in Frieze Los Angeles | 12 DEC 24

Ten Standout Solo Shows at Frieze Los Angeles 2025

From April Bey’s glitter-filled universe to Eamon Ore-Giron’s kaleidoscopic deities, discover new and unseen solo projects at this year’s fair

in Frieze Los Angeles | 12 DEC 24

Featuring ‘obsessive’ new marble works by Greta Schödl and some of Noah Purifoy’s final creations, solo presentations at Frieze Los Angeles 2025 champion pioneering artists past and present.

Eamon Ore-Giron presented by James Cohan (New York)

‘What is my chromatic lineage?’ asks Eamon Ore-Giron. With new paintings and ceramic murals, the Los Angeles-based artist expands his ‘Talking Shit’ series, which he began in 2017 in Guadalajara, Mexico, and showed at this year’s Whitney Biennial. The works imagine the his conversation with deities from Mexico and Peru’s ancestral past. While Ore-Giron’s paintings reference the gods Quetzalcoatl, Coatlicue, Amaru and Inti, his influences are diverse, spanning Brazilian neo-concretism, Dutch de stijl and Russian suprematism. Ore-Giron’s precise visual language is a kaleidoscopic union of knowledge systems, cultural histories and realities.

Eamon Ore-Giron, Talking Shit with the Snake People, 2023. Ceramic tile, 1.2 × 1.5 m. Courtesy: the artist and James Cohan. Photo: Phoebe d’Heurle
Eamon Ore-Giron, Talking Shit with the Snake People, 2023. Ceramic tile, 1.2 × 1.5m. Courtesy: the artist and James Cohan. Photo: Phoebe d’Heurle

April Bey presented by Vielmetter (Los Angeles)

Los Angeles-based April Bey imagines ‘Atlantica’ as an alternative universe where glitter is currency and visitors arrive via plant portals. Bey’s ongoing series of mixed-media works originate from conversations with her father, who described his experience of otherness and racial oppression using the language of science fiction. Bey transforms Vielmetter’s space into a fur-lined cocoon of exuberance, with slogan-embellished works celebrating Bahamian culture, afrofuturism and queerness.

April Bey, Is Somebody Gonna Match My Freak? Is Somebody Gonna Match My Nasty?!, 2024. Jacquard woven textiles, with hand-sewn fabric, sequins and beads. 2 × 1.5 m. Courtesy: the artist and Vielmetter Los Angeles. Photo: Jeff McLane
April Bey, Is Somebody Gonna Match My Freak? Is Somebody Gonna Match My Nasty?!, 2024. Jacquard woven textiles with hand-sewn fabric, sequins and beads, 2 × 1.5m. Courtesy: the artist and Vielmetter Los Angeles. Photo: Jeff McLane

Anne Rothenstein presented by Stephen Friedman (London, New York)

‘My reasons, or intentions, when making a particular painting are quite mysterious to me,’ says British painter Anne Rothenstein. ‘Sometimes I never find out.’ Rothenstein’s instinctive and psychologically taut scenes cast androgynous figures in intimate interiors and desolate landscapes. At Frieze Los Angeles, Rothenstein debuts her largest paintings to date, working across canvas and wood panel and building her distinctive palette through thin washes of oil. 

Anne Rothenstein, Waiting, 2023. Oil on wood panel, 1.5 × 1.2 m. © Anne Rothenstein. Courtesy: the artist and Stephen Friedman Gallery. Photo: Todd-White Art Photography
Anne Rothenstein, Waiting, 2023. Oil on wood panel, 1.5 × 1.2 m. © Anne Rothenstein. Courtesy: the artist and Stephen Friedman Gallery. Photo: Todd-White Art Photography

Patrick Eugène presented by Mariane Ibrahim (Chicago, Mexico City, Paris)

Mariane Ibrahim makes its Frieze Los Angeles debut with a solo show by the Atlanta-based Patrick Eugène. Drawing inspiration from his Haitian heritage, Eugène’s large-scale paintings on linen portray figures in graceful, contemplative poses. Migration, solitude and family are just some of the themes he develops in his latest work. Eugène detaches his scenes and subjects from specific locations and situations, empowering audiences to connect with the work ‘without distraction or instruction’. 

Patrick Eugène, Echoes Within, 2024. Courtesy: the artist and Mariane Ibrahim
Patrick Eugène, Echoes Within, 2024. Courtesy: the artist and Mariane Ibrahim

Greta Schödl presented by Richard Saltoun (Rome, London, New York)

Greta Schödl has been making art for more than seven decades. She emerged in the 1950s as one of the key voices (and few women) of the visual poetry movement in Italy and has remained so. Formed from obsessively repeated letters and symbols, Schödl’s compositions become abstract through their intensity. Connecting language and gender, her materials include personal letters, ironing boards and pillowcases. For her most recent pieces, featured in Richard Saltoun’s solo show, Schödl works with blocks of marble, which she inscribes with repeated text, a process she describes as ‘clothing the surface with its name’.

Greta Schödl, Untitled, 2024. China ink and gold leaf on three sides of Carrara marble, 10 × 12 x 3 cm. Courtesy: the artist and Richard Saltoun
Greta Schödl, Untitled, 2024. China ink and gold leaf on three sides of Carrara marble, 10 × 12 x 3 cm. Courtesy: the artist and Richard Saltoun

Chris Burden presented by Gagosian (Athens, Basel, Geneva, Gstaad, Hong Kong, London, Los Angeles, New York, Paris, Rome)

Gagosian presents the US debut of renowned LA artist Chris Burden’s work Nomadic Folly (2001), a haven of sensuous textiles and Turkish-Armenian music. Taking its name from the ornamental structures designed as focal points within gardens, Nomadic Folly is a space for reverie and contemplation of the construction of spectacle. 

Chris Burden, Nomadic Folly, 2001. Courtesy: Gagosian
Chris Burden, Nomadic Folly, 2001. Courtesy: Gagosian

Delcy Morelos Gonzales presented by Marian Goodman Gallery (New York, Los Angeles, Paris)

For her installation series ‘Agua salada organizada’ (Organized Salt Water), Delcy Morelos coats cotton strings in dark, glossy acrylic paint, and suspends them from the ceiling. A highlight of Morelos’s solo show with Marian Goodman, the work’s vertical motion evokes waterfalls, while its deep red colour prompts a bodily connection, reflecting the human body’s majority water composition.

Delcy Morelos, Agua salada organizada (Organized Salt Water), 2014. Soil and acrylic on jute in two parts, 241 × 41 × 55 cm each. Courtesy: the artist and Marian Goodman Gallery
Delcy Morelos, Agua salada organizada (Organized Salt Water), 2014. Soil and acrylic on jute in two parts, 241 × 41 × 55 cm each. Courtesy: the artist and Marian Goodman Gallery

Tamara Gonzales presented by The Pit (Los Angeles, Palm Springs)

Tamara Gonzales is primarily known for her nature-inspired paintings and drawings. At Frieze Los Angeles, The Pit presents her tapestries and mosaics made in collaboration with Peruvian artists. Filtering the histories and cultures of Mesoamerica through a contemporary lens, she transforms traditional Peruvian Shipibo patterns into modern totems in search of a new purpose. 

Tamara Gonzales Untitled, 2016. Alpaca and wool, 86 × 66 cm. Courtesy: the artist and The Pit. Photo: Jeff Mclane
Tamara Gonzales, Untitled, 2016. Alpaca and wool, 86 × 66 cm. Courtesy: the artist and The Pit. Photo: Jeff Mclane

Noah Purifoy presented by Tilton Gallery (New York)

Noah Purifoy was a key voice in the Black arts movement in Los Angeles in the 1960s and ’70s and is notorious for making art from the debris of the Watts Rebellion. His work inspired the Hammer’s exhibition ‘Made in L.A. 2023: Acts of Living’ and continues to influence new generations of artists. Tilton Gallery presents Purifoy’s later sculptural assemblages and collages, most of which have never been exhibited in Los Angeles, which he made in Joshua Tree between 1989–2004, the last years of his life. 

Noah Purifoy, Desert Tombstone, 1995. Mixed media, 64 × 41 × 18 cm. Courtesy: Tilton Gallery
Noah Purifoy, Desert Tombstone, 1995. Mixed media, 64 × 41 × 18 cm. Courtesy: Tilton Gallery

Megumi Yuasa presented by Ortuzar Projects (New York) and Gomide&Co (São Paulo)

Ortuzar Projects and Gomide&Co collaborate on a career survey of Japanese-Brazilian artist Megumi Yuasa, the first presentation of his work in the US. Inspired by natural features such as trees, moons and seeds, Yuasa’s work blends Japanese and Brazilian aesthetics, materials and techniques, reflecting the East Asian diaspora in Brazil. Yuasa’s unconventional approach to materials – incorporating metals, oxides and paints – has redefined Japanese ceramics.

Megumi Yuasa, Untitled, 1980s. Glazed ceramics, brass and marble, 74 × 27 × 24 cm. Courtesy: the artist, Ortuzar Projects and Gomide&Co
Megumi Yuasa, Untitled, 1980s. Glazed ceramics, brass and marble, 74 × 27 × 24 cm. Courtesy: the artist, Ortuzar Projects and Gomide&Co

Further Information

Frieze Los Angeles, 20 – 23 February 2025, Santa Monica Airport. Early-bird tickets now available.

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Frieze Los Angeles is supported by global lead partner Deutsche Bank, continuing its legacy of celebrating artistic excellence on an international scale.

Main Image: Noah Purifoy, Untitled, undated. Mixed media, 112 × 229 × 6 cm. Courtesy: Tilton Gallery

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