A work by Summer Wheat at Nazarian Curcio
Photo: Casey Kelbaugh, Courtesy of Frieze and CKA
Frieze Los Angeles 2025 Opens with Optimistic Energy
Less than two months after devastating wildfires destroyed vast stretches of the city, the annual fair opened to an ebullient crowd eager to offer their support
Photo: Casey Kelbaugh, Courtesy of Frieze and CKA
Frieze Los Angeles this year—as every year—began with a cascade of celebrity sightings. On day one, early birds entering Santa Monica’s Barker Hangar included James Franco, Gwyneth Paltrow, Christian Bale and international art star Takashi Murakami. Under a bright blue sky, it was a scene that could only happen in Los Angeles.
Less than two months after devastating wildfires destroyed vast stretches of the city, Frieze L.A. opened on Thursday February 20 to an ebullient crowd, eager to stimulate the local art world economy. The fires had acutely impacted the L.A. art community, displacing the many collectors and artists who lived in the areas that experienced the most severe destruction. In the following weeks, as out-of-towners expressed doubt as to whether continuing with the fair would be appropriate, the local community voiced the importance of the fairs moving forward. “The show must go on, always,” said emerging L.A. gallerist Carlye Packer, whose parents had recently lost their home in the Pacific Palisades.
Christine Messineo, Thelma Golden, and Kyla McMillan Photo: Jojo Korsh/BFA.com
Takashi Murakami Photo: Jojo Korsh/BFA.com
Gwyneth Paltrow attended day one. Photo: Courtesy of Frieze Los Angeles
If there were any lingering doubts within the tent, none were detectable; by and large, visiting exhibitors expressed an enthusiasm to be in the city. “We’re grateful for the opportunity to be here alongside other galleries from out of town who understand the importance of showing support for the L.A. community,” said Ivy Jones of New York’s Welancora gallery, who also reported a positive response to her intergenerational presentation of painters Carl E. Hazlewood, Oasa DuVerney, Debra Cartwright and Chris Watts. In a statement, Almine Rech managing partner Paul de Froment described an “atmosphere charged with sympathy, optimism, and a belief in art’s role when things feel fragile.” The gallery brought a focused presentation of works by painter Tomokazu Matsuyama, placing four works in institutional collections.
Chris Burden, Nomadic Folly, (2001), presented by Gagosian. Photo: Courtesy of the artist and Gagosian
Saif Azzuz, What Memories Hold, (2024), presented by Anthony Meier. Photo: Courtesy of the artist and Anthony Meier
Gallerists also considered the impact of the fires while assembling their presentations. Victoria Miro gave parts of its booth to fundraising initiatives for the affected arts community, including a print sale by the artist-led mutual aid group Grief x Hope. Anthony Meier presented a solo booth by Saif Azzuz, an artist whose work was influenced by indigenous practices of land stewardship, with plans to donate a portion of the sales to the L.A. Arts Community Fire Relief Fund. The centerpiece is Azzuz’s What Memories Hold (2024), a wall-sized installation of small-scale, colorful hand-carved sculptures representing the plants, animals and historic fishing practices native to the California ecosystem. California artists did well overall; Perrotin sold out its section devoted to Southern California artists including Alex Gardner and Kara Josslyn, and Packer sold out her booth of painters by L.A. native Brandon Landers. She had had “a really wonderful day,” she said, one that included a long visit from a client who had bought a painting from Landers’ first show with her in 2017 but lost the piece in the recent fires. “We ended up talking longer than we would have, going through images of old works of Brandon’s,” she said. “It’s been very intimate, and very nice.”
Tomokazu Matsuyama, Come Away With Me, (2024). Photo: Courtesy of the artist and Almine Rech
Towards the back of the fair, Gagosian had set up an installation furthering themes of intimacy and conversation. It was Chris Burden’s Nomadic Folly (2001), a lush installation of tents veiled in sheer silks and layered with rugs and pillows where visitors could take off their shoes and enter. Burden had made the piece for the Istanbul Biennial shortly after 9/11, Gagosian director Harmony Murphy explained, sourcing his materials from local souks. “He had this idea to make a safe, conversational space for people to come in, heal, and spend time,” she added, as the sound of a tanbur emanated softly in the late artist’s 18-hour playlist of Turkish-Armenian music. For the gallery, this seemed like the appropriate time and place for the folly to return: “After the fires, we wanted to reactivate his original sentiment of a congregation area, for everybody to come and just kind of be together.”
The sixth edition Frieze Los Angeles is on view at the Santa Monica Barker Hanger from February 20 – Sunday February 23.
Below, find more images of the opening day.
Saif Azzuz, Portraits of Friends, presented by Anthony Meier. Photo: Courtesy of the artist and Anthony Meier
An installation view at Frieze LA Photo: Casey Kelbaugh, Courtesy of Frieze and CKA
An installation view at Frieze LA Photo: Casey Kelbaugh, Courtesy of Frieze and CKA
An installation view at Frieze LA Photo: Casey Kelbaugh, Courtesy of Frieze and CKA
Cover: A work by Summer Wheat at Nazarian Curcio
Photo: Casey Kelbaugh, Courtesy of Frieze and CKA
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