Team Gallery is pleased to announce our participation in the 2011 edition of Art Basel Miami Beach. This marks our seventh appearance at the fair. We will be located in Booth G-08.
We are very proud to be showing substantial works by many of our gallery artists, made specifically to be shown at Art Basel Miami Beach. We are spotlighting New York-based artist Ross Knight, who has made all of the sculptures on view. His work will be complemented by an installation of sixteen pastel drawings by the British artist Dawn Mellor and three sets of mechanically-produced graphite on paper works by Cory Arcangel. New paintings by Gardar Eide Einarsson, large scale photographs by Ryan McGinley, a bold new foamcore piece by Davis Rhodes, limited edition, stenciled t-shirts by Marc Hundley, and works from Pierre Bismuth's photographic series "Following the Right Hand of…" will round out the presentation. Additionally, Team will present two large vertical photographs by Sam Samore from his series "The Dark Suspicion," the first time the artist will exhibit work with our gallery.
Curator David Gryn selected six films by Team Gallery artists to be screened at the first edition of Art Video: Cory Arcangel's Paganini Caprice No. 5; Pierre Bismuth's Following both hands of Elvis Presley in "Jailhouse Rock"; Slater Bradley's Boulevard of Broken Dreams; Brice Dellsperger's Body Double 27 (After “In a Year With 13 Moons”); and Friends Forever and Entrance Romance (it felt like a kiss) by Ryan McGinley.
At Art Public, Team will exhibit new outdoor sculpture by Banks Violette and Gardar Eide Einarsson. The sculptures will be installed at Collins Park, outside of the Bass Museum of Art. Art Public is curated by Christine Y. Kim, who is the Associate Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA) and Co-Founder of the Los Angeles Nomadic Division (LAND).
Not Yet Titled, 2011 is the first sculpture that Banks Violette created specifically to be placed outdoors, a monumental work stretching twenty-four feet across. His process included sketches, the fabrication of lengths of steel, the cutting and welding of separate elements, and the final powder coating of the entirety. Constructed as a shiny black barrier whose modular nature fractures, the form embodies Violette's deep interest in wedding a minimalist inheritance with the aura of staged tragedy - a melding of formalism with an iconography of cruelty, violence and death. The splintered edge of the sculpture punctures the ground and juts into the air, assuming the appearance of wreckage. In line with his large-scale sculptures of screens partly crushed and his ghostly graphite drawings of crashed cars, the outdoor sculpture, while abstract, resonates as a roadside barrier destroyed in a critical collision.
Gardar Eide Einarsson's Untitled (Apparatus), 2011, takes its form from exercise constructions found in prison-yards. To Einarsson, these pull-up bars epitomize contemporary prison architecture, forgoing traditional design conditions for the sake of a functionality aimed at preventing certain behaviors in its prisoners. The artist is interested in theories of discipline and control, and particularly the ways in which they can affect the human body. The sculpture shares a visual affinity with minimalism, particularly in its preoccupation with the relationship between sculpture and the body of the spectator: Einarsson's artwork could actually be used to transform the viewer's body, through exercise.