CPG

WOW MAJOR GRAVITAS Charles Ray at Matthew Marks LA

💫 🥵 Jovana Millay, Sara Knowland and Jools Rothblatt for Tempo Art Select ________ Jovana Millay
Obround XIV, 2019 Acrylic on canvas
24 x 48in (61 x 122cm)

Jools Rothblatt
Boxers, 2025 Oil on canvas, framed
36 x 24 in (91 × 61 cm) Sara Knowland Landscape, Goated (Green), 2024
Oil on canvas
16 × 20in (40.5 x 50cm) Jovana Millay
Plate #9, 2017 Acrylic on canvas
60 x 36 in (127 x 91.4 cm) Sara Knowland
Landscape, Goated (Red), 2024 Oil on canvas
12 × 16 in (30.5 x 40.5cm)

❤️GOOD LA ART DAY❤️

!! Last two days at @friezeofficial 💋 BOOTH F14 (fighter jet) ANDY ROBERT : KITCHEN SINK —————- Pictured: Andy Robert Call Me On Your Way Back Home, 2026 Pastel, ink, watercolor, gouache, pen, pencil, colored pencil, feathers on paper, framed 27 x 20 3/4 inches 68.5x 52.7cm Andy Robert Marine, 2026 Pencil, ink, acrylic on paper, framed 27 1/4 x 57 inches 69.2 x 144.7 cm Andy Robert Far From Home, 2026 Watercolor, sunflower seeds, ink, gouache, pencil, ball-point pen, marker, on paper, framed 16 1/2 x 48 inches 42 x 121.9 cm

@felixartfair CABANA 103 Open through Sunday!! “Hollywood Noir” In Hollywood Noir, the Hollywood Roosevelt’s storied room becomes a stage for suspended reality, where the self can undress and unravel, performing the twin roles of witness and accomplice. With an eye toward Los Angeles’s founding mythology, the select group of fifteen artists transform the psychology of a hotel room into a collision of the cinematic, the performative, and the uncanny—anchored by Sturtevant’s Warhol Gold Marilyn, an explicit wink to the Hollywood Roosevelt’s most iconic resident. FEATURING: Elizabeth Colomba  Leo Costelloe Sissi Farassat Emily Ferguson  Faith Hughes  Simone Leigh  Glenn Ligon  Jovana Millay  Larysa Myers  Richard Prince  Ōmbia Studio  Sturtevant Adam Stamp  Chet Taylor  Jean-Pierre Villafañe  CURATED WITH @ameliemartine

ANDY ROBERT: KITCHEN SINK BOOTH F14 @friezeofficial OPENING TODAY ______ Andy Robert “Till November,” 2026 Watercolor, sunflower seeds, ink, gouache, pencil, ball-point pen, marker, on paper Framed: 27 1/2 x 42 inches 69.8 x 106.6 cm ______ For Frieze Los Angeles, Robert will present a group of works abstract in nature, where composition, line, point, color and movement are of concern; where feathers, found objects, pits and sunflower seeds find themselves alongside gestural marks. There is a sense of things or there is an attempt to capture things as they are coming together or falling apart, either humming or into place. Or to catch the wind, to grasp at, a glimpse of; in search of something beating. ______ Andy Robert (b. 1984, Les Cayes, Haiti) is a Haitian-American painter who negotiates abstraction and non-representation; memory and displacement. His practice is experimentally rooted in its engagement with art. He lives and works in New York. Robert’s paintings have been presented in solo and group exhibitions spanning museum and galleries from Artists Space, New York; Michael Werner Gallery, London and New York; MoMA PS1, New York; Museum of Contemporary Art Chicago, Chicago; Hammer Museum, Los Angeles; Crystal Bridges Museum of American Art, Bentonville; and The Studio Museum in Harlem. His work is held in public institutions, including The Museum of Modern Art (MoMA), New York; Hammer Museum, Los Angeles; The Studio Museum in Harlem, New York; The Blanton Museum of Art, Austin, Texas; Astrup Fearnley Museum of Modern Art, Oslo, Norway; Whitney Museum of American Art, New York. Robert has received numerous awards and grants, including a Pollock Krasner Foundation Artist Grant and the Foundation for Contemporary Arts Roy Lichtenstein Award; Robert is represented by Hoffman Donahue and VeneKlasen. 🔥🔥🔥

FELIX ART FAIR OPENING TODAY 🔥COME VISIT CABANA 103🔥 “I would describe the cowrie shell as a stand-in for the female body, or a body in general, or a representation of an absence as well as a presence.” - Simone Leigh, Art Newspaper The cowrie shell in Simone Leigh’s “Untitled (Cowrie)” operates as polyvalent symbol throughout her practice: simultaneously currency, spiritual, and corporeal metaphor. With yonic allusions in form, the Cowrie shell invokes fertility, protection, and spiritual power across Yoruba, Ifá, and Afro-Atlantic ritual traditions, while the intricate patterning of its shell hints at the artisanal crafts of hair braiding and textiles. Collapsing Western hierarchies between fine art and communal labor, Leigh transforms the Cowrie into sacred armor, elevating historically marginalized cultural objects into monumental presences. 1. Installation of Present work, Private Collection 2. Simone Leigh, 2021. Courtesy the artist. Photo by Shaniqwa Jarvis. Artworks © Simone Leigh 3. Untitled (Cowrie), 2012, Studio Museum in Harlem, New York Quote: S. Leigh, quoted by Nancy Kenney in ‘The Art Newspaper,’ April 2019 PRESENT WORK: Simone Leigh Untitled (Cowrie), 2010-2018 Wood-fired stoneware, unique 15 x 8 1/2 x 6 1/2 in. 38.1 x 21.6 x 16.5 cm.

@felixartfair OPENING TOMORROW 💫 Leo Costelloe Object, 2025 Deer hide and glass 7 7/8 x 5 1/8 x 7 7/8 in. 20 x 13 x 20 cm. A glass carafe wrapped in deer-hide, Leo Costelloe’s “Object” (2025) offers a knowing nod to Meret Oppenheim’s legendary fur-lined “Object” (1936) of her own, infusing a feral touch to the domestic sphere. Threading a Surrealist lineage through the everyday rituals of the kitchen, Costelloe transforms the ordinary into something at once intimate, animal, familiar, and faintly haunted. As Costelloe notes: “I’m naturally drawn to themes that tread the line between aspirational fantasy and desperate reality, in the hopes of working something out for myself, or maybe for other people too.” PICTURED ABOVE: Leo Costelloe, “Object,” 2025. Photography by Dominique Croshaw, courtesy of NEVEN. Meret Oppenheim, “Object,” 1936. Museum of Modern Art, NY Quote: L. Costelloe, qtd by Hannah Silver, ‘Wallpaper Magazine,’ October 14, 2025

ANDY ROBERT: KITCHEN SINK FOR @friezeofficial BOOTH F14 ;) For Frieze Los Angeles, Robert will present a group of works abstract in nature, where composition, line, point, color and movement are of concern; where feathers, found objects, pits and sunflower seeds find themselves alongside gestural marks.

There is a sense of things or there is an attempt to capture things as they are coming together or falling apart, either humming or into place. Or to catch the wind, to grasp at, a glimpse of; in search of something beating.  
Andy Robert (b. 1984, Les Cayes, Haiti) is a Haitian-American painter who negotiates abstraction and non-representation; memory and displacement. His practice is experimentally rooted in its engagement with art. He lives and works in New York.

Robert’s paintings have been presented in solo and group exhibitions spanning museum and galleries from Artists Space, New York; Michael Werner Gallery, London and New York; MoMA PS1, New York; Museum of Contemporary Art Chicago, Chicago; Hammer Museum, Los Angeles;  Crystal Bridges Museum of American Art, Bentonville; and The Studio Museum in Harlem. His work is held in public institutions, including The Museum of Modern Art (MoMA), New York; Hammer Museum, Los Angeles; The Studio Museum in Harlem, New York; The Blanton Museum of Art, Austin, Texas; Astrup Fearnley Museum of Modern Art, Oslo, Norway; Whitney Museum of American Art, New York. Robert has received numerous awards and grants, including a Pollock Krasner Foundation Artist Grant and the Foundation for Contemporary Arts Roy Lichtenstein Award; Robert is represented by Hoffman Donahue and VeneKlasen.

🔥ITS ANOTHER DOUBLE FEATURE🔥 OPENING WEDNESDAY THE 25TH “HOLLYWOODNOIR” @felixartfair CABANA 103 // WE POOLSIDE FEATURING: Elizabeth Colomba @elizabethcolomba Leo Costelloe @leocostelloe Sissi Farassat @sissifarassat Emily Ferguson @emily_ferguson Faith Hughes @faith__hughes Simone Leigh @simoneyvetteleigh Glenn Ligon @glennligon Jovana Millay @jovana.millay Larysa Myers @larysamyers Richard Prince @fulton.ryder Ōmbia Studio @ombiastudio Sturtevant ;) Adam Stamp @adamtrampstamp Chet Taylor @chet.taylor.chet.taylor Jean-Pierre Villafañe @jeanpierre.villafane CURATED WITH @ameliemartine PICTURED ABOVE: Sturtevant Warhol Gold Marilyn, 1973 Signed, titled and dated ‘“Warhol Gold Marilyn” Sturtevant ‘73’ (on the reverse) Acrylic and silkscreen ink on canvas diameter: 17 3/4 in. 45.1 cm One of only two ‘Warhol Gold Marilyn’ tondo works in the artist’s 2004 catalogue raisonné, and previously held in the distinguished collection of Doris and Thomas Ammann from 1988 until their landmark sale, the present work embodies the critical calibre and wit of Sturtevant’s pioneering approach to appropriation. IMAGES: 1-Present work: Sturtevant, Warhol Gold Marilyn (1973) 2-Present work: installed at Ammann Residence, NYC 3-Marilyn Monroe at the Hollywood Roosevelt, POOLSIDE 4-Publicity still of Marilyn Monroe for the film ‘Niagara’ (1953) showing crop marks made by Andy Warhol, then by Sturtevant 5-Andy Warhol, Round Marilyn (1962), Museum Brandhorst, Germany

Claire Preston (@spitfire11 )’s photo essay, “The Dealers: Carlye Packer Bets Big,” from our recent issue, is now online! With ten years of art brokering and under her belt, the small but mighty Carlye Packer (@carlyepacker ) is blazing new trails in the fine art world. At Frieze L.A. earlier this year, she proved to be a dominant force, selling out her booth within hours of the fair’s opening. Rarely idle and often wired, the nimble Packer consistently collaborates with other galleries, and embraces new artists as clients while retaining a roster of people she’s worked with previously in equal measure. Having orchestrated over 75 exhibitions since 2016, Packer possesses the intangibles of a great tactician, moving headquarters thoughtfully and swiftly around town when a lease expires. When it comes to representation, gut-reliant Packer enjoys showing younger, burgeoning artists, and jockeying their growth through greater exposure and strategic consultation. The Dealers is a year-long photo series featuring up-and-coming art dealers in L.A. Read the full essay online via the link in our Story 💟.

CLAIRE CHAMBLESS “SPLEEN” OPENING TONIGHT, 6-8PM @moranmorangallery 💫💫💫 SEPTEMBER 20 - OCTOBER 25, 2025 OPENING RECEPTION SATURDAY, SEPTEMBER 20, 6-8PM 641 N WESTERN AVENUE LOS ANGELES, CA 90004 Founded in reference to Baudelaire’s usage of “spleen” in his anthology of poems Les Fleurs du Mal as a dialectical symbol between beauty and decay, ecstasy and despair, Chambless probes these as psychic phenomena within the exhibition. Here, the spleen behaves as a starting point for a journey into inner darkness, asking us as viewers to undergo an integration of our own shadow parts and bring them into the light. It is in this process of Jungian introspection that we might find how we divide light and shadow itself to be suspect. Claire Chambless’s practice explores the unstable terrain where contradiction such as this resides—where opposing truths might not only coexist but inform one another. Central to this inquiry is her use of dollhouses, which serve less as nostalgic objects and more as psychological architectures. By reimagining their interiors and facades, Chambless transforms these miniature structures into symbolic landscapes of the psyche—spaces where light and shadow, public persona and private self, merge and unsettle one another. Building upon this body of work, Chambless has further pushed the mediums and forms these dollhouses take, from fragmenting free-standing sculpture to wall-mounted extrusions. This tension is mirrored in her material choices. Found objects blend seamlessly with handmade components, blurring the boundary between what is constructed and what is inherited. Similarly, the pristine fantasy world of the dollhouse is undercut by an undercurrent of corporeality—flesh, bone, and the visceral weight of lived experience seeping through the cracks of an otherwise idealized form.