The best of America comes out to play with graphic prints and rich hues set against cult works from the L.A. edition of the Frieze Art Fair.

Portrait of Tammy Strobel


Shaped from a tangled mass of television antennae to resemble a giant tumbleweed, Kori Newkirk’s Signal reconceptualises obsolete technology. “My work explores ideas around the transmission of information and the myth of the West,” says the Bronx-born, Los Angeles-based artist.

Trench; turtleneck; bag; platforms, Michael Kors Collection
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Alley on the Inside plays with the recursive nature of the back lot by creating a set within a set. L.A. native Patrick Jackson built a classic New York alley, complete with gritty brick walls and bone-like reliefs, inside a faux Upper East Side interior.

Jacket; blouse; pants; belt, Ralph Lauren Collection
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Sculptor Catharine Czudej’s bright enamel-coated cartoon teamster, Waiting for Jimmy Hoffa, stands guard between the lot’s make-believe Upper East Side and Financial District—that is to say, at the symbolic crossroads of wealth. Her title refers to the famous labour union leader who mysteriously vanished in 1975.

Parka; jacket; dress; jewellery; bag; booties, Coach 1941
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Climbing the cast-iron fire escapes of a SoHo loft set, installation and video artist Trulee Hall’s papiermache sculpture pays homage to the camp of monster movies. “Infestation is a slimy umbilical cord, slithering out from the centre of the earth through the subway,” says Hall.

Dress, Marc Jacobs 
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Towering over an office plaza in the lot’s Financial District, Paul McCarthy’s 50-foot-tall Daddies Tomato Ketchup Inflatable (2007) is a self-referential piece by one of L.A.’s most provocative cultural figures. His seminal video works, such as 1991’s Bossy Burger, which was also on view, pushed the use of ketchup to messy, even gory, extremes.

Gown; earrings, Oscar de la Renta
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Female Odobenid is a gleaming attempt at melding human and animal—a walrus specifically—into one form. “I continue to speculate on scenarios where climate change yields genetic mixing or hybridity,” says Max Hooper Schneider, an L.A. native with degrees in biology and landscape architecture. “It’s my love letter to extremophilic life.”

Dress; boots, Gabriela Hearst

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Text: Kevin McGarry Model: Toni Garrn/The Lions New York Makeup: Samuel Paul using Lancôme Hair: Sylvia Wheeler using Oribe Manicure: Carla Kay using Chanel Le Vernis Production: Brooke Ludi Production
Photographed by Zoey Grossman.
Styled by Miguel Enamorado
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