Sean Kelly is delighted to return to Frieze Los Angeles, where we will present a carefully curated booth featuring painting, sculpture, photography, and mixed media.
Our booth will feature a painting from Janaina Tschäpe's newest body of work, which is currently on view in our Los Angeles gallery. Composed entirely of oil paint and oil stick, these new paintings exponentially expand Tschäpe’s investigation of the relationship between gesture and painting; a new lightbox photograph by Awol Erizku, whose multi-disciplinary practice encompasses photography, sculpture, painting, installation, film, and sound, to shape an artistic language that exists at the intersection of image making and language that bridges the visual and cultural gap between African and Black American cultures; a new camouflage painting by Anthony Akinbola, which explores the durag as both a material for art-making and as commentary on larger issues of identity, respectability, and the commodification of African American culture; Jose Dávila is represented by a new sculpture and cut-out photograph, which reflect his interest in contrasting themes such as mass and lightness, volume and transparency, and geometric and organic forms; Sam Moyer’s new paintings, manipulate found textures and materials into powerful and evocative abstract works that engage both the hand-made and readymade; and a new plastic painting by Hugo McCloud, which focuses on issues concerning geopolitics, migration, the value of labor, and concern for the growing disparity in social and racial economics.
On the occasion of Frieze Los Angeles, Sean Kelly, Los Angeles will be open to the public on Sunday, February 19 from 10am – 5pm.
For all inquiries, please email Thomas Kelly at Thomas@seankellyla.com or Courtney Treut at Courtney@seankellyla.com
For more information on the fair, including hours and ticketing information, please visit frieze.com
For Frieze Los Angeles Projects Jose Dávila will present a new work from his recent series of Acapulco chair stacks. This abstract sculpture unites organic forms with a manufactured, utilitarian object. The “Acapulco” chair, with its minimal, linear metal rods and pleasing profile, is a modern icon which first appeared in the 1950’s in the Mexican resort city of the same name. In this new work, Dávila uses the structure of the Acapulco chair as an adaptable module from which to create new relations of equilibrium and balance.
For inquiries, please email Lauren Kelly at Lauren@skny.com