Art Basel, NADA and Untitled Miami Highlights II

Sharing more highlights from Art Basel, NADA and Untitled Miami and looking forward to seeing everything in person next week!

Tomás Saraceno

K2-138 b/M+I, 2018

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Stainless steel, monofilament fishing wire, metal wire, plexiglass iridescent
43.7 × 43.3 × 44.1 inches

Informed by the worlds of art, architecture, natural sciences and engineering, Tomas Saraceno’s floating sculptures and interactive installations propose new, sustainable ways of inhabiting the environment. Throughout the past decade, he has explored the possibility of a future airborne existence as part of his ongoing Air-Port-City / Cloud City project – a utopia of flying metropolises made up of habitable, cell-like platforms that migrate and recombine as freely as clouds themselves.

Liza Lou
Pannus, 2018


Oil paint on woven glass beads and thread | 89 x 95 x 6 inches

In 2004, Lou set out to complete a new project in Durban, enlisting a community of local women known for their expertise in beadwork. “It started with a new creative question [...] In the same way that I think about what I’m going to make, I began to think about how I make what I make.”

Lou takes a hammer to the beaded cloths, breaking the glass beads and revealing the underlying networks of thread. In addition to adding a delicate, lacy quality to the works, this destructive action accentuates the hours of labor required to create each handmade cloth.

Andrea Bowers
Hear Me Roar, 2018

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Acrylic marker on cardboard | 80 x 40.5 x 5.5 inches

Andrea Bowers’ series of colorful cardboard collages use images that originate from the history of political graphics, but have been reworked to represent contemporary feminist issues related to intersectionality and the #MeToo movement. The artist's work consistently centers her work on the convergence of art and activism, sparking a timely and poignant dialogue with the audience.

Pae White 
Charis, 2018


Paper clay on panel | 96 x 72 x 4 1/2 inches

Pae White’s work traverses sculpture, tapestry, graphic design, and large-scale installation. Probing both material and motif, she often explores the limits of a given medium’s possibility and upends our associations. Through the deployment of both scale and delicacy, White repurposes everyday substances in sensory and revelatory new arrangements.

Appearing almost like a tapestry or modelled stucco, this monumental wall-work is made with Japanese paper clay applied on wood. It’s intricate, diverse patterns and impressions are made by the successive imprints of studio tools into the material in its moistened, malleable state. After drying naturally, the material becomes like a hardened clay. A gentle color variation is made by the artist through the application of paint onto the wet surface of the piece.

SHEUT_0003, 2018


Cotton, polyester and Trevira® | 98 1/2 x 98 1/2 inches

In this tapestry, White evokes plumes of smoke with multiple layers of material imagination. The ephemeral substance is first captured through photography that exposes its depth of color and the complexities of its fleeting structure. The image is then recreated in knotted cotton on a grand scale. Transforming this utilitarian material, White describes the work as cotton’s “dream of becoming something other than itself”. The work’s title SHEUT_0003 takes its name from one of the five elements of the soul in ancient Egyptian thought. Sheut or šwt is the shadow of a person. It was a symbol of mortality and a servant of Anubis, involved in funerary rites in ancient Egypt.

Pedro Reyes
Spiral Nude, 2018


Bronze sculpture, tezontle plinth | 20.5 x 53.1 x 28 inches

Sunstone, 2018


Tezontle stone | 24 x 24 x 9 3/4 inches

Three Imaginary Friends (Chiasmus), 2018


Marble and volcanic stone | 13 3/8 x 13 3/8 x 13 3/8 inches

Reyes' sculptural works act not only as mediations on classical Greek sculpture, but also explorations in both figurative and abstract approaches to sculpture, through materials including volcanic stone, marble, bronze and steel. According to the artist, “Most statues commemorate an historical event, or the life of an influential person… Given the current political climate, I envisioned the anonymous protester as the incarnation of a contemporary hero, taking to the streets as an act of resistance.”

Caetano de Almeida
Muçunga, 2015


Acrylic on canvas | 86.6 x 66.9 inches

Caetano de Almeida's paintings, constructed from lines, continue the artist’s study into webs, patterns and history. His compositions are often optically loaded, chromatic and frequently characterized by patterns formed by circular cut-outs and holes. The geometric structure of the works points to the rich history of geometric art. However, it is Caetano’s intuitive use of color that adds a unique sensation of his own dynamism.

Borrowed Light (in acrylic case), 2018

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Custom-printed photographic filters, acrylic box
35.43 x 27.56 x 6.69 inches

Troika's Borrowed Light is a box-structure which holds a diagonal transparent slab lined on either side with photographic film, each displaying a different colour gradient. A colour field emerges from the combination of the two overlapping gradients. The spatial arrangement of the two films and the resulting projected colour extends the two-dimensional photographic medium into a three-dimensional colour shifting object.

June Edmonds
Browning & Bluing Flag, 2018


Oil on canvas mounted on linen | 74 x 50 inches

June's flag series is about the American flag and its relationship to Black Americans, and reflects the artist's response to a number of personal, social and historical ideas and events, past and present, that have preoccupied her for the last couple years. Browning and Bluing Flag in particular, is an indirect reference to the elections this November, as was inspired by CNN report during the election coverage that the country was turning browner and bluer and they showed exactly how and where on a map.