Frieze LA commenced with a bustling opening and strong sales, showcasing a mix of established and emerging artists at Santa Monica Airport. However, amidst the glamour of blue-chip art, the fair inadvertently highlighted societal issues such as class divide, labor struggles, and immigration challenges. This juxtaposition raised questions about the role of art fairs in a world where capitalism collides with progressive values.
One notable performance at Frieze Projects was Amanda Ross-Ho’s “Untitled Orbit (MANUAL MODE),” where she grappled with a giant inflatable globe, symbolizing the artist’s constant struggle to find balance amidst life’s chaos. Nearby, Patrick Martinez’s neon signs advocating for immigrant rights were displayed behind glass, perhaps diluting their impact in a commercial setting.
Inside the fair, Parker Gallery stood out with a unique display of abstract paintings by Marley Freeman alongside antique textiles from Textile Artifacts, creating a sensory experience for visitors. At Sebastian Gladstone, marble sculptures by Nevine Mahmoud and paper pulp abstractions by Emma Soucek offered a striking contrast of materials and forms.
Chicago-based Patron gallery showcased Jamal Cyrus’s sewn denim abstractions, blending influences from Moroccan art and white-collar crime, while Murmurs presented Y. Malik Jalal’s thought-provoking assemblages made from car mats and found photos. These works challenged viewers to confront issues of labor and societal decay up close.
One recurring theme at Frieze was the representation of marginalized communities, exemplified by Art Made Between Opposite Sides (AMBOS), a nonprofit supporting migrant and asylum-seeking populations. Despite facing challenges with booth placement, AMBOS continued to sell votive candles and ceramic milagros, highlighting the resilience of these communities in the face of adversity.
Christina Fernandez’s poignant photographs at Gallery Luisotti shed light on the unseen labor in garment shops, while her embroidered text panels shared harrowing stories of encounters with immigration authorities. Nearby, her triptych “Cesar I, II, III” offered a hopeful glimpse into the legacy of labor activism in America.
As visitors left the fair, they were greeted by the scent of frankincense from Cosmas & Damian Brown’s “Fountain: Sources of Light,” a nod to Indigenous practices in Mexico. The day ended with Ross-Ho continuing her durational performance, symbolizing the enduring struggle of artists to make sense of the world.
In conclusion, Frieze LA served as a microcosm of the art world’s complexities, showcasing not just aesthetic beauty but also addressing pressing social issues. By engaging with diverse voices and perspectives, art fairs like Frieze can become platforms for meaningful dialogue and reflection on the world we inhabit.
