The fifth edition of Frieze Los Angeles, held at the Santa Monica Airport from February 29th to March 3rd, 2024, drew to a close on a triumphant note. Boasting record-breaking sales, a vibrant atmosphere, and a diverse range of art on display, the fair cemented its position as a crucial event in the global art calendar. Over 32,000 visitors from 48 countries flocked to the fair across its four-day run, showcasing the growing and passionate international interest in the Los Angeles art scene. This year's iteration featured a selection of over 95 leading galleries representing 21 countries, offering a comprehensive and dynamic exploration of contemporary art.
Advertisement
Million-Dollar Masterpieces and Top Sales
The fair witnessed a flurry of significant sales, with several artworks soaring past the million-dollar mark. Among the most notable transactions were:
Gladstone Gallery: Richard Serra's monumental drawing "Pamuk" (2009) fetched a staggering $2 million, demonstrating the enduring market value of established blue-chip artists.
Thaddaeus Ropac: Robert Longo's "Untitled (Julien)" (2016) sold for $1.6 million, while Anselm Kiefer's "Sag mir, wo die Blumen sind" (2012/2022) garnered €1.3 million ($1.4 million), highlighting the continued demand for these artists' powerful and thought-provoking works.
Pace Gallery: Robert Longo's "Untitled (Dry Palm)" (2023) found a new home for $700,000, solidifying his position as a leading contemporary artist.
Advertisement
Lisson Gallery: Anish Kapoor's captivating sculpture "Mipa 5 Light to Prussian Blue Satin" (2023) was acquired for a remarkable £675,000 ($856,580), showcasing the unwavering fascination with Kapoor's innovative and visually striking creations.
David Zwirner: Three paintings by the highly sought-after artist Joe Bradley sold for impressive prices within the range of $300,000–$450,000 each, reflecting the strong market demand for his vibrant and expressive works.
Hauser & Wirth: An Ed Clark painting drew significant interest and was acquired for $950,000, while Frank Bowling's captivating "Fishes, Wishes in Summertime Blue" (2016) found a new owner for $800,000, demonstrating the enduring appreciation for these artists' contributions to the contemporary art landscape.
These are just a few examples of the numerous high-profile sales that fueled the vibrant energy of Frieze Los Angeles. The fair not only provided a platform for established artists to find new audiences but also nurtured the careers of emerging talents, with galleries like Dominique Gallery and pt.2 selling out their entire presentations of works by Mustafa Ali Clayton and Muzae Sesay, respectively.
Sold-Out Booths
Several galleries reported selling out their entire presentations, including David Kordansky Gallery, Pilar Corrias Gallery, Gallery Hyundai, Dominique Gallery, pt.2, and OCHI.
Advertisement
Frieze Los Angeles transcended the financial aspects of the art market, fostering connections and fostering dialogue within the art community. The fair's VIP preview attracted a star-studded list, including Leonardo DiCaprio, Jessica Alba, and Mahershala Ali, showcasing the growing crossover appeal of contemporary art to a wider audience. The fair also included a robust program of talks and events, featuring prominent figures from the art world discussing critical issues and trends in the contemporary art landscape.
Christine Messineo, Director of Americas for Frieze, expressed her elation with the success of the fair. She highlighted the "strong sales, sold-out booths, and seven-figure and museum acquisitions" as testaments to the fair's impact. Moreover, she emphasized Frieze Los Angeles' commitment to fostering the growth of the Los Angeles art community by providing "more opportunities for institutions and nonprofits to strengthen their collections and reach." The significant attendance, coupled with the positive feedback from galleries and artists, solidifies Frieze Los Angeles' position as a significant player in the international art world and a beacon for the future of the Los Angeles art scene.
