Here is an exclusive look at a selection of pieces from the Art Basel gallery previews that I have received:
Spencer Finch Vienna Light (Haus Wittgenstein, afternoon effect, 10/25/15), 2017
3 Fluorescent lights, fixtures, filters | Installed 11.8 x 49.21 x 1.97 inches
Spencer Finch's work captures elusive moments of light’s interaction with nature. In Vienna Light, he recreates the afternoon light at Haus Wittgenstein, which the artist measured when he visited the house on October 25, 2015. Philosopher Ludwig Wittgenstein worked obsessively on the house and some scholars refer to the house as "built thought". Finch is a great admirer of Wittgenstein and has made several works that deal with his ideas, in particular with Wittgenstein's "Remarks on Colour". Finch found meaning in capturing the same light that the philosopher had experienced while working on the house.
Jeffrey Gibson Got It 'Till It's Gone , 2018
Acrylic and graphite on canvas, glass beads, artificial sinew, acrylic felt on canvas over wood panel, custom frame | 41 x 28.375 inches
Half Choctaw and half Cherokee, Jeffrey Gibson was raised in the US, Germany and South Korea and is a hybrid of cultures. Gibson’s abstract works take inspiration from his Choctaw and Cherokee heritage, inter-tribal Native American visual culture, alternative subcultures, and the artist’s experiences living abroad as well as popular culture.
Virginia Overton Untitled, 2018
Plywood | 106 x 102 1/4 x 1/2 inches
Virginia Overton’s untitled wall sculpture is comprised of triangular segments of plywood cut and arranged into a starburst shape. The plywood’s rough surface, previously used as a work table by the artist, is saturated with errant paint and saw blade marks. This work is the largest such “star” from a recent body of work and continues Overton’s practice of repurposing used materials into elegant compositions.
Barbara Kasten Progression Eight, 2018
Digital chromogenic print, fluorescent acrylic | 36 x 36 inches
Kasten’s Progressions, composed of face-mounted photographs with geometric acrylic shapes affixed to the surface, emphasize the duality of the photograph and of the relief’s sculptural forms. The image in the photograph depicts space and even recedes into the depths of implied space, while the three dimensional components extend outward. Both features—the image and the acrylic fragments—act as a bridge between dimensions.
Claudio Parmiggiani Untitled, 2018
Smoke and soot on board | 16 1/8 x 16 1/8 in
The Delocazione, Italian for de-location, consists of the negative imprint of objects as defined by smoke and soot. Parmiggiani chanced upon this working method in 1970 when he chose to exhibit his work in a room that served as a storage closet in which objects were leaning against the walls. When he removed them, Parmiggiani discovered their traces in dust and decided to immortalize their silhouettes using smoke.
Shio Kusaka (line 90) (line 50) (square 16) (line 95) (line 49) (square 30), 2018
Porcelain, set of 6 | Variable Dimensions
Los Angeles-based artist, Shio Kusaka adorns her ceramics with marks, grids, and stripes inscribed into the vessels themselves or delineated by color. Working primarily in white, brown, and gray, the artist forms the cylindrical and pear-shaped pots in occasionally counter-intuitive combinations of pattern and shape.
Robert Longo Untitled (Libyan Refugees), 2018
Ink and charcoal on mounted paper | 97 x 120 inches
Robert Longo's painstakingly rendered works are visualizations of power, protest, desperation, futility, and aggression that together create a searing portrait of our time. The work's mammoth scale and spectacular use of charcoal only adds to his impactful imagery.
“Art is an attempt to try and understand our own contemporary situation through making images that are completely personal, while also addressing our social context.”
Rirkrit Tiravanija untitled 2017 (eclipse of the soul) (nation: november 14, 2009), 2017
Gold leaf and newspaper on linen | 64 5/8 x 55 7/8 inches
Rirkrit Tiravanija is widely recognized as one of the most influential artists of his generation. His gold paintings are a new series that use an edition of the English language Thai broadsheet newspaper, The National, from 2009. That year, the Thai Prime Minister faced rising public discontent with his government and near constant rumors of a military coup.
Elizabeth Neel Double Wrangle, 2017
Acrylic on canvas | 105 x 78 inches
Elizabeth Neel’s paintings blur relationships between architecture and the body, memory and action. Drawn from specific, real world subject matter—from anonymous images sourced from the Internet to found objects—Neel’s “fictive situations” trace excavations of life. Although abstract, her paintings have an uncanny insistence on the representational residue of mark making.
Ai Weiwei Tiger, Tiger, Tiger, 2015
Porcelain | 393 3/4 x 196 7/8 inches
Installation view from ‘Ai Weiwei On Porcelain’, Sakip Sabanci Museum2017-2018, Istanbul, Turkey
Ai Weiwei has long taken interest in salvaged and readymade objects from his country of birth and is deeply indebted to China’s rich cultural heritage. Serving both as symbols of iconoclasm and accolade, the 3,020 broken porcelain vessels that comprise “Tiger, Tiger, Tiger” speak to a multitude of creators who once touched them.
Gathered by Ai Weiwei over the course of two decades, each fragment depicts a hand-painted tiger that adorned the inside base of a precious bowl. The porcelain originates from the Ming Dynasty (1368-1644) and each tiger reveals a careful individualization by a now-forgotten artist. Placed next to one another on a simple white platform, the shards become a visually-unified sea of history.