Frieze Los Angeles: Viewing Room: Online Art Fair

27 JULY - 1 AUGUST 2021

  • For the inaugural Frieze Los Angeles: Viewing Room, James Cohan will present a selection of new and important work by Kathy Butterly, Simon Evans™, Spencer Finch, Gauri Gill, Federico Herrero, Yun-Fei Ji, Josiah McElheny, Lee Mullican, Jordan Nassar, Tuan Andrew Nguyen, Scott Olson, Eamon Ore-Giron, Fred Tomaselli, Bill Viola and Grace Weaver. The online fair is open to the public from July 29 to August 1, with a preview on July 27 and 28 to Frieze members and by invitation. 

     

    In advance of the fair, preview a selection of available works here.

     

  • Jordan Nassar
  • “The panels of layers of water, capped with a yellow sky, flowing rightwards and downwards across the piece, twirling through...

    “The panels of layers of water, capped with a yellow sky, flowing rightwards and downwards across the piece, twirling through the undercurrents until reaching the quiet brown and burnt yellow sea floor, are interrupted by fields of traditional patterning, the color combinations chosen by the Palestinian women who embroidered them, the placement of the colors - that is, the lattice being one color, the crosses another, the dots between them yet another - informed by tradition." - Jordan Nassar

  • Spencer Finch
  • For his Color Notes series, Spencer Finch was inspired by the book Color Problems: A Practical Manual for the Lay...

    For his Color Notes series, Spencer Finch was inspired by the book Color Problems: A Practical Manual for the Lay Student of Color, by Emily Noyes Vanderpoel. First published in 1901, the text is a comprehensive overview of color theory, and includes the concept of color notes. Finch is interested in the play between abstraction and representation. Working from haiku-like observations of the world, the artist created a suite of Color Notes for each of the four seasons.  

  • Tuan Andrew Nguyen

  • In Radiant Remembrance, Nguyen reconstitutes the object as a memorial structure that allows him to parse the traumas caused by the tensions between the natural and built environments, between nature and the man-made.

     

    The sculpture is studded with bamboo, radiating outward from the block in a manner akin to the bristling quills of a porcupine and reconfigured in the symmetry of a Buddhist mandala. Bamboo grows naturally and abundantly in areas that the artist refers to as the tropical Global South. It has been used for centuries as a construction material and is heralded as a sustainable and renewable resource. It also holds a more geographically-specific history: in the Vietnam War, guerilla fighters used bamboo to create booby traps, using the material as a strategy to equalize the military technology of the French and US armies.

     

  • Tuan Andrew Nguyen explores the power of storytelling through video, sculpture and photography. Situated at the intersection of politics and history, Nguyen employs Vietnam's spiritual culture and tumultuous past as grounding forces to navigate global systems of power. Nguyen extracts and re-works dominant, oftentimes colonial histories and supernaturalisms into vividly imaginative vignettes.

  • Spirit of Bidong is a photographic work that depicts an imagined ‘last man on earth.’ The lone figure of Spirit...

    Spirit of Bidong is a photographic work that depicts an imagined ‘last man on earth.’ The lone figure of Spirit of Bidong, the last protector of the island, dons a hand-made, sculptural headdress made from scavenged materials, transforming the human body into a totemic, spiritual object. Created in conjunction with Nguyen’s video project The Island, a film shot on Pulau Bidong, an island off the coast of Malaysia that became the largest and longest-operating refugee camp after the Vietnam War. The artist and his family were some of the 250,000 people who inhabited the tiny island between 1978 and 1991. 

     

  • GAURI GILL
  • In 2015, Gill began collaborating with papier-mâché artists of the Kokna and Warli tribes in Maharashtra, renowned for their sacred...

    In 2015, Gill began collaborating with papier-mâché artists of the Kokna and Warli tribes in Maharashtra, renowned for their sacred masks. In this series, titled Acts of Appearance, she invited her collaborators to go beyond the confines of their traditional mask-making and develop a new set of forms. Through these vibrant color photographs, Gill tells fictional stories improvised with her collaborator-subjects. They engage in everyday village activities while wearing these new masks—which recall animals, humans and valued utilitarian objects—made expressly for this body of work. The resulting images vacillate between reality and otherworldliness, unfolding in a range of symbolic and sometimes playful scenarios all situated within the quotidian landscape of the surrounding village. 

     

  • Scott Olson
  • “I view my work with watercolor,” Olson writes, “as a kind of schematic of a particular moment or thought. It...

    “I view my work with watercolor,” Olson writes, “as a kind of schematic of a particular moment or thought. It seems fitting given watercolor’s role in recording natural histories prior to sensorial and technological advancements like photography and digital imaging, or using abstract images to describe abstract processes.”

  • Grace Weaver

  • In her recent paintings, Grace Weaver continues her distinctive imagery of emblematic figures, portraiture, and urban scenes and scenarios. Expanding her vocabulary, the new works are painted with increasing directness and energy.

     

    Painted in a more subdued palette than Weaver's earlier works, in Get-together (II) (2021), the emphasis shifts to shape. The hatted figure rises to monumental proportions. On the same plane and in the same materiality, the personal attributes of the subject–her sideways glance and wrapped hands–come to the fore with the same force as her black accessories. In the resulting composition, the figure, objects, and abstract shapes appear locked together as if in rhyme.of gold, the paintings in this series are each a variation on the one that came before, suggesting a trajectory of future iterations. Their chromatic planes play on spatial recession and optical perception as they trace an infinite path forward.

     

  • Lee Mullican
  • Mullican was a seeker and throughout his career he pulled from a wide range of influences to create works that...

    Mullican was a seeker and throughout his career he pulled from a wide range of influences to create works that found new meanings through formal explorations of composition, color, mass, and mark-making. These late works on paper reflect the dynamic, continuous process of experimentation that defined Mullican’s art-making.

  • Available Works