Collectors, fashion designers, and more gathered at these events, which were essential to forming New York's social scene.

In a little over a week, Frieze Los Angeles returns for its fifth edition, and its second at the Santa Monica Airport. With its move further west from its previous outings in Hollywood and Beverly Hills, Frieze LA is now much closer to LA’s westside neighborhoods, like Brentwood and Venice, and not that far from the beach. Use this handy guide as a cheat sheet not just for highlights of the art on view, but for where to go before and after a day at the fair, which opens to VIPs on February 29 and runs through March 3. All of the restaurant’s options are less than a ten minute drive from the fair. Happy Friezing!

Pre-Fair Coffee and Nosh

In an alleyway near 26th and Broadway, GoodBoyBob Coffee Shop offers all kinds of specialty coffees, including one with with house-made vanilla syrup, as well as waffles, toast, and breakfast sandwiches like the “Client X Morning Sando” (brioche, egg, avocado, ham, cheese, red pepper aioli). There are fancy pour-overs like the “Sideshow Bob,” a two-course coffee extravaganza (“the same coffee, two different ways”) consisting of an espresso as well as a pour-over of the restaurant’s single origin Guatemala Rosendo Domingo.

Alternatively, you can head over to Layla Bagel, on Ocean Park Boulevard at 16th Street, where you’ll find what Eater recently referred to as “some of LA’s most coveted bagels.” Options include the usual lox with the works (“The Laika”), along with some more exotic combinations like “The Scarlett,” (heirloom tomato, lemon zest, and chili flakes), and a vegan option like “The Marli” (avocado, pickled onion, chili flakes, and sprouts).

A Morning Full of Art

This story first appeared on Meduza, an independent, reader-supported Russian newsroom based in Latvia.

Officials in the Kremlin’s political bloc see Alexey Navalny’s death as “a very negative development” — for Vladimir Putin’s reelection campaign. At the same time, members of the Putin administration do not expect the opposition politician’s demise to seriously affect the results of next month’s tightly controlled presidential vote. 

This is according to two sources close to the Putin administration, one source close to the leadership of the ruling United Russia party, and a Kremlin political strategist, all of whom spoke to Meduza on condition of anonymity. (It should be noted that these are typical remarks regarding any events that may affect the course of Putin’s reelection.) 

Asked to comment on Navalny’s death, two of the aforementioned sources gave extremely cynical responses, saying that the opposition politician “knew what he was getting into when he returned to Russia” in 2021 and that he was “punished for working against the country.”

At the same time, both sources believed that Navalny wasn’t “purposefully” killed, instead attributing his death to poor prison conditions. “Did you expect anything else? It was bound to happen sooner or later,” one said. 

Last year saw the art world reach a new peak in art fair saturation with the introduction of two major fairs in Asia, ART SG in Singapore and Tokyo Gendai in Yokohama. 2024 promises to be just as packed, with Frieze increasingly integrating its new acquisitions—the Armory Show and EXPO Chicago—into its overall strategy.

Below, a look at the most important fairs taking place this year.

A New York judge ruled on Friday that former President Donald Trump must pay $355 million and cease doing any business in New York for three years after being found liable for years of deceiving banks and insurance companies about his net worth. While Trump has said he will appeal the decision, if the ruling stands, it would potentially obliterate his financial resources. What’s more, it comes on top of an earlier decision by the same judge to revoke Trump’s license to operate businesses in New York. Between the payments and the license revocation, Trump’s business career would likely be in serious jeopardy, at least in the state of New York. But, with an appeals process that is expected to last several years, his fate is far from settled. 

The decision, issued by New York Superior Court judge Arthur Engoron, is the result of a civil fraud case brought by New York Attorney General Letitia James. James accused Trump of telling banks and insurance companies that his assets were worth far more than they really were in an effort to get better deals on loans and insurance policies. Among other falsehoods, Trump told banks was that condos in New York were worth tens of millions on the open market, when in actuality they were rent-controlled and unavailable to sold, and that his Mar-a-Lago resort was worth hundreds of millions or even as much as $1.5 billion, when in reality, because of deed restrictions, it would likely be worth just a fraction of that. 

Over the course of several months this past fall, Trump’s attorneys wrangled with James’ legal team, and just as often with Engoron, bitterly denying Trump had done anything wrong. But the fact that Trump was liable for the fraud was never really in question throughout the trial—after Trump’s team largely failed to address any of James’ accusations directly, Engoron ruled before the trial even began that Trump had indeed acted fraudulently. The trial essentially was to determine exactly how much Trump would owe for his fraudulent behavior. James’ called a string of witnesses, including former Deutsche Bank employees, to testify that they would never have given Trump such good terms for loans and insurance policies. Trump and his attorneys continually maintained that Trump had paid his creditors back and had paid his insurance policy bills, so there was no effective harm done. 

The trial was especially notable for the clashes between Trump and Engoron. After Trump repeatedly used his social media account to complain about Engoron’s clerk, the judge issued a limited gag order prohibiting the former president from denigrating courtroom staff. When Trump violated the order—twice—Engoron fined him and eventually forced Trump to testify. Engoron ruled Trump’s testimony on the subject was “not credible.” Trump later lashed out against Engoron when he returned to the stand to testify in the trial, and at one point he stomped out of court, Engoron refused to dismiss the case. None of the theatrics seemed to help the former president. The case also named Trump’s adult children and a number of his top employees at the Trump Organization.

As digital art has consistently made headlines over the last few years—from the onslaught of NFTs to revisiting pioneers in the field to showcasing tech artists—it has taken the art world by storm. Given this recent upswing in interest, there’s still much to discover, particularly the artists who have been quietly pushing the bounds and formats of the medium for decades. Auriea Harvey is one such exemplar. If you’ve never heard of her, you’re probably not alone.

Harvey began her foray into digital art as the internet was developing in the early ’90s, right before it boomed. Though she studied sculpture at the Parsons School of Design in New York, she was drawn to all things digital, a self-described “obsession” that drove Harvey to experiment with a number of digital formats that span photography, sculpture, drawing, and video. Yet, her works are hardly static.

In the digital world, Harvey is known for artistic experimentations on the website entropy8.com as well as the independent game studio Tale of Tales, which produced such video games as The Endless Forest. With both endeavors, she was driven by the ability to craft narratives and have personal interaction in the digital realm—a through-line that continues in her practice even today. In fact, Harvey met her collaborator and partner Michaël Samyn online.

With digital art, “there’s nothing to fear here,” Harvey said from her studio in Rome, where she’s been living with Samyn since the start of the pandemic. The lockdown, she said, “had a lot to do with where I am today.”

Her breakthrough in the mainstream art world came only in 2021, with a solo show at bitforms gallery in New York, but lockdown restrictions prevented her from attending. For the exhibition, Harvey created physical sculptures, like Fauna (2018) and Minoriea (2021), busts which bare a resemblance to both the mythical creatures they each represent and the artist herself; she also created these objects as virtual versions that were available online and in augmented reality (AR) so that anyone around the world could experience her work. She additionally gave virtual tours of the show to people in-person and online. “I felt like it was something I had been training for my entire life,” she said.

Christie’s big 20th and 21st century art sales in London this year will be led by two landscapes: a dynamic and passionate Francis Bacon and a wistful Monet, both of which have not been seen at auction in quite some time.

The Bacon, Landscape near Malabata, Tangier (1963), is estimated at £15 million-£20 million. It was painted as a tribute to Peter Lacy, with whom the artist had a years-long passionate, and often abusive, relationship. 

Bacon made the painting in London, just one year after Lacy died tragically in Tangiers at 46. The painting has remained in the same collection for more than 20 years. When it last sold at auction, at Sotheby’s New York for $517,000 in 1985, it became the most expensive Bacon ever sold. (Today, Bacon’s auction record is for the 1969 picture Three Studies of Lucian Freud, which sold at Christie’s New York for $142.4 million in 2013.)

The Bacon painting was originally sold by Marlborough Gallery in 1963 and, according to Christie’s, has been on view in 32 exhibitions across 27 cities worldwide, including the 1971–72 retrospective at the Grand Palais in Paris and the Royal Academy of Arts’s “Francis Bacon: Man and Beast” in 2022.

Monet’s Matinée sur la Seine, temps net (1897) is among the 21 pictures that make up the artist’s “Mornings on the Seine” series. Each work in it focuses of the same section of the famous river at different times of the day. 

The West Kowloon Cultural District Authority (WKCDA), an arts hub in Hong Kong which operates the M+ museum and the Hong Kong Palace Museum, will run out of funding next March and may need to acquire additional loans if a new finance plan is not approved by the city’s government.

That was the warning from WKCDA CEO Betty Fung on February 14 in regard to the status of the hub’s HK$21.6 billion (approximately USD$2.75 billion) funding, endowed by the city’s legislature in 2008.

Fung told local media outlets that the WKCDA had recorded over 4 million visits in the 2022–23 year, with M+ drawing 2.7 million visitors and the Hong Kong Palace Museum attracting 1.25 million people.

She said she was confident that an increase in special exhibitions would boost visitor attendance this year, according to the Hong Kong Free Press. Revenue from ticket sales at the two museums covered nearly half of expenses, “on par or even exceeding internationally renowned museums,” she said. But it left the WKCDA to pay for the remainder of costs for exhibitions, insurance, transportation, electricity, management, and salaries.

“Currently, the district relies on borrowing loans,” Fung said, according to the Standard. “The worst-case scenario for the authority would be to continue relying on borrowed funds.”

In the past, former President Donald Trump has promised a consensus on abortion, criticizing Republicans for being too stringent but without getting more specific. 

According to a report published in the New York Times this morning, Trump has landed on a limit that he thinks will do the job: a 16-week abortion ban. 

Citing “two people with direct knowledge” of Trump’s thinking, the Times reports that the former president “privately favors” a 16-week ban with exceptions for rape, incest, and to save the life of the mother. (It is unclear whether that means only cases of rape or incest reported to law enforcement.)

Abortion is already banned before 16 weeks in 20 states, so the national ban Trump is reportedly considering would, if enacted, likely further restrict it in another 30 states that currently lack such a limit. (Though the majority of abortions—nearly 94 percent—take place before the 13-week mark, according to the most recent data from the Centers for Disease Control and Prevention.)

The paper reports that Trump sees that limit as one that can appeal to both social conservatives who want harsh abortion bans as well as voters who want more modest rules. 

America has a perfect round ass. We watch her mount a McMansion staircase from a low angle, the framing as deliberate as it is haphazard. The camera is handheld. America has been ironing; the green polo shirt she was pressing, however, looks like it was made from the kind of polyester blend that’s spared wrinkles no matter how badly you treat it. She carries the green shirt in one hand. With the other she grips the metal railing for balance. Her stilettos click loudly on the terra-cotta tile. Each step is measured. In the background, a sparse but funky beat.

The home in which America Moore performs is Mediterranean, or maybe Tuscan. The walls are a luscious cream with butterscotch undertones. Iron balusters with rounded knuckles adorn a winding staircase spanning at least three floors. The statement windows flanking the staircase are tall, narrow, and arched. The camera struggles to compensate for the sunlight beaming through them, resulting in blown-out portions of the image. America disappears momentarily behind a support beam that’s been drywalled over and painted the same tea-stained-paper shade as the walls. There’s a potted fern at the edge of the frame.

The action between America and her costar remains contained to the staircase, though we catch glimpses of a living room suite beyond the fern. Two cream sofas with wooden feet are arranged opposite each other, creating a conversational setup. Between them is an oval coffee table placed on a rectangular area rug that’s an ebony shade of brown. In some frames, in which just a corner of the rug is visible, it could be mistaken for soil strewn on the tile floor. It’s difficult to discern the material of the coffee table, as one of the decorative objects resting on it produces a glare that obscures most details. Perhaps it’s polished mahogany. The configuration of furniture positioned to face the table includes a Biedermeieresque upholstered stool the performers also avoid, though it is perhaps the piece that would best accommodate a scene. We know America doesn’t live here. Most likely someone has rented the house for the shoot.

—Whitney Mallett