m particularly struck by a series
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the hotel itself if not more so. In one of these videos, Michael Robertson, the hotel’s manager, says: “We are an icon because of every person who has graced the front door, every president, and we get to see them.”
Gracie Hadland on the historic comings and goings that mark Frieze’s legendary new neighbor, the Beverly Hilton. Plus: a special illustrated guide to food, sculpture and more across the city of Beverly Hills
Artist: Cha
Gracie Hadland is a writer. She lives in Los Angeles, USA.
Many of the legendary things that went on in the hotel are too salacious and uncouth for public promotion. In 1993, Heidi Fleiss, the Hollywood madam, operator of a high-end prostitution ring, was nabbed by the cops in a theatrical, dramatic sting in which detectives, pos ing as Japanese businessmen, arrested four women in a hotel room. In 2008, presidential candidate John Edwards was caught visiting his mistress and their child. He hid in the hotel room’s bath room while photographers pounded on the door. He was eventually dragged out by security. It is rumored, too, that John F. Kennedy’s affair with Monroe took place at the Beverly Hilton. Both are such powerful icons rendered so unreal and abstract by the mass circulation of their images that the Hilton seems the only plausible setting.
The Beverly Hilton sits on a triangular site between Santa Monica and Wilshire Boulevards, Los Angeles’s two main thoroughfares. When I mention I’m writing about the Hilton, an LA native says all he knows about the hotel is the famous driveway that allows you to cut between the two roads. More people have driven through the grounds of the Beverly Hilton than have stayed there. The property is dominated by parking structures and driveways: it’s nearly impossible to enter the hotel on foot, and the main entrance is only accessible by car. Pedestrians must enter via the driveway with no sidewalk, dodging the Escalades and Mercedes. The ceremony of coming and going by vehicle is treated like a sacred ritual in Los Angeles.
of Marilyn Monroe arriving at the award ceremony in 1962 in a green, sequined dress. Photographers swarm her; hands reach out around the frame to get her attention, touch her, take her coat for her. Her smile never wavers; it’s constant. Her sparkling diamond earrings shim mer in the camera’s flash. Yet, her eyes droop just slightly, her skin as pale as her white-blonde hair. Five months later, she was found dead at her home. The very same year, Richard Nixon staged a now-famous press conference at the Beverly Hilton following his gubernato rial loss. He barked at the media: “You don’t have Nixon to kick around anymore because, gentlemen, this is my last press conference.” It wasn’t his first lie, and it certainly wouldn’t be his last. He was re-elected six years later. In a series of promotional videos for the hotel, staff remark on the people who have walked the halls, graced the hotel with their presence, arrived in style, made grand entrances or memorable exits. It’s as if these gestures, these historical moments, are just as important as what goes on in
Head for the Hills
12FEB 17–20 2022FRIEZE WEEK LOS ANGELES CITY OF BEVERLY HILLS GUIDE
Some of the best accommodation not just in southern California but in the world can be found in Beverly Hills. Across Santa Monica from Frieze stands the French-style architecture of the Peninsula Beverly Hills (11), known for discreet, luxury touches such as TV-equipped pool cabanas and access to BMWs for suite guests. The dark, inviting Club Bar is a great spot to get cozy. Just south of Wilshire is the Beverly Wilshire, A Four Seasons Hotel (12)
Over iconic Rodeo Drive lies a trove of eateries all just off North Beverly and North Canon Drives. In the daytime, pick up fine wine, cheese, charcuterie and more at Wally’s (6), try the healthoriented bowls and salads at Croft Alley (7) or sample American classics at the historic, Hollywood-soaked deli Nate ’n Al’s (8)
Hotels
Ideal for a more formal lunch or dinner, LA local Eduardo Baldi’s E Baldi (9) offers an expansive menu of luxury Tuscan dishes and many specials, while Spago (10), the flagship of Wolfgang Puck’s dining empire, boasts a Californian tasting menu alongside an à la carte rich in fish and farm produce.
Established in 1975, L’Ermitage (14) was originally a domestic building and it retains an air of soothing intimacy. Urbane and sleek, its 116 suites are located on a quiet, palm-lined residential street: ideal for those who seek quiet above all.
The Beverly Hills dining scene encompasses outstanding gour met options as well as a perhaps-surprising global variety. Closest to Frieze is Nerano (1), a neighborhood staple inspired by the owners’ favorite spots on Italy’s Amalfi coast. Stroll directly across Santa Monica to enjoy fresh pasta, seafood and wood-fired pizza (try the black truffle) in its elegant dining room or tree-dotted garden. Or, if you’ve parked at Westfield Century City, seek out Din Tai Fung (2) inside the mall for reliably deli cious xiaolongbao or “soup dumplings.” For a quicker fix, head east to Guisados (3), a handmade-taco chain founded by a father and son, boasting vegan and vegetarian options alongside car nivorous classics. Sweeping past Neiman Marcus and Saks along Wilshire, a left onto North Camden Drive leads to Mr Chow (4), an institution for nearly four decades. Painter-turned-proprietor ‘M’ Chow has welcomed everyone from Mae West to Jonas Wood here for noodles, Beijing duck and an excellent martini. Nearby, on Brighton Way, check out the exquisite treats at second-generation chocolatier andSons (5)
Built in the roaring 1920s, the hotel is a byword for glamor, wel coming statesmen and movie stars and providing the backdrop for Julia Roberts and Richard Gere’s romance in Pretty Woman (1990). Dining options on-site include Puck’s steak restaurant, CUT. Part of art collector Paddy McKillen’s Maybourne Group, the Maybourne Beverly Hills (13) offers a similar blend of heritage values and contemporary luxury as its London cousins Claridge’s and The Connaught. A sublime spa, rooftop pool and al-fresco terrace restaurant are among the hotel’s gems.
Towering over the fair is the Beverly Hilton (15) and its newer sister property, the oasis-like Waldorf Astoria Beverly Hills. Take in views of the famous Beverly Hilton pool— the largest in the city at Circa 55, or head to the hotel’s rooftop for the new pop-up Sant’olina, from the team behind Delilah’s.
Food and Drink
Artist: Cha
13FEB 17–20 2022FRIEZE WEEK LOS ANGELES CITY OF BEVERLY HILLS GUIDE
C L E A R I N G (18), founded a little over a decade ago, has cham pioned a raft of rising stars, including Korakrit Arunanondchai, Harold Ancart, Hugh Hayden and Marguerite Humeau. Its Beverly Hills space opened in 2021 in a house on a tree-lined residential street with a back garden, complementing its loca tions in Brussels and New York. On North Camden Drive, storied
visitors to the Los Angeles County Museum of Art look for Chris Burden’s 2002 work Indo-China Bridge (23) on San Vicente. A new docent scheme by the Beverly Hills Art and Culture Commission will further unlock this resource for the community. Find out more at: beverlyhillsarts.org.
Art and Culture
Culture is no stranger to the city of Beverly Hills. Contemporary galleries with a long-term presence in the area include Marc Selwyn Fine Art (17) , whose roster encompasses influ ential West Coast figures such as sculptor and painter Jay Defeo, conceptualist William Leavitt and the pioneering feminist Hannah Wilke, whose archive is based in Los Angeles.
mega gallery Gagosian (19) will be showing new photographic works by pioneering Canadian artist Jeff Wall during Frieze Week and also launching a book of the late Chris Burden’s unrealized projects. Get oriented to all this and more at the Beverly Hills Visitor Centre (20), a few steps from the famous Beverly Hills sign and the Wallis Annenberg Center for Performing Arts.
A wealth of sculpture is on display across the area, acquired via the city of Beverly Hills’s Fine Art Ordnance, which has, at no cost to public funds, assembled a distinctive collection including pieces by artists spanning Magdalena Abakanowicz and Sam Falls to Roxy Paine and Ai Weiwei. In Beverly Gardens (21), a bewitch ing, sinuous form by Carol Bove and a burst of dotted tulips by the instantly recognizable Yayoi Kusama are sited alongside pieces by figures famed for outdoor sculpture, such as Barry Flanagan, Tom Friedman and Jaume Plensa. Along Wilshire Boulevard (22) the junctions with Beverly and Crescent Drives offer historic works by Franz West and Bernar Venet as well as pieces by contempo rary figures Fiona Banner and Thomas Hausego. Heading east towards Mid-City where his iconic Urban Light (2008) greets
Adjacent to Frieze, the Beverly Hilton’s Wilshire Gardens are the location of an innovative new section of the fair (17), organized by Los Angeles-based artist Tanya Aguiñiga, founder of AMBOS (Art Made Between Opposite Sides). This section features ten, local nonprofits with BIPOC leadership and is sure to be an inspiring celebration of community and collaboration in the city’s arts.
davidyurman.com
Education is central to the art history of California and continues to be woven into the fabric of Los Angeles’s creative community. “Frieze” associate editor Marko Gluhaich profiles five artists who lead the charge in teaching in southern California. Portraits by Carlos Chavarría.
LEARNINGCURVE
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York couldn’t offer was space, affording Sepuya the expansiveness that, in turn, expanded his own vision for his work.
SEPUYAMPAGIPAUL
It’s LA, Sepuya told me in December 2021, that makes this work possible. Having left California for New York in 2000, aged 17, to attend New York University, the artist never thought he’d return to the West Coast. While he studied
to be a pop fashion photographer in the style of David LaChapelle, Sepuya’s NYU professors including Lorie Novak, Editha Mesina, Fred Ritchin and Deb Willis provided him with the technical, material and historical foundation that underpins his work today. Alongside this, he learned how to fund and support artistic projects through arts initiatives like Creative Capital and the Joan Mitchell Foundation. After graduating, Sepuya pursued a series of residencies between 2009 and 2011 at the Lower Manhattan Cultural Council, the Center for Photography at Woodstock and the Studio Museum in Harlem. Having failed to receive the mentorship and engagement he had hoped for, however, he returned to California in 2014 to pursue an MFA at UCLA, where he studied with Catherine Opie and James Welling. One thing LA had that New
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In addition to his LA-based studio practice, Sepuya serves as associate professor in visual arts at University of California, San Diego. His classes are structured around a regular critique format, and Sepuya encourages his students to ask themselves a series of questions: what is it about photography that they care about and why are they working with the camera? In doing so, he hopes students will surprise themselves. It’s clear from the success of Sepuya’s own prac tice that these questions serve as an excellent framework: you cannot imagine his work in any other medium; the camera is always just as pre sent and important as the artist, his subjects and their environment.
In the photography of Paul Mpagi Sepuya, the nude body, which is its frequent subject, isn’t the most intimate part of the composition; rather, it’s the glimpse we get into the photogra pher’s studio: bare intermingling limbs reflected in mirrors or jutting out of sheets; equipment strewn on the floor. In his self-portraits, smudged traces of bodies are visible on the surface of the mirror, around which hang torn-up pieces of drafting paper and other art-making detritus A ll of this makes it seem like the studio isn’t ready for our presence; we’d be voyeurs if it weren’t for the artist’s careful compositions.
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built an artistic community for her students. In December 2021, she told me that she loves how welcoming LA’s arts community is and how supportive and non-hierarchical its members are. She seeks to use her platform within the university not to impose a particular path upon students but to help facilitate their momentum.
One of her initial focuses is to ensure that all
Opie doesn’t want to see the old LA slip away. She’s doing a fantastic job of maintaining this friendly, supportive community where students are welcomed whether into the classroom or the gallery with open arms.
Catherine Opie has long concerned herself with ideas of community. Her work deconstructs mainstream conceptions of her subjects, whether by styling portraits of Californian queer communities after Dutch old-master paintings (“Being and Having,” 1991) or depicting highschool jocks as vulnerable teenagers (“High School Football,” 2012). In “Domestic” (1995 98), she captured lesbian families across the US within the context of their home lives, while she navigated her own relationship to family and motherhood. In these works, Opie uncovers what unites a community and tracks the individuals that comprise Community-buildingit. also drives her work as a teacher and administrator. As a long-time professor in the photography department of the University of California, Los Angeles, Opie has
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18FEB 17–20 2022FRIEZE WEEK LOS ANGELES OPIECATHERINE
With rent and tuition costs rising, however, the question has shifted from how to integrate students into the LA arts community to how to make it affordable for them to stay. Since begin ning as chair of the UCLA art department in 2021, Opie has kept this in mind and aims to ensure her students can live financially viable lives as artists beyond the program. Her plans to achieve this are unprecedented and ambitious but could set a standard for other art schools.
graduates are debt-free by creating scholarships for students from economically disadvantaged backgrounds. She also plans to set up weekend seminars detailing the various ways to support an artistic practice whether through financial planning or applying for grants and residencies something she sees as missing from art-school curricula. To facilitate career growth for her students, she plans to implement an internship program through which they will have access to various LA institutions and learn about a spec trum of art-world jobs, from commercial galleries to museums and non-profits.
End of JanuarySubject21–March 26
Black
January 20–February 26
Nikita Gale
Rose Wylie
Toni Morrison’s Book
Car and girls
New York – Chelsea
New York – 52 Walker
JanuarySelectedRoyLondonDeCaravaWorks14–February 19
January 20–February 19
Juan FebruaryMuñoz24–April 9
Hong JanuaryPrimaryJosefKongAlbersColors18–March 5
DavidFebruaryDougExceptionalJanuaryRoyExceptionalOnlineFebruaryBoothFriezeArtFebruary(RunSauveandAlineR.ParisCrumb,Kominsky-Crumb,SophieCrumbquipeut!forYourLife)10–March26FairLAD1317–20Works:DeCarava14–February19Works:Wheeler9–March13Zwirner
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Divola has become synonymous with the photography program at University of California, Riverside, where he has taught for the past 33 years. With its one-of-a-kind program as well as being home to the California Museum of Photography, which has one of the largest photographic collections on the West Coast, UC Riverside was a great fit for Divola who, just a few years into his tenure, was appointed chair of the art department, a position he would hold for eight years. This turned out to be an auspicious move for the department since, by 2000, Divola’s initia tive to launch a photography MFA had been realized. And, as the artist told me when we spoke in November 2021, the overlooked, newish UC Riverside had plenty of room for growth and hasn’t seen the humanities funding cuts
afflicting the STEM-focused public university system in DivolaCalifornia.toldmethat he sees how his students’ relationship to the technology of photogra phy has changed over the years moves from analog to digital, from horizontal to vertical orientation, from field to studio although this hasn’t changed the format of his classes too much. He seeks out an unstructured space for creative incubation, propelling students using the momentum they bring to the program. He might offer them a simple framework say, telling them to make an abstract photo but this remains as undefined as possible, so the student has to make their own decision. Divola is there to help refine his students’ processes through Socratic questioning a refinement that, he hopes, will maximize their potential.
John Divola has always tested the limits of photographic technology. His early black and white series “Vandalism” (1974 75), experi mented with how silver within the image would interact with the silver nitrate of the prints’ chemical composition; his spray-painted dots and patterns appear stellar on the walls of abandoned Los Angeles homes. “As Far as I Could Get” (1996–97) shows Divola running away from his camera, the shutter capturing the image after a ten-second self-timer. Recently, he’s been working with GigaPans, a technology that creates a panorama by stitching together several images that together total bil lions of pixels, though Divola uses this format in more intimate environments (say, a room of an abandoned building) than you might expect from a panorama.
20FEB 17–20 2022FRIEZE WEEK LOS ANGELES
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22FEB 17–20 2022FRIEZE WEEK LOS ANGELES
her students may not—and holds space for ques tioning. She sees this questioning as holding value both in the classroom and in the studio. A Dorame crit emphasizes looking, replicating the experience of someone viewing an artwork without the artist there to explain what the work “means.” This enables students to see not only whether their work is communicating in the way they want it to, but also how, when it deals with personal history as with Dorame’s own practice it isn’t always possible to relay that entire history to the viewer, since there will always be spaces of possibility. Dorame gives her students the ability to listen for those spaces and to let their curiosity fill them.
Mercedes Dorame’s practice bridges two former careers: student photojournalist and cultural consultant. The latter describes a position she held during and after pursuing her undergraduate degree, when she would travel across Los Angeles County to construction sites at burial grounds on the unceded land of the Gabrielino-Tongva a native people to which Dorame belongs and advise workers on what to do with the Indigenous artifacts they found there. As a student, Dorame learned how little documentation there is of the Gabrielino-Tongva, who remain unrecognized by the US federal government, and has since worked to bridge the gaps in the sparse history that has been recorded.
Dorame’s practice reinscribes Indigenous history onto land from which that history is actively being removed. In the series “Earth the
Same as Heaven: ’Ooxor ’Eyaa Tokuupar” (2018), for example, the artist stages ceremonial interventions in the LA landscape a fox skin surrounded by cinnamon, for instance which she then photographs. The works activate their surroundings, reminding the viewer of a longinvisible Indigenous presence. Blending fact (the stolen land) and fiction (the invented ceremony), Dorame’s works echo her belief that “the imagined can be equally as powerful as fact.”Dorame teaches at the California Institute of the Arts and the University of California, Los Angeles, where her position as an Indigenous faculty member comes to the fore in her peda gogy. She both instructs—bringing in texts and artworks from Indigenous artists and artists of color, works that she knows deeply but that
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The girls one confident, the other wistful have the strained look of wanting to escape, while the woman in the center, chest out, grips their waists. Despite bearing little resemblance to each other, they appear related, their expres sions feeding off some unspoken connection pulsing between them. In the style of Black American neorealist cinema, Lennon’s photo graphs play with fact and fiction to uncover a wide range of Black subjectivities.
LENNONLACEY
It’s hard to tell that the subjects in Lacey Lennon’s photographs are often actors. Her recent images stage performers in situations from her own family history. Take The Smiling Pictures 1 (Judy and Her Girls) (2019): two younger women flank an older woman, who could be their mother.
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Lennon first considered the relationship between performance and photography while
taking classes with Jenn Joy and Tavia Nyong’o at the Yale School of Art, where she did her MFA. In Joy’s class, for example, students paired movement-based exercises with a reading from Fred Moten and Stefano Harney’s The Undercommons (2013). These assignments encouraged Lennon to reconsider the non-verbal histories contained in her body histories derived from personal and familial experiences. It was then that she shifted from the documentary-style photography which had defined her earlier work to one that turned the camera on herself and her ownThismemories.ethostranslates into the way Lennon teaches. Originally at Yale Norfolk School of Art and now at California State University, Long Beach, where she’s an assistant professor, Lennon blends performance into her photography lessons,
considering its relationship to truth-telling. In a class taught by Lennon, students will read a work like Octavia Butler’s Parable of the Sower (1993), as an example of tangling fact and fiction, while also engaging in movement-and partner-based exercises. Many of these derive from Lennon’s own practice, whether it’s an inquiry into the meaning of “witnessing” or a long excursion across LA to mimic the activity of finding a film ing location.Somuch of Lennon’s classes are self-guided: the exercises, the interactions between students, the responses to reading. She wants to set her students on their own paths to understanding themselves and their relationship to photography, enabling them to gain the confidence to share their ideas and knowledge, and to understand the generosity this requires.
Fahim AndrosRosemarieMikeGregMegSamitaMicahAdaniaSenyawaAubreyPaulineOkwuiNimaMariamaRoderickOliviaAdamRalphWayneKiteBobJessikaJustinMoragDarrellRindonCooperShannonIONEAsherPaulJulesPieroLeyCharlesShannonL.ElaineVariniaBurntDoraDwayneNinaKevinElkeHollandAmirAndrewsAuerBeasleyBeierBrownBudorSugartheArkestraChamberCantoVilaCarberryFrankFunchessGainesGambucciGilardiGimbroneHamiltonHartmanJacksonJacobyJohnsonJonesKeilF.KennedyKenneyKilKoestenbaumLemonLinderMoleMurrayNoguera-DeversNourizadehOkpokwasiliOliverosPlazaShibliSilverSinhaStuartTateTaylorTrockelZins-Browne 1 MUSEUM hammer.ucla.edu | @hammer_museum ILLUSTRATION: OLIVIA MOLE, 2021 FEB 16–MAY 8, 2022
Watch all films made by the fellows for the 2022 Deutsche Bank Frieze Los Angeles Film Award, in partnership with Endeavor Content and Ghetto Film School, here: AbovetheFriezescenesfeaturesofimagepaintingtransitioninaboutKehinde2022Frieze-LA-Film-Awardfrieze.com/DB-FilmAwardjurorWileytalkshisinvolvementtheinitiative,betweenandmovingandcareeraspartArt:LIVE,whichalsobehind-the-highlightsfromLosAngeles.ScanQRcodeforaccess:
Matthew McLean is creative lead at Frieze Studios. lives in London, UK.
“The extraordinary cohorts of artists we’ve worked with thus far are beyond impressive,” says Ghetto Film School’s Chief Strategy and Partnership Officer, Sharese Bullock-Bailey, “as are their efforts in storytelling and collaboration during unprecedented times” (in pandemic conditions last year, the ten selected fellows were mentored largely remotely, with their films premiering at a virtual ceremony). The award continues to evolve. In 2021, Endeavor Content, the studio that has co-produced hits including “Killing Eve” (2018–ongoing) and “Normal People” (2020), took a role in the award, adding another layer of expertise and access to the fellows’ experience. That Endeavor Content (of which Endeavor, Frieze’s parent company, owns a share) aims to connect with and support a new genera tion of artists is clear. “Finding and supporting young filmmaking talent like this,” Endeavor Content’s SVP for Development and Production, Dan Guando, said, “is the best part of my job. The Deutsche Bank Frieze Los Angeles Film Award represents everything we stand for: supporting emerging film makers and creating great art.”
For 2022, all the fellows have been invited to respond in their short films to a single theme: “Facing Change.” It’s a concept which resonates with Los Angeles itself, as a city that continues to transform rapidly, as well as broader global changes from the pandemic to climate. “This year’s theme is one that every one of us can relate to,” says Deutsche Bank’s Claudio de Sanctis, Global Head of the International Private Bank and CEO EMEA.
When the Academy Museum of Motion Pictures opened last September, cheek to cheek with the Los Angeles County Museum of Art (LACMA) where, every year, the LACMA Art+Film gala sees the likes of Bong Joon Ho, Dakota Johnson and Ridley Scott arrive at the iconic Chris Burden installation, Urban Light (2008) it seemed to be a perfect expres sion of the ever-growing intermeshing of contemporary art and cinema. Where once it was only the occasional Edward G. Robinson or Vincent Price who used their Hollywood fortunes to build important art collections, today the likes of Brad Pitt or Sylvester Stallone (both of whom attended the opening day of the inaugural Frieze Los Angeles in 2019) compete for contemporary masterpieces in an arena crowded with fellow actors and directors. The last 15 or so years have also seen more and more artists turning to cinema, with figures as different as Sam TaylorJohnson and Julian Schnabel, Rashid Johnson and Steve McQueen directing features. Reception may vary, but still the days of uneasy switches from art to cinema like Cindy Sherman’s Office Killer (1997) or Roberto Longo’s Johnny Mnemonic (1995) seem far behind.
In a further development, alongside the decision made by the jury which this year features, among others, the painter and filmmaker Kehinde Wiley, who in 2018 created the official presidential portrait of Barack Obama an additional Audience Award was launched in 2021, selected by votes from the public. In its first year, competition for the Audience Award was tough no surprise, when Danny Leigh, chief film writer at the Financial Times, described the 2021 fellows’ shorts as “films of stellar promise” and several thousand public votes were registered.
Still Looking Ahead
He
an expert mentorship scheme with the award-winning, non-profit Ghetto Film School that resulted in the production of ten short films. A jury, including Aitken, Sundance Film Festival’s Shari Frilot and LAXART’s Hamza Walker, awarded a prize of $10,000 to Silvia Lara for her poetic homage to her hometown of Whittier, Beauty Never Lost (2020).
26 FRIEZE PARTNER: DEUTSCHE BANK FEB 17–20 2022FRIEZE WEEK LOS ANGELES
John Rizkallah’s Dear Mama (2021), which explores the experience of immigration from the Middle East to Los Angeles, won the Jury Award.
Still from Rizkallah,JohnDear Mama 2021, winner of the Jury Award at the 2021 Deutsche Bank Frieze Los Angeles Film Award. urtesy: Frieze
Ultimately, Jane Chow’s Sorry for the Inconvenience (2021), set in a family-run Chinatown seafood restaurant, received the inaugural $2,500 Audience Award.
“I’m excited to see how our ten talented shortlisted filmmakers address the question we must all ask of ourselves in this new era: What can I do to help shape a more sustainable future?”
“I think this is a unique moment in history,” reflected the artist Doug Aitken when I spoke to him at Frieze Los Angeles 2020, “when we really see the histories converging.” We were talking at the ceremony for the Deutsche Bank Frieze Los Angeles Film Award, which launched that year, granting ten selected fellows
An initiative supporting emerging filmmakers continues to innovate
“Facing Change” could also equally be an apt description of the direction of Deutsche Bank’s recent efforts in the art space. Under the wider banner of creating “positive impact,” collaborations have increasingly focused on art as a vehicle for access and representation. Since 2020, for example, sales of special limited editions by leading artists John Akomfrah, Idris Khan and Yinka Shonibare CBE have raised funds for the Frieze × Deutsche Bank Emerging Curators Fellowship, which offers paid placements to BIPOC emerging curators at leading UK art institutions. “The Deutsche Bank Frieze Los Angeles Film Award is a natural extension of Deutsche Bank’s commitment to art and culture,” says Anna Herrhausen, Global Head of Art & Culture at Deutsche Bank, “which has been promoting contemporary art and supporting emerging artistic talent for over four decades. We are keen to support the Los Angeles film community in a truly meaningful way.” The simplest way for you to support this community as well? Go online, watch the ten emerg ing filmmakers’ shorts, and vote for your favorite. As de Sanctis says: “With the new Audience Award anyone can watch the films and vote for a winner, making a local event even more global.”
AlexandreMaxwell–CariocaGentilA© Unter den Linden 5, 10117 Berlin db-palaispopulaire.de Maxwell a lexandre Conny Maier Zhang x u Zhan Deutsche Bank “Artists of the Year” 15.9.2021 – 14.3.2022
Carlos Chavarría
29 COLLECTOR PROFILE FEB 17–20 2022FRIEZE WEEK LOS ANGELES
For collectors Christopher Yin and John Yoon, attending MFA shows isn’t just a chance to take the pulse of emerging trends but to support artists at the outset of their careers: the likes of Amanda Ross-Ho and Kaari Upson among them. “Artists often belong to a community that is driven by their education,” they explain to Jennifer Piejko.
JENNIFER PIEJKO
JY Before then, we were going to galleries just to learn; at the time, it was a small enough community to be able to do that.
JY Actually, the name is a very useful communication tool in the art world. It’s become our shorthand.
JY We also first saw Kaari Upson’s work at a CalArts MFA open studio, and we were like: “Wow!” We’ve been very lucky to have that kind of early access to talent in LA, thanks to all the great MFA programs here.
JY We also started looking at a lot of the art schools here in LA: those communities are very tight knit, and schools started having joint MFA shows.
our liberal-arts education but for years we were just occasional museumgoers. We didn’t follow contemporary art closely until we visited New York in 2004 and went to the Whitney Biennial and were really blown away by it. We decided that we should spend a little more time looking at contemporary art and, once we came back to LA, we started going to galleries more regularly. At that time, the Chinatown cluster was very exciting: China Art Objects, David Kordansky, Daniel Hug, The Happy Lion, Peres Projects. We also visited the 6150 Wilshire cluster, including 1301PE and Marc Foxx. Both of us worked during the week; on Saturdays, we’d go to some galleries.
I’ve seen a lot of your collection by following your Instagram hashtag, #littlekittencollection. It’s a little messy, though, since people post pictures of cats and tag them #littlekittencollection, too.
CY We’re kind of nerdy and we would take notes on the programs, so we remembered her later, when she first showed with the LA gallery Cherry and Martin.
JP What was the first work in the Little Kitten Collection?
CY For a few years, there was an annual show called “Supersonic”. It featured MFA group shows by eight of the Southern California art schools.
Opposite John Yoon ChristopherandYin at their home in Los Angeles with (from left to right): Shana Lutker, t.t.t.t.t. 2010. Yuji Agematsu, Zip: 12.01.06 ... 12.31.06, 2006.
JY There were more than 100 artists in each of these exhibitions. The 2006 “Supersonic” was where we first saw Amanda’s work. She presented a work called Seizure, which used a mounted photograph of police-seized contraband as a tabletop perched on two sawhorses. The work was evocative on so many levels, but its meaning was slippery and elusive to me. I couldn’t stop thinking about it.
CY John and I met in 1997 and started collecting in 2004. We’re lawyers by trade, but we’re humanities-driven people at heart. My undergrad degree was in English literature and John studied Japanese and Spanish literature. We both had some knowledge of art history from
JP And did those feel open and accessible to visitors, to people who are interested in art but not necessarily in the education system?
Photography:2009
JY Right. A work by Amanda Ross-Ho was among our first purchases … CY … by a contemporary emerging artist.
CY It was a testament to the community that the galleries were not intimidating. We would go and gallerists like Susanne Vielmetter or Steve Hanson at China Art Objects would be very open to showing us things and talking to us.
2015. Mathis Altmann, Deplorable Management 2016
TABLE FOR TWO
CY We call it the Little Kitten Collection because we’re both Leos, it’s very tonguein-cheek. We take art very seriously but not ourselves. It’s a way to share our joy.
Above Justin Beal, Hothouse
Matt Sheridan Smith, Untitled (felt, wax, spoon)
CY The first piece we acquired was a print by James Siena, whose work we first encountered in that 2004 Whitney Biennial. For the first couple of years, we just looked a lot. It wasn’t until about 2006 that we knew what we’re truly drawn to.
CY We were clearly newbies fans and they were open to starting a conversation with us.
JP Tell me how you got into art.
Yes, the whole point of that hashtag is … JOHN YOON … its informality.
JY They were very gracious. We learnt a lot from them.
CHRISTOPHER YIN
involved in organizations that prioritize diversity. Does that make you more interested in collecting political artwork or work about identity?
Untitled (Perfect Lovers) (Green) 2017. Hannah Levy, Untitled, 2019. Amanda Ross-Ho, Gran-Abertura #1 2006 (just visible on right)
Above right Evan Holloway, 65, 2007
Young Joon Kwak, Hermaphroditus’s Reveal, 2017. James Crosby, Abstraction, 2018.
On wall, left to right: Todd Gray, Shimmer 2019. Sula Silverman,BermúdezPeephole 1–4 2021. Eliza Douglas, Untitled 2021 (just visible)
JY Yes, it was set up for members of the community to support one another. I was also on the board of Los Angeles Nomadic Division (LAND) and Christopher was on the board of LAXART.
CY Yes. Despite many of the MFA pro grams being conceptual and theoretically driven, I just went into each encounter with art accepting that I don’t know every thing. Ultimately, whatever resonated with me, I dug into later. We didn’t go in with strong preconceived notions of what art should be, and we were very open to new ideas, to learning both backwards and forwards. The gallerist Rodney Nonaka-Hill, for example, would tell us that a Brian Calvin painting was an hom age to a work by the 13th-century Italian artist Giotto. So, I would research Giotto’s work to become better informed as to what I was looking at in a contemporary work.
JP Are there any very up-and-coming artists you’re following closely at
Opposite On floor, left to right: Ry Rocklen, TBT, 2012.
CY Both of us want to engage in a way that is meaningful, but we are also mindful that we are just collectors and not necessarily … JY … Activists.
Above left (JadePuppiesCounterclockwise:PuppiesKurikiOlivo),
JY Some of the gallerists also graduated from the same MFA programs and studied under the same teachers.
30 COLLECTOR PROFILE FEB 17–20 2022FRIEZE WEEK LOS ANGELES
her work, but she had gone to USC with Ry Rocklen, Justin Beal and others. Artists often belong to a community that is driven by their education, and I feel like we had the privilege to tap into and access that.
CY As part of the LGBTQI+ community, we feel strongly about supporting our trans and non-binary siblings, and we want to understand and engage with the issues they face. Many trans artists, such as Young Joon Kwak and Puppies Puppies (Jade Kuriki-Olivo), also happen to be among the most fascinating out there. We don’t have a rule to collect only works by people of color or LGBTQI+ art ists but, in recent years, just by what we’re drawn to, the proportion has shifted more heavily towards artists from these groups. We’ve collected more pieces by women artists, as well.
CY I remember going to a dinner hosted by the gallerist Erica Redling, who went to CalArts herself. Almost everyone at that dinner was connected to CalArts, and it was such a thrill to listen in on Andrea Bowers and Rodney McMillian reminiscing with their teacher, mentor and friend Charles Gaines about their time there. There’s a sense of lineage. It goes backwards and forwards.
JY Because we were always learning, always taking notes, I felt like we were students again trying to understand all these artworks.
JY Sometimes it’s intentional, but some times it’s just maybe subconscious.
CY I’m currently engaging with a small group of Asian American artists, curators and supporters initiated by Danielle Shang and Grace Oh. The group have been
CY Once we started collecting works by recent MFA grads, we realized that they, of course, all knew one another. In LA, the community is pretty porous. So, we knew Amanda because we started collecting
JP How else has your collection changed over the years?
meeting over Zoom to discuss issues relevant to Asian American art, which is such a fraught concept to begin with and often neglected or marginalized.
JP You have both spoken a lot about community in LA: schools, the gallery system, artist networks. Can you tell me about the community-building that you do in terms of other collectors and artists of color? You’re both also
CY We’re aware of our limitations but, at the same time, we do feel part of the art community. John was an early volun teer with GYOPO, a collective of Korean American diasporic arts producers and professionals founded by curator Christine Y. Kim in 2017.
“We think of artworks as living, breathing things, which we have the privilege of being entrusted to take care of.” John Yoon
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JP Are there any works that make home feel like home to you?
the moment ones you’re excited to see works by during Frieze, maybe? How do you tend to discover emerging artists now?
CY We follow so many artists! Some recent obsessions include Julien Nguyen, Rindon Johnson and Bri Williams. We are also hoping to see and acquire more work by some artists already in our collection, such as Shahryar Nashat, Sula Bermúdez-Silverman and Julia Phillips. We discover a lot of emerging artists by scrolling through Instagram postings by galleries, curators and collectors, but that is no substitute for seeing the work in person. Art fairs like Frieze can also provide an amazing opportunity to see work that hasn’t been shown in LA before, including some that we may have admired online but never seen in person.
CY Amanda came to the house to supervise the installation. We were just so pleased to meet her. I often feel like a part of her now lives here, too.
CY I remember coming out of that show thinking it would be my dream collection.
CY Instagram allows you to get to know other collectors. You can just start
John and I have a heavy bent towards sculpture and object-based work. We don’t have a lot of pretty pictures, so to speak.
Above right Left to right: Kevin Beasley, Untitled (Organ) 2015. Oscar Tuazon, Untitled 2010. Haegue Yang, Sonic Rotating Geometry Type F Nickel Plated #30 2014 (just visible)
Jennifer Piejko is a writer and editor. She lives in Los Angeles, USA.
CY Amanda’s incised drywall piece, Gran-Abertura #1 (2006) the first she ever made, I think; we actually moved into our current home partly to accommodate it. It’s an actual drywall that’s installed in front of the regular wall. Of course, we had to do everything to make that piece comfortable. It’s a bit of a fixture. And it’s one of the earlier
DM-ing and chatting with them; then we might meet each other for the first time at an art fair. I find many collections wonderful, but one of the most inspiring exhibitions I’ve ever seen was “Slip of the Tongue”, curated by Danh Võ at Punta della Dogana in Venice in 2015.
JY We think of it as a welcoming artwork because it’s the first piece you see when you walk in. And it’s a pillar of the beginning of our collection, so it needs to be there: it’s our nostalgic and sentimental anchor.
JY The essence of an artist.
Christopher Yin is an entertainment lawyer at Netflix and John Yoon is a corporate lawyer. They are celebrating their 25th anniversary this year. They live in Los Angeles, USA.
We have photography, we have painting, but even the wall works tend to have a cer tain sculptural element to them. Having lived with art for a while, I think I’m drawn to things that come with a certain aura, a certain charisma.
CY Every object in “Slip of the Tongue” seemed to just exude an aura. Obviously, it was beautifully curated as well, but
JP And are there any collections that you find inspiring? Are you building towards something?
JY We think of artworks as living, breathing things, which we have the privilege of being entrusted to take care of.
JP It was beautiful.
pieces in our collection: it’s always been with us.
Above left Nevine Mahmoud, Blue Donut 2017
there were some truly breathtaking works just standing there, like living things.
CY Our engagement with art is beyond just looking. Generally, I tend to approach art in a cerebral fashion, but I also engage with it in terms of its aura, which transcends that cerebral part of me that wants to analyze everything. It’s like there’s something religious, spiritual, in that experience. And I’m not a religious person at all, just a very lapsed Catholic.
32 COLLECTOR PROFILE FEB 17–20 2022FRIEZE WEEK LOS ANGELES
JY But I think we’re both spiritual.
CY Yes, so art is a kind of church for us.
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he’s made a vanity table for ceramic artist Shio Kusaka, an executive desk for Los Angeles’s Matthew Brown Gallery, and seating for both the Dallas Art Fair and NADA Miami. For Los Angeles fashion retailer Creatures of Comfort, he’s designed interiors, and for A.L. Steiner, he crafted Selexxx: 1995 2025 (2015), the card catalogue and desk piece central to the artist’s 2015 solo show at Blum & Poe in Los Angeles.
“I never went to art school,” says Okuda, a self-taught craftsman from Kyushu, Japan, who studied literature at
Above
Shin Okuda, founder of the Los Angelesbased design studio Waka Waka, makes nearly all of the business’s furniture by hand. Combining his admiration for both the elegance of Japanese carpentry and the wit of the Memphis Group, Okuda’s distinct visual language relies on a basic vocabulary of rectangles, cylinders and circles cut primarily from plywood and rhythmically assembled into sculptural forms: bookcases made from cascading stacks of rectangles, for example, scalloped with rows of semi-circles, or a simple rec tangular coffee table that appears to float
Chiba University. In lieu of formal train ing, he recalls a childhood of building robots and cars from the packaging that his mother kept around the house. He was also his grandfather’s helper when it came to handiwork. “He was making everything,” Okuda says, “even his hangers they were just pieces of wire twisted into these imperfect shapes.”
Shin Okuda at Waka Waka design studio, Los Angeles, Photography:2021
Carlos
Chavarría
above the floor. It bears a playful humor reminiscent of the work of Ettore Sottsass or Peter Shire, although Okuda’s work is more subdued: in lieu of pattern, his finishes of choice are either solid blocks of colored lacquer or a simple coat of oil on pale Baltic birch.
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SHIN OKUDA’S WAKA
In his small workshop in Frogtown, a hybrid residential-industrial neighborhood where Silver Lake meets the Los Angeles River, Okuda is wearing a bright-orange sweatshirt with a floral shirt peeking out
The vast majority of Okuda’s pieces are one-offs, the result of collaborative commissions that typically come to him via word of mouth. Having worked as a fabricator for artists including T. Kelly Mason and Jorge Pardo, he maintains close ties to the art world: over the years,
WAKA IS LA ELEGANCE
Janelle Zara is a journalist specializing in art and design. She lives in Los Angeles, USA.
Vietnamese cafe near the artist’s studio, and took the job. “Jorge had a great team of people, a lot of them from ArtCenter [College of Design],” he recalls. After five years of producing Pardo’s art-furniture, he struck out on his own. In 2009, “I wasn’t sure what I wanted to do,” Okuda says, but the same year, his now-wife, fashion designer Kristin Dickson-Okuda, opened her own Los Angeles concept boutique. She commissioned a few pieces from Okuda and, to his surprise, “People started buying my work, so I decided to just keep making furniture.” Listening to
37 DESIGN FEB 17–20 2022FRIEZE WEEK LOS ANGELES
of its collar, and matching orange cargo pants with black Air Force 1 low tops. Equipped with the basics, including a table saw, a hammer and, more recently, two full-time employees, he developed his simplified approach to design partly out of respect for Japanese craftsmanship and partly out of necessity. Essentially, he explains, “I design what I can make.”
of the Bauhaus and Gerrit Rietveld’s pronounced geometries: rectangular pieces of plywood seamlessly joined at perfect right angles, connected by perfectly flush dowels that are imperceptible to the touch. Where they’re barely visible on the surface of the armrest, these dowels add a subtle, rhythmic pattern, embodying the precision and attention to fine detail at the heart of Okuda’s practice. Embracing an absolute, intuitive simplicity, Okuda says, “It’s all about balance: Proportion, shape, length, depth it’s just what feels good.” wakawaka.world
the radio in the car, the couple heard Felta Kuti singing the lyrics “So I waka waka waka/I go many places” and a brand was
The designer came to Los Angeles in 1999, following a brief stint working as a travel agent in Arizona. In 2003, when Pardo was in need of a new fabrica tor, Okuda happened to be working at the
Forborn.the last few weeks, Okuda has been working with a Sonoma winery on custom chairs and side tables for their tasting room. Dickson-Okuda, a frequent collaborator, is designing the soft details, including the square cushions, and because Okuda is colorblind, she also designs the colorful pops of lacquer. For the chairs, he came up with a box-like design that echoes the efficient minimalism
My heritage is Swedish on my father’s side and Mexican on my mother’s side. I grew up in between both countries and spent some school years in Madrid. I think the influence of my roots on my work is about both a sense of perfectionism in the making and one of casualness or freedom in my creative ANDREASapproach.DÍAZANDERSSON
ALEXANDER The theme of last year’s Design Miami/ was “Humankind,” which was not a big stretch for us as we always put the consumer at the center of our
ALEXANDER My work takes me away quite a bit, but I always come back to my home base, which is Mexico City. It’s this unique ecosystem that I love and miss when I’m away: a mix of order and chaos, of quiet and electricity, ancient civilizations layered with contemporary architecture; it’s ancient but somehow it’s here, alive and tangible.
As the product of 11 generations of tequila making, Maestro Dobel’s Artpothecary is a platform that showcases Mexico’s long-standing traditions through contemporary creativity. At this year’s Frieze Los Angeles, the Artpothecary presents “The Fruit Chemist,” a bespoke experience in which rare and unusual Mexican fruits will be paired to comple ment Maestro Dobel’s smooth range of tequilas. For Frieze Week , creative director Alejandra Martínez spoke to a recent Artpothecary collaborator, Alexander Díaz Andersson, the founder of ATRA, and his brother, the painter Andreas Díaz Andersson, both based in Mexico City.
Andreas Díaz Andersson is an artist. He lives in Mexico City, Mexico.
ALEXANDER We have expanded our own ATRA gallery in the Hollywood Hills. ATRA is also represented in design galleries in Los Angeles and Santa Barbara, as well as nationally in Chicago, Dallas, Miami and New York. Our interior design and architecture studio is cur rently developing multiple projects in LA, including two 20,000-square-foot proper ties in Malibu and Pacific Palisades. We plan on doing more interiors projects where we can create environments and experiences that allow a true engagement with the ATRA
ANDREAS When I first arrived in Mexico, drinking tequila was always a way for me to express to my Swedish friends that I was a proud Mexican. With time, I’ve refined my taste for more premium tequilas. It’s something that’s on every Mexican table for every meal with friends or family.
ANDREAS Our shared studio in Mexico City is a great source of inspira tion for me. Seeing our people, the crafts men, working and observing them in action every day is a treat.
ALEJANDRA MARTÍNEZ
ALEXANDER One aspect of tequila is that it represents that Mexican sense of hospitality and how to throw a proper fiesta. The other aspect is this beautiful tradition, this ancestral process: the art istry of people cultivating agave and the craftsmanship behind the liquid.
I was born and raised in a small village in Sweden called Skanör-Falsterbo, before moving to Mexico at about age 16, where I’ve been ever since. It was a big change for me, first living in a village of 5,000 people and then moving to one of the biggest cities in the world. However, it has given me a lot of perspective, opening my eyes and mind in different ways and allowing me to take ideas from these two worlds and merge them. Both countries are renowned for their arts, crafts and design forms, which I have absorbed, every step of the way, since I was a child.
Throughoutbrand.theyear, in LA and beyond, the ATRA team loves to throw cocktail and dinner parties. It’s a fun way to bring friends, family and the arts and design community together.
ALEXANDER Growing up in Sweden with parents who cared about design and beautiful objects who, for example, taught us who Hans Wegner was meant my awareness of design was more of an evolution and education than a groundbreaking revelation. Though, when I was a bit older, seeing a Richard Serra installation at Dia Beacon influenced my aesthetic in ways that I could sense and ANDREASmeasure.
range of tequilas. Where does crafts manship enter your story, and how do you work with Mexican craftspeople?
thinking. For the occasion, we started thinking about how, with the help of technology, human society could become nomadic, thus imagining the living room of a home as a spaceship, traveling the Earth and beyond. We chose materials that are sustainable. Minerals and metals are the original materials present all over the universe for us, they represent the future much more than plastics or other unsustainable materials conventionally associated with images of the future.
Maestro Dobel is a brand that is all about heritage, looking to the past to innovate for the future, so I wanted to start by asking about your story: what are your roots, and how did they lead you to your respective crafts?
ALEXANDER Almost all of my production is handcrafted and all of it goes through the hands of expert artisans who I’ve been working with for many years. Some of the techniques I use have been in Mexico long before me, and some I developed with my teams of expert met allurgists, stone carvers and carpenters.
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Alexander Díaz Andersson is the founder and creative director of ATRA. He lives in Mexico City, Mexico.
ALEJANDRA What have been the most important influences or revelations on your creative journeys?
ALEJANDRA It was great to col laborate together on Maestro Dobel Artpothecary at Design Miami/ in December 2021: you selected some won derful pieces to complement “The Fruit Chemist” experience. Can you tell me about the collection that was featured in the space?
Alejandra Martínez is the founder of Anónimo Colectivo and creative director of Maestro Dobel Artpothecary. She lives in Mexico City, Mexico.
History Here and Now Maestro Dobel tequila brings together culture,
craft and new collaborators Above ATRA presentation at Design Miami/, 2021. Courtesy: ATRA Visit Maestro the2022atcocktails,offeaturing“TheArtpothecary’sDobelFruitChemist,”amenucustomtequilaonsiteFriezeLosAngeleseverydayoffair.
ALEJANDRA What’s your own relationship to tequila, as an émigré to Mexico?
ALEJANDRA You also had your own booth within the fair, which won Best in Show! What was the inspiration and vision behind the concept?
ALEJANDRA Can you tell me about your plans for ATRA in Los Angeles?
ALEJANDRA Maestro Dobel Artpothecary champions contemporary Mexican art, design and hospitality, highlighting creative visionaries and their craft in the same way Dobel champions craft and innovation in their
Music is something that has always inspired me. I’m very specific in what I listen to, and have a hard time listening to something that I don’t enjoy.
ALEXANDER The Oberon sofa is one of our most popular pieces, it often comes in pristine ivory bouclé or woven Alpaca but, for the occasion of Maestro Dobel Artpothecary at Design Miami/, I created a more festive version in channeled blue velvet with brass details that add a few more art-deco Miami accents to it.
ALEXANDER DÍAZ ANDERSSON
In my studio, I always have music on either something experimental, techno, drone, IDM, breakbeat or other kinds of glitchy electronic music that tickle my senses. When I travel, I always try to go to different festivals where you can expe rience a mix of amazing music and art in the same space.
ANDREAS For me, as an artist, some thing as simple as taking a little stroll around downtown Mexico City inspires me to create new pieces and opens my eyes to new and unique materials for these works that I can easily source. Inspiration abounds everywhere. Sometimes, I feel like I don’t need to travel abroad because Mexico is a country that has it all: you can travel around the whole of the country and have this feeling that you are in a different part of the world, because each state is so drastically different from the next. It is so vast and constantly changing.
ALEJANDRA How has the culture and environment of Mexico influenced and shaped the way you each work?
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As told to Matthew McLean
byPhotographyNathanSeabrook 44FEB 17–2 0 2 0 22FRIEZE WEEK LOS ANGELES
OFWINDOWTIME
I wanted to make the city the main character in this series. Sometimes, it presents itself as the subject rather than just the location. When I was working out where to shoot these images, the view would suggest itself. It’s like the title of that amazing documentary, Los Angeles Plays Itself (2003) I loved that this series allows the place to be unapologetically LA. These images are, on some level, about stripping down the elements you need to tell a story. Curtains and some light, looking outside: you have the start of a narrative. This is the home of cinema, after all. There’s a limit to how much you can plan on these shoots: some of these images were made at dawn and some at dusk, but either way you have only 15–30 minutes when there’s that glow in the light you want. You always risk walking away with nothing. I was very conscious of that “win dow of Thetime.”firstfew images were taken right before the pandemic; I was thinking about the idea of being inside and looking out. When lockdown started, the view suddenly became quite poign ant: the only time you’d see other people was outside your window, glimpsing your neighbors rustling around. Thinking about the universal experience of being stuck inside, bound to this one place, motivated me to continue working on this project. Ultimately, I wanted to combine the familiarity of the window view with the cinematic quality of LA’s urban vistas. I’ll never get tired of the details in the views here.
I’ve been in California since 2009, when I moved to San Francisco. I’m from the UK, but I always knew I wanted to try living on the US West Coast. I grew up in a carless family but, of course, I had to learn to drive after I relocated to the US. So much of the image of Los Angeles is formed in a car. I started the works in this series, which I continued for the Frieze campaign, thinking about that experience: the flashes through the window when you see something down a road that catches your eye, something weird or very mundane, which you can’t quite pin down though it stays with you. The city is full of these moments of depth and detail. Those are the odd little things you remember.Ilovethatneon-noir world of the LA crime-thriller movies of the 1980s, especially William Friedkin’s To Live and Die in LA (1985). Robby Müller was the director of photography on that film, as he was on Alex Cox’s Repo Man and Wim Wenders’s Paris, Texas (both 1984). I’m really into those hyper-saturated establishing shots, at dusk or twilight.
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All images from the series “Inside Outside,” 2020–ongoing. Courtesy: Nathan Seabrook Matthew McLean is creative lead at Frieze Studios. He lives in London, UK.
Nathan Seabrook is an artist and photographer. He was commissioned to create the artwork for the Frieze Los Angeles 2022 fair campaign. He lives in Los Angeles, USA.
LG will become a Frieze Global Par tner from Frieze New York 2022
LGLG_OLEDTVGLOBAL
‘Flower Meadow ’ by iar t studio is a sculptural media work commis sioned by LG for the exhibition ‘LUX: New Wave of Contemporar y Ar t’ at 180 Studios, London. It consists of five kinetic screen sculptures each consisting of six f lexible LG OLED screens arranged in a petal-like formation, which open up like f lower blossoms. The vir tual f lowers shown on the screens were put together with the help of an AI from thousands of f lower images. Find out more:
LGOLEDART.com
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Jenkins Johnson Gallery A10 Casey Kaplan C4 Karma E10
François Ghebaly D21
Miguel Abreu Gallery B4
Paula Cooper Gallery D3 Pilar Corrias D11
Château Shatto E21
Tanya Bonakdar Gallery C11
Commonwealth and Council A15
Gallery Hyundai A5
kaufmann repetto E18 Kayne Griffin E11
Galerie Eva Presenhuber D9
Maureen Paley C8
FEB 17–2 0 2 0 22FRIEZE WEEK LOS ANGELES 54
Chapter NY E9
Carlos/Ishikawa D6
LambdaLambdaLambda D7
Michael Rosenfeld Gallery D20
Mendes Wood DM C9
The Box B9
David Lewis C12
Hannah Hoffman Gallery D7
Marc Selwyn Fine Art E12
Herald St A1
James Cohan E1
Sadie Coles HQ B12
Dastan Gallery E15
Hauser & Wirth E5
Tina Kim Gallery E2 König Galerie E16 David Kordansky Gallery C1 L.A. Louver D8
Matthew Marks Gallery B3
Project Native Informant E9
Almine Rech A3
Roberts Projects A12
Lisson Gallery B2
The Pit E19
47 Canal A15
Blum & Poe B1
Massimo De Carlo E17
Xavier Hufkens B7
Regen Projects C3
Bortolami C10
MAIN
Emalin A14
The Modern Institute B8 Night Gallery A11
Lehmann Maupin A9
Sean Kelly A8
Alison Jacques B13
Galerie Lelong & Co. E4
FIREEXIT FIREEXIT FIREEXIT FIREEXIT FIREEXIT FIREEXIT A11 DEUTSCHE BANK WEALTH MANAGEMENT LOUNGE EXHIBITORCAFÉ INQUIRIESPRESS VIP & INQUIRIESMEMBERS INQUIRIESEXHIBITOR INQUIRIESTICKET NIGHT GALLERY A1 0 JENKINS JOHNSON A4 SMALLVARIOUSFIRES A1A7 HERALD ST B11 MODERN ART B6 SPRÜTH MAGERS B5 ANTON KERN F1 STARS F7 GATTOPARDO F8 PARKER F9 LUIS DE JESUS F10 IN LIEU F11 CHARLIE JAMES F2 BAERT F3 BEL AMI B4 MIGUEL ABREU B3 MATTHEW MARKS C3 REGEN PROJECTS C4 CASEY KAPLAN F4 MARTA F5 GARDEN F6 STANLEY'S C5 VIELMETTER C6 VICTORIA MIRO B10 GOODMAN B9 THE BOX B8 THE INSTITUTEMODERN B1 BLUM & POE B7 XAVIER HUFKENS B2 LISSON C1 DAVID KORDANSKY C8 MAUREEN PALEY C2 MARIAN GOODMAN C7 THADDAEUS ROPAC ORTUZAR PROJECTS A15 47 CANAL VERMELHOSOUTHARDEMALINANDCOMMONWEALTH/COUNCIL/REID A14A13A12 PROJECTSROBERTS LEHMANN MAUPIN SEAN KELLY HYUNDAI JACK SHAINMANA9A8A6 A5 A2 JEFFREY DEITCH A3 ALMINEDOBELRECH RUINART ART BAR BISQUIT & DUBOUCHÉ FRIEZE 91 LOUNGE/ BIPOC MARKET PUBLICATIONS ENTRANCE/EXIT COLESSADIE HQ B13 JACQUESALISON B12B14 &OVERDUINCO. FRIEZE LOS ANGELES MAP
Taka Ishii Gallery D4
Nara Roesler D17
Stephen Friedman Gallery D2 Gaga E20
Gagosian D12
Perrotin D1
Victoria Miro C6 Modern Art B11
Jessica Silverman E3 Société C12
Thomas Dane Gallery D14
Jeffrey Deitch A2
Anton Kern Gallery B5
Marian Goodman Gallery C2 Alexander Gray Associates D10
Parrasch Heijnen E13
Jack Shainman Gallery A6
Acquavella E7
Thaddaeus Ropac C7
Gladstone Gallery D18 Goodman Gallery B10
Galleria Franco Noero D5
Nino Mier Gallery E14
Galerie Max Hetzler E8
Ortuzar Projects A7 Overduin & Co. B14 Pace Gallery D15
Various Small Fires (VSF) A4
Behind each presentation is a story to be discovered.
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David Zwirner D13
This year’s Focus LA section, curated by Amanda Hunt, celebrates work by artists who use visual language in powerful and innovative ways. Each selection highlights narratives from the political to the personal, and often in ways that are overlapping. The diversity featured here is a way of mapping this sprawling city, capturing some of its freshest offerings, collaborations and cultural expressions.
TOURS
Vielmetter C5
Sprüth Magers B6
Sperone Westwater D22
FOCUS LA
Discover fascinating highlights with guided tours of the fair. To book, visit the tours desk.
DIGITAL MAP
Charlie James Gallery, Patrick Martinez, Jay Lynn Gomez F11 Marta, Minjae Kim, Chase Biado & Antonia Pinter F4 Parker Gallery, Melvino Garretti, Troy Lamarr Chew II F8
Stanley’s, Timo Fahler, Amia Yokoyama F6 Stars, Eric-Paul Riege F1
Craig F. Starr Gallery D19
White Cube E6
FRIEZE WEEK LOS ANGELES 55FEB 17–2 0 2 0 22
Vermelho A13
Southard Reid A14
Zeno X Gallery D16
Baert Gallery, Iliodora Margellos, Paolo Colombo F2 Bel Ami, Ben Sakoguchi F3 Luis De Jesus Los Angeles, Rodrigo Valenzuela F9 Garden, Sarah Rosalena Brady F5 Gattopardo, Dirk Knibbe, Gabriel Madan F7 In Lieu, Ficus Interfaith, Pauline Shaw F10
PUBLICATIONS
frieze magazine is available to buy online. Pick up a copy of the below for free at the fair: Financial Times Frieze Week The Art Newspaper
FIREEXIT
COAT CHECK D16 ZENO X D17 NARA ROESLER E9 CHAPTER NY / PROJECT INFORMANTNATIVE E21 CHÂTEAU SHATTO D8 L.A. LOUVER ILLY D22 SPERONE WESTWATER E1 JAMES COHAN C11 BONAKDARTANYA C12 SOCIÉTÉ / DAVIDMATCHESLEWISFASHION C9 WOODMENDESDM E14 NINO MIER C10 BORTOLAMI D7 HOFFMANHANNAH / LAMBDALAMBDALAMBDA D6 ISHIKAWACARLOS/ D10 ALEXANDER GRAY D21 FRANÇOIS GHEBALY D11 PILAR CORRIAS D2 0 ROSENFELDMICHAEL E3 SILVERMANJESSICA E13 HEIJNENPARRASCH E4 LELONG & CO. E12 MARC SELWYN D5 NOEROFRANCO E15 GALLERYDASTAN E16 KÖNIG D4 TAKA ISHII E17 DEMASSIMOCARLO E18 REPETTOKAUFMANN E19 THE PIT E2 0 GAGA D3 COOPERPAULA D2D1 PERROTINFRIEDMANSTEPHEN D14 THOMAS DANE D19 CRAIG F. STARR D15 PACE D18 GLADSTONE E7 ACQUAVELLA E11 KAYNE GRIFFIN E8 MAX HETZLER E10 KARMA DAVID ZWIRNER D13 WHITE CUBE E6 GAGOSIAN D12 HAUSER & WIRTH E5 EVA PRESENHUBER D9 TINA KIM E2IMPACTFRIEZEPRIZEPERRIER PERRIER FIREEXIT FIREEXIT TOURS DESK FRIEZE LOS ANGELES MAP
USA,
and image, which I thought was so smart and bad ass. I still have the book, although it’s completely beat up now.
During my time at UCLA, Barbara was more of a roving faculty member.
I studied at UCLA from 2009 to 2011, which feels like a million years ago now. I was in the graduate program, so it was pretty hands off in a lot of ways. Students could do a lot of academic course work if they wanted to, or they could just focus on studio time, which is what I did.
As told to Chloe Stead
I don’t think she was connected to a spe cific department, but I would do tutorials with her, and she was one of the first professors I met when I arrived. There weren’t many pictures of her on the inter net at that time, so it was only when I met her in person that I discovered she had such presence. I was a huge fan, of course. In fact, the first art book I ever bought was a monograph of Barbara’s, Thinking of You, that was published by MOCA in 1999. I was introduced to her work by a girlfriend I met on the internet. I was 15 and lived on Long Island; she was in Upstate New York. Her mother was an artist, and she was savvy in a way that I just wasn’t back then. It was at a time when you could mail order books so, after this girl asked me if I knew Barbara’s work, I got my mom to order a catalogue for me. I remember being really struck by the juxtaposition of text
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Math Bass is an artist. Their solo exhibition at Henry Art Gallery, Seattle, USA, is on view until March 6. Their solo show at Tanya Leighton, Berlin, Germany, runs until March 5. They live in Los Angeles, USA.
anything that didn’t need to be softened. Some of the best advice that she offered me was to keep things simple. I think she saw this as one of my strengths and really encouraged me to keep in touch with a pared-down and concise language, which is something that I continue to do. There were some professors whose opinions I could discount because they didn’t nec essarily understand what I was working on, but I really trusted Barbara’s opinion. I haven’t seen her that often since I gradu ated but, when I do run into her at a social event, she’s always so supportive. To me, she will always be a punk-rock legend.
Editor Matthew McLean Associate Editors Carina Bukuts & Marko Gluhaich Assistant Editors Sean Burns & Chloe Stead Content Operations Manager Caroline Marciniak Head of Design Claude d’Avoine Art Director Lauren Barrett Senior Designer Adriana Caneva Designers Sam Jones & Tom Sullivan Production Assistant Arianna Trabuio Frieze Los Angeles Director Christine Messineo Director of Business Development Romilly Stebbings Executive Director Kristell Chade Frieze Board Director Victoria Siddall CEO Simon Fox Founders Amanda Sharp & Matthew Slotover Chief Business Devt. Officer Matthew Holt Commercial Director Emily Glazebrook Head of Branded Cont. & Studios Francesca Girelli To advertise in Frieze Week , enquire with: Americas & Asia Melissa Goldberg UK & EMEA Lisa Gersdorf & Olimpia Saccone Partnerships Morenike Graham-Douglas
Before I got into the program, I was really scraping by working random full-time jobs that didn’t always leave me much time and energy to focus on my practice.
Above Cover of Barbara Kruger, Thinking of You 1999.
“Barbara will be view at Los Angeles County Museum of Art, from March
Frieze WeekFrieze Fairs
Kruger: Thinking of You . I Mean Me I Mean You”
on
Courtesy: MOCA, Los Angeles, MIT Press and Sprüth Magers, Berlin/ London/Los Angeles
20 to July 17.
When I started at UCLA, my work was centered largely around performance and video but, as my studies progressed, the props and performance objects I had been making for my videos began to step forward. With more time in the studio, I became very interested in them as objects off screen and started to address them as sculptures within my practice.
Chloe Stead is a writer and assistant editor of frieze She lives in Berlin, Germany.
The first time I met Barbara, she came into my studio, looked around and said: “What are you doing here? You don’t need to be in school.” I loved it. It was the biggest compliment I’d ever gotten from anyone in my entire life. It meant a lot to me that she could see that, even as a young person, I already had a defined voice. After that, we worked together periodically: she would come by my stu dio, and she was on my thesis committee. What I remember best about her teaching style was how clear and concise she was. She always cut through the bullshit. One time, I made this video and Barbara saw it and said: “Your work is usually so coherent, but I just don’t understand what’s going on here.” I loved the way she just put it out there. She didn’t soften
Keep Things Simple Math Bass Salutes Barbara Kruger as Educator
56 EXHIBITION PREVIEW FEB 17–20 2022FRIEZE WEEK LOS ANGELES www.frieze.com
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