Summarize this content to 2000 words in 6 paragraphs in Arabic As Los Angeles takes stock of the devastating and deadly wildfires that have killed at least 29 people, destroyed more than 12,000 homes and businesses and consumed more than 40,000 acres of land, there is still faith within its many cultural communities that the city can recover. Much of the hope stems from the support that has come pouring in, from locals and from donors further afield, through channels ranging from individual GoFundMe pages to a multimillion-dollar relief fund.\u201cThis is a staggering catastrophe but the response of the people and the community here has been beautiful,\u201d says George Lacovara, LA-based director of art logistics company Gander & White. He and his family chose to evacuate their South Pasadena home, close to the rapidly spreading Eaton Fire, once air quality index levels hit 400 (300 is classified as hazardous). They were fortunate to be spared from its more destructive flames, he says.For the city, help has come from countless cultural corners. Nearly $13mn had been raised at the end of January by the LA Arts Community Fire Relief Fund, spearheaded by the J Paul Getty Trust to support artists and other cultural workers. A spokesman for the trust says that it has received more than 475 donations online, including contributions from nine countries outside of the US, such as the UK, China and Australia. The funds\u2019 eligible recipients \u2014 who \u201cmust be affected by the Eaton or Palisades fires in terms of loss, severe damage, or lack of access to one\u2019s home, artmaking studio, or both\u201d \u2014 are set to be notified by February 24.Among the wide range of donors are several commercial galleries, and the organisers of the Frieze fair, whose decision to press ahead with its sixth edition in Los Angeles this week is seen by many in the city as a significant support to local livelihoods.\u00a0\u201cWe dedicate a lot of resources to Frieze LA, it\u2019s a big chunk of our first quarter budget,\u201d Lacovara says. \u201cAnd from a psychological perspective, it is important to return to some sort of normalcy as soon as possible.\u201d\u00a0Other fundraising initiatives include Grief and Hope, a GoFundMe campaign created by five arts professionals including directors at LA\u2019s Various Small Fires and Vielmetter galleries, which had raised nearly $700,000 at the time of writing. \u201cMany members of our personal communities, and our broader creative communities, have lost everything,\u201d they write.Artists and cultural workers have been more affected than galleries or museums, partly because the wildfire mainly struck residential zones, which have sprung up as LA\u2019s housing crisis meant the city \u201cexpanded outwards into areas where the brush would have previously been allowed to burn,\u201d says Robert Read, head of art and private clients at Hiscox. He notes too that, \u201cwhere money is no object\u201d, it has been possible to have sophisticated protection. The Getty Villa, in the thick of the Palisades fires, emerged unharmed, with its reinforced concrete walls and high-spec fire protection system \u2014 a level of state-of-the-art engineering described by some as the \u201cJames Bond\u201d of museum construction. (In previous years, the Getty Villa has employed more unusual firefighting methods \u2014 such as using goats to help clear flammable vegetation beforehand.)Many commercial galleries have been quick to respond. Jeffrey Deitch, who runs spaces in LA and New York and is a former director of LA\u2019s Museum of Contemporary Art, says that a mid-January community meeting over Zoom had more than 150 arts professionals, \u201cdiscussing how best to help artists who lost their homes and whether or not to restart gallery activities\u201d \u2014 which most have.Among the immediate efforts are sales of editioned posters by Alec Egan. He lost his family home in the Palisades fire, as well as years of work, including nearly all the paintings for a solo show at Anat Ebgi gallery planned for this month. His paintings normally sell for between $25,000 and $65,000 each. The gallery is giving Egan all the proceeds from one of his posters, produced for his ominously titled 2022 show Look Out \u2014 a rather gentle, theatrical image combining a pigeon in front of pink tulips and an interior scene of a fruit bowl. By early February, its 1,000 editions ($100 each) had sold out. The gallery is among many hosting benefit shows. In The Wave, Ebgi fields 15 artists, including Egan, to support those affected by the fires and from which 10 per cent of proceeds will also go to the LA Arts Community Fire Relief Fund (until March 22). Egan\u2019s New York gallery, Charles Moffett, is offering another print by the artist \u2014 this time his view of palm trees in a vibrant sunset through tulip-patterned curtains \u2014 and sold 100 editions at $500 each at January\u2019s FOG art fair in San Francisco.Hauser & Wirth gallery, whose impacted artists include the irreverent and influential sculptor Paul McCarthy and the in-demand painter Christina Quarles, is \u201cproviding resources as well as counsel\u201d to its artists and staff directly affected by the fires, says president Marc Payot. The gallery\u2019s Manuela restaurant in the downtown Arts District also provided free meals to first responders and displaced LA residents, Payot says. Pace Gallery, which opened a group show in its central LA space on February 1, cancelled its opening party and other related events, instead \u201cdiverting those resources into our relief efforts,\u201d a spokesperson says.\u00a0Meanwhile, museums, galleries and individual collectors across the US and elsewhere are acutely aware of protecting their wares from the hazards of natural disasters as extreme conditions are increasingly the norm. In Miami, the P\u00e9rez Art Museum\u2019s hurricane-resistant building, designed by Herzog & De Meuron, includes windows with glass that can resist Category 5 winds (157mph or higher). Pace\u2019s recently opened gallery in Tokyo\u2019s Azabudai Hills has earthquake-resistant features such as\u00a0high-strength steel\u00a0and concrete components, vibration-control devices, and active mass damper devices that reduce swaying during strong winds.\u00a0Wider initiatives to address climate change are also on the minds of some. Hauser & Wirth commits funds and resources, shared with its artists and collectors, to, for example, \u201crecalibrate conservation measures, climate control conditions and storage considerations for art in light of these environmental events,\u201d says its chief executive, Mirella Roma. Such efforts come as a scientific study by researchers at the World Weather Attribution found that climate change increased the likelihood of the hot, dry weather before LA\u2019s wildfires by 35 per cent. \u201cThis is the new reality we are all living with,\u201d Roma says.For now, there is a sense that the show must go on. While Frieze LA\u2019s debated decision to go ahead is proving galvanising for Angelenos, the fair\u2019s organisers are conscious too of the commercial realities for its exhibiting galleries, particularly those travelling from outside of LA, in an already challenging art market.\u00a0Prior to the fair, there were concerns about the ethics and logistics around landing in a devastated city to sell art. \u201cFrieze is in a tricky position,\u201d said one gallerist soon after the fires. \u201cThere are tens of thousands of displaced people and it\u2019s hard to think about arriving there for an art fair and using a hotel room. And will anyone be in the mood to buy art? They are perhaps better off organising a benefit for the city.\u201d Christine Messineo, Frieze\u2019s director of Americas, says that hotel rooms became available once the fires were contained and evacuation orders were reduced. \u201cThis has been top of mind for us,\u201d she says, \u201cbut hotels say they would welcome the business, and no one will be displaced.\u201dNonetheless, a handful of Frieze\u2019s exhibitors have had to reassess their plans, for varied reasons, including some directly affected by the fires and other problems around shipping deadlines, Messineo says. At the end of January, about 95 were still on board (101 were announced in November). Messineo and her team have worked hard to address the risks for exhibitors, she says, encouraging VIP visitors and active buying. As part of this process, they have secured several museums out of state to commit funds to spend at the fair, including the Guggenheim in New York, the P\u00e9rez Art Museum Miami and the Seattle Art Museum. Meanwhile, Victoria Miro has essentially donated its booth at the fair to other galleries who want to donate works to go towards the LA Arts Community Fire Relief Fund, and will bring two works of its own for the cause.Messineo also points to the fair\u2019s public programme, Frieze Projects, for which eight artists have been working on site-specific installations \u201cfor the past four or five months\u201d. Seven of the artists are LA-based, she adds. \u201cWe need to show up.\u201dLA Arts Community Fire Relief Fund, getty.edu; Grief and Hope, gofundme.comFind out about our latest stories first \u2014 follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning<\/p>\n","protected":false},"excerpt":{"rendered":"
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