Happy Halloween!

Halloween is a great time for art. Enjoy this annual Halloween art post. I hope everyone enjoys their Halloween. Here is some Halloween art to get you in the mood for spooky delight. #halloween #halloweenart #spookyart 

"Fire and Life: Beatrice Wood’s ceramics and drawings with new works by Durimel, Cecilia Granara, Amy Steel, and Yuwei Tu" at Charlotte Call (Review)

 

There has always been a tension between ceramics as an object of utility and as an object of art. A new gallery, Charlotte Call, opened in Los Angeles brings together a pioneering ceramic artist with contemporary artist that draw upon the connection ceramic as design and ceramic as an art form. “Fire and Life” connects Beatrice Wood (1893 – 1989), with a diverse group of artists, Durimel, Cecilia Granara, Amy Steel, and Yuwei Tu, that embody a sense that art, life and utility, which are connected in inextricable ways. To each of these artists, including Wood, the object is more than useful. The object is a conduit to both the corpus erotic nature of art and the utilitarian aspect where ceramics emerges.

The exhibition begins with Beatrice Woods. Woods was a pioneering ceramic artist who was based in nearby Ojai. The works by Woods reflect a desire to draw parallels between the sensuality of ceramics and irreverent nature of form that is both aesthetically pleasing and humorous in its presentation. Wood is the starting point. The exhibition features both ceramic and works on paper which straddle the form as a body and the form as use. This kind of dichotomy frees Woods’ work from a utility to an artform. The works on paper complement and reinforce this movement with a dialogue between the body and the feminine nature of form. Curves and female figures show an almost Bauhaus approach of a playful and humorous nature.  

The feminine and playfulness continues with the four artists, Durimel, Cecilia Granara, Amy Steel, and Yuwei Tu. Three of the four are not ceramic artists like Woods. However, they continue to explore the ideas of femineity, form and nature. Durimel is a Parisian duo who create photographic still life pictures where shadow and object are displayed in dialogue. The photos are chiaroscuro in their composition where the various objects of wood and stone recede and advance in the photographic plane. Cecilia Granara and Amy Steel are painters add a humorous dimension to the exhibition. Granara’s “Whale {Love} III” depicts two lovers swallowed and entwined in embrace within the belly of a whale. Amy Steel’s “Winter” has a woman lying down with a rabbit in a strange erotic encounter. The landscape is painted in broad loose strokes in pink and pastels that give it a fluid landscape. Out of the four artist in dialogue with Wood’s work, Yuwei Tu is the only ceramicist in the show. In Tu’s “In Brace” long finger like figures begin wrap themselves around a painting as if to capture and squeeze the canvas.

In the end, “Fire and Life” offers a new approach to seeing Beatrice Wood in bringing together art in light of four current artist practicing in a dialogue and playful embrace of the iconic artist. Woods and the accompanying artist invite us to both compare and contrast with humor and wit. Charlotte Call and its exhibition mark an excellent entry into LA's growing scene on Western Ave in Melrose Hill, joining neighbors such as David Zwirner, Chateau Shatto, and Ochi.

Beatrice Wood "Fusion" 

Beatrice Wood "Coffee Break"

Beatrice Wood "Three Works (Detail)"

Amy Steel "Winter (detail)"

Beatrice Wood "I Lost Him"

Beatrice Wood "Zero Hour"

Beatrice Wood "Teapot" 

Beatrice Wood "Double Chalice"

Cecilia Granara "Whale (Love) III"

Cecilia Granara "Pregnant" 

Durimel "Pine I"

Yuwei Tu "In Brace"

Beatrice Wood

Durimel "Honor Roll" 

Beatrice Wood "Fisherman"

Beatrice Wood "Fisherman (detail)"

Frieze Los Angeles 2025 (A Review)

This year’s Frieze Los Angeles felt different in a good way. This year’s fair had a sense of optimism and renewal. The fires on January 7^th in Pacific Palisades and Altadena affected many artists, curators, collectors and gallerists. Many lost their homes, studios, and collections in the fires. The immediate aftermath of the fires resulted in delays and, in some cases, the cancellation of scheduled exhibitions and shows at galleries and art spaces throughout the Los Angeles area. There was debate as to whether Frieze should continue as planned. The fair proceeded at pace, and I am glad. It would have done a great deal more damage to postpone or cancel the fair since many galleries have exerted time, and great expense. Local businesses, including hotels, would have suffered a great loss if it was postponed or canceled, “The show must go on!” and Frieze opened with a great deal of fanfare and excitement. The optimism, I think, came from the fact the art community rallied and came together to support one another. The fair became a symbol of that resilience and strength of the Los Angeles art community.

The art world did come out to the Frieze (as well as other area art fairs) and it did not disappoint. Frieze Los Angeles conveyed strong sales. Galleries reported seven-figure sales, including David Zwirner's sale of an Elizabeth Peyton painting for $2.8 million, a Noah Davis work for $2.5 million, an Alice Neel painting for $1.8 million, and a Lisa Yuskavage painting for $1.6 million. Gladstone Gallery saw quick success with a Keith Haring painting on glass for $2 million, as well as several Robert Mapplethorpe photograph editions priced between $200,000 and $300,000 each, and an Ugo Rondinone painting for $240,000, among other works. Thaddeus Ropac made significant sales including a painting by Georg Baselitz for €1m and a painting by Alex Katz for $800,000. Michael Rosenfeld Gallery placed multiple works, including a Ruth Asawa sculpture in the region of $1m. Johyun reported opening-day sales totaling seven figures from its dual presentation of Lee Bae and Kishio Suga. Pace sold multiple works, including a 2021 installation by James Turrell for $900,000, Robert Indiana’s 1966–1996 sculpture LOVE (Red Outside Blue Inside) for $600,000 and a new painting by Loie Hollowell for $325,000. Many galleries reported sold out booths and sales were brisk.

For those of us not able to buy works at the gallery booths, it was an opportunity to see works not normally shown here in Los Angeles. Almost every booth contained strong and impressive works of art. It was difficult to determine which booth and gallery were the best of the fair. In the end, the best booths were those that went above the good quality that was prevalent at Frieze Los Angeles. These were best booths at Frieze Los Angeles.

Dastan Gallery – This gallery has a special place in my heart. Based in Tehran, Iran, Dastan never fails to provide thought provoking and poetic displays. This year’s booth was a memorial to a deceased artist whose work ruminated on a poem about life and pots. The allegorical poem is a reflection of both the existence of life and its fragility. Themed around Earthenware Imagery, specifically the earthenware jar and how it is implemented in the quatrains of Omar Khayyam. The exhibition features artworks by Reza Abedini, Hadi Alijani, Reza Aramesh, Ida Aslanian, Sahand Hesamiyan, Hoda Kashiha, Mirza Hamid, Jacopo Pagine, Roksana Pirouzmand, Iman Raad, and Mamali Shafahi & Domenico Gutknecht. The booth is provocative and runs deep. This was both Dastan and Frieze at its best. Being more than a display, the booth was an experience that caused reflection and contemplation.

Almine Rech – Almine Rech presented a solo show of Tomokazu "Matsu" Matsuyama’s paintings. Matsuyama’s works are visually stunning combining both Japanese and Western aesthetic that create an almost immersive experience. Using Japanese visual language of flatness, décor, and color, Matsuyama portrays domesticity with a queer subjectivity that encompasses the pictorial field. The installation’s palate compliments the experience for the viewer. Almine Rech’s was one of the best at Frieze by far.  

James Cohan – Eamon Ore-Giron’s paintings are rich with color, form and compositional panache. Using Mexican and indigenous pictorial strategies, Ore-Giron explores a kind of sacred geometry that provides a connection to the artist’s Peruvian heritage and to the viewer which receives a beautiful and transformative experience. Ore-Giron’s painting depict gods that are both from a lost past but also from an emerging future. The work is compelling both symbolically and visually. James Cohan’s booth was an amazing experience.

Gagosian – In 2001, Chris Burden participated in the seventh Istanbul Biennial with “Nomadic Folly,” a large-scale installation and sculpture made up of oriental textile tents. Viewers were allowed to meet, gather and socialize inside each tent. This installation was one of the most popular at Frieze. It gave a sense of community and belonging. After the walking and looking, “Nomadic Folly” offered visitors a nice resting place and communal meeting spot. It demonstrates Burden’s unique ability to combine social engagement and art. It’s a brilliant piece of work and its placement makes it even more splendid.  

Paul Kasmin – Diana Al-Hadid was featured at the Paul Kasmin booth. What made this booth’s work so impressive was Al-Hadid’s ability to portray both control and instability. Chaos and control. The paintings are contradictory in nature and yet seem in harmony with the picture plane. Each work was a visual challenge to notions stability and the idea of painting itself as a flat self contained medium. The gesture escapes, weaves, and gives the impression of coming apart while staying in place. During a recent trip to New York, I saw Al-Hadid’s installation at the subway station at Madison Square Garden. Her work exudes the same kind of confidence that welcomes travelers and commuters daily.

David Kordansky – Maia Cruz Palileo solo booth for David Kordansky’s was a terrific introduction to Los Angeles. Both the booth and her current solo show, Palileo explores identity, nature, and perception. Based on their familial experiences in the Philippines, Palilieo is a master of the optical where figures appear and disappear within the canvas.  Deep jungle and green landscapes hide and reveal a complicated history that is both personal and political. Smartly composed and stunning in their presentation, I was struck by Palileo’s focus and urging of the viewer to seek that which is uncomfortable and haunting. I am definitely looking forward to seeing more of Palileo’s work in the future.

Among the galleries that had group exhibitions, Night Gallery, David Zwirner, Pace, and Xavier Hufkins were definitely notable with works by Elizabeth Peyton, Dahn Vo, Nicole Eisenmann, James Turell, Lisa Yuskavage, Tracy Emin, Jesse Mockrin, Cynthia Daignault and John Currin. The Focus group of booths curated by Essence Harden was excellent with the emphasis on personal memory and public histories with Carlye Packer and Superposition being the best booths within the group. Frieze was at its best with galleries, both solo and group shows giving everyone something to savor and enjoy.  

In the end, Frieze Los Angeles was a roaring success. The Los Angeles art community came together, raised money for the fire victims, and demonstrated to the world its endurance. Yet at the end of Frieze on Sunday night, on my way back to my car, I was thinking about Los Angeles as one of the many centers for the art world. There is no doubt that Los Angeles has attracted many world class art galleries, art spaces, and museums. It is now grown up and no longer provincial. I look forward to Frieze Los Angeles returning. With its return, more collectors and more galleries. Frieze’s success is also the success of every art fair in the area.