Frieze is the world’s leading platform for modern and contemporary art for scholars,connoisseurs, collectors and the general public alike. Frieze comprises three magazines—frieze, Frieze Masters MagazineandFrieze Week—and four international art fairs—FriezeLondon, Frieze Masters, Frieze New York and Frieze Los Angeles.Frieze was founded in 1991 by Matthew Slotover and Amanda Sharp, with the launch offrieze magazine,the leading international magazine of contemporary art and culture. In2003, Sharp and Slotover launched Frieze London art fair, which takes place each October inThe Regent’s Park, London. In 2012, they launched Frieze New York, which occurs each Mayin Randall’s Island Park, and Frieze Masters, which coincides with Frieze London in Octoberand is dedicated to art from ancient to modern. In 2018, Frieze launched Frieze Los Angeles,which opened February 14–17, 2019 at Paramount Pictures Studios, Los Angeles. In 2016, Frieze entered into a strategic partnership with Endeavor a global entertainment, sports and content company.

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“Tanya Bonakdar Gallery is pleased to announce its first solo exhibition with multidisciplinary artist Jónsi, on view at the gallery’s Los Angeles space from November 16, 2019 through January 9, 2020.

What is the shape of sound? What does it feel like? Can we smell it? How does it move through your body and what kind of sensations does it trigger? These are the questions that are posed by Jónsi in his first exhibition at Tanya Bonakdar Gallery in Los Angeles. Best known for producing distinctive musical sounds ranging from hypnotic ambient incantations to driving sonic waves as a member of the band Sigur Rós, Jónsi has expanded his artistic practice over the past few years in a series of collaborations with visual artists such as Doug Aitken, Olafur Eliasson, Merce Cunningham and most recently the artist and composer Carl Michael von Hausswolf with whom he formed the musical duo Dark Morph. In the wake of these collaborations, Jónsi’s most recent solo aesthetic explorations have resulted in a series of immersive installations that sculpt with sound as they ask us to meditate on the liminal threshold between our bodies and the world around us.

In a series of three new gallery-based works, Jónsi riffs on the invocation of sensory inversion in Goethe’s fifth Roman Elegy in which the Romantic poet makes a connection between the experience of a lover’s body and a classical marble sculpture with the phrase, “see with a feeling eye, feel with a seeing hand.” In Jónsi’s remix, Goethe’s advice to experience the world in a different way is given a sonic update that might read as follows: “hear with a feeling ear, feel with a hearing hand.” Seeing, hearing, feeling – each of these senses collapse upon one another in Jónsi’s work as sound takes a concrete form and the tactile and the auditory merge into a surprising synesthesia. While one might read these works within the lineage of bombastic noise experiments harkening back to those of the Italian Futurists who championed the revolutionary aspects of noise in opposition to formal music, Jónsi’s approach is far more interested in exploring the phenomenological complication and extension of the senses as an antidote to a world in which we are constantly confronted by the agitated white noise of contemporary civilization. In his work there is an overarching attempt to assert the primacy of the auditory, the tactile, and the visual in helping the human organism navigate its way through this unmoored and volatile world.” – per website

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Venice, CA — L.A. Louver is pleased to present an exhibition of prints by Los Angeles artist Alison Saar. For the past 30 years, Saar has maintained a robust printmaking practice, creating more than 90 prints over the course of her career. Addressing issues of race, gender and spirituality, Saar’s lithographs, etchings and woodblock prints are evocations of her sculptures, powerful depictions of figures carved from wood or cast in bronze, that are articulated with found objects – material artifacts enriched with a narrative all their own. As such, a focused selection of sculptures will be installed in dialogue with Saar’s prints, in L.A. Louver’s second floor gallery and open-air Skyroom. As an activity maintained in connection to and in tandem with her sculpture making, Saar undertakes printmaking with the same tangible approach to unconventional materials and methods. Cast-off objects like old chair backs and found ceiling tin become the foundations for etching or lithography plates. Carved panels used for woodblock prints echo the techniques established in her hewn wooden forms. A direct comparison between Saar’s sculptures and prints can be seen in the juxtaposition of White Guise Print (2018-19), a woodblock print of a woman holding an iron dripping with blood, and Sugar (2018), a sculpture of a young girl clasping a machete, her figure carved from wood and surfaced with reclaimed ceiling tin. Both are similarly expressed with the same forward stance, simple dress and cotton branches tethered to their hair. But more than subject matter, they possess a corporeal presence, embodied through an assertive use of materials and a continuity of mark-making across mediums. Saar created these as part of a series inspired by the character of Topsy from Harriet Beecher Stowe’s Uncle Tom’s Cabin. However, in Saar’s revisionist account of the story, the slave girl spurns any attempts at pacification and instead takes up arms using her tools of labor. In addition to printing on paper, Saar repurposes worn fabrics that she has collected over time, embracing tears and stains that point to evidence of use. When conceiving these prints, Saar considers the nature of the cloth to inform the content of the imagery. In Redbone Blues (2017), a striking portrait of a young man is printed directly onto a vintage handkerchief, his likeness an imaginary rendering of the handkerchief ’s original owner. Breach (2017) portrays a nude female figure steering a raft through rising waters, burdened by her belongings. Saar applied the imagery onto fabric sourced from linen seed sacks, a material not unlike the sandbags used to fortify the levees during the Great Mississippi Flood of 1927. This subject was initially realized in a large sculpture that Saar created prior to the print. The translation from a three-dimensional to a flat representation affords Saar FOR IMMEDIATE RELEASE January 2020 Media Contact: Darius Sabbaghzadeh Email: [email protected] White Guise Print, 2018-19, woodcut, relief, shellac-stained paper, handtainted iron, 55 x 27 1/2 in, (139.7 x 69.9 cm) 29 January – 29 February 2020 Reception for the artist: Wednesday, 29 January, 6-8pm the opportunity to further establish surroundings, atmosphere and environs. Saar states, “Making a 2-D work meant I could introduce all these other things that couldn’t be part of a sculpture… Here, I could dictate that context, create a scene, a tableau, a narrative.” For Saar, printmaking has become an integral part of her artistic practice, where she can experiment and collaborate with master printmakers from Tandem Press, Tamarind Institute, Mullowney Printing and others. Moreover, the process offers Saar the ability to holistically contemplate themes addressed in her sculptures and paintings. “Printmaking allows me to step back from the real physical work of sculpting,” says Saar. “I think of making prints as an intermezzo, a time to go back and reflect, and maybe rework ideas. Carving woodblocks can be tiring, but it’s nothing like the chainsaws. Making prints has become a resting period, like a lave tet, or a cleansing of the mind.”

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

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LOS ANGELES, CA- (January 18, 2019)- LA’s international contemporary art fair will celebrate its 10th anniversary with new visual branding, a reimagined floor design, as well as new “Salon” and Publishing sections. ALAC will bring together international contemporary galleries, collectors, curators, artists, and art enthusiasts for an extended five-day cultural event from Wednesday, February 13-Sunday, February 17. Over ten years, ALAC has helped to solidify Los Angeles as an art epicenter, nurtured a generation of young collectors, and acted as a gateway to international exchange. ALAC’s unique combination of emerging and established galleries has been key to its longevity and success. ALAC maintains an unparalleled commitment to art-making, collection-building, and the galleries that are the bridge between the two. ALAC’s 10th Edition will introduce the next generation of galleries, while continuing to partner with the most exciting established programs in the city. PRESS ACCREDITATION All requests for credentials must be made before Friday, February 8, 2019 to [email protected] Members of the media are invited to preview the fair on Wednesday, February 13 from 2pm. Advance press tours can be arranged by appointment. Tim Fleming, ALAC’s Founder and Fair Director said, “After ten years, I recognize the impact we have made locally and internationally. To walk into a collector’s home and see a work from a past edition of our fair is such a pleasure, because it solidifies for me how we’ve achieved our mission by supporting galleries and informing collections. Our 10th anniversary is a chance for us to recommit to who we are: content-forward, trusted but inventive, international and LA. Our work is really about putting together the best program of established and emerging galleries, to show off the best of LA and around the globe. We feel spoiled by the number of visionaries we get to collaborate with, from new galleries with audacious programming to respected partners we’ve worked with from ALAC’s beginning a decade ago.” For the new visual identity of the fair, ALAC has teamed with award-winning graphic designer and artist Brian Roettinger (WP&A), whose roster of clients includes music visionaries Mark Ronson, Florence + the Machine, Drake, and Jay-Z. Inspired by the fair’s physical venue at the Santa Monica Airport, the experience of navigating an art fair on foot, and the civic architecture of LA’s freeways, ALAC’s new branding explores the language of way-finding. Roettinger comments, “The new bold black and white identity is a modular typographic system. It allows for a strict but playful mix, which is part airport way-finding and part motor transportation. The look focuses on the fair’s better-known name ‘ALAC,’ instead of its official full name, which the team felt was a natural decision after ten years of existence.” For its tenth anniversary edition, ALAC will be housed within a new architectural design by principal architect at Seattle-based firm Olson Kundig Jerry Garcia, who has collaborated with world-renowned artists such as Anish Kapoor, Jaume Plensa, Oscar Tuazon, and Doug Aitken. Claudia Rech, Berlin-based art historian, curator, and former gallerist of Gillmeier Rech, will curate a “Salon” section called “The Academy,” offering a new way for galleries and the public to participate in the fair through a curated exhibition. Frances Horn, Brussels-based curator and initiator of the art book fair PA/PER VIEW at WIELS, has been selected to lead the ALAC publishing section, “Movable Types.” More details on the architectural design as well as the Salon and Publishing sections to come.

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

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SPRING/BREAK Art Show Los Angeles premiered during Frieze Week LA in February 2019, featuring 45+ projects of near-exclusively Los Angeles-based artists, curators, and artist-run spaces. For press responses to the event, go to our NEWS section.

SPRING/BREAK Art Show returns for its 2nd Exhibition under the 2020 theme, IN EXCESS.

February 14 – 16, 2020  //  Skylight ROW DTLA  //  757 South Alameda Street, Los Angeles

Parking within the ROW DTLA

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

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We know what you’re thinking, “Been there, done that.” We’re happy to tell you that photo l.a. is an entirely different experience.

We’re bringing the best of the photography world to your doorstep with a collaborative platform that links dealers and collectors with a gamut of galleries from around the globe. Internationally recognized, yet abundantly accessible, photo l.a. cultivates connections between industry elite and up-and-coming talent alike. The longest running international photographic art fair on the West Coast, photo l.a. has been in operation for nearly three decades.

photo l.a. received a new home in the historic Barker Hangar this year. The airplane hangar’s soaring vaulted ceilings, arched steel trusses, and sweeping 35,000 square foot event space will host a roster of 65-75 local and international galleries and dealers, collectives, leading not-for-profits, art schools, and global booksellers.

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

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Felix was co-founded by Dean Valentine and brothers Al Morán and Mills Morán. The fair’s mission is to create an intimate experience that prioritizes connoisseurship, collaboration, and community. A return to the hotel fair format, in the spirit of the storied Gramercy International Los Angeles at the Chateau Marmont, Felix grants galleries an efficient exhibition opportunity while offering the city’s collector-base intimate access and maximum flexibility. The informal setting allows for more extended conversations among collectors, dealers, and artists alike. In 2019, the inaugural edition of the fair welcomed a diverse creative audience, bringing in over 12,000 guests to experience galleries from Europe, North America, China, South Africa and Australia. The 2020 edition takes place February 13-16 at the Hollywood Roosevelt Hotel in Los Angeles.

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

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Susanne Vielmetter Los Angeles Projects is pleased to announce the opening of our new exhibition space in downtown Los Angeles. Spanning the entire length of 1700 South Santa Fe Avenue, the 11,000 sf warehouse will host some of the gallery’s most ambitiously scaled exhibitions to date and provides additional space for both a screening and reading room. It will be used as a second exhibition space in addition to our Culver City gallery. The gallery design was developed in collaboration with TOLO Architecture and Anderson Studio.

The gallery will open during Frieze LA with a preview on Friday, February 15, 2019, and will open to the public on Saturday, February 16. The inaugural exhibition will feature new and historic works by artists from the gallery’s roster: Edgar Arceneaux, Sadie Benning, Andrea Bowers, Kim Dingle, Sean Duffy, Nicole Eisenman, Charles Gaines, Karl Haendel, Stanya Kahn, Mary Kelly, Rodney McMillian, Wangechi Mutu, Ruben Ochoa, Pope.L, Amy Sillman, and Nicola Tyson. The inaugural exhibition will be followed by solo exhibitions of new work by Arlene Shechet, Deborah Roberts, Sam Levi Jones, Genevieve Gaignard, Andrea Bowers, Shana Lutker, and Liz Glynn.

The downtown gallery is located at 1700 S Santa Fe Avenue, just south of the 10 freeway. Limited parking is available on the north parking lot adjacent to the building. Visitors to the opening are encouraged to use ride sharing services.

1700 Santa Fe Avenue, Los Angeles, CA 90021 phone 310.837-2117 www.vielmetter.com

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Mining images from mass media, advertising and entertainment since the late 1970s, Richard Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own. An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push–pull allure of pulp fiction and soft porn, producing such unlikely icons as the highly coveted Nurse paintings.

Richard Prince was born in 1949 in the Panama Canal Zone. Prince’s work has been the subject of major solo exhibitions, including the Whitney Museum of American Art, New York (1992); San Francisco Museum of Modern Art, California (1993); “Fotos, Schilderijen, Objecten,” Museum Boymans–Van Beuningen, Rotterdam (1993); Haus der Kunst / Süddeutsche Zeitung, Munich (1996); Museum Haus Lange / Museum Haus Esters, Germany (1997); “4×4,” MAK Center for Art and Architecture, Vienna (2000); “Upstate,” MAK Center for Art and Architecture, Schindler House, Los Angeles (2000); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zurich, Switzerland; and Kunstmuseum Wolfsburg, Germany); “American Dream, Collecting Richard Prince for 27 Years,” Rubell Family Collection, Miami (2004); “Canaries in the Coal Mine,” Astrup Fearnley Museum, Oslo (2006); “The Early Works,” Neuberger Museum of Art, New York (2007); Solomon R. Guggenheim Museum, New York (2007, traveled to Walker Art Center, Minneapolis; and Serpentine Gallery, London, through 2008); “American Prayer,” Bibliothèque nationale de France, Paris (2011); “Prince/Picasso,” Picasso Museum, Spain (2012); and “It’s a Free Concert,” Kunsthaus Bregenz, Austria (2014). Prince’s works are in the public collections of the Metropolitan Museum of Art, New York; Modern Art Museum of Fort Worth, Texas; Museum of Fine Arts Collection, Boston; Museum of Modern Art, New York; and the Victoria and Albert Museum, London.

Prince currently lives and works in New York.

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