The artists, “sit within the powerful Black renaissance of this era,” reads the press statement. Central themes in the exhibition are identity and civil injustice, and reason versus surrealism. To underscore the dreamlike effect a cloud motif was painted on the floor.
The small footprint of UTA Arts Space, where Dreamweavers is on view, would make a less interesting show a quick walk-through. I spent 1 hour there challenging myself to create linkages between the work of artists typically not on view collectively. The show continues through April.
In true “fair week” style, there were satellite fairs running concurrent to Frieze. I attended Felix at the glamorous Hollywood Roosevelt Hotel. The 11th floor and poolside cabana suites were converted to exhibition spaces.
Hotel rooms-cum-galleries are peculiar spaces. Small rooms become tight exhibition space where traffic flow is often problematic. Still, the quaint charm of being in an art space more humble than the sprawling Frieze brings its own respite. It’s important to note the uncommon setting of a hotel-gallery does not equal a reduced quality of work (to be fair, mega-fairs have their share of awful art on display, so in this case size does not matter). Chicago based gallery Kavi Gupta showed works by Gerald Williams and Sherman Beck, co-founders of AFRICOBRA, the African American artists’ collective founded in Chicago in 1968. The gallery will be present at Frieze New York in May.
In LA I also stopped at Regen Projects for the closing weekend of Glenn Ligon’s exhibition. The master of neon text art with subversive meaning, one work simply read, “Nov 3, 2020,” in reference to the next US election day, which, unlike his constant red flashing “Untitled (America)” (2018), will illuminate on said day. Americans on all sides of the political spectrum await that day. Maybe also mirroring that eagerness will be the city’s anticipation for the next Frieze.