Team is pleased to announce our participation in the 47th edition of Art Basel. This marks the gallery’s eleventh appearance at the fair. We will be located in booth S14.
We will show several examples from Cory Arcangel’s newest body of work, entitled Dump Bin, sculptures consisting of sleek commercial-grade display cases, each haphazardly filled with a curated selection of obsolete technological or pop-cultural material. These works are humorously familiar and vaguely ominous – while their formal composition directly apes that of retail presentations, the artist’s act of isolation emphasizes their funereal quality, turning the oblong metal racks into sarcophagi for bygone contents.
Ethereal black and white photographs by Carina Brandes conceive and realize a self-contained, subjective reality. Brandes is present twofold in her photos, both as subject and artist, watcher and watched. Neither position is prioritized; on the contrary, each exists as the refracted shadow of the other, each crucial to its reflection’s formation. The motifs of doubles, shadows and masks are present throughout the oeuvre, emphasizing an interest in the supernatural possibilities of the photographic medium.
James Crosby, the most recent addition to the gallery’s roster, presents a series of conceptual photographs centered on the life and work of Garrett Morgan, an African-American inventor who came to prominence in the early 20th century. The images feature the artist dressed as the entrepreneur, using his signature invention: a protective respiratory hood which enabled its wearers to breathe in hostile environments.
Gardar Eide Einarsson’s multi-lingual, always-appropriative practice scavenges its imagery and forms from mass media; the artist treats his source material as both ridiculous and insidious, imbuing it with his ethos of humor and acute critical distance. We will show a new work from an ongoing series of paintings that reproduce sections of book covers in his signature black-and-white palette. This particular piece features the name of Vito Acconci, a former mentor and employer of Einarsson’s, who shares his fascination with the architecture of power structures.
By Robert Janitz, we will show a new work from his “reverse portrait” series, which depict, in varyingly legible terms, the anonymous backsides of human heads. The artist allows the supposedly pictorial subject matter to fade into painterly artifice, blurring the dichotomous line that segregates abstraction from figuration.
Ryan McGinley presents a monumental new piece from his ongoing project You and My Friends. These unique works consist of gridded portraits of fans at music festivals. The individual images show ecstatic faces awash with colored light. dominated by a single color, a result not of post-production editing but rather the stages’ differently colored lights. The vivid tones further the individual images’ strong emotional tenors, earnest and heart-felt, but never melodramatic.
Written language provides the springboard and subject matter for Suzanne McClelland’s paintings. Her most recent works cull their textual elements from the bodily measurements of the world’s highest paid male actors. The painter employs her medium as a means of investigating the space between text and referent. In representing bodies with numbers, McClelland subjects her "sitters" to a simultaneous objectification and corporeal abstraction, creating a strange new approach to portraiture.
Concurrent to an appearance at Art | Basel | Parcours and a solo exhibition at our Los Angeles space, Tabor Robak presents a generative CGI work, displayed contiguously over nine channels. Robak has written a program to make random decisions within predetermined parameters to choose the palette and motion patterns of the aqueous “brushstrokes” that comprise the work’s imagery.
Stanley Whitney’s now-iconic compositional approach to painting consists of loosely gridding squares of vibrant color. These works embody an unlikely marriage of certain tenants from Minimalism and Abstract Expressionism, exploring the possibility of emotional, intuitive painting within a repetitive, rigid framework.
Samson Young, who will be featured in this year’s edition of Art | Basel| Unlimited, has created a large drawing, which consists of a manual transcription of birdsong into a graphical score. The practicing sound artist, who received his doctorate in musical composition, draws elements from the Avant-Garde traditions of aleatoric music, indeterminacy and musique concrete.