The Art of Seda Saar

 

Seda Saar, 1 Spheres V 20 x 36 in. Mixed Media on Canvas 2019  © 2019, 2021 Seda Saar 

By Moira Cue

I never would have met Seda Saar (the second time) if I hadn’t joined the Los Angeles Art Association. I never would have joined the Los Angeles Art Association if I hadn’t been trying to help a friend, an attorney, find work with an arts-related nonprofit.

I met Peter Mays, executive director of the LAA, at the 2019 LA Art Show VIP Gala. (Peter’s impressive creds include serving as co-chair on the Education Committee for the Board of Directors for the MOCA Contemporaries.)

The lone attorney on their advisory board had just stepped down and they needed occasional help. I wound up on their email list and checked out a couple of events before I decided to join.

What stood out to me at the first LAA event I went to was that the social vibe was totally different. No social climbers or Hollywood shallow types. No one asked me “what do you do?” in a way that immediately read “what can you do for me?” Instead, I met an older gentleman who cradled his “anxiety dog,” and other introverts—people you can count on to be kind. It was truly endearing. So, when I got the call for artists, I thought, what the heck, why not?

I made it to about two LAA art events before the pandemic hit. At one event, the 2019 Open Show, I noticed one woman who caught my eye, Louisa Miller. Tall, lean, angular, with cropped hair, in her seventies, she stood statuesque, hawkishly staring at a painting. She was so immersed in the work; it was as if no one else was in the room. I immediately wanted to talk to her.

Louisa would introduce me to Frederika Roeder, the moderator for the 2020 Pasadena Critique Group. One of the best things about being in LAA is the critique groups where you get to meet with very nice people who are interested in sharing each other’s art. Our group included Louisa, a serious landscape painter; Olyessa Volk and Viktoria Romanova, both Russian immigrants with two totally unique styles; Frederika, a Southern California surfer girl down to her roots; Katherine Murray-Morse, who’d been in banking and had started painting two years prior; and Richard M. Blanchard, who also has a stunning interior finishing portfolio and celebrity clientele list (http://www.atom-zu.com/).

But THIS article is about Seda.

I first met Seda around 2012 or 2013 when she was running the MLY Gallery at the Malibu Lumberyard, which was particularly well known for a star-studded, much talked-about exhibition of a private buyer’s entire Warhol collection.

We met for the second time in Louisa’s spacious, high-ceilinged loft near a trendy Pasadena shopping district for Louisa’s critique (before Covid made in-person meetings unfeasible). Seda carried herself with confidence and authority, declaring certain paintings “successful,” and others “less successful” with an aura of finality. I was lured in by a series of works that amounted to some flirtation that Louisa had made with child-like abstraction. Everyone else was on a different wavelength. During and after the critique, I really connected with Richard and I hoped we’d become good friends.

I didn’t really start to get to know Seda until her one-person show Refractions – a Lens Through Time at the Neutra Museum Gallery (2020). She was gracious enough to make time to give me a personal tour. This was during the autumn wildfires of 2020. My friends in San Francisco and Portland filled their social media feeds with apocalyptic images of a sunless sky, a blood red moon, stories of struggling to breathe in AQI readings that were off the charts. In my own neighborhood, we were under evacuation warning. The entire city of Los Angeles was blanketed in soot and smelled like campfire. The few minutes outdoors between the car and the museum’s front door, even in a KN95, left my eyes stinging, my head pounding, and my throat sore.

 

Seda Saar, Spheres II 20 x 36 in. Mixed Media on Canvas 2019 (Private Collection San Diego) ©2019, 2021, Seda Saar. 

The Nuetra is a Silverlake nonprofit, designed by eponymous architect Richard Nuetra, renowned for his influence on Southern California modernist vis-à-vis crisp, steel and glass geometric forms. I can’t imagine a better fit for Saar’s work, which is informed by her study of interior architecture. (Saar holds a BA from London Metropolitan University.) In one area of the exhibition, near a seating area of mid-century Modern sofas and chairs, earlier, smaller, black-and-white renderings on paper of Nuetra-esque architectural forms in nature seamlessly fused Seda’s work with the museum’s purpose.

Seda’s work fits into two-dimensional and three-dimensional categories that enhance each other. For example, Saar recently won a Juror’s Award of Excellence for her sculpture, Prismatic, 2019, as part of the California Sculpture SLAM at the San Luis Obispo Museum of Art in 2020. The piece is created with acrylic plastic and mirror in a pyramid shape refracting various jewel-toned colors of light, like a prism.

 

These sculptural works dealing with geometry, color, and light refraction are plastic, three-dimensional versions of paintings and mixed media two-dimensional work that addresses the same formal concerns of space, light, and color. In both cases, one could argue that more is more, and be right; the moreness of three-dimensional objects in space versus the moreness, the meta-ness of a cosmic, or planetary schemata seen in pieces like Genesis.

But what made me excited enough to write about Seda’s work was the added insight that I gained through this private touring.

Seda Saar, Prismatic 12 x 12 x 18 in. Acrylic and Mirror Sculpture, ©2021, Seda Saar

Here’s where I disclose my biases: I not only write about art, but I make art too. And while I have gone through phases like any artist who has been working several decades, my own work never relies on draftsman’s tools or clean lines. I love work that is childlike, expressionistic, and primitive. Typically, or historically, I’ve found work that was very crisp less interesting. The first exception to this generalization was Agnes Martin; had I not seen the work in person at LACMA, however, its delicacy would have escaped me. The work of Donald Judd’s and Carl Andres of this world still leaves me cold, while the work of the Cy Twomblys and Howard Hodgkins makes my heart sing.

As with Martin and other women working in an oeuvre descended from minimalism or post-minimalism, post-identity, and masculinity, a closer inspection of Saar’s lines and glyphs reveals their fail to establish a machine-like detachment. Her lush, indulgent use of color breaks all the rules of “seriousness” more generally associated with East Coast, rather than West Coast, artists.

And yet I had to get over my own bias of–oh this is geometry, so this is not about nature. And when we talked about the fires, global warming, and cycles of nature, and she insisted that the work was in fact, about nature, my first reaction was dismissive–that she just didn’t know how to talk about her work.

And that’s when the interesting thing happened. As I mentioned, during this discussion the whole city was blanketed in smoke. I’ve lived through fire seasons before, but nothing like 2020. The fires of 2020 taught me how primordial our fear of fire is. Because my reaction was physical and ancient: the one thing we fear as animals is fire, and the one thing that makes us human is that we tamed fire. But the animal fear is deep inside of us, ready to hatch, ready to return us to our instincts: RUN! And a few days later, I would; albeit on an airplane, rather than with my two legs.

When Seda started to talk about chakras, my chakra energy was off, I was in fear mode (well duh, we were worried our house was going to burn down). Honestly, I forget which chakra was the culprit. But she told me that she studied shamanism in Peru, and she decided to walk me through a series of breaths, orations, and gestures intended to rebalance my chakras. I’m not sure I “believe” in chakras, but I’m pretty accommodating, so I went along with it. I don’t know if it changed my chakras or not. I know that something transformed in Seda while she was acting as a shamanic leader. Her voice changed, her presence changed, and we addressed the directions and certain elements of nature. At one point I closed my eyes.

And when it was over, and I opened my eyes, for a second her work came to life. It was no longer just formalism, or what I initially saw as a confused hodgepodge of various movements and thoughts that didn’t “line up” with the finished product. (Why does she keep talking about nature when these are so—quasi hard edge?) She had had a hard time explaining the work. (And why should artists be expected to write their own jingoistic marketing blurbs is beyond me.) But experiencing the work was totally different. I realized that Nature—the nature that I see as wild, as expressionistic, as opposed to geometric forms and straight lines—that Nature at the macro level (galaxies) and micro level (cells) can be very precise, very linear, very geometric.

Seda Saar, Genesis 36 x 48 in. Mixed Media on Canvas 2020 ©2020, 2021, Seda Saar 

And so, I had a shamanic experience of opening myself to another vision, another version, of reality. While it required the physical presence of the artist to pull it off, it is, undoubtedly, the highest and rarest achievement in art to break through unseen preconceptions and pull the viewer into the world of the artist.

Moira Cue is an award winning multi-media artist and art critic for The Hollywood Sentinel.  She attended the Masters Program of the School of the Art Institute of Chicago.  Learn more about her and contact the author at www.MoiraCue.com 

Textual content is  © 2021, Hollywood Sentinel. Images provided courtesy of the artist.  All world rights reserved.

bG Gallery Keeping Art Scene Alive in LA

“Kirsten Fletcher, A Cut in Time”  Photograph by Rama Lee, image courtesy of bG Gallery, Santa Monica, California

bG Gallery has always been on the cutting edge of showcasing talented emerging and established artists in Los Angeles. As they state, they “specialize in accomplished artists who have crossed traditionally contentious art ideologies including expressive-conceptual, insider-outsider, high-low and figurative-abstract.”
Beyond that, they are incredibly busy, always active in the global and national art scene, and just as importantly, are very cool, kind people to work with who treat people right.
They have been one of the few LA galleries that done shows either online or safely by appointment or small groups during 2020.  Their recent show just today was an online exhibition of wearable art, featuring some very talented artists with beautiful works, as seen in just one example with the image above.
Visit their official website, support the gallery, and mention you saw them here.  www.santamonicabgartdealings.com 
2020, Hollywood Sentinel

LA Art Show 2020

From February 5-9, the LA Art Show hit its 25th Anniversary in the downtown LA Convention Center, representing 120 galleries from 18 different countries. As always, there was a strong showing of Chinese and Latin American artists, including Los Angeles based Latinos (or, Latinx, if you prefer).


Opening night was fun.  A performance artist named Miss Art World, presented by the nonprofit cooperative 825 Gallery, was one of the more colorful personalities, with a big blue bouffant, a dress like the topping of a cake, and her signature beauty queen sash that says, “Miss Art World,” of course.


Cirque du Soleil performers looking like indigenous-inspired Super Mario brothers characters walked around on stilts, in weird color block mohawks.

Everyone wanted to take selfies or pictures of actress-model type women, and the ALPHACUBE by Lorenzo Marini (presented by Bruce Lurie Gallery) was busy all night with people taking advantage of the sculpture’s colorful interior, which made for a great wall-to-wall backdrop of blocks of letters. Give Los Angelenos a place to pose and they’ll love you forever. Or at least, they’ll post your work on social media that night.


Browsing through one of the Chinese galleries on opening night, I was offered some strawberry hard candies, which I enjoyed. “They’re popular for Chinese New Year,” the gallerist explained. We started talking about Year of the Rat, whether it was good for Year of the Rabbit people or not, and she mentioned that it was a very unlucky year for many Chinese. Only later did I wonder if perhaps she was thinking about the coronavirus.

Art brings people together from all over the world.  As one newbie wrote on Instagram, “Can I get season tickets?” There is so much to see, you literally can’t do it all.

I returned to the Show on Saturday and enjoyed meeting the proprietor of the Wyoming Working Group. They have quite a story! The group owns more than 50 canvasses attributed to Jackson Pollack. Attributed to means that, they think they were made by Jackson Pollack but can’t prove it. Their struggle to establish provenance has raged on for decades. The work has many Pollack-like qualities, but it also feels different. The patterns are similar, but the work has a different palette and much lighter touch. My first gut reaction—from a distance—was that they were fake (“Oh weird,” I thought, “there’s a booth called Pollack’s Paradigm. Looks like someone is trying to recreate the Pollack style.” I thought it was like one of those workshops museums do for kids.)

The explanation given for the work being hidden is that Pollack was going to have a major retrospective and had stashed away his “best stuff” in preparation for the show. Also, he was going through a divorce, and wanted to hide the work from his soon to be ex-wife and the dealers he no longer trusted. His untimely demise in an auto accident prevented the work from being released by the artist, the story goes. The work was allegedly gifted to an unknown girlfriend, one of several, allegedly, who sold the work cheaply. But there’s no proof a girlfriend other than Ruth Kligman existed. The work is interesting for the issues it raises about how an artist’s work is authenticated, and who gets to decide what is real and what isn’t. It’s a whole area of the art world that most artists don’t even think about when they’re alive. The Working Group has spent large amounts of money with scientific research to try to prove that the paintings are authentic. And whether they are or not, it’s a fascinating story and one they certainly seem to believe in.

But is it true? If it is, science will tell us, eventually. The Working Group claims fractal analysis backs them up; a quick Google search turns up articles both condemning fractal analysis as unreliable indicator of what is and isn’t a Pollack, and suggesting that new software is better—up to 93% accurate. The Group also claims to have one work with a fingerprint. A fingerprint, a hair, other DNA analysis would be tough to argue with. But the details of the fingerprint on the Group’s website are thin. And Pollack is the most forged post-war artist on earth. Even former members of the Pollack-Krasner Foundation’s authentication board have had public disagreements about other instances of post-humous attributions. To see the work in this collection and judge for yourself, click here: https://wyomingworkinggroup.com/book/#.Xk3ZRy2ZM_U
New discoveries, and sometimes new friendships, is what the LA Art Show is all about. At the KR Martindale Gallery, I had the fun experience of meeting an exhibiting artist, Guillermo Bert, whose work deals with complex social issues stemming from immigration, acculturation, and the Latinx community. He works with indigenous communities in Latin America as well as in Los Angeles, to create works that evoke lived experience through a mix of traditional symbols and contemporary technology (such as woven textile pieces where you can scan a QR code and hear first person narratives, or the videotaped stories of undocumented migrants projected in an installation of live tumbleweed). Most of Bert’s work is curated and displayed through museums rather than galleries; at the LA Art Show he brought smaller, collectable works like “Red States, Blue States, and White Lies,” a seemingly minimalist triptych of “laser, barcodes, and candy colors on Plexi” whose title betrays a conceptual punch.

One of my favorite sections this year was INK. With mostly Chinese and Japanese artists from foreign and domestic galleries, the section explores calligraphy rooted in both traditional and experimental forms. The important, avant-garde calligraphy artist Yuichi Inoue was presented by Japanese gallery Zeal House. Shoen Tominaga, another important avant-garde calligrapher, whose work inhabits the spaces of painting and writing, was presented by S.E.A. (Los Angeles and Tokyo).

I particularly enjoyed seeing work by Yang Xiaojian presented by the Shanghai based COSPACE Gallery. These works synthesize an Eastern, calligraphic-based sensibility with the Western painterly tradition; Chinese characters are imbued with weight and and a cartoonish heft like the objects in a later Philip Guston painting. This work, by itself, was worth the trip.

–Moira Cue

Moira Cue is an award winning artist, singer, and actress whose works are in collections worldwide.

©2020 Hollywood Sentinel

LA Art Show Brings Out the Stars

Charlize Theron with artist Kazu Hiro at the LA Art Show: 2020.

The LA Art Show, which is always a fun, exciting event, wrapped last week, running from February 5 to Sunday the 9th.

As the 25th Annual LA Art Show came to its conclusion, the producers stated they are proud to announce the dates of next year’s fair. The LA Art Show, recognized as one of the most comprehensive international contemporary art fairs in America, will return to the LA Convention Center from February 10 – 14, 2021, coinciding with Frieze LA. 

“LA is one of the most creative cities in the world, and it has been my dream for us to be recognized as a true arts capital, not just the center of the entertainment industry,” says LA Art Show Founder and Executive Director Kim Martindale, adding, “When I created the LA Art Show 25 years ago, there weren’t any big art fairs here. My intention has always been to use this fair as a platform to grow the LA art market into one that people are proud to buy from. It’s truly rewarding to see that mission accomplished on the 25th anniversary of the LA Art Show.”

The 2020 LA Art Show featured exhibitions by over 130 international galleries, museums, and non-profit organizations from 23 different countries.  More than reportedly 55,000 attendees experienced the four day event.

Exhibitions included that by Kazu Hiro, who was nominated for an Oscar for his special effects makeup work on “Bombshell,” who unveiled two new ICONOCLASTS sculptures of Audrey Hepburn at this year’s fair, presented by Copro Gallery.  His photorealistic recreations of Abraham Lincoln, Salvador Dali, Frida Kahlo, and Jimi Hendrix drew admirers before they even entered the show, including Charlize Theron, pictured with the artist above.

Diverse Art LA, curated by Marisa Ciachiolo, featured an impressive floor-to-ceiling MOLAA Pride Flag created by artists Leo Chiachio and Daniel Giannone.  Next to this was Viktor Freso’s “The Birth of the Niemand,” featuring 16 larger than life statues that patrons could walk amongst and pose for photos with.

The Japanese American National Museum booth drew patrons in with Taiji Terasaki’s “Transcendients:  Heroes at Borders” exhibition, an immersive meditation on the atrocities of the Japanese-American concentration camps during World War II, and a celebration of the heroes who fight for equality and democracy today.

The Broad Museum presented “I See You, I Am Seen: On the Impact of Diversity” to shine a spotlight on efforts to incorporate more diversity into art museum staff.

The gallery work was equally varied including showcases by CORE, a dedicated space for galleries from around the world, MODERN + CONTEMPORARY, representing the vast spectrum of contemporary painting, illustration, sculpture and other artforms from around the world, ROOTS, honoring the voices and art movements of the past that continue to be informative of modern and contemporary art, INK, showcasing the continually evolving movement of East Asian ink painting, WORKS ON PAPER, exhibiting photographs and other pieces not on traditional canvas, DESIGN LA ART, showcasing high concept furniture and functional art, and PROJECT SPACE, dedicating exhibitions to specific artists from leading galleries.

The European Pavilion gallery section featured over a dozen galleries from Spain, Italy, the UK and beyond, in celebration of the profound influence that European art has had on the world.

Jane Kahn Gallery was back, with their beautiful tapestries of masters including Chagall and Picasso. K Contemporary had a notable work “Sisters in Fur Coats with Birds” by Daisy Patton, and Mizuma Art Gallery had a nice piece by Amano Yoshitaka, “Lady Blue.”

“The Swimmer” is a well crafted sculpture represented by L’Arcada Galeria D’Art from Spain by Coderch & Malavia, and BG Gallery was back again with a nice work by Fred Tieken titled “Brainstorm Series–Number Fourteen,” referencing one of my favorites; Jean-Michel Basquiat.

Bruce Lurie Gallery was back, and Conde Contemporary featured Darian Mederos’ work, which must be seen in  person to be properly appreciated, including the attention grabbing “Bohemia,” (oil on canvas). Daphne Alazraki Fine Art was back, with the outstanding work of Jean-Pierre Cassigneul; “Rendez Vous.”

General Investment Group was present with works by Renoir, among more.  K+Y featured Jeff Rob’s noticeable “Apperture 16,” and Melissa Morgan Fine Art was back with the always popular infinity mirrored portal pieces by Anthony James that we featured last year. Rebecca Hossack Art Gallery was back with Phil Shaw’s “The Life Aquatic,” and LA based Rebecca Molayem Gallery featured her own work including a piece titled “Sabrina.”

Hayden & Fandetta from LA featured “De La Walse au Tango” (1920) by Jacques Boulenger.  M.S. Rau was back, which as usual, dominated with some of the best works by masters including Monet, Rockwell, and more. Rehs Galleries also was back with equally impressive works by Daniel Ridgeway Knight (Maria Among the Poppies) among more. Gallerie Brun Massa from France represented a nice piece by Olivier Lavorel titled “1901-Venise” made in 2019 by the artist.

Despite the virus scare freaking out some, China was well represented, and the LA Art Show was as usual–packed. A tiny percent of the occasional person worse a face mask, with one guy I saw wearing one around his neck.  With a few people walking around coughing, I was thankful of how fortunate we are to be in the U.S. at this time. Pray for our beautiful comrades in China. May they soon have victory over the virus, peace, and FREEDOM.

–Bruce Edwin

Be sure to check out the 2021 LA Art Show next year at the LA Convention Center from February 10 – 14, 2021.

©2020, Hollywood Sentinel

 

 

 

 

 

 

Los Angeles Art Month

A Standard of Elegance by Kenton Nelson, Oil on Panel, 24 x 20 inches

Laguna Art Museum
California Cool Art Auction

Kenton Nelson has donated an original oil painting to support the Laguna Art Museum. Live bidding begins Saturday, Feb 1 @ 8:00pm PST

Art Palm Springs 

Art Palms Springs returns to the Palm Springs Convention Center for its ninth edition on Thursday, February 13th through Monday, February 17th, coinciding with Palm Spring’s perennial favorite event – Modernism Week. As the Southwest’s premiere fair, which attracts 15,000 guests yearly and growing in attendance (up 25% last year), Art Palms Springs is a staple in the art calendar because of its burgeoning international community of art galleries and dealers showing Post-War and Contemporary Art. Art Palm Springs also brings together a wide-variety of educational and social programming and events, including its notable awards.

The Broad Honors John Baldessari 

John Baldessari: Original, Controversial, Formidable, Intelligent
John Baldessari (1931-2020) made art for 50 years, mainly in Los Angeles, where he was considered essential to the city’s significance as a contemporary art capital. He developed a conceptual approach to art that played with and studied the conventions and pieties of being an artist. His art is known for its deep intelligence as well as its humor, often placing images from popular culture in dialogue with principles and themes from art history. The innovations of Baldessari’s work can be found running through so many of the works in the Broad collection, especially in the practices of Sherrie Levine, Glenn Ligon, Robert Longo, and Cindy Sherman. We are proud to have more than 40 of his works in our collection.

In addition to being a wonderful artist, Baldessari was a dynamic and influential teacher. He taught at UC San Diego, CalArts, and UCLA, and many of his students appear in the Broad collection, including Ericka Beckman, Eric Fischl, Jack Goldstein, Elliott Hundley, Mike Kelley, Tony Oursler, and David Salle.

We are fortunate that his legacy will endure in the many museum collections that feature his work, including The Broad. We will miss his distinctive presence and generous heart.

FRIEZE WEEK EVENT: The Un-Private Collection Featuring Christopher Wool and Kim Gordon 

Broad collection artist Christopher Wool’s most recognizable images employ texts including cultural idioms or song lyrics.
On Saturday, February 15, as part of Frieze Week, join us for an in-depth conversation with the artist, Kim Gordon (the bassist of the legendary rock band Sonic Youth), and John Corbett (music critic, record producer, curator, and gallerist).

Gagosian in the News 

Gagosian will launch its latest Online Viewing Room in anticipation of Frieze Los Angeles, with available works by Chris Burden, Alex Israel & Bret Easton Ellis, Neil Jenney, Albert Oehlen, Chris Ofili, David Reed, Ed Ruscha, Bill Whiskey Tjapaltjarri, Tatiana Trouvé, and Jonas Wood.

Many of the artworks included in this virtual presentation consider the political, geographical, and social landscapes of Los Angeles. For instance, a key example from Ed Ruscha’s series Metro Plots (1998–), depicting a Los Angeles intersection from an elevated viewpoint in a neutral palette, will be offered. Also included is Chris Burden’s powerful and politically charged oversize L.A.P.D. Uniform, from 1993, which reflects on the Rodney King trial and the Los Angeles riots of 1992, and serves as commentary on the complicated relationship between the public and authority even today.

Informational text and video related to each work will be a click away, and gallery directors and specialists will be available twenty-four hours a day for consultation. During this brief period, collectors all over the world will have the opportunity to access desirable and important works by these influential contemporary artists.

With this unique online platform, Gagosian continues to innovate in the digital marketplace. The launch of the Online Viewing Room in 2018 marked the first occasion on which the gallery publicly listed prices at the highest levels of the market. A key achievement of the platform was its public anticipation of the upward trajectory in Albert Oehlen’s market; in March 2019, the artist’s auction record at the time was surpassed through the sale, less than two hours after the site went live, of a painting valued at $6 million. In October 2019, Gagosian collaborated with Sterling Ruby to develop an online presentation that radically expanded the scope of how artists can tell their stories and convey their visions directly to a global audience. These unprecedented successes have forged new ground, dramatically changing the landscape of the online art marketplace.

Online Viewing Room opens:

12:00am HKT on Monday, February 10 (Hong Kong)
6:00pm EET on Sunday, February 9 (Athens)
5:00pm CET on Sunday, February 9 (Basel, Geneva, Paris, and Rome)
4:00pm GMT on Sunday, February 9 (London)
11:00am EST on Sunday, February 9 (New York)
8:00am PST on Sunday, February 9 (Los Angeles and San Francisco)

Online Viewing Room closes:
3:59pm HKT on Thursday, February 20 (Hong Kong)
9:59am EET on Thursday, February 20 (Athens)
8:59am CET on Thursday, February 20 (Basel, Geneva, Paris, and Rome)
7:59am GMT on Thursday, February 20 (London)
2:59am EST on Thursday, February 20 (New York)
11:59pm PST on Wednesday, February 19 (Los Angeles and San Francisco)

Frieze: Los Angeles 

Backlot Program: Frieze Film & Talks, Artist Street Fair and Restaurants

Program-only tickets give access to a world’s of art in the backlot of Paramount Pictures Studios. Discover Frieze Film & Talks, curated by Venus Lau and featuring films by Cao Fei, Wong Ping, Sophia Al-Maria & Victoria Sin, Jon Rafman and many more. This year’s program focuses on themes of visibility and invisibility – and LA as the perfect meeting place. On Saturday, February 15, be sure to catch a special screening of Matthew Barney’s new film Redoubt, followed by a Q&A with Shari Frilot. Accompanying the screenings, talks program and Frieze Projects, an artist driven street fair will offer a taste of artist initiatives across LA and accessible ways of supporting them, including Artists for Democracy, re:la, Queen of Angels, ForYourArt, amongst others.

From February 14 to 16, Frieze Projects at Frieze Los Angeles takes over the New York City streets backlot of Paramount Pictures Studios with 16 artist interventions by ground-breaking figures including, Barbara Kasten, Gabriella Sanchez, Gary Simmons and Lorna Simpson, alongside film screenings, talks, poetry readings, restaurant pop-ups, and artist-led enterprises. Experience Frieze’s curated backlot program with Program-only tickets.

Frieze Week is a city-wide encounter with international art. From February 10 to 16, don’t miss our public art project with Barbara Kruger, major museum exhibitions featuring Paul McCarthy, Julie Mehretu, George Rodriguez and Betye Saar and special performances by Gerard & Kelly and the LA Philharmonic. ForYourArt has also made curated routes to explore LA’s best art spaces.

Frieze adds, “Don’t miss any of the program’s highlights with a Backlot Tour, daily Friday to Sunday at 3.30pm. Please note, tour tickets must be purchased in addition to an admission ticket.”

LA Art Show: Opening Night Gala
Benefiting St. Jude Children’s Research Hospital

For the sixth year in a row, LA Art Show’s Opening Night Preview and Premiere Party, which will be held on February 5, 2020, will celebrate the evening with St. Jude Children’s Research Hospital, donating a portion of the evening’s ticket sales to St. Jude’s life-saving initiatives. Last year, the opening night gala was attended by more than 7,000 VIPs and hosted by Kate Beckinsale and Art Ambassador Gavin Rossdale. Previous ambassadors have included Jon Hamm, Anne Hathaway, and Emma Roberts.

Emma Roberts at an earlier LA Art Show, Opening Night Premiere Party, used with kind courtesy of the LA Art Show. 

About the LA Art Show

The LA Art Show creates one of the largest international art fairs in the United States providing an exciting, immersive, insider art experience to sponsors, their select guests and VIP clients. The show attracts an elite roster of national and international galleries, acclaimed artists, highly regarded curators, architects, design professionals, and discerning collectors.

Hollywood Sentinel, (c) 2020, all rights reserved.