Please Buy Me These Artworks: 34 Highlights From Art Basel Miami Beach 2018
The 2019 edition of Art Basel Miami Beach is now in full swing. Champagne is being quaffed, trips to the redoubtable local sandwich shop La Sandwicherie are being made, and some 200 dealers are offering artworks for sale in the Miami Beach Convention Center, where the fair opened today to invited guests. Art Basel runs through Sunday, December 9, and opens to the general public tomorrow. Art types fill the aisles, shaking hands and making deals. Some are here to buy. This writer, alas, is not. But I am here to soak in the joys of a big-ticket fair like Basel: laying eyes on the newest works by great artists of the present moment (Sarah Lucas! Anicka Yi!), seeing cuts by revered masters (Noah Purifoy! Francis Picabia!), and making new discoveries along the way (when was the last time you stopped and looked for a while at drawings by Gray Foy?). Below, 34 highlights from the booths.
Tilton gallery delivering three John Outterbridges—from the late 1960s, around 1972, and 2009—and a 1990 Noah Purifoy.
Sanya Kantarovsky's painting One World (2018) at Luhring Augustine, a work lacking in neither mystery nor psychological turmoil.
At Metro Pictures: Judith Hopf's quite adorable concrete Bed-stuy Flock (2017), molded from cardboard boxes in the titular Brooklyn neighborhood.
Details of new sculptures by Anicka Yi at 47 Canal that are floral, fungal, alien, and creepily familiar.
Njideka Akunyili Crosby at Victoria Miro, of London: collage as painting and living room as domestic sanctuary and record of traditions. You have to see this work in person for full effect—here's a classic example of how a JPEG is able to offer little of the majesty of an extremely beautiful artwork.
Sadie Coles HQ, of London, has this giant pair of concrete booths by Sarah Lucas and, on a back wall, new prints on dance floors by Martine Syms. Plus, behind the boots is a suite of Raymond Pettibon's text-filled paintings. What's not to love?
A good, solid dosage of Sarah Lucas at Kurimanzutto, of Mexico City and New York.
Jaqueline Martins, of São Paulo, is presenting a solo booth of the great Regina Vater.
Hot on the heels of his superb outing at MoMA PS1 in New York, the Mexican artist Fernando Palma Rodríguez is showing a creepy new robotic work with Gaga. And in the background are new paintings by Mathieu Malouf.
At JTT, wry new pieces—koan-like, almost—by New Yorkers Borna Sammak and Jamian Juliano-Villani, the latter of which has a large-scale piece on view high up on a building in the Miami Design District, just around the corner from the Institute of Contemporary Art.
Exquisite, surprise-filled ceramics by Kahlil Robert Irving at Callicoon Fine Arts.
Francis M. Naumann's booth is chockablock with Surrealist treasures, including this spare 1957 painting by Kay Sage. Like many Sages, it has a superb title: South to Southwesterly Winds Tomorrow. Not pictured: a constellation of works by the underrated Surrealist Gray Foy.
For galleries taking the approach of showing a big chunk of their roster, few have done it this year with the aplomb and elegance of Chicago's Corbett vs. Dempsey. Here, from left to right, we have a Dominick Di Meo, a Joyce Pensato, and a Cauleen Smith.
A 3D image printed into a tapestry by Goshka Macuga, at Andrew Kreps of New York (and soon to be of Tribeca, to be more accurate). Its title: Make Tofu Not War (2018). It's from an edition of five, and Kreps has 3-D glasses at the ready.
File this one in the "digital photographs can tell you nothing" category. It's a 1982–83 Howardena Pindell, covered with minute bits of paper, its intricate patterning moving toward the sublime.
Nina Chanel Abney going especially weird at New York's Jack Shainman.
A little snippet of Lévy Gorvy's tribute to Keith Haring's Pop Shop. Also included in the booth are helmets by Haring and his compatriot Jean-Michel Basquiat, the latter adorned with bits of hair.
Gladstone, of New York and Brussels, is also going deep on Haring, with a full room of his work, including this double snake window and pieces on folding screens.
Chris Ofili and Wolfgang Tillmans—pure bliss—at David Zwirner.
Lelong, of New York, is showing this sterling 1991 Mildred Thompson, titled Magnetic Fields, which seems to be charting forces on scales both grand and minute. Lots of verve in that painting.
A very fine Jonathan Lasker, with paint as thick and delicious as buttercream. The Pride of Being, it's called, from 1993. and it's being shown by New York's Cheim & Read.
São Paulo's Dan Galeria has a full room with nothing but the inimitable canvases of Alfredo Volpi, which charm and soothe.
In my book, it's not an art fair if you don't spend time with a Picabia. (Helpfully, the Dadaist made quite a bit of work.) Here's 1935's Transparence (Deux têtes) at Hammer Galleries of New York. A special wall label notes that its cracked surface was intentional. The artist was, at the time, very into fashioning phony antique-looking craquelure.
If only. The banner's a 2013 Jeremy Deller with a helpful title: Hello, today you have day off (wording of text message sent to a worker on a zero hours contract informing him his labour would not be required that day). It's being shown at the Modern Institute/Toby Webster Ltd.
One of the great shows of 2018 in New York was Eric Firestone's one-person presentation of historical Joe Overstreet paintings. This doozy is 1971's Saint Expedite—a canvas as a living thing, exploding into space.
Hales Gallery, of New York and London, showing the great Virginia Jaramillo's Indo 3 (1975)—pure luminescence, glowing on the wall.
Eat your heart out, Michel Majerus lovers! This is the wildly influential artist's your bad taste, from 2002, the year that he died, at the Berlin gallery neugerriemschneider.
Tschabalala Self—a star of last year's Miami Basel week, with a show in the city at a temporary space run by Thierry Goldberg—is showing with that New York gallery here, offering warped slices of bodega life, complete with wallpaper channeling very early and very late Warhol.
A quiet, lush, poetic presentation by Carlos Reyes at New York gallery Bodega.
Willa Nasatir's showing extremely satisfying new photographs at Chapter NY that look like they might be digitally manipulated or exposed multiple times, but are actually the result of a great deal of ingenuity before shooting and some amount of mylar.
A trifecta at Essex Street of New York: a new piece by Cameron Rowland related to his research into the Museum of Contemporary Art Los Angeles and redlining in the city; a Vern Blosum classic (the parking meter piece); and last but not least a Zak Prekop (the intricate abstraction).
A one-two punch from the redoubtable New Yorker Paula Cooper: Cady Noland and Paul Pfeiffer.
Good morning! At the booth of Paris dealer Georges-Philippe & Nathalie Vallois we have a very contemporary-looking César, Suite Milanese, Silver, 1998, and the always irresistible Niki de Saint Phalle, with Grand Mural, 1969.
Paris's Templon gallery has gone big on George Segal, filling its booth with the late, great American's tableaux. It's the stuff big-screen dramas, noirs, life.