FIAC Highlights

Sharing my favorites before the fair opens next week - enjoy!

Julian Hoeber
Execution Changes #105 (CS, Q1, LMJ, DC, Q2, LMJ, DC, Q3, LMJ, DC, Q4, LMJ, DC), 2019

Acrylic on linen over panel | 54 x 38 x 3 inches ( second image back detail)

Julian Hoeber plays with a variety of artistic traditions in his multimedia and multi-dimensional artwork; he picks up on dialogues begun by Minimalism, Land Art, Op Art, and the Light and Space Movement with his sculptures, drawings, films, installations, and photography. Hoeber was influenced by his mother’s photography career, and became interested in the medium’s ability to portray conflict and disparity, which has become an ongoing exploration in his contemporary practice. Other themes in his work include the representation of violence and crime, contemporary relics, forgery, and the illusory nature of documentation. As the artist puts it: “I’m happy if I can bring a viewer into greater awareness of how his or her preconceptions impede understanding.”

Betty Tompkins
Women Words (Raphael #5), 2018

Acrylic on book page | 10 x 8 1/4 inches

Tompkins' "Women Words" series incorporates mostly crude phrases about women or short anecdotal statements from them. The majority of this text was culled from response cards filled out by visitors to two previous shows, which themselves featured paintings depicting responses to an email blast soliciting words or phrases the recipients associated with women. In the “Women Words” pieces, simply by veiling the female figures with text, Tompkins reveals how consistently, over the course of art history, artists have structured their pictures around women as objects of a man’s gaze.

Sean Landers
Ocelot, 2015

Oil on linen | 35 x 45 inches

Sean Landers an American contemporary artist known for his use text and humor in painting, film, and sculpture. Often coming from personal writings, Landers’s motifs include a clown’s harrowing journey at sea, William Hogarth paintings, and animals covered in tartan patterns.

Sarah Morris
October 2019, 2019

Lacquer painting on canvas | 35.5 x 35.5 inches

Morris is widely recognized for her large-scale, graphic paintings and drawings that respond to the social, political, and economic force of the urban landscape through a visual language grounded in bold and ambitious abstraction. Using glossy house paint, she captures the vibrant and energetic nature of the modern city. Her probing of the contemporary city inspires a consideration of the architectural and artistic climate of modernity and humanity’s footprint—a subject that Morris energizes and invigorates through a distinct use of geometry, scale, and color.

Eliza Douglas
Liquid, 2019

Oil on Canvas | 82.7 x 70.9 inches

Eliza Douglas creates imaginative paintings that stretch the possibilities of figural representation. Douglas’ genre-bending portraits and images of carefully articulated hands animated by swift and colorful abstract brushstrokes convey a fantasy grounded in the artist’s intimate, personal reality.

“I like the idea of making something that cannot easily be classified as abstract or figurative, gestural or procedural. I want my work to be open and porous.”

David Shrigley
Untitled (It is ok to hide from reality), 2019

Ink on paper | 11 11/16 x 8 1/4 inches

David Shrigley finds meaning in snippets of text and overheard conversations. His crude and cartoonish ink drawings, usually exhibited salon-style, recall pages from the sketchbook of a cheeky adolescent. Tackling serious issues, such as unemployment and child welfare, as well as more absurd subjects, including sexual fantasies about a squirrel, his fragmented narratives can be both poignant and funny.

Romuald Hazoumè
Carpe rouge, 2019

Plastique et plumes | 20.9 x 28 x 5.5 inches

crépus, 2018

Plastic | 15.75 x 14.17 x 4.3 inches

This set of works evokes the ritual practiced by the oil smugglers that risk their lives by crossing the border between Benin and Nigeria on motorcycles filled-up with adulterated oil. Central to this smuggling of oil, Hazoumé takes the element of the mask, sterotype of primitivism, and reinterprets it through the most visible element of the oil trafficking: the jerry cans. Diverted, these masks become representations of his vision of society, of events and global issues.

Sam Durant
The Future Is Female, 2018

Electric sign with vinyl text | 49 1/2 x 54 5/8 x 10 3/4 inches

Sam Durant is most interested in the political dimension of cultural events, and creating new visualizations of what has become accepted or forgotten as part of history. The ever-growing range of subjects that has caught his interest include student riots, the Kent State massacre, the Civil Rights movement, international trade relationships, and conflict between Native Americans and settlers. Durant’s projects are often critical and playful at the same time. He draws widely from a range of disciplines and techniques, including ceramic, fabricated globes, printed matter, interactive websites, and photography.

Markus Oehlen
Untitled, 2019

Acrylic and photo paper on canvas | 78.7 x 63 inches

Oehlen takes samples from punk and pop culture in his paintings, appropriating found imagery and employing a range of different techniques including silkscreen, photocopying, and printing. His images occupy a space between figuration and abstraction: forms shift in and out of focus in multilayered compositions, and pixel-like elements reference digital imagery. Oehlen is also an abstract sculptor and a musician.

Lawrence Weiner
More easy to see, 2014

Pencil, gouache & paint pen on folded archival paper | 20 x 32 (unframed), 26 x 37.4 inches (framed)

A pioneering Conceptual artist of the 1960s, Lawrence Weiner was among the first to dematerialize the object of art into pure language. His elegant yet utilitarian typefaces and striking monochromes—stenciled, painted, inscribed, or otherwise applied to walls and surfaces—inescapably alter their given context. Dedicated to the circulation of ideas and meaning, he composes sculptural propositions as texts that describe process, material, and relations.

Walead Beshty
Three Sided Picture (MCY), Los Angeles, California, July 17, 2019, Fujicolor Crystal Archive, Type II, 2019

Color photographic paper | 20 x 24 inches

“Photographs operate something like ruins...Despite their seeming stasis, they are available to a multitude of narratives, slipping effortlessly between them.”

Beshty uses photography to explore how the medium functions or fails as a documentary form. He is best known for his large-scale photograms, as well as series featuring abandoned shopping malls in America. Since 2005, Beshty has been working on his “FedEx Sculptures” in which shatterproof glass boxes are shipped to various destinations in standard FedEx containers—the works’ final appearance is determined by the damage accumulated during travel.

Ugo Rondinone
the persistent, 2019

Bluestone, stainless steel and concrete
Sculpture: 42 1/2 x 15 3/8 x 7 1/2 inches | Pedestal: 24 x 24 3/8 x 24 3/8 inches

Ugo Rondinone's work bridges natural and artificial worlds with a minimalist, pared-down aesthetic and a humorous Pop sensibility. the persistent consists of several coarse boulders stacked into a primitive, figurative form, part of an ongoing series of similar sculptures by the artist, each with scholarly titles.

Anselm Reyle
Untitled, 2019


Mixed media on canvas | 67 x 57 x 3 1/4 inches

Exploring unconventional materials such as Mylar foil or mirrors, Reyle expands upon the prevailing aesthetics of painting and sculpture. Frequently utilizing motifs that have become trademarks of the modernist canon, Reyle reworks them to invest new meaning and context.

“I’m interested in something that has the quality of being a cliché. I attempt to grasp the crux and to reinscribe it so that it really gets moving again.”