LOS ANGELES — The art landscape in Los Angeles has always seemed to me like a chameleon. Since relocating here almost 15 years ago, I’ve witnessed the creative hubs relocate across neighborhoods, driven by gentrification, soaring rents, and zoning changes. Artists and galleries have migrated from Skid Row to Chinatown, and from Culver City to the Arts District, eventually landing on the fringes of Koreatown, now dubbed ‘Melrose Hill.’ Long-time residents often reminisce about the ’60s when Venice’s old warehouses thrived with studios, or the ’70s and ’80s when downtown earned the moniker of the Arts District.
Despite these geographical shifts, Los Angeles’s art scene has always been fueled by artists who embrace a rebellious, DIY spirit, distinct from New York’s flashy image. The trailblazing curatorial efforts at Ferus Gallery, led by Ed Kienholz, incorporated film, poetry, and performance, defining contemporary art on La Cienega Boulevard. Initiatives like the Woman’s Building and Miller Durazo Contemporary Artists Projects have historically offered platforms for underrepresented voices. Today, artist-run spaces like Leroy’s, Coaxial, and Monte Vista Projects continue this tradition, prioritizing innovative installations over market dominance.
My initial move to Los Angeles was for a career in entertainment, but after years of dissatisfaction, I found solace in Mark Allen’s Machine Project. This avant-garde space, which operated from 2003 to 2018, introduced me to art’s potential beyond traditional gallery confines. Although Machine Project’s closure left a void, new artist-led spaces like Chinatown’s Plot and Altadena’s Trade School have emerged, fostering creative experimentation. These venues embody the essence of Los Angeles’s scene, yet the city’s art identity is often overshadowed by commercial markets increasingly influenced by New York’s presence.
In 2015, Hauser & Wirth’s opening in the Arts District signaled a trend of New York galleries expanding westward. The arrival of the Frieze art fair in 2019 cemented this shift, attracting blue-chip galleries such as David Zwirner and Lisson. However, some local staples, like L.A. Louvre and Blum, have closed or transformed, signaling a changing landscape. The current focus on New York galleries often overlooks the vibrant contributions of artist-run spaces, reflecting a disconnect between commercial success and the city’s grassroots ethos.
While some New York galleries have departed due to sluggish sales, it’s the artists who truly commit to Los Angeles, shaping a reputation others seek to capitalize on. No Moon LA, established in 2021, exemplifies this resilience, having adapted its format and location multiple times. This flexibility and persistence define the city’s creative community, ensuring Los Angeles remains a distinctive, adaptive force on the art scene.
