Doug Aitken [Not yet titled] 2018. Chromogenic transparency on acrylic in aluminum lightbox with LEDs. 68 x 125 x 7 inches (172.7 x 317.5 x 17.8 cm) Edition of 4. (303 Gallery)
Frieze Los Angeles debuted as a new international art fair on February 14, 2019 and closed on Sunday, February 17, 2019, celebrating the city’s pivotal role in the international art community. The fair attracted 30,000 attendance across the gallery tent and backlot program, including civic leaders, international art collectors, curators, critics, and members of the Hollywood entertainment community. 70 local and international galleries participated, and robust sales were reported from the opening hours of the fair and throughout the weekend. Frieze Los Angeles also built on Frieze’s long-standing commitment to curated content, with a non-stop program of immersive artworks, talks and screenings beyond the gallery tent in Paramount Pictures Studios.
“We could not have hoped for a better inaugural edition of Frieze Los Angeles in terms of attendance, atmosphere and sales,” said Victoria Siddall, Director of Frieze Fairs.
“I love the collision of Paramount and visual art,” said Los Angeles Mayor Eric Garcetti, “We know the creativity that’s been here for decades, the visual artists that have been here, but now we’re realizing what a cultural draw this can be as well. Something like Frieze solidifies this in many ways.”
Speaking about the launch of the fair, Los Angeles County Supervisor Mark Ridley-Thomas said, “It’s going to make a mark on this environment, not only now, but for years to come. This is the highest moment of arts celebration in the history of this town.”
Strong Sales at All Levels
In the opening hours of Frieze Los Angeles and throughout the fair weekend, exhibitors reported strong collector enthusiasm with numerous sold out presentations and significant placements. Local and international galleries reported sales in the seven-figure range, and likewise younger galleries experienced placed many works of younger, emerging artists.
Highlights include strong sales by Hauser & Wirth, with the sale of Mike Kelley’s Unisex Love Nest to a European art foundation for $1,800,000; Acquavella Galleries’ sale of three works by Wayne Thiebaud priced between $700,000 and $4,000,000; Lévy Gorvy’s sales of Günther Uecker’s Spirale III for $1,200,000 and Yayoi Kusama’s Infinity Nets (B-A-Y) for $1,600,000; Jack Shainman Gallery’s sale of Topos by El Anatsui for $1,250,000; Lisson Gallery sold Landline Magenta (2018) by Sean Scully for $1,250,000, Tatsuo Miyajima’s Innumerable Life/ Buddha MMD-01 (2018) for $250,000, multiple works on paper by Carmen Herrera at $120,000 each, Totem (Kisosen) (2017) by Pedro Reyes for $100,000, two new paintings by Stanley Whitney at $85,000 each, new work by Cory Arcangel for $75,000, Hugh Hayden’s Crown of Thorns (red/oak) (2019) at $16,000; and Thomas Dane Gallery’s sale of Hurvin Anderson works in the range of 160,000 to 1,500,000 GBP. Lehmann Maupin sold Shirazeh Houshiary’s entire presentation of paintings and sculptures, 303 Gallery sold out their solo presentation of Doug Aitken’s work, and Mendes Wood DM sold out of their presentation of works by Brazilian artist Paulo Nimer Pjota. David Kordansky Gallery’s strong sales included twelve works by Kathryn Andrews, entitled Hollywood Dahlia, for $40,000 each. Kayne Griffin Corcoran sold six James Turrell works priced at $425,000, Mary Corse works from $150,000 to $300,000 and a Mika Tajima at $23,000. Pace Gallery secured seven-figure sales with the placement of a 1967 painting by Alex Katz, a drawing by Tara Donovan for $225,000, a work on paper by Alexander Calder for $200,000, and a painting by Adam Pendleton for $120,000. Blum & Poe sold well having placed a major painting by Mark Grotjahn priced at $600,000. L.A. Louver sold multiple paintings by Gajin Fujita, including works priced at $40,000, $45,000 and $250,000. Park View / Paul Soto sold out of his booth of works by Los Angeles-based artist Mark A. Rodriguez.
