The Hammer Museum, the Los Angeles County Museum of Artwork (Lacma) and the Museum of Up to date Artwork (Moca) have collectively acquired two works by Los Angeles-based artists from this 12 months’s version of Frieze: a mixed-media canvas by Edgar Arceneaux from the stand of the Minneapolis-based gallery Dreamsong, and a digital picture print on silk by Shaniqwa Jarvis from the native gallery Sow & Tailor. The partnership, often called the Mohn Artwork Collective, is supported by the Los Angeles-based collectors Jarl and Pamela Mohn.
“The three administrators of those three main establishments right here in Los Angeles have been strolling by way of the truthful, taking a look at art work to make this choice alongside Jarl Mohn,” says Christine Messineo, Frieze’s director within the US. “It was only a lovely factor to witness, how collaborative they have been; it’s actually such a uncommon and fantastic factor to see.”
Final 12 months, the Mohns and the Hammer, Lacma and Moca launched the Mohn Artwork Collective in order that the three establishments may collectively purchase round 350 works from their assortment—which is very robust in works by Los Angeles artists. “Jarl is an formidable thinker and philanthropist whose power and dedication to the Los Angeles artwork world is transformative,” Messineo provides. “Three establishments sharing work, accumulating collectively—it’s actually unprecedented and an indicator of our LA group.”
One other work on Dreamsong’s stand from Arceneaux’s sequence, Skinning the Mirror (Winter 9) (2025), was acquired on the truthful by the Santa Monica Artwork Financial institution. “This work we knew belonged in a museum or particular assortment,” says Rebecca Heidenberg, the gallery’s founding associate, referring to the Arceneaux sequence.
The sequence was made throughout Arceneaux’s residency in Minneapolis underneath the auspices of the Walker Artwork Middle, and is a part of a sequence during which he peels off the silver nitrate from the backs of mirrors and transfers them to canvas. Heidenberg factors out the reflective high quality of the remaining silver patches and provides that the work is at the very least partly impressed by the sacred land on the confluence of the Mississippi and Minnesota rivers.
