Art Basel is upon us in 2 weeks! After combing through hundreds of gallery previews for Art Basel, Untitled and NADA art fairs, this is your first look.
Issu du Feu, pa 04, 2002
Wooden charcoal on canvas | 68 7/8 x 55 1/8 inches
Lee Bae's practice of combining charcoal with traditional modes of Korean painting has captivated viewers over the past two decades. Charcoal has a very symbolic meaning for the artist, as he believes in its ability to communicate the unique quality of Korean culture. In his works, charcoal is not just a material but also a method to show the Oriental moods through black tones. The artist has frequently stated that the color black contains all colors, so there is not just one experience of black but rather hundreds.
Acrylic on canvas | 27.56 x 27.56 inches
Zobernig’s practice is grounded in an awareness of his position as an artist and producer in the broader context of culture. His work is framed by the impact Modernism has had on the trajectory of art history and a questioning of the institutional mechanisms that support the exhibition of artwork. In his letter series, the words appear written into one another, and thus their meaning disappears, and a new meaning has been reached.
Untitled Microphone Sculpture, 2018
Bronze, ceramic tile, mirror tile, books, shea butter, oil stick, black soap, and wax
72 x 72 x 7 inches
Rashid Johnson is recognized as one of the major voices of his generation, an artist who composes searing meditations on race and class while establishing an organic formal vocabulary that fuses a variety of sculptural and painterly traditions. Amplification of the voice is an organizing principle for a series of wall-based sculptures that function as working microphones. In addition to the microphone components themselves, each work consists of a series of bronze shelves adorned with the mark making and hand-drawn symbols characteristic of Johnson’s visual language. Once activated, these works create the potential for dynamic engagement, and represent a significant evolution of the shelf sculptures that heralded a major advance in the artist’s career almost ten years ago.
Alison Elizabeth Taylor
GSENM: Hoodoo #1, 2018
Marquetry hybrid | 35 x 28 inches
Alison Elizabeth Taylor has become well-known for reinvigorating the Renaissance craft of marquetry, or intarsia wood inlay. Recently, after working within the boundaries of the limited palette afforded by natural woods, Taylor now mashes marquetry and paint in unprecedented ways creating a new perspective on painting.
Taylor explains, “What interests me is a new type of surface created by the contrast of the textural qualities of the wood and the depth afforded by the paint. I found this tension was just what I needed to convey the otherworldly feeling I encountered in real life when I observed how nature adapts and mutates to accommodate encounters with the ever-encroaching urban environment.”
World in My Eyes, 2018
High polished stainless steel, motor, control technique | 57.9 x 3.9 inches
With Jeppe Hein’s work World in My Eyes, a large circular mirror is hung on the wall. Its surface is fragmented and as we stand in front of it our reflection is disrupted and multiplied. The mirror rotates, creating a kind of kaleidoscopic e ect as our image is constantly in motion, forever changing while at the same time showing us something familiar.
One in the Other I, 2018
Plaster molds with artificial gold leaf | 28.3 x 111 x 126.7 inches
Jose Dávila’s sculptures engage the tensions found between contrasting materials. One in the Other takes on found plaster casts used in the production of ceramics. Gilded with gold leaf on the inside, it illuminates the void found within each–revealing the nuances of their concave forms and the object that the moulds were made to create. This emphasis on the negative space reveals a parallel story, through which the idea of values is challenged.
Elmgreen & Dragset
Marble | 29.8 x 44 x 4.4 inches
Elmgreen and Dragset's work focuses on an interest in relationships and social and political constructs. In the Same Boat is carved of marble and composed of two life savers which overlap each other to become one united form, creating a reference to the plight of immigrants. The form calls upon the idea of people literally stuck in the same boat on their way to a new, hopefully better life. The work serves a reminder that we are forever linked, that we are all stuck in the same boat, be that in an intimate relationship that may be over, or the world at large.
I Remember When it was All Orange Groves, 2017
77 × 37 1/2 × 1 1/2 inches | Overall installed
Peter Alexander is a contemporary American sculptor who was a part of the Light and Space movement along with Robert Irwin and Larry Bell during the 1960s. His best known works are sculptures constructed from translucent plastic and resin, which respond to the light of the spaces in which they are shown.
Untitled (XXXIII A), June 2015 reflection hologram
Reflective hologram | 22 1/8 × 18 1/4 × 1 inches
James Turrell has dedicated his practice to investigating the immaterial qualities of light. Influenced by the notion of pure feeling in pictorial art, Turrell’s earliest work focused on the dialectic between constructing light and painting with it, building on the sensorial experience of space, color, and perception. His practice has also materialized in small-scale works, including architectural models, holograms, and works on paper.
(Refractions) September 21, 2015, 2018
Wheel-cut optical glass, TIME Magazine page, Sintra
10 1/4 x 15 3/8 x 1 inches
(Refractions) February 2, 2012, 2018
Wheel-cut optical glass and TIME Magazine page, mounted on Sintra
10 1/8 x 7 5/8 x 1 inches
Samira's practice investigates the historical representation and construction of a Middle Eastern identity through the Western photo-journalistic lens of TIME Magazine, specifically through their coverage of conflict and war. This exhibition presents a new body of work, alongside her ongoing Geometries series, and continues Yamin's practice of using the pages of TIME as a source material. Focusing on documentation of Syria, Yamin places hand-cut glass atop each page, using light as a tool to obstruct and highlight the consumption of these images but also the people and histories they represent. This intervention creates a dynamic experience of viewership, one where the entire image is inaccessible from one vantage point, forcing the viewer to slow down and move about the work in order to gain access.
Funny Night, 2018
Oil on Canvas | 11 3/4 x 13 3/4 inches
Vanitá Bianca, 2017
Oil on Canvas | 11 3/4 x 13 3/4 inches
Touch and the physical evidence of the artist’s trace is one of the most striking aspects of Cremonini’s practice. For anyone unfamiliar with Cremonini’s work, it soon becomes apparent that brushwork is a singularly important feature of his painting. Cremonini is first and foremost a figurative painter, but equal to the significance of his subject matter, is his ability to animate the surface of his paintings. Draw in close to his paintings and you will find a ground so active that its abstraction is seductive and absorbing.