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LOBBIES BY KARL LAGERFELD ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. All artist’s or architecturalrenderings, sketches, graphic materials and photos depicted or otherwise described herein are proposed and conceptual only, and are based upon preliminary development plans, which are subject to change. This is not an offering in any state in which registration is required but in which registration requirements have not yet been met. THIS IS NOT AN OFFER FOR CONTRACT OR SALE IN THE STATES OF NY, NJ OR MASS.

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ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. These materials are not intended to be an offer to sell, or solicitation to buy a unit in the condominium. Such an offering shall only be made pursuant to the prospectus (offering circular) for the condominium and no statements should be relied upon unless made in the prospectus or in the applicable purchase agreement. In no event shall any solicitation, offer or sale of a unit in the condominium be made in, or to residents of, any state or country in which such activity would be unlawful. All plans, features and amenities depicted herein are based upon preliminary development plans, and are subject to change without notice in the manner provided in the offering documents. No guarantees or representations whatsoever are made that any plans, features, amenities or facilities will be provided or, if provided, will be of the same type, size, location or nature as depicted or described herein. This project is being developed by 700 Miami Partners LLC, aDelaware limited liability company, which was formed solely for such purpose. Two Roads Development LLC, a Florida limited liability company (“Two Roads”), is affiliated with this entity, but is not the developer of this project.

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MEET THE DIRECTOR

NOAH HOROWITZ How do you make the most successful art fair in history even better? Judy Cox sits down with Art Basel’s director Americas to find out.

44 Art Basel | Miami Beach 2016

Cities, a new initiative to develop high-profile cultural events with international resonance. He doesn’t play favorites, but he is “super excited” about some “exceptionally cool” artists’ work he discovered recently, both of whom will be in this year’s fair, Brazil’s Vivian Caccuri and Peru’s Ishmael Randall Weeks among them. “One of the great things about Art Basel,” Horowitz says, “is the variety of artists representing the diversity of media presented across our shows.” His boss, Marc Spiegler, Art Basel’s global director, says, “There were high expectations of Noah given what he had done at the Armory and his accomplishments as an art-world intellectual. He has been a great addition to the team due to his friendly temperament, quick wit, and ferocious intellect. His impact has

been felt throughout the organization as a strategist and sparring partner, but most of all in the Americas, where his relentless travel has made us far more present than we have ever been before.” A graduate of the University of Virginia with a BA in economics, Horowitz interned on Wall Street but wrote his thesis on the postwar art auction market. His astute advisor encouraged him to consider a career in art history. Horowitz followed the recommendation and “never looked back,” he says. He received a scholarship to study at the Courtauld Institute of Art in London; a PhD in art history “emerged out of that.” He quickly made a name for himself by authoring the book Art of the Deal: Contemporary Art in a Global Financial Market, reflecting his initial interest in

how people invest in contemporary art. (It was published after Donald Trump’s The Art of the Deal, and the similar title has “benefited sales impressively,” he admits.) The return rate for galleries at Art Basel in Miami Beach is 98 percent this year, with 12 galleries making their debuts within the Galleries sector. “We made a very concerted effort to try to support some exceptional galleries that in certain instances have never done our show before,” Horowitz says. And he is fortunate to have a strong team all over the country. “We take nothing for granted. Art Basel is very consistent. We’re always trying to fine-tune things.” It may not seem as though a welloiled machine like Art Basel in Miami Beach would need fine-tuning, but if anyone can find a way, it’s Noah Horowitz. ABMB

PHOTOGRAPHY BY RICK WENNER

IF YOU’RE LUCKY ENOUGH to meet Noah Horowitz this week, chances are it will be readily apparent why the position of Art Basel’s director Americas was meant for him: He has a winning combination of brilliance, enthusiasm, and charm. Simply hearing Horowitz’s globetrotting schedule is enough to make your head spin. But if he’s sleepdeprived, he doesn’t show it. He hit the ground running upon starting the job in August of last year and laughs when asked if he took any time off between his previous position, as executive director of New York’s Armory Show, and his current one. A typical recent week for Horowitz involved visiting gallery owners and artists in São Paulo, then continuing on to Buenos Aires to meet with the city’s mayor regarding Art Basel

Noah Horowitz, Art Basel’s director Americas.

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. OBTAIN THE PROPERTY REPORT REQUIRED BY FEDERAL LAW AND READ IT BEFORE SIGNING ANYTHING. NO FEDERAL AGENCY HAS JUDGED THE MERITS OR VALUE, IF ANY, OF THIS PROPERTY. All artistâ&#x20AC;&#x2122;s or architectural conceptual renderings, plans, prices, specifications, terms, features, dimensions, amenities, existing or future views and photos depicted or otherwise described herein are based upon preliminary development plans, and all and are subject to architectural revisions and other changes, without notice, in the manner provided in the purchase agreement or other information and the offering circular and may not be relied upon. All features listed for the residences are representative only, and the Developer reserves the right, without notice to or approval by the Buyer, to make changes or substitutions of equal or better quality for any features, materials and equipment which are included with the unit. This advertisement does not constitute an offer to sell or a solicitation of an offer to buy a unit in the condominium. No solicitation, offer or sale of a unit in the condominium will be made

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This is not intended to be an offer to sell, or solicitation to buy, condominium units to residents of any jurisdiction where such offer or solicitation cannot be made or are otherwise prohibited by law, and your eligibility for purchase will depend upon your state of residency. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. The information provided, including pricing, is solely for informational purposes, and is subject to change without notice. Oral representations cannot be relied upon as correctly stating the representations of the developer. For correct representations, make reference to this brochure and to the documents required by section 718.503, Florida statutes, to be furnished by a developer to a buyer or lessee. This advertisement is not an offering. It is a solicitation of interest in the advertised property. No offering of the advertised units can be made and no deposits can be accepted, or reservations, binding or non-binding, can be made until an offering plan is filed with the New York State Department of Law. This advertisement is made pursuant to Cooperative Policy Statement No. 1, issued by the New York State Department of Law. CP16-0027, Sponsor: KAR Miami MRP LLC, 24 SW 4th Street, Miami, Florida 33130

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44 MEET THE DIRECTOR 68 LETTER FROM THE EDITOR 70 LETTER FROM THE PUBLISHER 72 CONTRIBUTORS

SECTORS 79 NOVA

Each December, up-and-coming artists are given the stage in the Nova sector, providing a platform to explore work in a concentrated approach under the umbrella of the larger fair. 80 EDITIONS

A perennial highlight of the fair, the Edition sector once again dazzles with work by heavy hitters like Baselitz, Baldessari, and Bleckner. 82 KABINETT

Kabinett explores a broad spectrum of times, places, and disciplines to showcase a group of distinctive, idiosyncratic artists. 84 PUBLIC

In his fourth year curating the Public sector, Nicholas Baume takes over Collins Park with “Ground Control,” a David Bowie-inspired exhibit.

a musical motif, and Italian artist Maurizio Cattelan stars in a new documentary in the Film sector.

reconsidering Donald Sultan’s large-scale paintings exploring catastrophe, tragedy, and the fragility of our existence.

LOCAL

108 DUTCH MASTERS

INSTITUTIONS

The Wolfsonian-FIU examines art from the Netherlands and spirituality in two new shows.

99 WORTH THE WAIT

The ever-changing landscape of Miami art institutions will shift yet again next spring with the opening of the redesigned and renamed Bass Museum.

110 DEBUTANT

At Pérez Art Museum Miami, visionary Argentinean artist Julio Le Parc makes his solo US debut at the age of 88, with work that spans a lifetime.

below: Richard Misrach, Diving Board, Salton Sea, 1983, on view at Fairchild Tropical Botanic Garden.

100 MUSEUM MAKEOVER

The Norton Museum of Art in West Palm Beach celebrates its 75th anniversary with a $60 million transformation. 102 BAYRLE ON BOARD

Miami’s Institute of Contemporary Art is bringing down the curtain on its temporary home with a major retrospective of the German artist Thomas Bayrle. 106 THE SULTAN OF PAIN

In a world full of war, refugees, and political uncertainty, the Lowe Art Museum mounts an exhibition

112 CRAZY FOR KIEFER

NSU Art Museum launches a pioneering series of shows examining how artists responded to the rebuilding of Europe in the postwar years. 114 LAY OF THE LAND

From the vast collection of Martin Z. Margulies, the Fairchild Tropical Botanic Garden has gathered an evocative assortment of photography that captures the world’s diverse and changing landscape.

A new crop of emerging galleries, creating immersive spaces exhibiting everything from alienlike embryos to hunting scent, make Positions the must-see sector this year. 90 SURVEY

Art Basel’s time machine, the Survey sector travels into the past to shine a spotlight on artists lost in history’s shadows. 92 FILM

Curator David Gryn composes

58 Art Basel | Miami Beach 2016

PHOTOGRAPHY COURTESY OF COLLECTION MARTIN Z. MARGULIES

86 POSITIONS

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COLLECTING 121 ANXIOUS OPTIMISM

Not known for sitting on their laurels, Mera and Don Rubell celebrate the week by opening two thoughtful new exhibitions, and unveiling plans to build an Annabelle Seldorf-designed collection space. 124 TOY STORY

At CIFO, philanthropist Ella Fontanals-Cisneros’s art foundation, an ambitious exhibit investigates the motivations behind why we collect. 126 ALTERNATE UNIVERSES

A diverse group of artists push boundaries of perception with contrarian, immersive, and evocative works at Locust Projects. 128 CRUZ CONTROL

With their new exhibition, “Progressive Praxis,” Rosa and Carlos de la Cruz explore contemporary culture through the lens of preceding art movements and create a thoughtful dialogue between past and present. 130 THE BIG YEAR

132 FROM OZ TO BASEL

Curator Rachel Kent of the Museum of Contemporary Art Australia lends her expert eye to the Scholl Collection

above: Anna Maria Maiolino, A Espera, 1967/2000, at CIFO.

Carol Kino went west to see if the rumors about the City by the Bay as the new art capital are true. 140 MIAMI GROWS UP

The city of Miami continues to emerge as a top global hub for culture and art, spreading into new neighborhoods and the residential sector. Alexander Forbes takes us around town to visit a few of the new projects.

FEATURES 136 THE NEW CITY OF UTOPIAN EXPERIMENTATION

Even with its tech elite and cool California lifestyle, San Francisco has never seemed like a contemporary art center… until now?

60 Art Basel | Miami Beach 2016

CONVERSATIONS 148 MICHAEL GOVAN AND ELAINE WYNN

On the heels of her legendary gift to the Los Angeles County

Museum of Art, Elaine Wynn, the cochair of the Board of Trustees, and Michael Govan, director of LACMA, discuss the Western perspective, shattering boundaries, and how children today respond to art. 150 CHRISTY MACLEAR WITH GARY GARRELS, ACHIM BORCHARDT-HUME, AND LEAH DICKERMAN

Christy Maclear, CEO of the Robert Rauschenberg Foundation, leads a discussion with curators from the three institutions—the Tate Modern, MoMA, and SFMOMA—about the monumental and very distinct exhibitions that each

museum is preparing to mount. 154 GABRIEL RITTER AND ATSUKO NINAGAWA

The Minneapolis Institute of Arts curator and head of contemporary art Gabriel Ritter sits down with Tokyo-based gallerist Atsuko Ninagawa to discuss the Japanese art market, globalization, and the quirky installation work of Taro Izumi. 156 ENRIQUE MARTÍNEZ CELAYA AND BORIS HIRMAS

A collector with a deep understanding and appreciation for Latin American art, Boris Hirmas sits down with

PHOTOGRAPHY COURTESY OF ELLA FONTANALS CISNEROS © ANNA MARIA MAIOLINO

Jannis Kounellis is having quite the year. In addition to turning 80, the artist has celebrated a profusion of exhibits worldwide. He caps off 2016 with an “epic” show at the Margulies Collection at the Warehouse.

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172 TEAM PLAYERS

The artistic pair of Michael Elmgreen and Ingar Dragset are ready to apply their subversive wit and sense of adventure to the 15th Istanbul Biennial. 174 SOUTHERN TRAILBLAZER

The ambitious and innovative curator Trevor Schoonmaker is transforming not only the Nasher Museum, but also breathing unconventional new life into Prospect.4, New Orleans.

left:

Howard Hodgkin, A Pale Reflection, 2015–2016, with Alan Cristea Gallery in the Edition sector. below: Jannis Kounellis, Untitled, 1985, at the Margulies Collection at the Warehouse.

176 AN ARTIST’S EYE

At India’s Kochi-Muziris Biennale, Sudarshan Shetty one of his favorite artists, Enrique Martínez Celaya, to discuss the themes of political and physical dislocation and the influence of one’s memory in artwork.

brings a unique perspective on contemporary art to an exhibition that he says is crucial to his home country. 178 MAGNIFICENCE ON

158 RENAUD PROCH AND

THE MEDITERRANEAN

JULIE MEHRETU

At the crossroads of contemporary art and fashion, collector Tony Salamé opens his passion project, the Aïshti Foundation, creating an important cultural center in Beirut. 180 BRUCE NAUMAN

Capping a year of new work and exhibitions, this artist’s artist is still helping the world by revealing mystic truths.

INFLUENCERS 168 CHIEF ETERNAL OPTIMIST

Yana Peel is reinventing Britain’s Serpentine Galleries, taking them into the digital age and beyond. 170 THE SEARCHERS

Collaboration, chemistry, and curiosity are the keys for Christopher Y. Lew and Mia Locks as the young curators crisscross the country in preparation for the 2017 Whitney Biennial, the first in the museum’s dazzling new building.

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LUMINARIES 183 ART IN THE FAMILY

A new generation of Latin American collectors, gallerists, and curators carries on and broadens the work of their parents. 188 10 YEARS GONE

When eccentric Brazilian collector and visionary Bernardo Paz first dreamt of his tropical art

PHOTOGRAPHY COURTESY OF THE ARTIST AND ALAN CRISTEA GALLERY, LONDON (A PALE REFLECTION); COURTESY OF COLLECTION MARTIN Z. MARGULIES (UNTITLED)

The executive director of Independent Curators International and the celebrated artist discuss changes to her work and practice—the cinematic nature of her new paintings, her use of the occult, and “the magic we seek when our desires are thwarted.”

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194 THE ESSENTIALS: GENDER, SEXUALITY, AND ART TODAY

Four artists that span three genera tions sit down with writer and cul tural sociologist Sarah Thornton. 198 JASON SCHMIDT

ON THE COVER

236 THE ART OF MARKETING

Mimmo Rotella, Ice Cream, 1963, to be shown by Robilant+Voena in the Survey sector.

TO MILLENNIALS

The younger generation has proved to be a somewhat reluc tant collector base. Alexander Forbes takes us inside the minds of these elusive animals and explains how their buying behavior differs from that of their parents.

below:

Kathryn Andrews, Whiskey Lips, 2016, part of the Rubell Family Collection’s “High Anxiety” exhibit.

NEWS 238 AND THE WINNER IS…

Art Basel is traveling the globe to celebrate and promote local art scenes. First up, Buenos Aires. 240 ARCHITECTURE BY DESIGN

Design Miami/ gives its annual Design Visionary Award to the innovative architectural firm SHoP, which has also created the fair’s always experimental, ephemeral entry pavilion.

208 GAME CHANGER

243 SPONSORS

Six artworld luminaries consider what ignited their passion for art and what continues to fuel their creativity.

Part of the success of Art Basel in Miami Beach is due to the support of partners UBS, BMW, NetJets, Davidoff, Ruinart, Audemars, Douglas Elliman, Sennheiser, and MGM.

GROUNDBREAKING 226 STEEL CLOUDS: MATERIALIZING THE INTERNET

Three artists use media and technology to reveal the power of manipulating and distorting images. 228 OUT OF AFRICA

Three global curators discuss the artists who epitomize the diversity and vibrance of the African diaspora.

254 WOMEN IN ARTS LUNCHEON

Art Basel Magazine’s seventh annual Women in Arts luncheon honors art ist Diana AlHadid, collector and phi lanthropist Ella FontanalsCisneros, and MOCA LA board cochair Lilly Tratikoff Karatz. 256 ART BASEL IN MIAMI BEACH OFFICIAL 2016 GUIDE

THE LAST WORD 272 STEPHEN & ELLEN SUSMAN

232 ARTIST IN RESIDENCE

With competition for a spot in a coveted residency program at an alltime high, Kate Sutton takes a look at some of the most distinc tive international residencies and how participation can affect an artist’s career.

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She is a former news anchor and direc tor of the State Department’s Art in Embassies program. He is a renowned trial attorney and political fundraiser. Together, Ellen and Stephen Susman are the wellliked art collecting couple. We find out all of their favorite things about Art Basel in Miami Beach.

PHOTOGRAPHY COURTESY OF THE RUBELL FAMILY COLLECTION, MIAMI (WHISKEY LIPS); ALESSANDRO ZAMBIANCHI, SIMPLY.IT SRL, MILANO, COURTESY ROBILANT+VOENA/FONDAZIONE MIMMO ROTELLA (ICE CREAM)

park, far from the urban centers of São Paulo and Rio, many were skep tical. But with a milestone anniver sary and major plans for expansion on the horizon, sweet success is his.

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Managing Editor Chuck Ansbacher Senior Art Director Fryda Lidor Creative Director Nicole Nadboy Photo Director Lisa Rosenthal Photo Editor Marie Barbier Senior Digital Imaging Specialist Jeffrey Spitery Digital Imaging Specialist Jeremy Deveraturda Copy Editors David Fairhurst, Julia Steiner Contributing Research Editor Shelley Nicole Jefferson

Executive Vice President/Chief Editorial and Creative Officer Mandi Norwood Vice President of Creative and Fashion Ann Song ADVERTISING SALES Susan Abrams, Michele Addison, Susana Aragon, Emma Behringer, Michelle Chala, Kathleen Fleming, Debra Halpert, Victoria Henry, Devon Moore, Shannon Pastuszak, Lynn Scotti, Lauren Shapiro, Matthew Stewart Event Marketing Manager Shana Kaufman Assistant Distribution Relations Manager Constanza Montalva Sales and Business Coordinator Dara Hirsh Sales Assistants Ana Blagojevic, Lissette Colls, Chanel Williams MARKETING, PROMOTIONS, PUBLIC RELATIONS Vice President, Public Relations and Marketing Lana Bernstein Senior Director of Brand Development Robin Kearse Brand Development Manager Jimmy Kontomanolis PRODUCTION, PLANNING, AND POSITIONING Chief Operating Officer Maria Blondeaux Director of Production Paul Huntsberry Publishing Operations Manager Tara McCrillis Production Artist Dara Ricci Traffic Supervisor Estee Wright Traffic Coordinator Jeanne Gleeson

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LETTER FROM THE EDITOR

clockwise from near

Pablo Picasso famously talked of art having the ability to “wash away from the soul the dust of everyday life.” My hope this week—as we celebrate the 15th iteration of Art Basel in Miami Beach—is that art will also have the capability to heal the wounds of a long year, restore our faith, and elevate the conversation. The fair this week is bigger and better than ever, having evolved into the most important global contemporary art fair-cumsummit, featuring 269 galleries, with

68 Art Basel | Miami Beach 2016

incomparably ambitious programming. Congratulations to Marc, Noah, and their brilliant team for pushing the envelope yet again. And welcome to the international community of collectors, curators, gallerists, and artists—I hope that you are prepared to be challenged, confronted, and captivated. As we work on every issue, a natural theme seems to emerge, and it’s not surprising that this fall the conversation I kept having with those being featured within these pages centered around art as an inspirational vehicle for social and political change, idealism, dislocation, identity, and ethos. You will see this reflected in many of our stories: Three international curators sit down with Rauschenberg Foundation CEO Christy Maclear (page 150) to discuss the “radical egalitarianism” of the late, great artist’s work. In one of the most thoughtful pieces we’ve ever produced, writer Sarah Thornton conducts a roundtable about gender identity and sexuality with artists Judy Chicago, Kehinde Wiley, Zackary Drucker, and Catherine Opie (page 194), where Chicago considers

the important role that art plays in transformation, hope, the potential of human beings, and the ability to reimagine the world as a better place. In “Out of Africa” (page 228), Nigerian-born artist ruby onyinyechi amanze talks about the fluidity and arbitrary nature of “place”—summing it up perfectly by saying, “I’m not interested in making art about where I’m from. I’m from everywhere and nowhere.” Carol Kino takes us out to the new hub of the West, where San Francisco emerges as the cultural capital after utopian experimentation (page 136). And I am thrilled to be featuring the photographer Jason Schmidt’s mesmerizing photographs of artists at work (page 198). Personally, I always look most forward to the VIP preview at the convention center (Wednesday) and the

Public sector (opening Wednesday night in Collins Park), with work this year ranging from minimalist icon Sol LeWitt to the haunting sculptures exploring the human condition by Magdalena Abakanowicz. And please do not miss the wild ride that the Positions sector promises to be. Always a highlight showcasing work by emerging artists, this week several dealers totally up the ante with booths featuring alien-like embryos, a tree made of baby alligators, and one gallery that will even be emitting a special scent. So get out there and enjoy all of the unparalleled art, in unparalleled places, which this week has to offer. In the words of Bruce Nauman’s famous lithograph… “pay attention, motherfuckers.”

sue hostetler editor- in - chief

PHOTOGRAPHY BY NEIL RASMUS/BFA.COM (BOESKY)

right: Marianne Boesky and Sue Hostetler at the opening of “No Man’s Land: Women Artists from the Rubell Family Collection” in Miami last December; with New York Magazine art critic Jerry Saltz; with artist Carrie Mae Weems at the Anderson Ranch.

CALIBER RM 037

PUBLISHER’S LETTER

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That special time of the year has finally arrived! Art Basel in Miami Beach—arguably one of the greatest art shows in the world—returns to the Miami Beach Convention Center. And locals are not the only ones who are excited; celebrities and art lovers from across the globe travel to the Magic City to witness the exhibits and attend all of the highly anticipated Basel bashes that accompany the world-class fair. This year is also incredibly special, as it marks the 15th anniversary for Art Basel in Miami Beach. Looking back over the past decade and a half, it’s been truly amazing to not only be able to partake in all of Art Basel’s exciting and unforgettable moments, but to witness firsthand the effects it has undeniably had on our city. Within the last decade, Miami has quickly been catapulted into one of the top arts and cultural hubs in the world, and we certainly have Basel to thank. Though only a four-day jubilee, it has left a tremendous mark on our city, with effects that can be felt in almost any corner of every neighborhood; get over to the Wynwood Arts District, the Design District, Edgewater, Midtown, downtown and

see what I mean for yourselves. It’s also been both an honor and a pleasure to work with and get to know the leading forces behind the fair, including Art Basel Global Director Marc Spiegler and Director of Americas for Art Basel Miami Beach Noah Horowitz. I think I speak for the whole city of Miami when I say how grateful I am for their dedication and contributions to this prodigious event. So enjoy the show and this very special time in Miami. Though it may be almost impossible to believe that last year’s exhibition could be topped, I believe this year’s Basel is guaranteed to be the best one yet, as every year continues to tremendously exceed all expectations. I look forward to seeing you at all of the art-full events…

courtland lantaff

PHOTOGRAPHY BY WORLD RED EYE

above, from left: Courtland Lantaff (right) with DJ Irie and Thomas Meding at Ocean Drive magazine’s Men’s event at SLS Brickell; with Jared Shapiro, Chris Radomski, and Michael Schwartz at “Meeting of the Masters: Dining with the Duke” hosted by Ocean Drive magazine at Cypress Tavern.

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CONTRIBUTORS

Sarah Thornton is a writer, ethnographer, and sociologist of culture. Described by the Washington Post as “the Jane Goodall of the art world,” Thornton is the author of 33 Artists in 3 Acts and Seven Days in the Art World. Formerly the chief writer on contemporary art for The Economist, Thornton now contributes to many other publications. Holder of a BA in Art History and a PhD in Sociology, she lives in San Francisco.

A L E X A N D E R FO R B ES Alexander Forbes is deputy editor at Artsy, where he leads content strategy for the world’s fastestgrowing art publication. Forbes writes frequently on the art market and art world issues. Based in New York, he helps lead a team of editors dedicated to making art accessible to anyone with an Internet connection. Forbes previously served as the European editor of artnet News and German bureau chief at Louise Blouin Media.

J U L I E BAU M GA R D N E R Arts culture is an expansive territory, and writer Julie Baumgardner has been trawling all across the globe to cover the faces, places, and stories that compose this complex landscape for publications such as Artsy, Details, T: The New York Times Style Magazine, The New York Times, New York Magazine, W, The Wall Street Journal, and Vogue.

72 Art Basel | Miami Beach 2016

C A RO L K I N O Carol Kino is a regular writer for WSJ magazine, T: The New York Times Style Magazine, 1stdibs, and ArtDesk, and her work has also appeared in Art + Auction, Departures, Town & Country, Slate, The Atlantic, and The National (Abu Dhabi), among many other publications. She was a two-time USC Annenberg/Getty Arts Journalism Fellow, in 2007 and 2011.

K AT E S U T TO N A writer from Nashville, Kate Sutton is currently based in Zagreb, Croatia, after nearly a decade in Russia, where she served as curator of the nonprofit art space Baibakov Art Projects. In addition to writing articles and reviews for magazines including Artforum, Bidoun, Billboard, Frieze, The Hollywood Reporter, and Leap, Sutton is a regular contributor to artforum.com. In 2013, she was recognized with an Arts Writers Grant from the Andy Warhol Foundation.

PHOTOGRAPHY BY MARGO MORITZ (THORNTON)

SA R A H T H O R N TO N

IT’S TIME TO SPREAD OUR WINGS...

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CONTRIBUTORS

L AU R A VA N S T R A AT E N Laura van Straaten has written about art and culture for Departures, WSJ Magazine, ArtReview, The Art Newspaper, T: The New York Times Style Magazine, The Hollywood Reporter, and other print and online media. In the past year, she has reported art and culture stories from Brazil, Colombia, Hungary, Italy, Poland, Sweden, and the United Arab Emirates, and she has produced award-winning news broadcasts and multimedia projects for NBC News, CNN, AOL, PBS, and other media companies.

R AC H E L FE L D E R A New York-based fashion, beauty, and travel writer, Rachel Felder’s work has appeared in The New York Times, The Financial Times, Travel + Leisure, Departures, and many other publications. Her third book, Insider Brooklyn: A Curated Guide to New York City’s Most Stylish Borough, was recently published by HarperCollins.

74 Art Basel | Miami Beach 2016

J U L I E B E LC OV E Julie Belcove writes primarily about art and culture. Her work has appeared in The New Yorker, The New York Times, Financial Times, WSJ, Architectural Digest, Elle Decor, Wallpaper, Elle, Harper’s Bazaar, and W, among other publications. While deputy editor of W, she created and edited the magazine’s annual Art Issue. She is based in New York City.

ALINA COHEN Alina Cohen is a Brooklyn-based freelance writer who contributes to publications including Allure, T: The New York Times Style Magazine, The Nation, The New York Observer, and WSJ Magazine. She covers art, books, and fashion with a particular interest in emerging female artists and writers. Originally from Cincinnati, she previously worked as a publicist and represented art fairs, galleries, and museums. Follow her on Twitter and Instagram: @alinacohen.

MA XWELL WILLIAMS Maxwell Williams, an LA-based culture writer, contributes regularly to The New York Times, W magazine, Bloomberg, Condé Nast Traveler, High Times, and Dazed.

K A R E N A RC H E Y Karen Archey is an art critic and independent curator based in Berlin. She is editor of e-flux conversations and a 2016 Arts Writers Grant recipient for short-form writing. With a focus on feminist practices, art, and technology, her writing is regularly featured in magazines such as frieze and ArtReview, and anthologies published by institutions such as the Whitney Museum of American Art, MIT Press, and New Museum. Archey cocurated the survey exhibition “Art Post-Internet” at Ullens Center for Contemporary Art in Beijing (2014) and edited the publication Art Post-Internet: INFORMATION/DATA. A regular public speaker, she has recently spoken at Renaissance Society at the University of Chicago, Institute of Contemporary Arts London, Museum of Modern Art New York, MoMA PS1, and elsewhere.

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ADVERTISING

Moonrise by Ugo Rondinone

Art Walk

A Unique, Experiential Journey PHOTOGRAPHY: STEVEN BROOKE

Back of a Snowman by Gary Hume

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AS VISITORS ARRIVE at Aventura Mall’s Louis Vuitton entrance, they’re greeted by something they’d never expect: Gary Hume’s 10-foot-tall, half-ton, Back of a Snowman. The magnificent sculpture stands among palm trees, providing Aventura Mall shoppers with a witty commentary on the state of sculpture, modernism, and Pop art. One of the country’s most popular shopping centers, Aventura Mall is the setting for a dynamic, world-class contemporary art collection, one that’s enjoyed by millions of people each year. Strolling through the center is like visiting a chic art gallery. It’s a cultural experience – one the New York Times proclaimed “might be the nation’s first contemporary art shopping mall.” In the Nordstrom wing, shoppers experience two amazing series of pieces. Downstairs, a pair of surrealistic Eye Benches by Louise Bourgeois appear to follow guests with a disembodied gaze. Some stop to take pictures; others sit down to relax with a cappuccino and appreciate their surroundings. Upstairs, three Moonrise sculptures by Swissborn mixed-media artist Ugo Rondinone spark curiosity. Each more than six feet tall, the sculptures are heads with finger-stroked surfaces modeled in brown clay then cast in aluminum and brown enamel to match the color of the original material. “The Moonrise sculptures are captivating and display the unique, personal touches of this influential artist,” says Jackie Soffer, the visionary behind the shopping center’s unique art program. “Most of all, like many of our pieces, they bring a smile to our visitors’ faces.” Soffer, who is Co-Chairman and CEO of Turnberry Associates, the mall’s parent company, has a deep passion for public art. She and the program’s director, Jackie Fletcher, select pieces and commission installations they feel will engage Aventura Mall shoppers and ignite their imagination. A personal favorite of Soffer’s and numerous visitors is Donald Baechler’s 12-foot-tall, bronze Walking Figure. Surrounded by Gucci, Givenchy, Cartier and Tiffany & Co. boutiques, the figure has become one of Miami’s most “Instagrammable” objects. Many are inspired to shoot pictures next to the woman, striding forward as if caught in mid-step, the silence of her expression commanding the space. After visiting the luxury boutiques, shoppers do a double-take when they see Julian Opie’s two double-sided LED monoliths, Suzanne Walk-

ing in Skirt and Top and Julian Walking in T-Shirt and virtual worlds,” Borkson says. “Settings like and Shorts. Drawn with bold, simple lines, the Aventura Mall allow us to expose our process figures in these animated portraits appear to through more than just arts institutions.” Other highlights include pieces by Lawrence walk continuously. The smart phones come out again, especially from teens and millennials, who Weiner, Tom Otterness, Barry Flanagan and record videos mimicking the portraitures’ move- Jorge Pardo positioned throughout the shopping center. Ever evolving, the collection provides milments to share with friends on social media. Approaching Center Court, shoppers are lions of visitors each year with a taste of the recaught up in the excitement. Stop for a gela- gion’s thriving art scene. For more information, to…visit Burberry…so many choices. Yet, they visit aventuramall.com. also experience a sense of tranquility as they approach Jaume Plensa’s Florida Soul, a giant sculpture made of stainless steel letters. Seated upon a rock inside a koi pond, Plensa’s universal man reflects upon the word around him, inviting visitors to create their own meaning. Guests also glance up toward Macy’s on the second floor and see something peculiar. The shopping center’s columns don’t connect; they appear to grow and erode simultaneously. Don’t worry, that’s just the work of Miami native Daniel Arsham. His site-specific Columns is an example of how he reworks architectural and natural forms of everyday experiences into Florida Soul by Jaume Plensa malleable and moveable models with surreal and uncanny effects. And, for the youngest shoppers, a day isn’t complete without a visit to the playground. Here, it’s a site-specific art installation by Miami artists Sam Borkson and Arturo Sandoval III, known collectively as “Friends With You.” Children climb through and over Rainbow Valley, a sea of vibrant rainbows, clouds, small mountains and water. “We see the entire world as our gallery and embrace the opportunity to explore any medium that exists, includEye Benches by Louise Bourgeois ing architecture installations

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Embracing the Emergent

PHOTOGRAPHY COURTESY OF THE ARTIST AND LEO XU PROJECTS, SHANGHAI (BUILDING OF CRANES #1); COURTESY OF DAVID CASTILLO GALLERY (BAM)

Each December, up-and-coming artists are given the stage in the Nova sector, providing a platform to explore work in a concentrated approach under the umbrella of the larger fair. by Maxwell Williams

THE NOVA SECTOR at Art Basel in Miami Beach offers an exciting look at new work by artists represented by younger galleries. This sector allows for presentations by up to three artists of pieces created within the last three years. This week, Nova will include 35 exhibitors from around the world. The galleries taking part in 2016 are maybe more diverse in their approaches than ever. Some dealers are presenting solo booths in order to sharpen the lens on a single artist’s practice. Berlin-based gallery Société, for instance, will feature a solo show of Kaspar Müller’s hand-blown glass orbs, and New York gallery 11R will exhibit conceptual works by Mika Tajima. Other galleries have chosen artists in concert or contrast with each other. Leo Xu Projects, from Shanghai, will present works by aaajiao, Cui Jie, and Liu Shiyuan—each of whom explores urban dystopic concepts of Shanghai— while Nanzuka, based in Tokyo, will show colorful pop-culture-riffing works by Keiichi Tanaami, black-and-white trapezoid drawings on paper by Hiroki Tsukuda, and a film by Oliver Payne— pieces that couldn’t be more dissimilar. Nanzuka gallerist Shinji Nanzuka says he is treating his booth as a way of questioning our own recognition and senses. The three artists he selected come from very different places and were born in different times, but their works tie together in that they each have a healthy suspicion of the status quo. These kinds of inquiries are not unusual for the incubator-style atmosphere in the Nova sector. Nanzuka has shown at Art Basel in Hong Kong in the past and will be showing at Art Basel in Miami Beach for the first time this year. For him, Nova offers a unique opportunity to debut his young gallery in a new market. “The first participation in Art Basel in Miami Beach means to us an exploration into a different art market,”

says Nanzuka. “Hong Kong has become quite an important market for us, and we have made good relationships with the art collectors, museums, and art foundations in Asia. I anticipate our first Miami Beach show will be likewise, and I am thrilled with it.” For Jessica Silverman, whose gallery will be participating for a third year, Nova offers a place to highlight artists who will be showing in the gallery in the coming year. The San Franciscobased Jessica Silverman Gallery will present Nicole Wermers and Margo Wolowiec, both of whom are new to the gallery. Both artists, she says, will fit nicely with the South Beach setting: Wermers’s works are a series of vertical awnings, the most prominent being the turquoise blue so often associated with Miami, while Wolowiec’s contribution will be investigations into geotagging through images of vacation landscapes transferred onto polymer thread. “Art Basel in Miami Beach means different things to us as the gallery grows up,” Silverman says. “It meant a tremendous amount when we shifted to Nova three years ago. I love doing these tightly curated presentations, and Nova is really good at giving you a platform for that, and you know all of the surrounding dealers will be doing similarly thoughtful and considered booths. It’s high caliber, and it’s always great to be involved with platforms like that.” Furthermore, she continues, “Miami has always been, as far as American fairs go, not just the most important [fair] for the gallery, but the most important for our artists.” ABMB

from top:

Cui Jie, Building of Cranes #1, 2014. Cui Jie is represented by Shanghai’s Leo Xu Projects, which exhibits young Chinese and international artists; Sanford Biggers, BAM, 2015, at David Castillo Gallery.

Art Basel | Miami Beach 2016 79

SECTORS

Multiple Choice A perennial highlight of the fair, the Edition sector once again dazzles with work by heavy hitters like Baselitz, Baldessari, and Bleckner.

FROM STPI IN SINGAPORE TO ULAE on Long Island, New York, the 11 galleries participating in the Edition sector of Art Basel in Miami Beach this year have one thing in common: They specialize in limitedrun multiples created by artists from around the world. London’s Alan Cristea Gallery is unveiling a series of woodcut prints and furniture by British artist Richard Woods, best known for graphically driven Pop interpretations of classic patterns like wood grain and Tudor. His “Drill It Yourself” is a modular series riffing on these motifs, with punched-out circles denoting a DIY sensibility. Woods’s pieces are joined by a selection of work from other artists, including Michael Craig-Martin’s two-dimensional handheld objects, like a tennis racket and an umbrella,

and Julian Opie’s vibrant crowd scenes of gender-segregated joggers. The booth of Barcelona’s Polígrafa Obra Gràfica mixes new lithographs by Ross Bleckner with a series of roughly etched portraits of busts by Paul P. In addition, there are figurative works by Jaume Plensa, deep-red photo etchings of Puerto Rico by Enoc Perez, and a set of 10 lithographs by Ryan McGinness that fit together into a scene depicting a design studio, complete with customized T-shirts, skateboards, paintings, and posters commingled in a lively yet quintessentially flat environment. From Los Angeles, Gemini G.E.L. LLC is showing works by John Baldessari, Tacita Dean, Ed Ruscha, Richard Serra, and Sophie Calle. While Baldessari’s minimalist screen prints of male hairlines

may conjure visions of an Angeleno entertainment executive whipping around town, Dean’s more explicitly Californian “LA Exuberance” series consists of hand-drawn three-color lithographs that capture the brilliant blues and stark white clouds of a West Coast sky. The ingenious intergenerational pairing of iconic German painter Georg Baselitz and German-born New York sculptor Josephine Meckseper anchors the presentation from the Munich gallery Sabine Knust. The Baselitz etchings Besuch von Hokusai II and Besuch von Hokusai III depict legs in heels in a pinwheel-like X formation, as if merchandised in the

above:

John Baldessari, Pyramid, 2016. left: Michael Craig-Martin, Umbrella (from “Fundamentals”), 2016.

80 Art Basel | Miami Beach 2016

spirit of Meckseper’s own brand of consumerism-driven feminism. Meckseper is represented by an untitled trio of prints mixing photographic, abstract, and geometric elements. From New York’s Carolina Nitsch comes an eclectic mix of works, including Urs Fischer’s Chicken Rotation, which geometrically toggles through the various raw and cooked states of a cartoon chicken. Wangechi Mutu’s Mwotaji (The Dreamer) is a head made of polished bronze, laid on its side and resting in slumber on a coarse pillow carved from Carrera marble, while Marilyn Minter’s “Spray On” series explores a fascination with glass and condensation. In five scenes printed on aluminum, a moist, foggy surface occludes heat sources from the viewer. In one, a steaming tongue reaches out from the image to press against the glass. ABMB

by Kevin McGarry

Heavy Metal

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Curiosities Abound Kabinett explores a broad spectrum of times, places, and disciplines to showcase a group of distinctive, idiosyncratic artists. by Kevin McGarry WHILE THE SECTOR’S NAME suggests an orderly container, Kabinett is where galleries have the opportunity to burst through the usual limitations of an art fair booth. With solo and group presentations composed of new and historical works alike, the 30 galleries participating in Kabinett span disciplines, geographies, and eras, offering curatorial positions that illuminate the core character of their programs. Serbian artist Irena Haiduk has created an immersive candy shop at the booth of Chicago’s Kavi Gupta, reflecting styles of confections throughout the past 100 years, which have attracted all manner of political and economic regimes seeking a taste of power. Haiduk’s Serbian treats represent various ideologies that have dominated the

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country over this turbulent century, from the Austro-Hungarian imperial court to communism and now the current capitalist system. Another Chicago gallery, Rhona Hoffman, presents interdisciplinary works by Brooklyn-based artist Derrick Adams, including a new series of collaged place settings gathered from party supplies, textiles, and other materials sourced from around his BedfordStuyvesant neighborhood. The Rio de Janeiro gallery A Gentil Carioca bridges two generations of Brazilian artists working in geometric traditions: Alfredo Volpi, with a series of “concrete landscapes” made in the 1960s and ’70s, and João Modé, whose recent fabric works, which combine drawing and sewing, will be in conversation with Volpi’s work.

Elespe’s drawings reveal a meticulous chaos channeled from the artist’s own life as a kind of diary. A cofounder of Romania’s first collective for experimental art, Group 111, in 1965, the late Romanian artist Stefan Bertalan is the subject of the booth from Berlin’s Ester Schipper/Johnen Galerie. Bertalan’s work was rediscovered, in a sense, upon its inclusion in Massimiliano Gioni’s 2013 Venice Biennale. The pieces on view in Kabinett are mixedmedia drawings from the 1970s and ’80s, products of intensive aesthetic research into patterns and systems present in the natural and man-made worlds alike. Eventually Bertalan conceived of a universal cosmology for all things, reflected here in prismatic forms that mix the figurative, geometric, and organic into beguiling hybrid spirits. ABMB

left: Rose Wylie, Things around the house, 2016 (four of 66 lithographs). below: Derrick Adams, Floater No. 19, 2016.

PHOTOGRAPHY COURTESY OF POLÍGRAFA OBRA GRÀFICA (THINGS AROUND THE HOUSE); COURTESY OF THE ARTIST AND RHONA HOFFMAN GALLERY (FLOATER NO. 19)

The booth of the Barcelona gallery Polígrafa Obra Gràfica is a suite of stark, jet, psychologically charged drawings of faces, tools, and buglike blots by British artist Rose Wylie. Working in the same palette, Chinese artist Yang Mushi has forged a menagerie of jagged, all-black wooden sculptures, sharpened to the point of weaponization, presented by Galerie Urs Meile, based in Lucerne and Beijing. Two Mexico City galleries offer vantages on abstraction via the obfuscation of language. At kurimanzutto, the vivid chromatics of Carlos Amorales’s recent silk-screened wooden panels draw from his “Liquid Archive,” consisting of various shapes that substitute for letters and words. Labor’s booth, featuring Spanish artist Jerónimo Elespe, is a curated introduction to his mazelike drawings inspired by Symbolist literature and late-19thcentury French Décadisme. Ranging from textured noise to mandalas with Islamic and figurative undertones to more purely unruly and organic displays,

SECTORS

In his fourth year curating the Public sector, Nicholas Baume takes over Collins Park with “Ground Control,” a David Bowie-inspired exhibit. by Michael B. Dougherty THE RECTANGULAR green spaces of Collins Park are laid out end-to-end like a church nave, beginning at Miami Beach Drive and crowned by the Art Deco home of The Bass, but with rows of palm trees taking the place of colonnades. It’s a public space uniquely suited to the display of art. And so for the last five years, it has also hosted the most accessible—and some might argue compelling—Art Basel in Miami Beach exhibit. Produced in collaboration with The Bass, the Public sector transforms Collins Park into a sitespecific destination that doesn’t require any pass, badge, or entrance fee. “It’s an opportunity to see a really interesting mix of work by artists of different generations, different countries, and different mediums, but all engaging the public space in different ways,” says Nicholas Baume, curator of the Public sector. And he would know: The director and chief curator of New York City’s Public Art Fund has curated the Public sector for what will be four years running. Baume, whose tenure at the Public Art Fund has brought New Yorkers installations like Rob Pruitt’s argent ode to Andy Warhol (The Andy Monument) and Jeff Koons’s verdant Split-Rocker at Rockefeller Center, believes that a shared space to look at art doesn’t just benefit the casual viewer; it’s what most artists seek as well. “Many artists are really interested in how their work communicates and reaches people,” Baume explains. “And there’s no better way to have a direct connection with a broad audience than in the public realm.” Previous iterations of the Public sector have seen Baume stage interactive performances, erect ephemeral installations, and as was the case in 2014, even blur the line between artwork and curator when he was flanked by two hulking bodyguards for artist Ryan Gander’s openingnight piece. For 2016, though, Baume

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Alicja Kwade, Reise ohne Ankunft (Mercier), 2016, at König Galerie.

took inspiration from a cultural loss that came with a personal dimension: the death of musician David Bowie this past January. “I loved David Bowie. I grew up with his music; I thought he was a brilliant artist and also a great cultural touchstone,” says Baume. Titled “Ground Control”—a reference to Bowie’s landmark 1969 track “Space Oddity”—this year’s exhibition (November 30–December 4, with some works remaining through March 15, 2017) includes 20 artists who span several generations yet all loosely work within the continuum of abstraction to figuration. From one of the giants of minimalism and conceptual art, Sol LeWitt’s baked enamel on aluminum Incomplete Open Cubes (1974), shown by Paula Cooper Gallery, represents an approach to art that has its “own internal logic,” in Baume’s words, and which serves as a starting point this year for the “great innovation” in art that began in the 1960s and continues to this day. Another example of that innovation on display will be Magdalena Abakanowicz’s 10 Standing Figures (2000), headless cast bronze figures that draw on the Polish artist’s experience with totalitarian regimes in her native country, shown by Marlborough Gallery. Closing, and completing, the generational loops are artists like Claudia Comte, whose 156 Triangles and their Demonstration—a freestanding, painted wall—creates both a virtual space and a dialogue with LeWitt’s “interest in serial geometry,” according to Baume. Works like the above, along with an opening-night performance by Davide Balula, Lady Bunny, Rob Pruitt, and Naama Tsabar, are sure to draw crowds once again to the Public sector, but for Baume, this year’s show will be bittersweet as it will be his last. “I’ve tried to draw on both what I think an art fair can do and the perspective I can bring as a curator, and that’s been super rewarding,” he says. ABMB

PHOTOGRAPHY COURTESY OF THE ARTIST AND KÖNIG GALERIE, BERLIN

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Discovering the Stars of Tomorrow A new crop of emerging galleries, creating immersive spaces exhibiting everything from alien-like embryos to hunting scent, make Positions the must-see sector this year. by Meghan Watson-Donald POSITIONS, ONE OF THE longest-running sectors of Art Basel in Miami Beach, provides collectors with a unique opportunity to scout out promising new talent. Galleries in this sector exhibit a single project by an emerging artist, which may take the form of a major installation or a range of related works in a variety of media. This tight focus contextualizes the works on view and allows for

86 Art Basel | Miami Beach 2016

a deeper understanding of each artist’s practice. Galleries exhibiting in Positions tend to skew younger and introduce artists who have not yet achieved widespread recognition in the United States, making this sector ripe for new discoveries. This year, Positions hosts 16 galleries from eight countries, half of which are participating for the very first time. Paris gallery High Art introduces a

new series of works by Max Hooper Schneider that continue the artist’s exploration of “Trans-Habitats”: otherworldly landscapes or fictional laboratories that dramatize pro-

Dane Mitchell, Smokescreen, 2016 (represented by Zürich gallery RaebervonStenglin).

cesses of creation, transformation, and destruction and blur the distinction between natural and artificial objects. “I’m very much about the aesthetics of succession, after an object’s form and function are over,” Hooper Schneider says. He has planned a group of plasma eggs containing delicate glass sculptures of alien-like embryos, a coral reef composed of crust-heavy-metal cassettes designed to look like a post-apocalyptic cityscape, a monolithic tree made of 5,000 baby alligator feet that he described as “erupting out of a mound of soil, like a tombstone on a strange planet,” and an illuminated stainedglass window made of desiccated flora and fauna—from earthworms and krill to dandelions—flanked by treebark curtains cast from rubber.

PHOTOGRAPHY BY DANE MITCHELL, COURTESY OF RAEBERVONSTENGLIN, ZÜRICH

SECTORS

BEAUTY IS IN THE DETAILS

The Zürich-based gallery RaebervonStenglin presents a series of three sculptural works by Dane Mitchell, an artist whose practice explores ephemeral phenomena on the threshold of perceptibility, often working with fragrance as a sculptural tool. For Positions, Mitchell engages the scents used in hunting, which remove traces of human odor that would otherwise alert animals to the hunters’ approach. He has created large receptacles from sheets of brass, affixing spraying instruments to their interiors with the thick straps that hunters use to hang the devices from trees. At regular intervals, they will emit their “non-scent” that masks human presence. “In an art fair, there is a big fluctuation of people running around,” says gallerist Matthias von Stenglin. “Here is a work that is erasing their presence. The physical presence of the body is being cloaked.” At the same time, the spray will leave traces on the brass, discoloring the metal and effectively making scent visible, producing a tension between the seen and the unseen. At Galerie Maria Bernheim, Swiss artist Manuel Burgener creates drawings and sculptures

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using light as his primary medium. Bernheim calls these experiments with light “a new take on minimalism, referencing Donald Judd and the American heritage of minimalism and simple materials.” She explains that his light sculptures are “the opposite of neon,” as the artist uses feeble luminance that can engage the human eye for an extended period. Burgener has conceived the gallery booth as an immersive environment, connecting several pieces to form an architectural structure of lines and reflections in space. His series of photograms framed with reflective glass will create a double perspective, the lines in the image interacting with the lines drawn by the lights through space to form a geometric web, with the viewer reflected at its center. Additionally, there will be smaller pieces such as a classic minimalist box made of wood and cardboard, which opens to reveal a miniature bar inside—complete with bottles and fairy lights—which Bernheim calls a “kitschy-pop take on minimalism.” Berlin gallerist Dan Gunn showcases an installation by Catalan artist Adrià Julià, who explores the intersection of three

above:

Manuel Burgener, Untitled, 2016 (represented by Galerie Maria Bernheim). below: Adrià Julià, HOT IRON, 2016 (represented by Dan Gunn).

seemingly disparate themes: the removal of frescoes from Catalan Romanesque churches in the early 20th century and their subsequent sale in the United States, the failed attempt to import American football to Catalonia in the 1990s, and the making of Pablo Picasso’s 1937 masterpiece, Guernica. “Adrià is extremely interested in Picasso’s Guernica and in the layering of imagery and information,” Gunn says. “One can see a relationship between the layering of various histories… and a layering of imagery, which is how he makes his work.” A massive mural on the scale of Guernica forms the centerpiece of Julià’s installation, composed of custom-made wallpaper and a multitude of digital images illustrating his research into the removal of frescoes and the dissolution of the Barcelona Dragons. Images of newspaper clippings, notes, and photographs form a visual scrapbook of the artist’s creative process. “The mural will be very sculptural, a visual sleight of hand,” notes Gunn. Accompanying the mural will be related film works, drawing parallels among Julià’s themes and highlighting the examinatorial nature of his practice. ABMB

PHOTOGRAPHY COURTESY OF GALERIE MARIA BERNHEIM, ZÜRICH (UNTITLED); COURTESY OF DAN GUNN, BERLIN (HOT IRON)

SECTORS

59 Bayfront condominium residences around a glittering lagoon. A collaboration between Ateliers Jean Nouvel and JDS Development, Nouvel’s first project in Miami. The best of waterfront living in South Beach.

MONADTERRACE.MIAMI 786-460-7240 EXCLUSIVE SALES & MARKETING DOUGL AS ELLIMAN DE VELOPMENT MARKE TING

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. All images are artist’s conceptual renderings and all information depicted or described herein is based upon preliminary development plans, which are subject to change without notice and may not be relied upon. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. We are pledged to the letter and spirit of U.S. policy for the achievement of equal housing throughout the nation. We encourage and support an affirmative advertising, marketing and sales program in which there are no barriers to obtaining housing because of race, color, sex, religion, handicap, familial status or national origin. This is not intended to be an offer to sell nor a solicitation of offers to buy real estate to residents of NY or in any jurisdiction where prohibited by law. This project is being developed solely by Monad Terrace Property Owner LLC, an affiliate of JDS Development Group, Mink Development, and Ackerman Management & Development, which was recently formed solely for such purpose.

SECTORS

Revisionist History Art Basel’s time machine, the Survey sector travels into the past to shine a spotlight on artists lost in history’s shadows.

DEBUTING IN 2014, the Survey sector of Art Basel in Miami Beach has quickly become a jewel of the fair, transcending the merely commercial. And the 2016 edition promises to be more impressive than ever. As in previous years, it will include 14 galleries from around the world, each showcasing an individual artist of historical interest, thus turning the booths into mini solo exhibits. With participants such as New York’s Maxwell Davidson, Garth Greenan, Peter Blum, and DC Moore galleries, Los Angeles’s The Box, San Francisco’s Ratio 3, Culver City’s Roberts & Tilton, London’s Vigo Gallery and Robilant+Voena, Paris’s Galerie Georges-Philippe & Nathalie Vallois, Bologna’s Galleria d’Arte Maggiore, Japan’s Tokyo Gallery + BTAP, Spain’s espaivisor, and Brazil’s Simões de Assis Galeria de Arte, the carefully curated Survey sector promises to be an oasis of museum-quality international work. As Garth Greenan, who has participated since 2014, puts it, “Survey really forces you to focus and to treat your booth like you’re curating an exhibition. Our job at Survey is to educate and expose, rather than just to market. This section is like a little laser beam that enables people to re-evaluate an artist who is underappreciated or overlooked.” Greenan’s booth is presenting three physically large, yet little-seen early abstract pieces by Howardena Pindell, created between 1971 and 1973. Pindell, whose current work uses materials like string, perfume, and glitter, was included in the MoMA PS1 show “Forty” this past summer and will have a retrospective at the Museum of Contemporary Art Chicago in the spring of 2018. “Howardena is on the cusp,” Greenan says. “She is a really important postminimal American artist who is still underappreciated. That is very quickly changing, and things like

90 Art Basel | Miami Beach 2016

Survey take the conversation to the next step.” Maxwell Davidson Gallery, participating in Survey for the first time, will exhibit several key pieces by sculptor George Rickey. Although Rickey’s work is represented in the sculpture garden of New York’s Museum of Modern Art, his elegant kinetic pieces are often overshadowed by Alexander Calder’s more famous mobiles. Says Charles Davidson, the gallery’s senior director, “Rickey was Calder’s contemporary, but George really wanted to define motion in a different way. He focused on defining motion for its own sake.” At Art Basel in Miami Beach, the gallery will concentrate on his early indoor work: Machine for a Low Ceiling II (1953), a brass horizontal piece; Sedge Variation III (1961), an early rendering of his signature blade shape; and two versions of Ship (1958–1963). Two galleries are serendipitously showing works by key members of Paris’s Nouveau Réalisme movement, which began in the 1960s and utilized found ephemera—torn posters, advertising, newspaper photographs. Jacques Villeglé, a founder of the movement, is the star of Galerie Georges-Philippe & Nathalie Vallois’s booth, which is exhibiting several notable pieces. “Jacques Villeglé is one of the last living artists of this generation, whose idea was to present reality not with paint, brush, or canvas, but with things like ripped posters from the streets,” says Georges-Philippe, the gallery’s director. “We participated in Survey last year and wanted to come back—so collectors can discover an artist and to grab the attention of museum directors, curators, and art critics.” Italian artist Mimmo Rotella is the focus of Robilant+Voena’s booth, which will showcase four techniques that Rotella pioneered in the 1950s, including décollage and retro d’affiche. “We are thrilled with this opportunity to

bring Rotella’s important body of work to a potential new audience,” says director Benedict Tomlinson. Returning to Survey for a second year is Tokyo Gallery + BTAP, with the work of Kishio Suga, a central member of Japan’s Mono-ha movement of the 1960s and ’70s. The gallery will exhibit pieces from his 1980s “Protrusion” series, including black-and-white rectangular wood works and two from top:

Margaret Kilgallen, Untitled, circa 2000; Howardena Pindell, Untitled, 1972.

never-shown pieces featuring cylindrical and fan shapes. While Survey’s stated purview is “underrecognized” artists—a few galleries, like DC Moore, showing works from Romare Bearden’s “Projections” series, and Bologna’s Galleria d’Arte Maggiore, exhibiting Giorgio Morandi—have chosen artists who are more or less household names in the art world. Says Noah Horowitz, Art Basel’s director Americas, “One of the truly exciting aspects of the Survey format is that it enables our audiences to discover new facets of even wellknown artists.” ABMB

PHOTOGRAPHY COURTESY OF THE ARTIST AND GARTH GREENAN GALLERY, NEW YORK (UNTITLED, BOTTOM IMAGE); COURTESY OF RATIO 3, SAN FRANCISCO (UNTITLED, TOP IMAGE)

by Phoebe Hoban

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. THIS IS NOT INTENDED TO BE An OFFER TO SELL, OR SOLICITATION TO BUY, CONDOMINIUM UNITS TO RESIDENTS OF ANY JURISDICTION WHERE PROHIBITED BY LAW, AND YOUR ELIGIBILITY FOR PURCHASE WILL DEPEND UPON YOUR STATE OF RESIDENCY. EQUAL HOUSING OPPORTUNITY.

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SECTORS

Tune In Curator David Gryn composes a musical motif and Italian artist Maurizio Cattelan stars in a new documentary in the Film sector.

THE THEME FOR THIS year’s Film sector at Art Basel in Miami Beach has been sitting in plain sight for years. Because the films are screened primarily on the 7,000-square-foot projection wall of the New World Center, a concert hall in SoundScape Park, across the street from the fair, curator David Gryn decided to simply and wholeheartedly embrace the context. “It’s a natural environment to consider music,” he says. The sector is “curated around the artist’s engagement with music.” In various ways, the majority of the 50-plus works to be screened

92 Art Basel | Miami Beach 2016

between November 30 and December 4 employ the universal language of music and dance. Wanting to choose films that would excite and engage the widest possible audience, Gryn—a professed fan of the dark yet life-affirming music of Philip Glass and Eleni Karaindrou—couldn’t have found a more universal subject. “I am often attracted to artworks that affect me like certain music does—a thud in my chest, reverberations through my body, tingles down my neck and spine,” says Gryn, who is the director of Daata Editions and Artprojx in London.

Jamaican reggae singer and DJ Dr. Alimantado’s hit song “Best Dressed Chicken In Town,” which the curator says remains as fresh in his mind today as when he first heard it as a teenager, was the inspiration for a namesake compilation of short films. The song provides the thread that weaves together works by 27 international artists, including Haroon above:

A still from Samson Young’s Notational Tendencies and Performance Processes, 2015, installation view at Internationale Ferienkurse für Neue Musik Darmstadt, Germany.

Mirza, Derrick Adams, Jillian Mayer, and Tromarama, a collective in Indonesia. “I wanted to curate a program that in its entirety creates a unique combination and build-up of sound that develops into a crescendo during its two-hour span,” Gryn explains. Because weather and other Art Basel attractions caused some fairgoers to miss the one-time screenings held in previous years, the compilation will be shown nightly at 8 pm, November 30 through December 3. Another program, “sound works,” marks the third edition of the sector’s Surround Sound program.

IMAGE COURTESY OF THE ARTIST AND EDOUARD MALINGUE GALLERY

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“We commission artists to create or re-form work into sound installations,” says Gryn, who this year selected films by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer, and Susannah Stark. Each night’s screenings will end with a different feature. Wednesday’s and Friday’s presentations—dubbed “Double Bill”—each pair two works linked through their motifs or musical scores. On Wednesday, Rita Ackermann’s Movement as Monument, a Michael Jackson and flash mob mash-up, will be shown with Christian Marclay’s Mixed Reviews (American Sign Language),

94 Art Basel | Miami Beach 2016

a seemingly oxymoronic silent film about music. Friday will team up works by Liliana Porter of Argentina and Alfredo Jaar of Chile. Structured like a newspaper, Porter’s Actualidades/Breaking News takes viewers from the front page to the classifieds through vignettes created with toy trains and dolls, while Jaar celebrates the people of Angola by incorporating their folk songs into his first film, Muxima. Other nightly programs conclude with either a five-artist screening or a solo show from Wilhelm Sasnal, whose four films are grouped together as “Love Songs.” Produced between 2002 and 2015, they demonstrate how visual content can

heighten sound and how a score can replace words to develop a narrative. While Gryn oversees the SoundScape Park screenings, Marian Masone, a New York-based film consultant and strategist, returns for her second year to curate the featurelength film shown at the nearby Colony Theatre on December 2. In Maurizio Cattelan: Be Right Back, documentarian Maura Axelrod clockwise from top left: Alfredo Jaar, Muxima, 36’, 2005; Brian Alfred, Chromacity, 4’17”, 2016; Martin Creed, Work No. 2656 Understanding, 3’11”, 2016; Samson Young, The Coffee Cantata (Institute of Fictional Ethnomusicology), 6’06”, 2015.

dives into the wacky world of the elusive Italian artist. Certain to be as entertaining as its subject, the portrait should play to a packed house, so arrive early (seating is complimentary but limited). In addition to the nightly outdoor programming, the Film Library offers daily access to more than 50 works (in any order) on touch-screen monitors placed in several locations throughout the halls of the convention center. Art Basel, working with Gryn, designed the platform for a more intimate, one-on-one experience. As the curator explains, it “enables a conversation around the artist, the artwork, and the medium.” ABMB

IMAGES COURTESY OF THE ARTIST, GALERIE LELONG AND GOODMAN GALLERY (MUXIMA); COURTESY OF THE ARTIST AND AMERINGER MCENERY YOHE (CHROMACITY); COURTESY OF THE ARTIST AND EDOUARD MALINGUE GALLERY (THE COFFEE CANTATA); COURTESY OF THE ARTIST AND HAUSER & WIRTH (UNDERSTANDING)

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ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, REFERENCE SHOULD BE MADE TO A PURCHASE CONTRACT AND THE OTHER DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. THIS IS NOT INTENDED TO BE AN OFFER TO SELL CONDOMINIUM UNITS IN ANY STATE WHERE PROHIBITED BY LOCAL LAW AND YOUR ELIGIBILITY FOR PURCHASE WILL DEPEND UPON YOUR STATE OF RESIDENCY. FOR NEW YORK PURCHASERS ONLY, REFERENCE SHOULD BE MADE TO THE CPS-12 APPLICATION FOR THE CONDOMINIUM FILED WITH THE STATE OF NEW YORK, DEPARTMENT OF LAW FILE NO. CP16-0063. EQUAL HOUSING OPPORTUNITY.

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recreational areas, fully equipped equestrian facilities, and one of the best soccer academies in the region — a role model program designed to maximize youth players’ capabilities and teach good sportsmanship. Toprated public and private schools can be found within a short distance, and an adventurous children’s play area. When it comes to family fun, there are endless activities to enjoy and all the components that make for an ideal active lifestyle. Whether an avid cyclist, a recreational biker, or using a bike to get to and from school, Weston’s 46 miles of marked bike lanes assist cyclists in getting where they are going safely. With all of its beauty, tranquility, and access to nature, Weston is acclaimed for its exceptional quality of life.

“We seek to ‘build better,’ enhancing the best parts of a neighborhood to create a foundation for an exceptional community.” – David Martin

This project is being developed by Terra Weston Residential, LLC (“Developer”), which has a limited right to use the trademarked names and logos of Terra Group. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by Terra Group, and you agree to look solely to Developer (and not to Terra Group and/or any of its affiliates) with respect to any and all matters relating to the marketing and/or development of the project and with respect to the sales of residences within the project. Oral representations cannot be relied upon as correctly stating the representations of the developer. This is not intended to be an offer to sell nor a solicitation of offers to buy real estate to residents of NY, or in any other jurisdiction where prohibited by law, and your eligibility for purchase will depend upon your state of residency. All images and designs depicted herein are artist’s conceptual renderings, which are based upon preliminary development plans and are subject to change without notice in the manner provided in the offering documents. All such materials are not to scale and are shown solely for illustrative purposes.

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LOCAL INSTITUTIONS

Worth the Wait

IMAGE © UGO RONDINONE, 2016. COURTESY OF THE ARTIST AND THE BASS, MIAMI BEACH

The ever-changing landscape of Miami art institutions will shift yet again next spring with the opening of the redesigned and renamed Bass Museum. by Betsy F. Perry FROM THE OUTSIDE, the Bass Museum of Art looks shuttered (with the lawn out front in need of a good haircut), but inside it’s a hive of activity. The interior has been completely gutted as part of a 22-month, $12 million renovation, and next spring the institution will be reborn with larger spaces, a classroom, and a new, pithier name: The Bass. “When the Bass was built in 1964, it was a different time, and people walked into museums as if they were going into a church,” says Silvia Karman Cubiñá, the museum’s executive director and chief curator. “Now people use them as gathering places, to have a snack or buy something, so we needed to update the visitor experience and make it fresh.” While the building is being revital-

ized, its artwork will be undergoing a similar transformation: Miami Beach’s museum of contemporary art has just announced a 10-year initiative to increase the number of international works in its permanent holdings. Spearheading the campaign are Cubiñá and George Lindemann, president of the Bass’s board of directors, who, in collaboration with the new Collections Committee, will acquire or commission one new major work of contemporary art every year. The first piece, originally commissioned in 2015 to temporarily adorn the building’s historic Art Deco façade, is the glowing neon work Eternity Now, by Swiss artist Sylvie Fleury, which will be added to the permanent collection. Although the Bass’s renovation won’t be finished in time for Art Basel

2016, its most recent acquisition—the first work to be installed as part of this new initiative—is already in place and delighting visitors with its vibrant shapes and colors: celebrated multimedia artist Ugo Rondinone’s 41-foothigh Miami Mountain, 2016. “We had been looking at different artists for a few years,” says Cubiñá, “but I had been alerted to Ugo’s smaller experimental pieces by his dealer, and after visiting Seven Magic Mountains, his large-scale public artwork in the desert outside of Las Vegas, we commissioned him to create our own Miami Mountain.” This

A rendering of Ugo Rondinone’s Miami Mountain, 2016, now installed outside the Bass as part of a new acquisitions initiative.

fall, a caravan of six trucks with colorful stones from a quarry in Nevada arrived at the southeast corner of Collins Park (across from the W and the Setai, and also the site of the fair’s annual Public sector), and “we had a progressive and transparent celebration as the public got to see us installing it,” recalls Cubiñá. As for what to expect following the spring reopening, the Bass has plans for shows by Mika Rottenberg and Pascale Marthine Tayou in the first year. “There’s an enormous amount on my wish list,” adds Cubiñá. “We’d love to own works by Haegue Yang and Adrián Villar Rojas, international artists who represent our initiative to encompass many media and artistic points of view and reflect the diverse cultural context of Miami Beach.” ABMB

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Museum Makeover The Norton Museum of Art in West Palm Beach celebrates its 75th anniversary with a $60 million transformation. by Rachel Felder

museum that we open will not only have important public and educational spaces; it will have increased areas for performances and lectures, and also the museum will be more nimble in the way it uses these spaces.” Overseen by the celebrated international architecture and design firm Foster + Partners (run by Lord Norman Foster), the project is scheduled to be completed in December 2018. As part of the $60 million renovation, the Norton’s entrance will be reconfigured and moved to the South Dixie Highway. One of the goals of the makeover is to give the institution a better feel for its West Palm Beach surroundings. “Mr. Norton believed very strongly about locating the museum in its place,” Hall says. “When you’re in the new Norton

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Museum, you will really understand that you’re in South Florida. We didn’t want this museum to seem like it was anonymous—that’s very important to us.” Although about half the museum has been closed since July 5, two thought-provoking shows are open the week of Art Basel in Miami Beach. The first, on view through January 15, 2017, is the Norton’s biennial group exhibition of nominees for the Rudin Prize for Emerging Photographers, this year showcasing the work of Clare Benson, Elizabeth Bick, Alexandra Hunts, and Wesley Stringer (Benson and Bick also integrate other media, such as video, sculpture, and performance art, into their work). The nominees were chosen by an illustri-

ous panel that included photographers Rineke Dijkstra, Michael Kenna, Arno Rafael Minkkinen, and Shirin Neshat, and the winner will be announced next month. The second show, running through December 18, is an installation that changes with each city it travels to. Question Bridge: Black Males examines aspects of AfricanAmerican life today, using video to survey 160 men from nine American cities. In a year marked by violent and painful racial divisions, this exhibition seems particularly important and relevant. ABMB

top:

Clare Benson, Still, 2014. above: Question Bridge: Black Males, 2012.

PHOTOGRAPHY COURTESY OF THE ARTIST (BENSON); COURTESY OF QUESTION BRIDGE: BLACK MALES AND JACK SHAINMAN GALLERY, NEW YORK (QUESTION BRIDGE)

IN ITS 75TH ANNIVERSARY YEAR, the Norton Museum of Art is also in a state of transition. The landmark institution recently began a major renovation that will expand its gallery and education spaces and create a vast new outdoor area, featuring a sculpture garden (complete with local tropical vegetation) and a 9,000-square-foot lawn for gatherings. “The new version [of the museum] will be very welcoming,” says James Hall, the Norton’s deputy director. “We have two goals here: art and audience. So not only will we have great new spaces for art; we’ll have great new spaces for visitors. We believe that the

Bayrle on Board Miami’s Institute of Contemporary Art is bringing down the curtain on its temporary home with a major retrospective of the German artist Thomas Bayrle. by Phoebe Hoban

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PHOTOGRAPHY BY WOLFGANG GÜNZEL. OPPOSITE PAGE: WOLFGANG GÜNZEL

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THE INSTITUTE OF CONTEMPORARY ART, MIAMI (ICA) is bringing down the curtain with a bang for its second and final year in its temporary home in the Design District’s Moore Building. For its last show at that venue, the museum will devote its entire exhibition space, including its four-story atrium, to the work of a single artist, Thomas Bayrle. While the Berlin-born, Frankfurtbased Bayrle is celebrated in Europe, his work has received limited attention in the United States. This will be the 79-year-old artist’s first major survey in an American museum, and in addition to a themed installation of work on the second floor, the show will feature a site-specific piece newly created for ICA’s atrium. Fascinated by urban infrastructures and humanity’s modes of interaction within a cosmopolis, Bayrle’s meticulously detailed, recursive pieces deal with contemporary issues, ranging from technology to terrorism, as exemplified by his focus on Carlos the Jackal, considered to be the world’s first terrorist. Bayrle says his art is influenced by the year he spent working at a German weaving mill when he was just 18, learning miniaturescale precision, programmed into machines, and developing a “predigital mind-set.” The show will include 150 works spanning 50 years of the artist’s oeuvre, from his vision of highways to his landscapes and buildings, and from early handmade pieces to his minutely repetitive later work, which presages digital imagery and often depicts technology and machines morphing into human figures. His sculptural piece for the atrium, according to Alex Gartenfeld, ICA’s deputy director and chief curator, who cocurated the show with ICA colleague Stephanie Seidel, will be a “monumental line drawing in space of the Madonna and child,” another repeated motif in Bayrle’s work. “A show like this is crucial to our mission of presenting artists of merit who have yet to be honored with major shows in the United States,”

Thomas Bayrle, Madonna Mercedes, 1989. opposite page: Thomas Bayrle, Stalin (red variation), 1970.

explains Gartenfeld. “And the fact that we are treating the artist in such historical depth reflects our ambition in both our temporary space and the ambition we will have moving forward, into our new building.” ICA’s director, Ellen Salpeter, adds, “Bayrle is the perfect example of the kind of shows we want to exhibit and do best, providing an under-recognized artist with a platform. And it is really exciting to have commissioned a site-specific sculpture that is Bayrle’s largest

sculpture to date.” ICA will open its brand-new space, privately funded by the Miami collectors Irma and Norman Braman, in late 2017, timed for the next iteration of Art Basel in Miami Beach. Located centrally in the burgeoning Design District, the space includes a 15,000-square-foot sculpture garden. “The new building allows us to implement our mission across more space, both indoors and outdoors, presenting important

local and global—‘glocal’—artists,” says Salpeter. “It has three floors, which will enable us to expand and to show work that is postwar and contemporary, as well as both longterm installations and site-specific commissions.” As the excitement builds, Irma Braman, cochair of the museum’s board of trustees, adds, “ICA’s new home will be a vital and enduring cultural resource that fosters appreciation for the work of the most innovative artists of our time.” ABMB

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The Sultan of Pain In a world full of war, refugees, and political uncertainty, the Lowe Art Museum mounts an exhibition reconsidering Donald Sultan’s large-scale paintings exploring catastrophe, tragedy, and the fragility of our existence. by Laura Van Straaten that cause a painful apprehension before being pushed to the periphery of consciousness the minute something else happens. Writ large (most are eight feet square) are fires and explosions, vehicle accidents, genocides, industrial poisoning, and all manner of man-made and naturally occurring mayhem. “The frame of mind when I was working on them was like an Action Painting: I would make the sounds of fires or explosives right while I was drawing it,” Sultan says, his soft voice belying his hulking physicality. “And then I would be part of the destruction of the imagery.” The works—semifigurative, semiabstracted—are made of Sultan’s signature industrial materials, like tar and Masonite tiles. “I think Donald Sultan is probably

more known for his still lifes, but a lot of us feel like the Disaster series is the strongest series,” says Alison Hearst, who organized the exhibit on behalf of the Modern Art Museum of Fort Worth, where the show will travel next (February 19–April 23) and where Hearst is the assistant curator. “These paintings were created during the AIDS crisis, the Cold War, when the economy was plummeting and during the height of global fear.” Given the pop-up terrorism of late around the world plus the rising gun violence in America, “It seemed like a timely moment to reconsider this series,” she says, adding that the paintings showcase Sultan’s longtime “examination of the push and pull between abstraction and representation.” The works on view come from

private collections as well as the Metropolitan Museum of Art, the Hirshhorn, Boston’s Museum of Fine Arts, the Cleveland Museum of Art, the Dallas Museum of Art, and several of the institutions hosting the exhibit’s tour over the next two years. On December 4, Lowe Director Jill Deupi will conduct a public conversation with Sultan about his long career. And if you can’t squeeze that in this Art Basel week or catch the exhibition when it moves from Texas to the Smithsonian American Art Museum in Washington, DC (May 26–September 4), followed by the North Carolina Museum of Art next autumn and the Sheldon Museum of Art in Lincoln, Nebraska, there’s always the accompanying monograph from Prestel. ABMB

Donald K. Sultan, Polish Landscape II Jan 5 1990, 1990.

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PHOTOGRAPHY BY © DONALD SULTAN; PARRISH ART MUSEUM, WATER MILL, NEW YORK

IF THE SUNNINESS OF MIAMI during Art Basel in Miami Beach is getting to you, take a walk on the dark side with artist Donald Sultan’s “The Disaster Paintings.” The works are currently being shown together for the first time in a national tour, whose first stop is the University of Miami’s Lowe Art Museum in Coral Gables, now through December 23. “I don’t think people know these paintings as a body of work, so I decided that I wanted it to be seen that way,” explained Sultan, the American painter, sculptor, and print-maker, in an interview at his Tribeca studio in New York City. The 11 paintings—from the series of nearly 70 created between 1984 and 1990—depict, in a gloomy palette, daily disasters of modern life

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Dutch Masters WHILE YOU’RE WALKING through South Beach this week, one exhibition will be impossible to miss, even before you head inside the institution that has put it together. As part of its “Modern Dutch Design” show, the Wolfsonian-FIU has commissioned artist Christie van der Haak to cover part of the museum’s iconic exterior in her colorful, pattern-driven designs. “It will be very eye-catching from the street,” says Silvia Barisione, who curated the exhibition, which opened last month. “We wanted to do something connected to the show but that was, in a way, more contemporary.” While the exhibition inside includes Dutch art—spanning 1890 through 1940--the work of that period has been so influential on modern art, both fine and applied, that it actually feels very current. Among the 200 pieces included are posters and furniture as well as paintings, covering movements like Nieuwe Kunst, the Amsterdam School, and De Stijl. The Wolfsonian also has a second show on view that seems especially relevant in an era where so many people are focused on spirituality and mindfulness. Titled “The Pursuit of Abstraction,” the exhibition compiles nearly 80 objects from the museum’s permanent collection that examine

all types of spiritual awareness. “It is very potent today, at a time when searching for meaning is really at the core of what it is to be human,” says the show’s curator, Matthew Abess. “When that search has been so commercialized and monetized, perhaps we ought to return to these efforts, the slow, grinding, difficult efforts to try and articulate, or at least carry out the questioning, about who we are and what this world is.” A highlight of the exhibition is a theater curtain covered on both sides with expressionist designs by Ernst Ludwig Kirchner. “He’s known for his fine art, but he actually created a small number of theater curtains when he moved from Germany to Switzerland,” Abess explains. “In 1920, he created a theater curtain for a play called Schnüffeli the Tailor and His First Stroke of Genius; in 1931, he was asked to make another curtain, and he just decided to overpaint the original. The initial image bled through the back.” In the Wolfsonian show, the curtain is hung in the center of one of the museum’s galleries, so both sides can be viewed. And as always during Art Basel in Miami Beach, the Wolfsonian draws people in for more than just art; it is hosting its annual Friday-night party again this year, a high point of this busy week. ABMB

left:

Song book, Red Song Book, 1932. right, from top: Rebel Song Book, 1935; You Might Like Socialism: A Way of Life for Modern Man, 1939; all from “The Politics of –Isms” exhibition.

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PHOTOGRAPHY COURTESY OF THE WOLFSONIAN-FIU, THE MITCHELL WOLFSON, JR. COLLECTION, 87.955.2.1 (REBEL SONG BOOK); THE WOLFSONIAN-FIU, THE CHRISTOPHER DENOON COLLECTION FOR THE STUDY OF NEW DEAL CULTURE, XC2010.09.7.140 (YOU MIGHT LIKE SOCIALISM); THE WOLFSONIAN–FIU, THE MITCHELL WOLFSON, JR. COLLECTION, 87.953.2.1 (SONG BOOK, RED SONG BOOK)

The Wolfsonian-FIU examines art from the Netherlands and spirituality in two new shows. by Rachel Felder

ÂŠ2017 Wood-Mode, Inc.

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At Pérez Art Museum Miami, visionary Argentinean artist Julio Le Parc makes his solo US debut at the age of 88, with work that spans a lifetime. by Betsy F. Perry

IT’S HARD TO BELIEVE that 88-yearold Argentinean artist Julio Le Parc is only now making his solo debut in the United States, with a sweeping retrospective currently at Pérez Art Museum in Miami. He and distinguished guest curator Estrellita Brodsky have worked closely together to select more than 100 works illustrating Le Parc’s utopian vision. “If visitors can experience and enjoy the exhibit, perhaps even feel more energetic and optimistic, they might then proceed in a different way, in a different aspect of their lives,” Brodsky says. Driven by his utopian ethos, she adds, “Le Parc has continued to regard art as a social laboratory, able to playfully engage viewers in new ways, and his radical stance has only gained relevance over the past six decades.” Le Parc’s theories of immediacy and spectatorship as a vehicle for social and political change are a running theme throughout the show. Although not an overtly political artist, in 1958 he moved from Argentina to Paris, a city more open to the left-leaning, and became a central figure in the artist collective known as GRAV—Groupe de Recherche d’Art Visuel. His innovations in the fields of light, movement, and perception were central to the Op and Kinetic art movements, and he was a key figure in bringing

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Sirmans. “It is fitting that this immersive exhibition takes place in a museum architecturally designed to blur the distinction between inside and out.” With multiple exhibitions of Latin American art to her credit—as well as a commitment, both academically and philanthropically, to those artists—Brodsky calls Le Parc “an example of a Latin American artist extremely well known in Europe, overlooked in the United States, and finally finding deserved visibility in a perfect place.” She adds, “The PAMM is changing the perspective on Latin American artists, and Art Basel in Miami Beach is making Latin American artists more accessible and more equal.” ABMB right:

Julio Le Parc, Martha Le Parc with Lunettes pour une vision autre (Glasses for Another Vision), 1965. below: Julio Le Parc, La Longue Marché, Étape n° 10 (The Long March, Step n° 10), 1974.

PHOTOGRAPHY © JULIO LE PARC / ATELIER LE PARC

Debutant

art to the streets, believing that art was not just for the elite. Representing Argentina at the 1966 Venice Biennale, Le Parc won the Grand International Prize for painting, but he was then expelled from Paris for a year following his participation in the May 1968 uprising and union rallies in the city. With the goal of showing art that’s very much alive and ever-changing, the exhibit, titled “Form into Action” and on view through March 19, 2017, is divided into three thematic sections: “From Surface to Object,” featuring early works emphasizing the destabilization of color and form; “Displacement; Contortions; Reliefs,” with Le Parc’s revolutionary labyrinthine installations and interactive spaces; and “Play & Politics of Participation,” in which barriers separating the art, the viewer, and even the institution are dissolved. “Julio Le Parc’s participatory works aim to activate and engage the viewer within the environment,” says PAMM Director Franklin

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Crazy for Kiefer NSU Art Museum launches a pioneering series of shows examining how artists responded to the rebuilding of Europe in the postwar years. by Mark Ellwood

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text into his work as well. He visited sites in Germany associated with the Nordic mythology that Hitler had co-opted, photographing himself there to spotlight that uneasy mythmaking— another kinship with CoBrA, which also explored the power of Nordic myth (the movement’s Danish outpost even worked under the collective name Helhesten, a word meaning “hell horse” and a nod to the mythology’s tradition of an equine Grim Reaper). The Kiefer show draws from the holdings of collectors Christine and Andrew Hall, who have been close associates of Clearwater for many years. The Halls also collaborated on the long-term Kiefer exhibit that opened at Mass MoCA in 2013. It was a visit there that inspired South Florida collector Martin Margulies to install his own permanent Kiefer exhibition at the warehouse that houses his collection in Miami’s Wynwood neighborhood. NSU is presenting two other singleartist shows this winter. The first, “Francesco Clemente: Dormiveglia,” also explores the art of postwar Europe, through nine large-scale canvases and other works by the Italian Neo-Expressionist artist. The second showcases the Buster Keaton-like video art of London-based Malawian

artist Samson Kambalu, which Clearwater first encountered at an artfair booth of Kambalu’s South African gallery. “It shows the importance of art fairs,” she notes. Next year, the Regeneration Series returns with a landmark retrospective on the artist Frank Stella, whom Clearwater has known for nearly 20 years. Titled “Research and Development,” the show is named for the curio table that Stella keeps in his studio, filled with objects that intrigue him. The artist told Clearwater that he

developed an interest in the CoBrA movement when he was a high school student at Phillips Academy in Andover, Massachusetts. “You see,” she says, “CoBrA is the missing link to having a more comprehensive understanding of what really did happen in the postwar period. That’s the narrative we’re working on at the museum.” ABMB above: Anselm Kiefer, Die Schechina, 2010. left: Anselm Kiefer, Die Etsch, n.d.

PHOTOGRAPHY COURTESY OF HALL ART FOUNDATION, PHOTOGRAPHY BY CHARLES DUPRAT, © ANSELM KIEFER

THREE YEARS AGO, when Bonnie Clearwater as appointed the director and chief curator of Nova Southeastern University (NSU) Art Museum Fort Lauderdale, she arrived with a mission. “I was determined to define the museum’s identity through its own collections,” says Clearwater, who led North Miami’s Museum of Contemporary Art for 16 years. “And one of the biggest is of the avant-garde postwar group CoBrA.” A lesser-known artistic movement of the late 1940s and early 1950s (named for Copenhagen, Brussels, and Amsterdam, the three cities where its practitioners were most active), CoBrA restlessly examined the mood of Europe in the aftermath of World War II, using art, as Clearwater explains, to explore fundamental questions like “how to deal with the collective guilt, the trauma, the rupture in their connection with the world and with art history.” This often-overlooked group has become the lodestar for a revitalized NSU under Clearwater—so much so that she recently launched an exhibition series that’s inspired by the museum’s CoBrA holdings. Called the Regeneration Series, it will examine the rebuilding of Europe, both culturally and economically, in the postwar years. The first show, titled “Anselm Kiefer from the Hall Collection,” on view through August 27, 2017, features approximately 50 works by the German artist, born in the last months of the war. Like his fellow German artists Gerhard Richter and Georg Baselitz, Kiefer rejected the abstraction that emerged, especially in mainland Europe, in the wake of the war and its attempt to detach from fascist art’s focus on the perfection of the human body; instead, he rebelliously reintroduced figurative elements. The CoBrA movement included poets and other writers, and Kiefer wove

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AGAINST THE LUSH backdrop of the Fairchild Tropical Botanic Garden, an exhibition of photography—culled from the substantial art collection of Miami-based real estate developer Martin Z. Margulies—explores earth’s landscapes in all their diversity, as seen through the lenses of some of the world’s most talented photographers. Developed under the leadership of Bruce Greer, president of Fairchild’s board of trustees, and curated by Katherine Hinds, the Margulies Collection’s curator since 1982, the exhibition features 32 works of landscape photography shot in 10 countries by 16 artists. And with growing interest in the impact of global climate change, these evocative images are sure to elicit profound reactions from the international visitors to Art Basel in Miami Beach. Recognized as one of the world’s

most important botanical gardens for its preservation of plant diversity by studying and conserving tropical flora, Fairchild participates in the fair each year by collaborating with artists and institutions on exhibitions that highlight shared ideas and values. This year, says Hinds, the exhibit was inspired by Fairchild’s own audience: “Knowing that everyone from scientists and environmentalists to students and tourists would be drawn to the exhibition by their interest in botany, our thinking was to give them a symmetrical experience that seamlessly overlapped with the beautiful grounds of the garden.” While many of the images—such as Wout Berger’s Costa Rica Horses, which captures a serene and intimate moment in the Central American countryside—echo the beauty of the botanical garden, others, like Sean Hemmerle’s Minefield,

Domingo Milella, Uchisar, 2007.

Jalalabad, Afghanistan (one of two of his works in the exhibition) stand out in glaring and painful contrast. “Hemmerle shows us pictures of Afghanistan, devoid of humans but polluted with the wounds of conflict left behind, leaving unclear the nationality of those responsible,” says Hinds. Like Hemmerle, several of the exhibit’s artists are internationally known, including John Szarkowski, the legendary photography curator at New York’s Museum of Modern Art, who is credited with shaping today’s understanding of photography as an art form; Tim Hetherington, the war photographer and filmmaker who lost his life covering the conflict in Libya

just before the country’s former leader Muammar el-Qaddafi was apprehended and killed; and Clifford Ross, who took “a portrait of America” with such astonishing detail, says Hinds, that scientists at NASA, IBM, and MIT sought his expertise and counsel. “Clifford Ross built his own camera after becoming frustrated with commercial equipment,” Hinds notes. “With his own camera, he found the ability to capture details in mountains miles away equal to the details in the foreground meadow.” Other artists showcased in the exhibition, such as Berger and Anastasia Khoroshilova, are less established but equally gifted in expressing the compelling power of the world’s disparate landscapes. Open to the public, the exhibition is on view in the Arts Center, next to Fairchild’s entrance, through March 26, 2017. ABMB

Lay of the Land From the vast collection of Martin Z. Margulies, the Fairchild Tropical Botanic Garden has gathered an evocative assortment of photography that captures the world’s diverse and changing landscape.

PHOTOGRAPHY BY COLLECTION MARTIN Z. MARGULIES

by Jean Nayar

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COLLECTING

PHOTOGRAPHY COURTESY OF THE RUBELL FAMILY COLLECTION, MIAMI

Anxious Optimism Not known for sitting on their laurels, Mera and Don Rubell celebrate the week by opening two thoughtful new exhibitions, and unveiling plans to build an Annabelle Seldorf-designed collection space. by Tanya Selvaratnam

THE MOST BRUTAL presidential election in US history, the arrival of the Zika virus in Miami, and hurricanes hammering the Caribbean were dominating the news as the Rubell Family Collection finalized the details this past October for its new exhibition “High Anxiety: New Acquisitions from the Rubell Family Collection.” Occupying 20 galleries on the Collection’s second floor and

opening to the public on Thursday, December 1, it highlights themes of uncertainty, insecurity, stress, pessimism, and nervousness. “Artists help us deal brilliantly with the issues that are so present in our lives,” says Mera Rubell of the timely exhibit. The featured artists include Mathis Altmann, Frank Benson, Aaron Fowler, Cy Gavin, Karl Holmqvist, Anne Imhof, Calvin Marcus, John

above: Paulo Nazareth, Untitled from the For Sale series, 2011. top: Marina Rheingantz, Revoada, 2015; both are part of the Brazilian show at the Rubell Family Collection.

Miller, Katja Novitskova, Magali Reus, Bunny Rogers, Max Hooper Schneider, Ryan Trecartin, Andra Ursuta, John Waters, and Stewart Uoo. “The Collection has an incredible history supporting artists and artworks that have had a lasting impact on me,” notes Uoo of his inclusion in the show. “I’m thrilled they have an exhibition platform where my work can continue this vital dialogue with the public.” In conjunction with “High Anxiety,” the ground floor will be occupied by works from 12 contemporary Brazilian artists: Lucas Arruda, Thiago Martins de Melo, Sonia Gomes, André Komatsu, Daniel Steegmann Mangrané, Paulo Nazareth, Maria Nepomuceno, Solange Pessoa, Paulo Nimer Pjota, Marina Rheingantz, Eli Sudbrack, and Erika Verzutti. Whenever the Rubells travel, their objective is to

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COLLECTING

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is also an affinity with the animistic, with the bounds of human form and objects blurred. Gavin recently visited Bermuda’s government archives seeking information about his greatgrandparents; though no photographs of either are known, the details gleaned from their vital documents informed two paintings where the artist has invented their faces. Gavin treated the residency as a continuation of an interdisciplinary practice in New York—he would start a painting, let it rest, repurpose it as a backdrop for a video, and return to it weeks later to finish it. In fact, the piece he started first, which is based on a summer exploration of a former plantation in South Carolina’s Sea Islands, was the last to be finished. It will be on view with two other paintings in “High Anxiety.” The show runs through July 2017. ABMB

“As we unpacked the art coming from Brazil, we just couldn’t wait to show them.” –mera

rubell

Isa Genzken, Schauspieler, 2013, from the “High Anxiety” show.

PHOTOGRAPHY COURTESY OF THE RUBELL FAMILY COLLECTION, MIAMI

seek out and learn about the contemporary art in a particular country, and on many recent visits to Brazil, they encountered a vibrant community of artists, collectors, and curators who are all very engaged with the global scene and passionate about American art. Doing a Brazilian exhibition was a last-minute decision because the Rubells were intending the idea for a later date. But, as Mera explains, “As we unpacked the art coming from Brazil, we just couldn’t wait to show them.” As with their previous exhibitions “30 Americans” and “28 Chinese,” the Rubells want to be clear that “12 Brazilians” does not represent the culmination of their collecting but rather “a moment they wanted to share.” Despite high anxiety on their minds, the collecting couple have their sights set on the future. Plans are underway to move their museum to a much larger venue a few miles from the current location in Wynwood. During Art Basel in Miami Beach, the Collection will display a 3-D model of architect Annabelle Selldorf’s design, with opportunity for comments from the public. Juan Roselione-Valadez, the director of the Collection, says, “The new museum will allow us to concurrently present four thematic exhibitions which will highlight historical works from the Collection as well as the foundation’s most recent acquisitions. We will also be able to greatly expand our education and research initiatives as well as our studio residency program.” Even before construction has begun, the Rubells have opened the abandoned space to painter Cy Gavin. Gavin spent the summer onsite, creating a suite of paintings, videos, and a large-scale sculpture. The artist, whose father was Bermudian, envisions the North Atlantic island as a lens by which the African diaspora and his own experience as a black American come into focus. Bermuda, a longtime British colony, held a peculiar role as a way station for slave-bearing ships between Africa and the Americas. In paintings that address lost family histories, there

COLLECTING

Toy Story IN “LA MORALE DU JOUJOU” (also known as “A Philosophy of Toys”), French philosopher and art critic Charles Baudelaire wrote, “I have… retained a lasting affection and a reasoned admiration for that strange statuary art which, with its lustrous neatness, its blinding flashes of color, its violence in gesture and decision of contour, represents so well childhood’s ideas about beauty.” The 1853 essay uses children’s desire for toys as a novel means of examining our adult relationship to art and the morality of possession, especially with regard to the dazzling objects we collect. It may have been written more than 160 years ago, but its message couldn’t be more apt today. Which is why it’s no coincidence that the Cisneros Fontanals Art

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Foundation, inspired by Baudelaire’s essay, has chosen to exhibit a collection of works that tackle “contemporary issues of art, culture, politics, and economics” during this year’s Art Basel in Miami Beach. Titled “Toda Percepción es una Interpretación: YOU ARE PART OF IT,” on view from November 30 through March 12, 2017, the exhibition ranges from the second half of the 19th century to the postwar era and aims to “see how this relationship with the objects could change, not only for the artists themselves, but also for those who are relating to them, especially institutions,” explains cocurator Eugenio Valdés Figueroa. The director and chief curator of CIFO, Figueroa (along with curator Katrin Steffen) has

gathered works from a group of primarily Latin American artists, such as Arturo Cuenca, Iran do Espírito Santo, León Ferrari, and Liliana Porter, whose statements helped inform the title of the show. But it’s not just our personal relationship to art that the curators are examining; the shift in art’s major centers of production and commerce, such as modern art’s migration from Paris to New York and the Museum of Modern Art’s landmark 1965 exhibition “The Responsive Eye,” is also under consideration.

Liliana Porter, Wrinkle Environment Installation I, 1969, as seen that year at the Museum of Fine Arts in Caracas, Venezuela.

“We are concerned with the notion of art itself during this long historical scope,” says Figueroa, “and that we are still in that moment of transition.” A highlight of the show will be Porter’s re-creation of a site-specific work from 1969 titled Wrinkle, which she originally created during her time with the New York Graphic Workshop, a pioneering conceptual experiment in the late ’60s by three Latin American artists. “I think today in the art world it’s extremely important to make a comment about the efforts of the art market,” Figueroa asserts. “Art Basel is one capital of the art market, so with that in mind [this exhibition] is an invitation to stop and appreciate art… for those sensible souls who still believe in poetry.” ABMB

PHOTOGRAPHY COURTESY OF THE ARTIST

At CIFO, philanthropist Ella Fontanals-Cisneros’s art foundation, an ambitious exhibit investigates the motivations behind why we collect. by Michael B. Dougherty

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COLLECTING

Alternate Universes A diverse group of artists push boundaries of perception with contrarian, immersive, and evocative works at Locust Projects.

WITH ANYONE WHO sees Miami as an “art world mecca for wealthy tourists,” the Huffer Collective begs to differ. It also aims to annihilate the notion with a group installation at the Locust Projects space in the Design District this month. The Miami-based artistic trio—individually known as Swampdog, Jason Handelsman (aka The President), and David Anasagasti (aka Ahol Sniffs Glue)—have crafted a monumental pyramid here as part of a collective exhibition called “Save Your Selves,” which exposes dimensions of the Magic City that contrast

sharply with stereotypical views, and stem from their own experience as Miami natives. “We are three friends making collaborative work that’s intended to provoke,” the artists say in a joint email. “From our office at Taco Bell on 36th and Biscayne, we’re plotting Miami’s first monumental pyramid. The threesided structure will display personal treasures, objects that we’ve been collecting daily, and documentation of our past projects. We’re not part of any scene. We exist to be creative and make stuff.” At the same time, four other rooms of Locust Projects’ not-forprofit 5,000-square-foot exhibition space will showcase a video/performance opera entitled The Comet and the Glacier by Pittsburg-based artist Alexis Gideon, who explores the idea of perception from a completely different vantage point with an amalgam of videos, paintings on left: Huffer Collective, Save Your Selves, 2016. above, clockwise from bottom left: Stills from Alexis Gideon’s The Comet and the Glacier, 2016: Scared Unprepared; Self Portrait; Many Nights; Three Moons; Gideon performing at a dress rehearsal of The Comet and the Glacier.

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glass, clay reliefs, animation, music, and vocals linked by a dreamlike narrative cowritten by Gideon and writer Jacob Rubin. “Part of the work is about a sense of displacement, but it’s also about memory as a creative act and a form of personal mythology,” says Gideon, who trained as a composer and performer at Wesleyan University under the mentorship of jazz legend Anthony Braxton. Relying on music as the backbone of his work, the artist explains, “Music as an art form shapes the way I build a narrative. It affects how I work with other art forms, using ideas of consonance and dissonance, mood, lighting, color, and shading to elicit emotions and drama in a dreamscape that’s not always linear.” This most recent video opera from Gideon merges memories of his childhood with medieval ideas of astronomy found in 15th- and 16thcentury illustrated manuscripts, such as Hartmann Schedel’s Chronicle of the World 1493 (Nuremberg), The Book of Miracles (1550, Augsburg), and Johann Jakob Wick’s Die Wickiana (1571, Küsnacht-Zurich), in a multifaceted fantasy performance

that blurs the lines between past and present, memories and imagination, and views from inside and out. Having presented smaller-scale video operas at institutions like the Museum of Contemporary Art, Chicago, the New Museum in New York, the Yerba Buena Center for the Arts in San Francisco, the Centro de Arte Contemporáneo de Málaga in Spain, and Moderna Museet in Stockholm, Sweden, Gideon is poised for “a breakthrough moment,” says Locust Projects Executive Director Chana Budgazad Sheldon. She adds that the 18-yearold Locust Projects was originally created by three Miami-based artists to promote the work of other artists without the pressures of gallery sales or limitations of conventional exhibition spaces. “It was founded by artists for artists with very ambitious ideas,” she says, “and Gideon’s immersive installation is a perfect example of how the artists we work with push new boundaries with their work.” Both shows, along with an updated and extended exhibition of works of found objects by Brooklyn-based artist Katie Bell, run from November 19 through January 21, 2017. ABMB

IMAGES COURTESY OF THE ARTISTS; PHOTOGRAPHY BY GRETCHEN NEIDERT (GIDEON PERFORMING)

by Jean Nayar

COLLECTING

Cruz Control With their new exhibition, “Progressive Praxis,” Rosa and Carlos de la Cruz explore contemporary culture through the lens of preceding art movements and create a thoughtful dialogue between past and present.

“INTELLECTUAL” IS A WORD that seems to follow Rosa and Carlos de la Cruz—especially in the city of Miami, where the Cuban-born collectors have established an institution of record, rigor, and respect. Called “the Miami Model” in The New York Times and continually ranked high among private museums by the publications and listings that cover these things, the de la Cruz Collection “veers very much to the contemporary culture,” says Rosa de la Cruz. “The works we select are from artists that mirror contemporary culture while opening the conversation about possibilities.” She is speaking of the collection as a whole, but also of the museum’s next undertaking, an exhibition titled “Progressive Praxis,” which examines new styles of art practice and includes over 45 of the most recognizable names from the 1980s on, such as Felix Gonzalez-Torres, Glenn Ligon, Tauba Auerbach, and Martin Kippenberger.

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The exhibition traces the new modes of technology—not just digital gadgets and computer screens, which, as the show’s curatorial thesis explains, are “no longer a game-changer for artists, as there are no traditional boundaries between verbal and visual.” “If you trace from the beginning until the end, we have accepted new techniques as a new way to view artists,” says de la Cruz. The boundaryexploring show reflects the de la Cruz Collection’s overall mission. “We want to fuel contemporary culture with our exhibitions,” she continues. “It’s about action. It’s not historical; it’s always about today. An exhibition has to have a purpose. No doubt it’s better the purpose have an educational [aspect].” In line with their vision, the couple have made their collection, located in the Design District, into an artscape that encompasses a freestanding museum and educational programs (including scholarships and workshops). “Both things are parallel; both are 100 percent,” she emphatically says. “We are dedicated to exhibitions, a museum, and education—all things go together.” De la Cruz lights up when talking about the public educational programs the collection promotes across Miami. “In our space, we welcome everybody! You don’t have to be VIP to come here,” she offers. Indeed, admission is free and open to the public on a regular schedule. The collection also keeps its multi-artist contemporary surveys, centered on a new formal boundary or process technique, on a full-year cycle tuned to Art Basel in Miami Beach. “Any city would love to have Art Basel. We are lucky to have it,” says de la Cruz, but also admits the fair is the highest point on the city’s arts calendar. “The rest of the year, we have to try to keep

up awareness. The children who come here, they say they’ve never left Miami. [But they’re] the future of Miami.” Contemporary art is, in the de la Cruzes’ minds, that “action” she was speaking of—one that expands modes of thinking, challenges what people encounter, and is a path to fulfillment. “Art is really my life,” she exclaims. “I come to the collection every day, even when I’m sick. If I don’t come, there’s something missing in my life. That’s what art is for: to be shown!” ABMB

above: Tauba Auerbach, Grain: Maille Stroke I (For L), 2015. left: Isa Genzken, Nefertiti Sculpture, 2015, both at the de la Cruz Collection.

PHOTOGRAPHY COURTESY OF THE DE LA CRUZ COLLECTION

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The Big Year Jannis Kounellis, Untitled, 1993.

SOMETIMES IT’S THE ONE that got away (or two in this case) that leads to a greater, unexpected passion. In the mid-1980s, Martin Z. Margulies spotted a couple of paintings he liked by Jannis Kounellis at Sonnabend Gallery, where the Greek artist had his first solo show in the US, only to learn they had already sold. Thus began an indepth search for the perfect work, which turned out to be a large-scale painting from 1983. “Right away I was drawn to its powerful visual presence and gritty, raw materials—iron plates, burlap, plaster, dirt, coal,” says Margulies, who this week exhibits seven major, large-scale Kounellis paintings at the Margulies Collection at the Warehouse in Miami; the pieces, dating from his initial acquisition to 2012, are on view through April 29, 2017. “He was the first Arte Povera artist I collected, and today, the

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collection has many fellow Arte Povera artists such as [Giovanni] Anselmo and [Michelangelo] Pistoletto. It’s widely recognized as a seminal postwar European movement now.” Kounellis, an octogenarian, is certainly having a banner year. In addition to shows in Miami, London (White Cube), Paris (Monnaie de Paris, Galerie Karsten Greve), and Rome (Gavin Brown’s enterprise), his presence extends to off-the-beatenpath places like the Negev Museum of Art in Israel and the Wifredo Lam Center of Contemporary Art in Havana. But Kounellis feels particularly strongly about his Margulies exhibit. “It’s an epic moment for me,” the artist says. “Not since my Chicago retrospective in 1986 has such an important show [of my work] been presented in America.” The Warehouse context is especially fitting given that Arte

Povera has its roots in industrial spaces when ’60s radicals revolted against conspicuous consumption fueled by Ferraris and other Italian luxury exports. Bill Katz designed the addition constructed for the exhibit, which includes four new paintings that have never been shown in the US. A 16-by-16-foot painting made of salvaged railroad ties alone weighs three tons. Many works whose rectangular iron plates resemble traditional painting are fitted with shelves that organize and present unorthodox materials such as used furniture, musical instruments, and copper kitchenware. Kounellis produced the show’s 10-foot-long painting with tightly stacked burlap bags after visiting a bombed library during an artist residency in war-torn Sarajevo, Bosnia and Herzegovina, as part of the capital’s rebuilding efforts. “Historical associations are

important to him,” offers Katherine Hinds, the longtime curator at the Margulies Collection. “He views himself primarily as a painter but aims to blur art and life.” Also on view is an expansion of the collection’s permanent exhibit, which opened last year. Anselm Kiefer’s massive installation Steigend Steigend Sinke Nieder will premiere in a 1,500-square-foot, custom-built room. The artist scavenged its asphalt, earth, and concrete rubble from the demolition of the historic Rue des Archives in Paris. An 800-pound sculpture from Mark Manders’s first solo show at Tanya Bonakdar Gallery in 2015 and Florian Baudrexel’s large wall relief of cardboard are among 10 new works as well. Permanent installations focus on masterworks by nearly 20 artists such as Willem de Kooning, Donald Judd, and Olafur Eliasson. ABMB

PHOTOGRAPHY COURTESY OF COLLECTION MARTIN Z. MARGULIES

by Rebecca Klineman

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From Oz to Basel Curator Rachel Kent of the Museum of Contemporary Art Australia lends her expert eye to the Scholl Collection. by Sari Anne Tuschman

132 Art Basel | Miami Beach 2016

In addition to welcoming some 20,000 people into their home to view the exhibition over the years, the Scholls also lend pieces from their collection, particularly their recent Australian acquisitions, to museum exhibitions. This year’s show— “Marking the Infinite,” featuring the creations of nine Aboriginal women— is currently visiting six museums across the country. According to Dennis, the work of female Australian Aboriginal artists is markedly different—more free—than that of their male counterparts, partly because these women didn’t begin to make art until the late ’80s or early ’90s. When they started to paint, “they had already been touched by globalism and the rest of the world,” he says. “What they’re trying to do is convey their culture to the rest of the world because they’re worried about preserving it.” Seven of the nine women featured in the show are alive and working and have created pieces specifically for this exhibit. While much of the Scholls’ collecting focus has shifted to Aboriginal art, they have not ignored the young cutting-edge contemporary artists whose work has always interested them. Dennis mentions Samuel Levi Jones and Cy Gavin as two they are particularly excited about at the moment. “It’s interesting to see the work of indigenous Australian artists in conversation with works by artists from other parts of the world,” says Kent about curating the Scholl Collection. “I focused on all aspects of their collection. Paintings and sculptural objects are presented together, and I hope some important dialogues come out of the process— between individual works of art, but also between the people viewing them.” ABMB

“What [the artists are] trying to do is convey their culture to the rest of the world because they’re worried about preserving it.” –dennis

scholl

Gulumbu Yunupingu, Ganyu (Stars), 2004.

PHOTOGRAPHY COURTESY OF SCHOLL COLLECTION, MIAMI

IT WAS RACHEL KENT, chief curator of the Museum of Contemporary Art Australia, who introduced Miami-based collectors Dennis and Debra Scholl to Australian Aboriginal painting several years ago. “I was interested in Aboriginal art but hadn’t seen enough of it,” says Dennis, who has since amassed one of the largest collections of the work in America. “Rachel sent me to the basement of the Art Gallery of New South Wales, the biggest fine-arts museum in Sydney, and there was this incredible art literally jumping off the walls—so big, bold, and amazing. She was the one who first showed us what extraordinary Aboriginal Australian contemporary art looks like.” Since that revelatory experience, Dennis has ventured far and wide in Australia—from cities to remote indigenous communities—getting to know not only the artwork but the people who create it. “I felt like I wasn’t really going to understand the work as a collector unless I saw how and where it was made,” he explains. To spend time with these artists, with whom he communicates through an interpreter, he must travel some 30 hours each way from his home in Miami. Many of the Scholls’ works of Australian Aboriginal art—as well as other pieces from their vast collection of international contemporary art— will be on display during Art Basel in Miami Beach when they again open their home to viewings. For each of the last 16 years, the Scholls have chosen a different well-known curator to lend his or her trained eye to their massive collection. Each curator hangs a unique show—without any input from the couple—which the Scholls then live with for a year. This winter the Scholls have come full circle by offering the curatorial assignment to Rachel Kent.

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THE NEW CITY OF UTOPIAN EXPERIMENTATION Even with its tech elite and cool California lifestyle, San Francisco has never seemed like a contemporary art center… until now? Carol Kino went west to see if the rumors about the City by the Bay as the new art capital are true.

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Although the San Francisco Bay Area is enjoying a major economic boom, the truism is that many of its wealthiest denizens—Silicon Valley’s plutocrats, just an hour south—aren’t too interested in art. At the same time, soaring real estate values make it increasingly tough for San Francisco’s galleries to stay afloat, while gentrification has pushed many artists from their homes and studios, forcing them to flee to Los Angeles. But this past May, something changed. The San Francisco Museum of Modern Art reopened with a handsome new 10-story addition designed by the Norwegian architectural firm Snøhetta, which transformed the 1995

Mario Botta building into America’s largest institute of modern and contemporary art. Despite the talk of doom and gloom, the Bay Area became a hot new art destination overnight. In fact, SFMoMA was but one of many local projects that came online at about the same time. Last January, after many years of planning, the Berkeley Art Museum and Pacific Film Archive finally reopened in a 1939 printing plant sleekly revamped into a museum by the architects Diller Scofidio + Renfro. That month also brought the opening of 500 Capp Street, a historic house in San Francisco’s Mission District dedicated to the life and work of the artist David Ireland. March saw

PHOTOGRAPHY BY KATHERINE DU TIEL, COURTESY OF SAN FRANCISCO MUSEUM OF MODERN ART, THE DORIS AND DONALD FISHER COLLECTION AT THE SAN FRANCISCO MUSEUM OF MODERN ART, AND PROMISED GIFT OF HELEN AND CHARLES SCHWAB; © ELLSWORTH KELLY. OPPOSITE PAGE: © 2016 CONNER FAMILY TRUST, SAN FRANCISCO

Ellsworth Kelly, Spectrum I, 1953. opposite page: A still from Bruce Conner’s Breakaway, 1966, at SFMoMA.

SAN FRANCISCO MUSEUM OF MODERN ART

When the museum reopened on May 14, it revealed plenty of new bequests, as well as 260 pieces on longterm loan from the collection of Gap founders Donald and Doris Fisher, rich in work by artists such as Gerhard Richter, Ellsworth Kelly, Agnes Martin, and Alexander Calder. SFMoMA’s plans for the coming year include

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the reinstallation of the seventh-floor contemporary galleries, opening December 10 with work by Runa Islam, Emily Jacir, and William Kentridge, among many others, on view through April 16, 2017. An as-yet-unnamed curator of contemporary art will join the museum early next year, and a long-awaited painting commission from Julie Mehretu will be unveiled in the fall. From March 16 to 19, 2017, in the culmination of its first Performance in Progress series, SFMoMA will debut three commissioned projects developed in its galleries over the past three months, by Jacolby Satterwhite of New York, Desirée Holman of Oakland, and Naomi Rincón Gallardo, who is Mexican and currently lives in Vienna. While the artists’ backgrounds differ, all blend live action and video, and all use the tropes of fantasy and science fiction to suggest an idealistic future. Rather than focusing on some “big global generic,” says performance-art curator Frank Smigiel, “we definitely want the show to respond to this area’s people and history. And we’re such a city of utopian experimentation.” Another initiative is Contemporaries, led by trustee Katie Paige (whose father, Charles Schwab, is the museum’s longtime board chairman) and art advisor Sabrina Buell of Zlot Buell + Associates. Launched in September, Contemporaries has been visiting local institutions and hosting artist events in collectors’ homes. While the underlying aim is to reach new audiences that the museum hasn’t successfully connected with yet, Paige’s real goal, she says, “is to create a conversation and convene a group of people who are passionate about contemporary art.” THE 500 CAPP STREET FOUNDATION/ DAVID IRELAND HOUSE

500 Capp Street’s start came in 2008, when collector and SFMoMA trustee Carlie Wilmans heard that conceptual artist David Ireland was being forced to sell his home, a Victorian built in 1886, to pay an unexpected tax bill. Ireland, a guru of the Bay Area art scene, was intimately engaged with the structure: Since buying it in 1975, he’d made sculptures with wood, paint, and dirt scraped from its walls, floors, and cellar; even the building itself, embedded with installations, was a work of art. “It was one of the most extraordinary pieces I’d ever seen,” Wilmans says. “I had to do something to prevent this from being lost.” So she snapped it up for $895,000, just before it hit the market. Wilmans soon transferred the house to a foundation, whose first trustees were Jock Reynolds, director of the Yale University Art Gallery, and Ann Hatch, founder of the visual arts residency Capp Street Project. A lengthy restoration took place before the house was finally opened to the public, installed as it had been when Ireland—who died in 2009—lived there. Its exhibitions are cocurated by Mexican curator and artist Diego Villalobos and Ireland’s onetime studio assistant Bob Linder; they’ll launch a residency program for local artists next year. Their current show, “The Echo,” debuts a major gift from collectors Randi and Bob

Fisher. Called Delection (1980), it’s a freestanding sculpture made from a cracked windowpane that Ireland removed and reinstalled in a copper frame; he blocked up the window, replacing the view with a recording of his voice describing it. “David is very much the inspiration for everything we’re doing,” says Wilmans, now the foundation’s executive director, “so we design our installations and our residency program with his ethos in mind. Our mission is to carry on his legacy and elevate his profile as an artist.” MINNESOTA STREET PROJECT

Andy and Deborah Rappaport, longtime Bay Area collectors, got the idea for the Minnesota Street Project two years ago, after Andy’s retirement as a venture capitalist, when many tech companies moved into the city and galleries the couple frequented began losing their leases to rising rents. Since the project’s opening, several galleries have relocated there, including the Rena Bransten Gallery and the Anglim Gilbert Gallery, and its 35 artist studios are full. There are also four flexible spaces that can accommodate pop-up shows by visiting galleries, like New York’s Demisch Danant, and special events, such as a talk about the history of the robot art collective Survival Research Laboratories and the San Francisco Art Book Fair, which debuted to popular acclaim last July. Minnesota Street also mounts its own exhibitions, organized by an in-house curatorial team, including last summer’s show of Saudi Arabian art and the current digital art exhibition organized by New York’s bitforms. Curiously, Minnesota Street is not a nonprofit. It’s supported by an adjoining market-rate art storage and shipping facility, run by Deborah, which offers nearly 85,000 cubic feet of fully conditioned, museumstandard storage space (the temperature is maintained at 68 to 72 degrees Fahrenheit and the humidity at +/- 50 percent for optimum long-term conservation), viewing rooms, and a proprietary software management system, with digital art storage coming soon. And of course, this being San Francisco, there will also soon be a great restaurant. Daniel Patterson, the cerebral chef behind the double-Michelin-starred Coi, will open his newest creation there in February, Alta Café and Bar. “Our whole concept is to do something that is very particular to San Francisco right now,” says Andy, “to honor the history of visual arts here, without trying to emulate things in New York or Los Angeles or elsewhere.” BERKELEY ART MUSEUM AND PACIFIC FILM ARCHIVE

It’s hard to believe the museum’s new home was once UC Berkeley’s World War II-era printing plant: Rebuilt and expanded by Diller Scofidio + Renfro, its austere Deco-style structure is now partly clad in a swathe of stainless steel, with massive galleries, sawtooth skylights, two theaters, and an exterior LED screen that became an outdoor cinema for all three

OPPOSITE PAGE: PHOTOGRAPHY COURTESY OF THE ARTIST AND ALTMAN SIEGEL, SAN FRANCISCO (EBNER); STEVEN KAYFETZ, COURTESY OF 500 CAPP STREET FOUNDATION (IRELAND); BEN BLACKWELL (SAFE)

the launch of Minnesota Street Project, a sprawling compound nearby, in slightly grittier Dogpatch. Created by the collectors and entrepreneurs Andy and Deborah Rappaport, it offers low-cost studio and exhibition space to artists and gallerists who are being priced out of the area. And the appointment of vaunted German museum executive Max Hollein as director of the Fine Arts Museums of San Francisco, a position that had lain vacant since the death of the previous director, John Buchanan, in 2011, suggested that reinvigoration might soon be on the way for the De Young Museum and the Legion of Honor. New York dealers seem to be flocking to the Bay Area, too, likely drawn by the promise of tech money. In April, Larry Gagosian opened the latest branch of his gallery across from SFMoMA. New York’s Anton Kern Gallery and Andrew Kreps Gallery unveiled a temporary joint pop-up in Minnesota Street Project last spring. And on the San Francisco Peninsula, near Silicon Valley’s heart, Pace launched its second local outpost, in downtown Palo Alto. Meanwhile, its first, now called Pace Art + Technology and located in the old Tesla showroom in Menlo Park, is presenting a David Byrne installation at a neighboring site. Pace’s galleries dovetail neatly with Stanford University’s reinvigorated arts program and expanded Arts Campus, whose crown jewel is the Anderson Collection, dedicated to the holdings of the modern and contemporary collectors Harry W. and Mary Margaret Anderson, which opened in September 2014. “San Francisco is a boom and bust city,” explains Claudia Altman-Siegel, whose eight-year-old Altman Siegel gallery recently relocated from Union Square to Minnesota Street Project, more than doubling its size to over 5,000 square feet. “Right now we’re in a boom.” (The gallery was accepted into the Arts Dealers Association of America earlier this year, and is also appearing for the first time in the main Galleries section of Art Basel Miami Beach.) Yet some longtime dealers say they’ve never seen a boom like this before. “It’s a new era,” says John Berggruen, who recently moved his Berggruen Gallery from its Grant Avenue home of 45 years; having had a monthlong October show at Minnesota Street, he plans to reopen across the street from SFMoMA in early 2017. His wife, Gretchen Berggruen, agrees. “It’s a very creative time in general in the Bay Area,” she says, “and I think that has a great trickle-down effect.” Or, as Deborah Rappaport puts it, “It’s not just that everything opened at once; it’s that everything opened at once in an environment that was right for it...”

teamLab, Crystal Universe (installation view), 2015, at Pace Art + Technology; David Ireland, The Safe Gets Away for the Second Time November 5, 1975; Ireland working on his house, circa 1976; Shannon Ebner, Will and Be Going To, 2016, at Altman Siegel.

clockwise from top left:

presidential debates. “We presented them to audiences of about a thousand people every night,” director Lawrence Rinder says proudly. “It was a real fulfillment of our dream to become a cultural town square.” Indoors, Rinder says, “We conceived of this as our inaugural year.” Since the opening show, “Architecture of Life,” a 2,000-year design survey, the museum has opened several exhibitions intended to showcase its encyclopedic permanent collection, including “Push and Pull: Hans Hofmann” with signature works by the Abstract Expressionist, who

provided the museum’s founding gift in 1963, and “Summer Trees Casting Shade”—more than 50 works from the 12th to 19th centuries from its excellent Chinese paintings collection. “Mind Over Matter,” through December 23, includes performance photography, mail art, video, and ephemera by Fluxus artists, Ant Farm, and more, once owned by the late San Francisco dealer and collector Steven Leiber, whose conceptual art collection and library the museum acquired in 2014. BAMPFA is now embracing non-collection shows like Ana Mendieta’s “Covered in Time and

History,” the first survey of the Cuban-born artist’s gallery-based films, through February 12, and a new painting installation by Kenya’s Michael Armitage, opening December 14. On February 8, it opens “Hippie Modernism: The Struggle for Utopia,” which examines the impact of the 1960s–’70s counterculture on design. Organized by the Walker Art Center and BAMPFA, it appears here expanded with Northern California work, to illuminate “the connections between the counterculture and Silicon Valley,” Rinder promises. “It will be a revelation.” ABMB

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MIAMI GROWS UP

Sarah Morris, Sans Souci, hand-painted porcelain tile on wall, northeast exterior walls, City of Miami Beach Art in Public Places. 140 Art Basel | Miami Beach 2016

OPPOSITE PAGE: COURTESY OF OCEANA BAL HARBOUR (KOONS); IVAN BELAUSTEGUI, COURTESY OF FAENA (EXTERIOR)

the mention of Miami immediately conjures the long aisles of the city’s convention center packed to the brim with blueANYONE chip art and long nights spent somewhere along Collins IN THE ART Avenue. But in the past 15 years, the city has become a vibrant and truly world-class hub of contemporary art all 52 WORLD, weeks of the year. “Miami is in many ways a city of the new,” says ICA Miami Deputy Director and Chief Curator Alex Gartenfeld, a year out from the opening of the institution’s permanent home in the Design District. This fascination with the new and the urban redevelopment of the city as a whole has brought about increased interest in the arts, but in equal measure “the arts have been key in making Miami a place of international fascination,” says Gartenfeld, who leads the museum along with Director Ellen Salpeter. “People have been investing in infrastructure, really thinking not just about one splashy exclamation point in the city but instead about creating multiple, vibrant neighborhoods.” Crisscross Miami from north to south, east to west this December and you won’t have a hard time seeing that work come to fruition. Out in Coconut Grove, Mark Dion has redesigned the home-turned-botanical garden of renowned botanist David Fairchild known as The Kampong. Fairchild was the first to bring over 200,000 exotic plants to the US, conducting many of his most significant experiments at The Kampong. Dion has endeavored to restore the facility to resemble, as closely as possible, its heyday in the early 20th century as a living laboratory, shooting viewers into the past.

Meanwhile, in Miami Beach, the city’s cultural affairs manager, Brandi Reddick, is in the midst of transforming the site around the convention center— with the help of six artists and a $7 million budget. Among the installations chosen to be displayed in the plaza surrounding the venue, Elmgreen & Dragset will create Bent Pool, reminiscent of their summer Public Art Fund installation Van Gogh’s Ear at Rockefeller Center; Sarah Morris will create a monumental porcelain tile wall painting, Sans Souci, along the center’s north and east wall; and Joep van Lieshout will install Humanoids, a series of globular forms on which visitors can sit along the Collins Canal. This major public art initiative combines with the forthcoming reopening of The Bass museum after 22 months of renovations, in 2017, to put greater year-round emphasis on contemporary art in this portion of Miami most frequented by visitors. In addition, David Castillo Gallery moved to Miami Beach last year (and returns to Art Basel in Miami Beach’s Nova sector this year). “It’s been a while since there have been contemporary art galleries on Miami Beach,” says Castillo, citing the fact that, while the city’s institutions have more recently spread out across the Miami map, “the galleries have always been scattered.” It has spurred Castillo to reach beyond his program, where he’s helped launch the careers of up-and-coming local artists like Jillian Mayer. “Beyond being a commercial space, I want to help foster a sense of community here,” says the dealer. The city’s developers have also taken notice of Miami’s fervent appetite for contemporary art. Up in Bal Harbour, the Oceana will debut an impressive art

collection during Art Basel in Miami Beach. Residents—and passersby on Collins Avenue—will be greeted by two sculptures by Jeff Koons, Seated Ballerina and Pluto and Proserpina, which were included in the artist’s recent touring retrospective at the Whitney Museum and Paris’s Centre Pompidou. Works by Taryn Simon, Callum Innes, and Juan Usle, among others, make up the balance of the building’s art collection—all of which is collectively owned by the building’s residents. For another take on Miami’s integration of art and life, look toward the newly opened Ritz-Carlton Residences, which sport a first in luxury-residence amenities: an art studio open to all building denizens. It’s still the early days of Miami’s cultural development, to be sure. But the city’s embrace of art as a means for growth is impressive—so much so that it’s led Art Basel itself to launch an additional arm of its business, Art Basel Cities, to help other metropoles replicate this marriage of culture and urban reinvigoration. To build out Mid-Beach, Alan Faena and Len Blavatnik recognized early that a world-class cultural center was essential and created the Faena Forum in the heart of their development. When the city sought to redevelop downtown, they devised Museum Park, bringing the community-focused Pérez Art Museum Miami to face AmericanAirlines Arena. “We are growing with Miami, right in the middle of this urban and architectural conversation,” says Franklin Sirmans, PAMM’s director. The ICA’s Salpeter adds, “The community is hungry for more, so we have the opportunity to create a society of visual-arts institutions where everybody gets to play together,” to collaborate on defining what culture looks like in Miami going forward. ABMB

“The arts have been key in making Miami a place of international fascination.” —alex gartenfeld

from left: Jeff Koons, Pluto and Proserpina at Oceana Bal Harbour; Faena Forum.

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CONVERSATIONS

MICHAEL GOVAN: The Los Angeles County

Museum of Art is the largest art museum in the western United States. It’s also one of the youngest—we’ve just celebrated our 50th anniversary. And the exciting thing for me, having been here for 10 years, has been the charge, 50 years into the life of the museum, to reimagine it for this new century. Museums and their visitors have changed so much in the last century, and I really believe that we are in a unique position to respond to the needs of a 21st-century audience. I’m interested, Elaine, in your thinking about this “western United States” perspective. We’re the last, we’re the youngest, and we’re the least developed, but maybe there are some advantages to that. ELAINE WYNN: Although Las Vegas is my home, Los Angeles is also a place I reside because of my children and grandchildren. I have a wonderful history here, with dear friends and fond memories at UCLA. LA has always been a beacon of attraction for me, and recently I’ve become more and more enamored of this city. A new generation of artists are capturing that distinctive energy and quality of light that inﬂuenced an earlier generation of artists from LA, and they’re doing it in this modern and interdisciplinary way, the way we are living our lives today. We’re no longer compartmentalizing our lives, focusing only on education or sports or medicine; we’re thinking about how all these things interact with one another. LACMA embraces that attitude, and that’s what makes it so of the moment. We also have a great opportunity to take advantage of a growing sensitivity and interest in environmental and ecological concerns as we work with the county toward our future. MG: It’s interesting you say that. People sometimes forget that LACMA is a hybrid of public and private support. I love working with LA County. You’ve been cochair of LACMA’s board of trustees for some time now, and in that capacity you’ve met with county supervisors and worked closely with the governor in Nevada. It puts us in an interesting position to be supported equally through the public and the government on the one hand and through private individuals on the other. EW: It’s a truly inclusive, healthy partnership. That’s especially what appeals to me… and that’s what helps us serve the general public at large, as well as people who might have strong aesthetic opinions about art and the role that it plays in their lives. MG: You’ve been talking about being interdisciplinary, multicultural, and this idea of an encyclopedic museum, which a few decades ago was considered an old and rather dusty idea. We’ve tried to reimagine a museum of many cultures in a metropolis of many cultures. We’ve imagined a museum that has no boundaries, a museum that

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MICHAEL GOVA GOVAN AND & ELAINE WYNN ON THE HEELS OF HER LEGENDARY GIFT TO THE LOS ANGELES COUNTY MUSEUM OF ART, ELAINE WYNN, THE COCHAIR OF THE BOARD OF TRUSTEES, AND MICHAEL GOVAN, DIRECTOR OF LACMA, DISCUSS THE WESTERN PERSPECTIVE, SHATTERING BOUNDARIES, AND HOW CHILDREN TODAY RESPOND TO ART. is just as friendly to movies as it is to tapestries as it is to paintings, sculpture, design, or architecture. You’re right: Somehow the world we live in today has fewer boundaries. Part of what we’re doing together is creating a centerpiece for that interdisciplinary, multicultural experience. EW: Thanks to technology, traditional boundaries have been removed for so much of what we’re exposed to today. I think LACMA is taking great advantage of that. Yes, we’ll have a physical new building, but that doesn’t begin to represent the multiplicity of experiences we can offer that extend far beyond the walls of the building. MG: We’ve talked about accessibility, and LACMA has certainly become more accessible if you consider that our attendance has more than doubled. We’ve built a public plaza, there’s music outside, and Chris Burden’s Urban Light at the entrance to the museum is open 24/7. But we’ve also talked about the intimacy of personal connection with a work of art. I know it came up with the

election of Peter Zumthor as the architect who can bridge that accessibility—glass, openness—with his ability to create intimate space for an encounter with an artwork using light and shadow. EW: I was most curious to understand Peter’s work, and you were kind enough to take me on a thrilling trip through Europe to examine the buildings he’s designed! It was completely overwhelming. I was so impressed by the timelessness of his structures. They were sublime, but also very respectful of the art and how to best showcase it. His buildings didn’t scream,“Look at me, I’m an architect!” They were quietly positioned to show off everything that was inside. It was almost a religious experience. MG: I remember you were with your granddaughter, and I was especially interested in her responses. Previously, I had felt that Zumthor’s architecture appealed to the most sophisticated, experienced art-goers who had seen a lot of museums, but your granddaughter had this great enthusiasm that I hadn’t expected. EW: We tend to underestimate kids’ sensitivity, but they are finely tuned to aesthetics today, I think, because of technology. I was pleasantly surprised that she was so responsive to these environments. She was able to grasp the works in each building and really react to the experience. MG: You’ve lived in Las Vegas, you’re on the board of the Kennedy Center in Washington, you have an apartment in New York City, and I know you’ve been involved in a lot of cultural institutions. But this is your first experience with philanthropy in Los Angeles. A lot of people give us a hard time here for being less advanced, less generous. I chalk it up to us being younger, but we’ve never talked about how you feel about the Los Angeles community in that way, and how that compares to your experience in other cities. EW: Authenticity is at the basis of all philanthropy. People tend to support the things that tug on their heartstrings. That’s a serious consideration when we’re getting deeply involved in trying to understand what our legacy is, if we’re privileged enough to be in the position to leave one. For me, I’ve never doubted that I would like to make a mark on an institution on the West Coast that reflects my life’s experiences. In my case, I’ve gotten to observe LA from a limited distance— I’m close enough to get the splash, but to also go in and out—so my perspective is a little different. I’m watching LA experience this burst of creative energy. So much of life is about luck, timing, and leadership. Institutions survive because of the quality of their leadership, and LACMA has benefited from the right people coming forward at the right moment, selecting leaders, like you, who can articulate their ideas so people like me can

reminded that we have a tremendous amount of land and experiences completely opposite of that. Seeing what Michael did out there allowed me to take a deep breath and say, “Yes, this is the Western experience; this is the rugged individualism that speaks as much about Nevada and the West as slot machines do!” It was a homecoming in a sense. It is so monumental and makes you look at the surroundings and the serenity of the sky. It makes you consider the basic elements of nature, which is a language and an art all of its own. MG: You were one of the first to help when we embarked on our maybe-crazy-but-maybe-not-inretrospect effort to move Heizer’s 340-ton rock to LACMA. It has become a hugely successful public sculpture and has had that effect of bringing the desert to the center of Los Angeles. EW: I loved that you were able to make a documentary that recorded some of the public reactions to this big object being moved through city streets to the museum. It created such an extraordinary outpouring of reactions, which is exactly what art should do. People look at it, and they’re not always sure what it is. Some people were dismissive, some

were euphoric. It brought tears to my eyes to see how people responded to a big rock. MG: And they still do every day! It’s amazing to be on campus and watch people have that sense of awe and wonder, to watch kids get out of school buses and see it for the first time. I start almost every day coming out of the parking lot, looking at the morning sun on the eastern face of the rock and the deep shadows in the negative space underneath it. It inspires me every day. Perhaps one of the greatest moments of my time in the art world was when we were together in the Oval Office of the White House. You had been so helpful working with Senator Harry Reid from Nevada and Michael Heizer, resulting in President Obama signing into law the protection of City as an artwork and a national monument. I think it’s one of the first examples of American government really taking action to protect an artwork made in America. EW: That was a singular moment for all of us, and especially for Michael. He’s such a proud and quiet and unusual artist, but I think he was elevated by that gesture. ABMB

PHOTOGRAPHY BY STEFANIE KEENAN/GETTY IMAGES FOR LACMA (GOVAN)

become the cheerleaders. MG: I think you and I really met over discussions about the artist Michael Heizer. One of my greatest pleasures was visiting his City project in Nevada with you, and your remarking on the breadth and beauty of the Nevada landscape. I remember that you said, when we drove into that valley, “This is the real Nevada. This is the Nevada I love.” We should talk about the experience of that singular artist, who has developed his art in the West, not only the Levitated Mass sculpture here, but also his City project in Nevada. You are well-known for artworks that one acquires as objects and puts on walls, but I sensed equal enthusiasm for this work of art that defies categorization in that sense. It’s not saleable or auctionable. EW: Right, you can’t roll it up and restretch it and put it on the wall. Well, I had known about Michael Heizer for just a brief period of time. Everybody longs for balance in life, and my experience in Nevada has been centered on exaggeration and bombast and neon. And yet when I had experiences in the other parts of the state, like at Lake Tahoe and particularly in the north, I’ve been

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CONVERSATIONS

CHRISTY MACLEAR IN CONVERSATION WITH GARY GARRELS, ACHIM BORCHARDT-HUME, AND & LEAH DICKERMAN CHRISTY MACLEAR, CEO OF THE ROBERT RAUSCHENBERG FOUNDATION, LEADS A DISCUSSION WITH CURATORS FROM THE THREE INSTITUTIONS— THE TATE MODERN, MOMA, AND SFMOMA—ABOUT THE MONUMENTAL AND VERY DISTINCT EXHIBITIONS THAT EACH MUSEUM IS PREPARING TO MOUNT. CHRISTY MACLEAR: Hello, everyone! So thrilled

to be talking to the three of you today so people can anticipate the shows over the next year and a half. I’d love for you each to start off describing the unique curatorial focus of the Rauschenberg show at your specific institution. We’ll start with Achim, then go to Leah and Gary. ACHIM BORCHARDT-HUME: In terms of making the Rauschenberg show at the Tate Modern, the single biggest ambition for us was to create a story that spanned the entire six decades of his career and to look at the threads that run through that story and connect different moments in his work. When I think about the exhibition, I think about the first room, which will be early work; it’s

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like a big bang of all the ideas to come. Thereafter, there is a focus on travel, on collaboration, on working with available material, on working across different media, on the full integration of live art and performance. What I think is truly particular to Rauschenberg is his embracing of duality; for instance, one moment there is a focus on image making, the next on abstraction. And also the real joy of making, the exuberance of making, which runs through the entire exhibition. CM: I love that… the real joy of making. Leah, what about MoMA? LEAH DICKERMAN: Although the presentation at each of the three venues will be distinct, it’s very much a collaborative enterprise in which we have a common foundation, a core checklist, and a collective platform for scholarship. At MoMA, we are emphasizing Rauschenberg’s extraordinarily collaborative way of working. Many artists work together in pairs for periods of intense time as creative duos: I’m thinking of Picasso and Braque or Sophie Taeuber and Jean (Hans) Arp. Nobody strings these productive relationships in a series the way that Rauschenberg does. That kind of collaboration allows him to integrate the principles and modes of practice of other media and disciplines into his work. At MoMA, we will create an open monograph so that when other artists come into Rauschenberg’s creative and productive life, they’ll come into the exhibition as well. It will maintain its

focus on the spine of Rauschenberg’s career, but about 20 percent of the works in the show will be by other practitioners. Of course, many of the works have multiple hands in them as well. A key example is Erased de Kooning Drawing, one of the most iconic works that Rauschenberg made and a work that’s in the collection of the San Francisco Museum of Modern Art. Most people have their Oedipal relationships at a distance, but Rauschenberg goes to de Kooning and knocks on his door and asks for a work to erase. De Kooning gives him a work, not just a scrap of paper but what we now know was a double woman drawing. Rauschenberg spends months erasing the drawing, telling the story before it even had a public exhibition. Then, two years later, when Jasper Johns was in his life, Johns persuades him to frame the work, does the framing for him, creates a little label at the bottom that says “Erased de Kooning Drawing 1953 by Robert Rauschenberg.” So by the time you’re done, there’s already three participants in the making of a work of art. We plan to emphasize that kind of collaborative and dialogical way of working. CM: Leah, that’s great… Collaboration is actually one of the cornerstones of how we’ve been focusing on Rauschenberg’s legacy. Gary, tell us about SFMoMA. GARY GARRELS: We are going to really focus on the work itself—what you’re seeing, what the experience is when you encounter the work. I would say those early works feel tentative, experimental… There’s a quietness to them, and we’re going to create one gallery almost like a chapel, which will have the Erased de Kooning in it, the White Painting, the Automobile Tire Print. It’s going to be very quiet and contemplative, I think, but a powerful and visual experience. Then we will proceed to the great Combines of the ’50s, which should just feel explosive and energetic—thus we have given it a large-scale room. Next there will be films introduced with some of the performance collaborations, you know, with Paul Taylor, Merce Cunningham, Trisha Brown. Here Rauschenberg played a significant role, so we capture this active animated presence throughout the exhibition. Then we pick up in the late ’60s, the collaborations with EAT [Experiments in Art and Technology]; each room will have a very distinct feeling to it. There will be a room just for Hiccups—a large-scale modular work with 97 zippered parts—and we’re going to put a little more emphasis on the very, very late work. With this later work, the last gallery just kind of explodes with creative energy. We see, even at the end, this intense, driven visual and intellectual energy. CM: It’s interesting that you’ll have EAT, because I know the founder of Snapchat used the Erased de

PHOTOGRAPHY BY NICHOLAS CALCOTT (MACLEAR); DANIEL LEAL-OLIVAS/AFP/GETTY IMAGES (BORCHARDT-HUME)

Kooning in his speech at the USC business school commencement. One might think Experiments in Art and Technology would be historically compelling to some of your San Francisco audience. Digging deep into this material, we all know that Rauschenberg is well-known for his Combines; I’m wondering what each of you discovered in this exploration that captivated you from other parts of his career. AB-H: I tend to think that most artists have a particular way of looking at the world that informs, quite early on, their “way of making.” With Rauschenberg, much of the historical attention was focused on the Combines. I was really curious to see where they actually came from and how they relate to the origins of Rauschenberg and also where the journey leads you. In recent years, individual exhibitions have been focused on some of the later bodies of work, like the Cardboards, or the Gluts, or the Jammers. They had such an extraordinary resonance among younger artists, or midcareer artists now, so it’s an interesting journey to consider how all these different parts hold together. That question is really the way we look at the exhibition itself. CM: Leah, what about you? How did you discover

Rauschenberg in a new way? LD: Well, one of the things that was interesting for me was coming to understand how he functioned as an interpreter of the modern art that came before him. In our field, in our art world, we tend to divide things up. There are modern curators and scholarship of modernism. Then there are contemporary curators, and they have different ways of working, different ways of thinking about things. Rauschenberg is somebody who thinks long and hard about the legacy of modernism, and he transforms it so that it offers a foundation for contemporary practice. That pivotal role was very interesting to me. He is exposed to the legacy of the Bauhaus in the time that he spends at Black Mountain, where Bauhaus faculty Josef and Anni Albers taught, and there learns strategies of collage-making. And then he uses those practices as a way of challenging the language of Abstract Expressionism that was so pervasive at the moment that he comes of age as a young artist in New York. He challenges the purity of the bold, painterly abstract canvases his Abstract Expressionist elders were making; he challenges ideas of painting as an analog for an existential state; he challenges even the idea that painting has a privileged place in the

world by asserting an equivalence between material and modes of working. And all of these things end up being of such a profound significance for contemporary art. Understanding how he plays that role was one of the things that was so exciting to understand when working on the show. CM: And Gary, what about you? GG: Well, I have to say right off the bat here that we’re not one of the organizing institutions. We have the very good fortune to be able to bring this exhibition to San Francisco after Tate, after MoMA. But I have to say, for me, the Combines and silk screens have a continuity through the career. There’s this extraordinary sense of openness and exuberance, a willingness to experiment. I mean, even when Rauschenberg is lauded, winning the Golden Lion in ’64, you know, he didn’t slow down. I would say he’s always looping, he was always going back and taking something and pulling it forward, but he was continuously open to going forward and just [had] this endless, endless curiosity and willingness to experiment, willingness to fail, all the way through his career. CM: That’s a great point. Whenever we have people at the foundation, what’s interesting to me is how young artists are inspired by his work,

left:

Christy MacLear, CEO of the Robert Rauschenberg Foundation. right: Achim Borchardt-Hume of Tate Modern.

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CONVERSATIONS

whether it’s his prescience for Experiments in Art and Technology or even his social activism in art or experiments with ROCI [Rauschenberg Overseas Culture Interchange]. I’m interested in how all of this pertains to the contemporary. Gary, which artists today do you feel have been influenced by Rauschenberg? GG: We’re doing our Bruce Conner retrospective here right now, and I continually think about Conner and Rauschenberg—both fiercely independent artists with many similarities. I would say Kevin Beasley—the way he deals with materials. Kevin uses color and unorthodox materials and blends performance and object-making seamlessly in a similar way to Rauschenberg. CM: And Leah, what do you think? LD: I think that one of the great pleasures of working on this show has been to have conversations with contemporary artists about how they read Rauschenberg and understand his legacy. These conversations have spanned artists like Sarah Sze, who showed a work in Venice last year—a hammocklike bed made of a suspended lattice of threads with pressed paint—which she related directly to Rauschenberg’s work entitled Bed. Or Glenn Ligon, who once spoke to me about the relationship of his black painting to Rauschenberg’s, and Rachel Harrison, who spoke about Rauschenberg and humor. I think that his legacy is extraordinary… I’m reminded of him every time I walk into a gallery and see a way of using stuff of this world—stuff that’s coming off the walls that is interdisciplinary in its attitude and performative in its implications. What you’re seeing are the possibilities that Rauschenberg opened. Artists are the ones who are most cognizant of that. CM: Yeah. I believe he’s an artist favorite. Achim, what do you think? AB-H: Well, I’m never quite so fond of this term “influencing” because it assumes a certain hierarchy. But I’m very fond of the idea of an artist giving license to other artists to be, to become, and to make, and I think Rauschenberg has given extraordinary license to very many artists, who worked alongside him or who came after, to not be held back by fear, to be open, to not be afraid of failure. I’ve never spoken to an artist whose eyes did not really light up when you mention Rauschenberg. The range of artists who talk about Rauschenberg is impressive, and many of them say how almost everything’s already there in Rauschenberg’s work to respond to. I think of an artist such as Song Dong in China, who remembers a very formative event seeing Rauschenberg during the ROCI tour... and his eyes being opened wide to the possibilities of what it can mean to be an artist and the value of making art in the world.

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CM: Yes. Interesting. That’s a great point about

GG: Well, I’ve been living for the last six months

opening up—something we heard when we exhibited The 1/4 Mile in Beijing this past summer. Rauschenberg was in China in the ’80s, when the country was quite closed to outside influences. Artists in Beijing came forward to say that visit, during that time, opened their eyes to new methods and ideas. A simple question for each of you: What is your favorite piece in your show? AB-H: It’s really difficult to pick a single one, but I think that one body of work that I am especially fond of is the Hoarfrosts. Here Rauschenberg transfers images and collages onto diaphanous silk and muslin, which harks back to his earlier work with the Dante drawings… the illustrations of The Divine Comedy and particularly the Inferno. I think when one sees the Hoarfrosts, the images are so fleeting and difficult to hold on to. They are informed by a sense of desire and the impossibility to fulfill a desire of ever getting to a particular point. These are works that are so sophisticated in terms of material, but above all, conjure up such an exquisite sense of beauty that I think is always very, very difficult to produce. I think to produce moments of true beauty is an extraordinary achievement, and so for me, those are truly extraordinary works. CM: Leah, what’s your favorite work in the upcoming show? LD: I also can’t choose, so I’ll just choose a favorite work for today. Today my favorite work is Oracle, which is coming from the Centre Georges Pompidou. It is a five-part large-scale sculptural work with radios and sound systems that was made when Rauschenberg began collaborating with the Swedish engineer Billy Klüver in the lead-up to founding Experiments in Art and Technology. Ambitions for that experiment were so great—to harness cutting-edge technology and engineering to the kinds of questions and the open possibilities of working that came with art-making. With Oracle, Rauschenberg chooses scraps from a junkyard, these hulking skeletal remains of the machine world, and he integrates the latest wireless transistor technology, something that was just being developed at that time. So it’s the combination of the cast-off, the obsolete machine world, with this cutting-edge world of technological possibility, the beginning of the digital world that we know today, brought together to make this scrappy, staticky breakdown communication system that is Oracle. That idea of a vision of the cusp of a future is so in character with Rauschenberg’s thinking, and it makes it such a great work. CM: Yeah, I love that work, too—but the sound has to be on to begin to grasp the now-vintage cutting edge of it. A history of the future. Gary, what will be yours?

with the Erased de Kooning since we reopened, and I have to say I try to go down and look at it almost every day in the gallery by myself… one of the privileges of being a curator in a museum. It is such a confounding work. We think of Rauschenberg in the photographic image, we think of Rauschenberg in popular media, Rauschenberg in color… the Erased de Kooning is none of those things. It is an incredibly private work; it is absolutely impossible to reproduce; it has an auratic presence. It is so against the tide of the kind of theory and understanding of art we have after Walter Benjamin. It insists on its presence, and its presence is there because of the absence, and it’s just an incredibly moving work. Because of its frailty—a delicate work on paper—after this retrospective we’ll probably put it in storage for several years. So it’s this incredibly powerful core, core work for Rauschenberg, although it’s not the kind of work we tend to think about in terms of what Rauschenberg did as an artist. CM: Yes, it’s sort of delicate and monumental at the same time. I’ll say I’m so excited to see Mud Muse, which I’ve never… GG: Can I jump in here? That’s my second, the work I’m most looking forward to seeing is Mud Muse. There was a show in Stockholm organized by Pontus Hultén in the early ’80s exhibiting Mud Muse, and I’ve been thinking about it ever since. I can’t get it out of my head, and I can’t wait to see that again. That’s the work I have the most anticipation and excitement about seeing. So glad you brought that up. CM: Oh, one of you describe it, because people won’t really get it until they see it. Describe what it is. LD: Well, it’s this makeshift environmental work, a mud bath with drillers mud inside it and little tubes that are technologically sound-activated that push air through the mud to create a burbling pool. They’re activated by a recording of street sounds that was then edited. It’s one of these things that’s coming out of Experiments in Art and Technology—this marriage of art-making and cutting-edge engineering developments—but at the same time it seems to be returning us back to the tar pits of a much earlier world. CM: I just love it. Well, as you know, the sound of Mud Muse burbling is the hold music for the foundation. So when we pick up the phone, people ask to go back on hold because they love the music so much. I think that’s so funny. In closing, I wanted to ask each of you what you’re left with. I’ve now been with the foundation for six years, and even in the last year I am still discovering Rauschenberg. I am struck by how his work mirrors much of what we see in today’s social movements, blurring

PHOTOGRAPHY BY ANDRIA LO (GARRELS); AMANDA KIRKPATRICK, COURTESY OF THE MUSEUM OF MODERN ART, NEW YORK (DICKERMAN)

across the lines of so many issues and definitions. Also, the importance of being global versus parochial—positions he took so early on which resonate today. I really understand his work better through those concepts. So, I just wanted to invite any last thoughts you have about him as an artist today. LD: I’m always struck by his radical egalitarianism. That there is a principle with Rauschenberg that nothing is excluded. No material is less valid for art-making, no image or subject matter is excluded from a body of work that he’s making. And that radical egalitarianism comes through in so many ways… I think it is a characteristic that you can trace throughout the body of his work over six decades. CM: Radical egalitarianism—boom. That is a new anthem. Achim, what about you? AB-H: What I find extraordinary is the sense of openness both in his mind and outlook as an artist, particularly for someone who came from a background which was quite narrow-minded and somewhat bigoted, to come to a position where you completely open yourself to the world and to new experiences. And above all, he continued to

do this… That’s an extraordinary thing to do as a human being—for anybody to actually throw all kinds of rules and regulations and ideas of “how it ought to be” to the wind and to open yourself to what is in front of you. So I think what always stands out for me is the total lack of fear, the boundless curiosity, and his total openness, not in a naive way, not naive at all, but not to be held back by any set of orthodoxies. CM: The way of living. Okay, Gary, bring it home… GG: Well, I had the good fortune to meet Bob a few times, spend a bit of time with him over the years, including visiting him in the studio in New York and having him here at the museum, and he always had this incredible kind of twinkle in his eye. He had this incredible alertness and openness and, again, insatiable curiosity… [He] was just so open and experimental, and that carries all the way through the work. And I think a sense of optimism. With Rauschenberg, there’s just this boundless openness, energy, excitement, optimism, and I think the infusion of that spirit into our lives right now is sorely needed. And I’m really looking

forward to, again, living with this exhibition for some months and hoping that I can feel and take away some of that energy as I go back out into the world and go deal with what I’m doing every day… that somehow I can also be inspired by that kind of outlook on life. CM: Ahhhhh… I have to say, every time I’m with all three of you, I learn something new, and especially when I talk about Rauschenberg, I think all sorts of doors open, so I hope the magazine’s readers appreciate that. I know I’m looking forward to the shows, and I want to thank you so very much for your time. GG: Thank you. It was great to have this conversation. The three of us have not had a chance to really sit and chat. I have to say that I have such deep admiration for Leah and Achim, and it’s been such a great honor and pleasure to be working with both of you, and I would love it if we could have another one or two of these conversations, and Christy, we hope you’ll join us. Will you invite us to lunch sometime? CM: I will, I will… We’ll have it in the chapel. ABMB

left: Gary Garrels of the San Francisco Museum of Modern Art. right: Leah Dickerman of the Museum of Modern Art.

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CONVERSATIONS

GABRIEL GABRIEL RITTER RITTER & AND AND ATSUKO TSUKO ATSUKO GA A NINAGA NINAGAWA NINAGAWA

GABRIEL RITTER: How did you first get started in the gallery business? Had you always been interested in contemporary art? Where does the gallery Take Ninagawa get its name? ATSUKO (NINA) NINAGAWA: My parents are political activists, and they taught me a lot about democracy and internationalism when I was young. After I learned about contemporary art, I felt in it an alternative possibility for achieving democracy and internationalism. Having studied art history and theory at university, I decided to build a place in Japan where we can create a dialogue between artists, curators, critics, collectors, and other people who are engaged in art and culture. That is how I became a gallerist. I started with a friend of mine, whose family name is Takezaki. We took the names from both sides, Takezaki and Ninagawa, to create the fictional name Take Ninagawa in order to give a unique identity to the gallery. After running Take Ninagawa together for about a year, Takezaki decided to focus on his career as an artist, and I have run the gallery on my own since then. GR: Your program is made up of almost exclusively Asian artists. Is this something organic that has come about through personal and professional relationships, or is it an intentional decision or strategy to define the gallery’s identity? AN: My primary interest in the gallery program is to create a dialogue between different generations, cultures, and ideas, whether domestic or international. I first started working with Japanese artists as I felt the need to develop Japan’s art-historical context. Later I invited international artists into the program to respond to the unique context of contemporary culture in Japan. The international artists I work with, like Danh Vo and Elias Hansen, appreciate ideas and values that reflect and respond to the situation in the local society, and they have a genuine interest in Japanese culture. It is really exciting to rethink Japan through their perspectives. They also provide the Japanese audience with different insights into international conversations about art, and a chance to rethink how art is defined internationally. GR: You represent a number of emerging Japanese artists, which I admire about your gallery program. However, I would imagine many of these artists are largely unknown outside of Japan. How do you go about introducing and contextualizing these artists for a non-Japanese audience? AN: There are connections among the practices of the gallery artists, which I try to make visible when I show them at fairs, such as Art Basel, where visitors have a great knowledge about art and can discover their own contexts for themselves. I do not necessarily try to make the Japanese art fit into the Western

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THE MINNEAPOLIS INSTITUTE OF ART’S CURATOR AND HEAD OF CONTEMPORARY ART GABRIEL RITTER SITS DOWN WITH TOKYO-BASED GALLERIST ATSUKO (NINA) NINAGAWA TO DISCUSS THE JAPANESE ART MARKET, GLOBALIZATION, AND THE QUIRKY INSTALLATION WORK OF TARO IZUMI. context. We have our own history which is connected to other cultures—not only that of the West but also those of other Asian countries. What I try to do is to create a space where works can dialogue with each other, and then viewers can find a place to fit the works into their own contexts. GR: What concerns, if any, are younger Japanese artists voicing to you in terms of their exposure abroad? AN: The younger Japanese artists that I work with are quite active abroad. Aki Sasamoto is currently having a solo exhibition at Sculpture Center in New York in addition to participating in this year’s Shanghai Biennale and Kochi Muziris Biennale; Taro Izumi, whose work is on view here this week, will have a solo show at Palais de Tokyo early next year. Whatever the context, there are always negotiations that have to take place, but I think this applies equally to artists from anywhere when they show overseas. GR: Postwar Japanese art remains quite a force historically, curatorially, and market-wise… You have made ventures into that area with the work of Yamazaki Tsuruko (an influential member of Gutai). Are you looking to work with more historical artists

going forward? Do you see postwar artists as being in direct conversation with the emerging and midcareer artists you represent? AN: I have admired the work of Tsuruko Yamazaki for a long time. I see connections between her work and that of Shinro Ohtake, who is 30 years younger than her, as well as with Aki Sasamoto, who is 60 years younger. They all believe in using improvisation and chance processes, and giving agency to the work itself. Their interests led me in turn to the work of Charlotte Posenenske, whom we started representing most recently. But I do not have any desire to specialize in historical artists—only where it makes sense for the overall program. GR: Where do you see Japan in relationship to the global contemporary art world in, say, 10 years? Will Japan remain a driving force, or do you see it being eclipsed by other players in Asia? AN: There is a long history of modern and postwar art in Japan, which is a legacy to build on, and although the Japanese economy has been “stagnant” over the past decades, it is still one of the world’s largest economies. However, with the rising influence of other Asian countries, I feel that Japan has to show more of a commitment to the regional dialogue. If this dialogue can stimulate the local art scene, then I think Japan can grow in tandem with the broader region. GR: Interesting. Continuing in the vein of operating on a global scale, you participate in a number of international art fairs in the US, Europe, and Asia. What are your feelings on the growing importance of the art fair circuit, and how does this figure into gallery sales? AN: Art fairs have taken an important role in the art market over the past decade as a platform not only for sales, but also exchanging ideas and information in an international context. People say that the Internet will change the structure of the art market, and compete with art fairs in the market, but I still believe art fairs are the best option for galleries. Quick and easy sales only help speculators, which destabilizes the market. It is also important to recognize that although they are associated with a globalized art market, each fair has its own locality, and this informs the identity of the fairs. Ultimately, I think of art fairs as the business partners of the galleries. GR: Does social media figure into your gallery’s international presence? AN: Social media is not so important to the gallery. We send out announcements on Facebook and Twitter, but that’s about it. Apps like FaceTime and WeChat are great for communicating with artists, curators, and collectors, and certainly make things more efficient. But I think it is still best to see works

for modern art were established in the 1950s, we have seen major changes in museum budgets and programming between the 1980s bubble-economy period and the crash that followed in the 1990s. I wonder if the Japanese art market would be more dynamic if museums still had bigger collection budgets. So more than massive amounts of money— which can disappear as easily as it is promised—a sustainable institution requires a broader cultural or social consensus that will support it through the ups and downs. GR: For Art Basel in Miami Beach this week, you are doing a solo presentation of the emerging Japanese video and installation artist Taro Izumi, whose work I personally love, but this seems like a bold move given his lack of exposure in the United States. What was your thinking behind this decision? AN: A few years ago, I introduced Taro Izumi’s work in a solo presentation at Art Basel in Hong Kong. I didn’t have such high expectations as Taro’s work was an installation with a combination of sculptures and videos, which is pretty challenging to sell anywhere, let alone a place where it’s never been shown before. But actually Taro’s works were very well received by local collectors and institutions from Hong Kong, the Philippines, and other Asian countries, who each found their own ways for connecting with the work. We sold

out the booth. So people do respond to artists when they can find their own contexts and ways to dialogue with them. And I think that is partly the risk and reward of doing a solo booth. You are totally committed to one artist, but it also creates a better environment for people to appreciate the work. Also, in 2017 Taro will have a number of international institutional solo exhibitions, so I wanted to give some introduction of his work to the local collectors and institutions in the US beforehand. GR: How do you position someone like Taro in a more global art context? AN: Coming from a place like Japan, the idea of the global art context versus the local art context can be problematic. If we try to show how the artist is rooted in a specific “Japanese” context, it can lead to cultural essentialism. If we try to show how the work is “international,” then people might say it is not unique. Of course it is possible to argue that Taro’s work builds on a tradition of performativity that goes back to Gutai and even earlier in the prewar avantgarde in Japan, or it is possible to discuss his work in terms of the influence of a Japanese pop culture, or his generational situation as an artist who came of age after the crash of the bubble economy. There are all these things which might reflect his Japanese nationality, and which can then help to position him in a global art context. ABMB

in person, and to meet face to face in order to build relationships. Sometimes it’s good not to be connected all the time. GR: How has the globalization of the art market changed your approach to collector relations? As [the sole owner and director] of a small yet quite successful gallery, how do you balance travel and outreach while still maintaining your base in Tokyo? AN: Japan has a highly developed art infrastructure with major museums and collections across the country, and these can function as another window onto international art. International artists, curators, and collectors are constantly passing through Tokyo, and it’s fun to take them out for good Japanese meals. In terms of traveling, I have to balance domestic travel, regional travel, and longer trips to the US and Europe. It is impossible to be everywhere, so I try to make every trip count. GR: Long term, what are your thoughts on public versus private art institutions and their effect on the art market? AN: It depends on which country and how they deal with their institutional collections. Looking at the broader Asian region in general, I think we need to be cautious with all institutions because they are often quite new or adapting to new roles, and can be affected by drastic policy and economic fluctuations. Even in Japan, where the first public museums

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CONVERSATIONS

BORIS HIRMAS: Your body of work

ENRIQUE MARTÍNEZ CELAYA & AND BORIS HIRMAS

presents several layers of interpretation as it happens in a rich art practice. Nevertheless, a recurring concern relates to how this work is perceived by the viewer. [Over the course of] our many conversations, you have stated the nature of it to be preeminently conceptual or, even more, emotional. How does the initial figurative approach, ever present in your work, prompt the viewer to reflect on a conceptual aspect and a deeper emotional one? ENRIQUE MARTÍNEZ CELAYA: I work to understand the world around me, who I am in it, and what art is, so I have concerns that really matter to me at stake in my project, which is different than those of my contemporaries. I don’t label what I do as conceptual or representational. I wouldn’t know how to do it without oversimplifying things. When something is at stake—especially when it is urgent, as it is in my case—the distinctions between ethics, concept, and emotion blur. The references to figures, landscapes, and objects bring forward elements or fragments of experience, their poetry, and their secrets, which are indispensable in the understanding I am after. The viewers that connect with these references recognize remnants of memories, dreams, and a life that can be their own. And the viewers that spend enough time with the work may also discover in it an inquiry into what art is and how it functions as well as the tension between representation and truth. They might also notice the environments or installations I create to negotiate the experience of art and the institutional framework in which art is often encountered. BH: How has this negotiation turned out with the counterparts, both your public and the institutional? On occasion, you probably have been surprised by how the work is perceived. I am curious to know how you imagine the viewer approaching your work influences the way you conceive the references and their signification, [and] even more important, how you wrestle with them? EMC: I think of audience not in terms of masses or numbers but as individuals with their own life and concerns. If someone makes a connection with the work, I feel less alone. Without that “someone,” my practice would drift and maybe become indulgent, so I am grateful to have received positive responses from the public and from institutions as well as from critics and writers, but there have been surprises in

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A COLLECTOR WITH A DEEP UNDERSTANDING AND APPRECIATION FOR LATIN AMERICAN ART, BORIS HIRMAS SITS DOWN WITH ONE OF HIS FAVORITE ARTISTS, ENRIQUE MARTINEZ CELAYA, TO DISCUSS THE THEMES OF POLITICAL AND PHYSICAL DISLOCATION AND THE INFLUENCE OF ONE’S MEMORY IN ARTWORK. the way the work is perceived. For instance, my work is sometimes reproached for being too cerebral and other times for being an emotional private narrative, readings that are simplistic and partly reactive to the mutability of the work and also probably to the false conflict between my Latin American heritage and my European and American references and influences. Being perceived as a moving target or a someone that doesn’t fit within the usual ways of talking about art sometimes leads to being labeled with the first thing that comes to people’s minds—figurative, emotional, narrative, philosophical. BH: In your work, the emotional and intellectual register is subject to constant change. To me, it closely relates to how the mind keeps a

collection of our memories by actively adjusting and confusing how we recall them. Would you say there is a relation between both processes? Do you consciously seek to thread personal memory through the artwork with intellect and emotion? EMC: The distinction between intellect and emotion is not obvious, and memory, hope, and dread often straddle whatever distinction I imagine there is. My memories are always around, but it is the negotiations with memory and the inventions we make to deal with the life memory constructs for us that influence my work. This influence takes different forms, and since I don’t feel obligated to any particular way of working, I go where I need or want to go. So two paintings might end up looking quite different from each other. BH: Has this taken you to an unknown neck of the woods? Has it been pleasant or painful at times? And do you feel it has changed you somehow? EMC: I spend a lot of time in those unknown places, but I wouldn’t want to be engaged with work I already know in order to avoid them. I keep going when I am deep in those woods— even when it is confusing or painful—because I hope there is a promise there somewhere, and every once in a while that promise materializes. And yes, these journeys have changed me. I am now more patient with failure and less trusting of manufactured art, and I am also more attentive to the distinction between something that looks hard but is easy and something that looks easy but isn’t. BH: Besides being an extremely successful artist, you are also a well-respected academic, nurtured by diverse backgrounds—not only are you an accomplished physicist, but a passionate reader of poetry and philosophy. I think people would be interested to know how you structure all this knowledge, which invariably is perceived in your work. EMC: I try to keep in mind that in relation to almost everything that really matters our knowledge is puny, so it is better to resist arrogance and pretension. A work of art whose intellectual claims are first and foremost is seldom good or lasting. The role of intelligence should be to get out of the way, and the aim of scholarship should be to understand things better, not to point to itself. What we know should serve to transcend the knowable, so we can reveal something deeper, more radiant. BH: You’ve lived in many places. When we

The dislocations brought on by exile are not only political or social; they are also—and often mostly—internal, and that is what I heard in their stories. The most difficult ruptures to speak about—and the ones that matter most to me—are the disquiet in the home and in the heart and the discomfort with identity that comes from lack of belonging. BH: How does this disquiet at home coexist with the safe haven your children mean to you? EMC: The children, unlike most things, are an absolute. Even when a situation at home or in the studio is complicated, I am clear about what they are to me, and that clarity has been a good guide. The work of an artist involves doubt, and a great deal of the time I don’t know what I am doing, so I am glad I can return to the children. They are always my shelter and often my motivation. BH: A few years ago at SITE Santa Fe, you had the splendid opportunity to execute a complex sculptural installation where you reflected on a

somewhat intangible experience, weeping for that which is immutable. How do you represent what could be considered by many to be an ethereal theme through the bluntness of sculpture? EMC: The challenge with the project at SITE— The Pearl—was to transform the 12,000-squarefoot exhibition space into a journey through the emotional and conceptual structure of the idea of home, with the imaginings, hopes, fabrications, and resentments the notion of home brings forth. The environment included sensors, recordings, videos, paintings, sculptures, and writings, but in the end the work was a poem—immaterial and elusive. It is a challenge to address tears without melancholia or cynicism. The physical matter-of-factness of sculptures helped with that. I also found the absurd effort of moving tears through pumps, hoses, and channels had the awkwardness and truth of a lump in the throat, and that lump made it more difficult to dismiss the tears as sentimental or to roll one’s eyes at them. ABMB

PHOTOGRAPHY BY ANA MARIA CALVET (HIRMAS); COURTESY OF THE ARTIST (CELAYA)

met in Miami some years ago, you sought to reconnect with your Cuban roots. I recall it was a strong experience for you, as it brought back not only memories, but also myriad emotions associated with them, especially the fragility born from dislocation. How do these take part in the work? EMC: When we met, I lived with my family in an old beach house on a barrier island an hour north of Miami, and I worked in Wynwood. Those years in Florida were good for me and for my work. I learned about things like the Florida Highwaymen painters and about weather and the Gulf Stream. I also learned how many experiences I shared with other Cubans in exile. For example, when I created The Tower of Snow for the Freedom Tower, I met many Cubans who came to this country as part of the Operation Pedro Pan exodus of children, which took place between 1960 and 1962, and I heard in their words and recognized in their pain many of my own feelings.

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CONVERSATIONS

RENAUD

RENAUD PROCH AND & JULIE MEHRETU

PROCH: Last September, your exhibition “Hoodnyx, Voodoo and Stelae” opened at Marian Goodman Gallery in New York. It included a series of new paintings, a suite of drawings, and a large, multipart etching. These mediums have always been part of your practice throughout the years, but the language used in this body of work sounds different. The show represents a significant evolution in your work. Are there clues about this evolution in the exhibition’s title? JULIE MEHRETU: Through the title, I wanted to express that there is another dynamic, a new approach to how the paintings are being made. I also wanted to include a reference to history, ancient history, which comes up in the work in direct relation to a current political conversation. So you have three different words: One is a neologism, and all three point to different directions in how I’m making the work. “Hoodnyx” suggests a personification of complex dynamics, a type of stealthy character. In hood, you find the idea of hoodwinking, blindfolding; there’s also a derogatory dimension, as well as a reference to hood as a place, an attitude. And “nyx” is the Greek, primordial personification of night, and what can come of night and darkness. So there is “hoodnyx.” There is “voodoo,” and you know what the voodoo means, the references to the acts, the mark-making and language around it. Recently, in the exquisite Kerry James Marshall show at the Met, one of his wall texts ends with this quote that resonated with me deeply, and illuminates this part of the title and the impulse for this direction: “… the magic we seek when our desires are thwarted.” And then “stelae” is a reference to ancient history, and the complex language of these formal historic structures. RP: My immediate thought after seeing the exhibition is that your work had moved from paper to stone; that it had moved from something that was light, layered, fragile, something that “conjured” (to borrow from the title of several of your paintings) maps, architectural drawings, pen-and-ink markmaking, to something stronger, solid, more sculptural. Stone conjures a different kind of architecture or urbanism: walls, graffiti, monument, opacity. I wonder if this metaphor, these terms speak to you. JM: Well, first off, I have to say if you play paper, scissors, stone... paper covers stone, paper wins. RP: I love this. [Laughs] JM: Paper suggests the maps and the architectural drawings present in the earlier work, but I find it interesting because paper also conjures the idea of a remove. It is part of the language of analysis or planning; it is used in thinking through

158 Art Basel | Miami Beach 2016

THE EXECUTIVE DIRECTOR OF INDEPENDENT CURATORS INTERNATIONAL AND THE CELEBRATED ARTIST DISCUSS CHANGES TO HER WORK AND PRACTICE—THE CINEMATIC NATURE OF HER NEW PAINTINGS, HER USE OF THE OCCULT, AND “THE MAGIC WE SEEK WHEN OUR DESIRES ARE THWARTED.” something, from a distance. It can be Cartesian in that way. And when you mention stone, there is also the fact that some of the new paintings reference prehistoric drawing… cave painting. In them I see the idea of the early cave. They’re a space, a place of retreat: retreat and gather to reemerge in a different way. Many of the gray paintings that I started working on around 2011–’13 were in a sense an effort to pull back and retreat, to rethink and reinvent language from a different space, from a kind of no-place—“the magic we seek when our desires are thwarted.” At the time, a lot was being tested globally, a huge wave of radical social protests was followed by a kind of fallout, co-option, and unraveling that gave way to the rise of reactionary neo-fascist/alt-right movements. I was looking for a new visual language, using many different references that range from the contemporary moment (the urban space, graffiti, and the streets) to recent art history (Joan Mitchell, Philip Guston, David Hammons). But the arc is wider than that,

and takes us to early prehistoric hand printing and cave drawing. RP: Cave paintings are haunting because they are generally not on the surface of the stone that you look at. More often, they’re under layers of mineral formation, and so they’re sort of glistening. They appear like some sort of vision, illusion, almost as if seeping through a pearlescent surface. And that is also something that you find in a lot of the new works in your show. The layers are almost pearlescent; it’s spiritual. Maybe this is where the voodoo comes in? JM: Yes, the kind of effort to conjure something, right? And to play with that idea of possibility, of other possibilities; to rethink convention, and mistakes, and invention... A lot of that effort is driven by the desire to build something and to continue painting despite this social moment, or social context. How do you maintain abstraction in this moment? That’s a question that keeps coming back. So, for a while now, I wanted to do away with the architectural drawings in making the work. I had been using that language to try and understand certain types of social phenomena, and to build paintings that could almost capture moments with all the social information in them. They also captured the complexities and contradictions of my response to these moments in time. And I became much more interested in that part of the process: responding to a time and then building a space from it in the painting, inventing a different kind of space. These latest paintings, I think, are also somehow cinematic, in that they move as you’re watching them. They kind of look like a screen, texturally; they are like a film and a screen—both dynamics taking place. Maybe that’s what you’re talking about in relation to the glistening layering of the cave painting. It’s an effervescence in the paint, suspension of paint caught, made by the airbrush, and a space that is suggested by the mist. There is a lot of depth and light in them, too, and that reminds me a lot of the photographic or cinematic space. RP: Absolutely. There are times in the exhibition when you’re sort of entering those paintings and you think that you’re no longer looking at a city through a map—as might have been the case in previous works—but you’re really embedded within the city. The painting itself is the walls of the city, the stones of the city, the smoke of the city... JM: The time of the city, the experience… RP: So the airbrushed layers in the work are meant to convey more than the idea of fog or smoke, and to really suggest movement in time, speed… JM: Yes, exactly. Time. The Conjured Parts paintings

PHOTOGRAPHY BY ANASTASIA MUNA (MEHRETU); YUKO TORIHARA (PROCH)

are built on a first layer that is actually based on a photograph that has been blurred. I haven’t worked in that way before. That layer determines the color, the context, and the atmosphere of the painting, the light in it. These paintings have a location in their titles that are of specific events. Each painting is based on one photograph—including Aleppo, Ferguson, Gaza, Homs—taken from news media. In the past, I might have had 200 images of an event that captivated me and I would pull on most of the images for the making of a painting. But with these new works, I chose one photograph that stood out for me because of the kind of singularity of the image, what it offered, how it haunted me. I would then blur the image in Photoshop, and it would be painted as a first layer in the work. It became the ground of the painting, the point of departure. RP: So you home in on one image but then diffuse it through blurring it? JM: In blurring it, I wanted to catch the energy, or even suggest a different energy or dynamic, by sort of pulling the apparitions from within that photograph or within that scene, to create an image of the ghost of the photo. I was really informed by

the 19th-century photographs of the occult—spirit photographs—as a point of reference, that history of photography and these early attempts at catching the ghost in the yard, or the spirit coming out of the mouth. So catching the light, or the moment, or possibility—the apparitions that existed in the space of these images. Looking at Aleppo destroyed… what comes from or out of that politicized image of oppression and destruction? Is there something else that can be pulled out other than the political dynamics? RP: That can be conjured. JM: Yeah, conjured. What are the possibilities? What are the other future possibilities? RP: Earlier you mentioned a shift in your work around 2011–’13 in a period of social transformation, and a period of frustration with co-opted gestures of resistance. I imagine that these new possibilities, or new language, are meant to resist being mediated, scripted, or co-opted. JM: I’m trying to invent something else by incorporating the social ground and the social time that these paintings are being made in. So I’m not looking for the legibility of these photographs—when you look at the paintings, the images on which

they are created aren’t supposed to tell you specifically about a time that they’re trying to illustrate, not at all. The paintings exist in connection to that time; they exist on that image. They exist through the light and color of that time, the photograph that informs the content and the construct of the abstraction. It’s part of it. It becomes part of this final abstract painting, which participates in painting. It is complicated by it. But it is in the end an abstract painting that one has a time-based experience with. As a result, your experience of the artwork is also informed by this social time, and space, and light. This work contributes to and participates in our times; it doesn’t merely comment on the times. It tries to test what can happen, what can be experienced, with this language and in the transformation of a person looking at it. RP: This sort of unknowable effect that the transformation, the abstraction can have on the viewer. And that’s the voodoo, the magic in the treatment and layering of the image… JM: It’s accepting the possibility of what you, looking at the painting, can pull out of the gaps. What can you pull out of that place? What can be conjured? ABMB

Renaud Proch with Glenn Kaino’s Now Do I Repay a Period Won (Libya) 01, 2015. left: Julie Mehretu.

Art Basel | Miami Beach 2016 159

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PHOTOGRAPHY © FLORIS NEUSÜSS, COURTESY OF KICKEN BERLIN

INFLUENCERS

Floris M. Neusüss, Flugdrachen, 1977, with Kicken Berlin, in the Kabinett sector.

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INFLUENCERS

Chief Eternal Optimist Yana Peel is reinventing Britain’s Serpentine Galleries, taking them into the digital age and beyond.

THINK OF LONDON’S most important art sites and among the first that spring to mind are the Serpentine Galleries in Kensington Gardens. With its annual temporary pavilion designed by a major architect like Frank Gehry or Zaha Hadid, its must-see shows by artists such as Marina Abramovic and Gerhard Richter, and its brand-new digital art program, the gallery has grown from a genteel British exhibition space into an international destination. This change was overseen by Julia Peyton-Jones, its director since 1991 until she stepped down last year. In April, the baton was passed to board member Yana Peel, who was named chief executive officer. (Hans Ulrich Obrist, Peyton-Jones’s codirector for the last 10 years, is now the artistic director.) As Peel says, “I’ve been telling the team that I’m the chief eternal optimist”—a chirpy title that belies her formidable résumé. In addition to having cofounded the groundbreaking cultural philanthropy Outset Contemporary Art Fund, she cochairs Intelligence Squared, another pioneering group that stages live Oxford-style debates and distributes them on the Internet. She was also a Young Global Leader of the World Economic Forum, cochairs the Hong Kong international art space Para Site, and has almost too many museum advisory and board positions to count, at Tate, the Victoria & Albert, Lincoln Center, and others. Peel sees her role at the Serpentine

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as “very much about creating a sustainable ecology for the art to thrive, and working in partnership with Hans Ulrich to create an exciting and inclusive hub.” Obrist puts it more succinctly: “Yana has so many different contacts outside the art world, she has great experience with the digital, and she has lived in three different continents. Together, we can develop the strategic vision for the 21st and 22nd century.” Born in Russia and raised in Canada from the age of 6, Peel studied at the London School of Economics and worked at Goldman Sachs before cofounding Outset in 2003. Outset pioneered a lively, entrepreneurial brand of arts philanthropy at a time when government support was dwindling, using crowd-funding to buy art from the first Frieze fair for Tate Modern; they later set up funds for other institutions, too. (Some of those early Tate acquisitions were from three artists who later became Turner Prize winners: Jeremy Deller, Mark Leckey, and Simon Starling.) Donors could also help produce artworks, like Roman Ondák’s 2003 Good Feelings in Good Times, Tate’s first performance purchase, or Steve McQueen’s film Giardini for the British Pavilion at the 2009 Venice Biennale. Patrons won entry to art events and parties around the world. “It wasn’t just about being a passive donor,” Peel says. “It was about visiting artists and becoming actively involved.” In 2009, she moved to Hong Kong

PHOTOGRAPHY BY KATE BERRY

by Carol Kino

“We’re looking at how we can harness the positive power of technology to create a deeper culture.” –yana

peel

with her husband, Stephen Peel, then a partner at TPG Capital, and launched the Hong Kong branch of Intelligence Squared. Her stroke of genius was to bring their debates, in which both sides of a hot-button social position are argued before a live audience, to the international art world, partnering with the Hong Kong Art Fair and later with Art Basel in Hong Kong. The inaugural 2009 debate was “Finders, not keepers! Cultural treasures belong in their country of origin,” with experts like Simon Jenkins, former head of Britain’s National Trust, among those arguing for the motion, and Don Cohn, senior editor of ArtAsiaPacific, among those against. In May 2012, it was “Contemporary Art Excludes the 99%,” with the artist Paul Chan pro, and Joseph Kosuth anti. The result was contentious, enlightening, and entertaining-—and, because it was broadcast on the Internet, massive in reach. Together with two partners, Peel bought a majority share in Intelligence Squared in 2012, but stepped down from active involvement when she became the Serpentine’s CEO. Still, she’s inspired by the non-partisan nonprofit’s spirit. Thinking forward to next summer’s Venice Pavilion, to be designed by her newest board member, David Adjaye, Peel, 42, waxes eloquent about technology’s power to reach multitudes, even people who may never visit the Serpentine gallery, which pulled a record 1.2 million visitors last year. “We’re thinking about the software as much as the hardware,” Peel says, “and about what it means in a post-Brexit Britain to create bridges and not walls.” Although they’re still undecided about the form the pavilion will take, she adds, “We’re looking at how we can reinvent it, and how we can harness the positive power of technology to create a deeper culture.” She might just be the chief eternal optimist to make it happen. ABMB

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INFLUENCERS

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PHOTOGRAPH BY TK (TK);

Mia Locks and Christopher Y. Lew

WHEN HEIRESS GERTRUDE Vanderbilt Whitney founded the museum that bears her name, American contemporary art was seen as lagging woefully behind that of Europe, so much so that when she offered to donate her entire collection—more than 500 works by modern American masters like Edward Hopper, Mabel Dwight, and Charles Demuth—to the Metropolitan Museum of Art in 1929, the institution unceremoniously declined. This patroness understood that it was not enough just to collect the work of living artists; it also needed to be actively exhibited. So when she subsequently took matters into her own hands and opened the Whitney Museum of American Art in New York in 1931, her first priority was to organize a recurring showcase of homegrown talent—a tradition that lives on to this day as the Whitney Biennial. Last spring, the Whitney inaugurated its new Renzo Piano-designed building, just off the High Line, and offered a career-shaping moment to young curators Christopher Y. Lew and Mia Locks by tapping them to produce the biennial’s 2017 edition. “It’s an amazing opportunity for Mia and me to organize the first

recently she worked as assistant curator, organizing shows by artists such as Math Bass, Samara Golden, and IM Heungsoon, the Korean filmmaker who won the Silver Lion at the 2015 Venice Biennale. “It’s exciting to see the first biennial in our new home in the hands of such talented young curators,” says Scott Rothkopf, the Whitney’s deputy director for programs and chief curator, who also lauded the duo’s “great intellectual chemistry”—an assessment that Locks enthusiastically confirms. “The intellectual chemistry is real!” she says. “Chris and I have different styles, interests, and tastes, but there are definitely some overlaps as well. While our individual strengths have been coming in at various points in the process, they have been continually negotiated. Every single decision has been made together.” Their success is also partly due to a close collaboration with their advisory board, a new feature for the biennial. “We wanted a trusted group with us as our thoughts developed,” Lew explains, “to have a dialogue over an extended period of time rather than one-off conversations.” The eclectic board is headed by Rothkopf

“Every single decision has been made together.” —mia locks

THE SEARCHERS Collaboration, chemistry, and curiosity are the keys for Christopher Y. Lew and Mia Locks as the young curators crisscross the country in preparation for the 2017 Whitney Biennial, the first in the museum’s dazzling new building. by Kate Sutton

Whitney Biennial in the new building,” says Lew. “It’s an exhibition with a long and rich history that goes back to the Whitney Annual shows, but we also have a relatively clean slate with the new galleries, outdoor spaces, and, for the first time, a theater to fold into the program. We expect that the artists who will make use of these spaces will teach us a lot about what the building can do.” As for what these curators can do, hopes are understandably high. An associate curator at the Whitney, with brilliant solo shows by Rachel Rose and Sophia Al-Maria under his belt, Lew previously worked at MoMA PS1, where he put together solo shows for boundarypushers like Jack Smith, Clifford Owens, and the Persian Gulf-based collective GCC. Meanwhile, Locks pushed a few boundaries of her own as part of the curatorial team for last year’s “Greater New York” survey at MoMA PS1, where until

(or, as Lew calls him, “our Virgil on the winding path towards the biennial”) and includes Bidoun senior editor Negar Azimi; Gean Moreno, curator of programs at the Institute of Contemporary Art, Miami; film curator Aily Nash; and Wendy Yao, the force behind the Los Angeles alternative book, music, and art store Ooga Booga. When asked about the curatorial duo, Azimi had nothing but praise: “Every arts professional comes with his or her favorites, but these two have literally come with zero agenda beyond putting together a thoughtful show that speaks to the times. They’ve zigzagged across America and further afield while doing their research, and I think you’ll see the fruits of their curiosity once the show opens. There will doubtlessly be names you’ve never heard of—a tribute to their research—alongside old names you might encounter in ways you didn’t think possible.” Whitney would be proud. ABMB

Art Basel | Miami Beach 2016 171

INFLUENCERS

Team Players The artistic pair of Michael Elmgreen and Ingar Dragset are ready to apply their subversive wit and sense of adventure to the 15th Istanbul Biennial.

WHILE THE ART WORLD speculates on the fate of the 15th Istanbul Biennial next September given the uncertain situation in Turkey, thus far its curators, Michael Elmgreen and Ingar Dragset, are anything but deterred. “We spent some time in Istanbul after the attempted coup,” they reveal in an exclusive joint interview, “and it seems more urgent than ever to keep in close dialogue with the cultural and academic communities that exist there and not to isolate them by disengaging. What happens in Turkey has parallels to many other parts of the world.” But just what do the artistic duo, who are acclaimed for mischievous immersive installations that discomfort the audience, have in store? Well, they’re keeping that under wraps. Elmgreen and Dragset do offer

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this, however: “The Istanbul Biennial has built up a great legacy over the past 30 years. A biennial of this format has great potential to establish networks far beyond the borders of the city or country where it takes place.” So listen up, art-world adventurers on the biennial beat: Sneakers are in order, for this urban exhibition will travel far, both in mileage and artistic vision. But navigating expansive terrain isn’t something new for these cheeky partners, who have been artistic collaborators for more than 20 years. And their wily curatorial sense has been seen before—most recently in their solo show “The Well Fair” at UCCA in Beijing, where they turned the exhibition hall into an art fair of their own pieces. Elmgreen and Dragset continually

use the institutional exhibition format as a way to create new meanings for their work. “Being an artistic duo, it is natural for us to develop concepts and to work on the presentation through a collaborative process,” say the pair. So while this may be the first biennial they’ve curated, they are anything but novices. Elmgreen and Dragset have previously exhibited three times at the Istanbul Biennial (2001, 2011, 2013), twice in Venice (2003, 2009), twice in Gwangju (2003, 2006), twice in Moscow (2007, 2011), and once each in Liverpool, Singapore, São Paulo, and Berlin. They know the many complex elements that go into a biennial, and where some have gone wrong. In fact, Elmgreen and Dragset see their upcoming effort as a departure from

what’s been done before. “By choosing artists to curate major exhibitions such as biennials, the curatorial practice can be discussed from a different perspective,” they explain. “The working method of artists might differ from that of the professionally trained curator, and in that way an artist-organized exhibition can eventually result in proposals for new formats.” With that in mind, they offer one final hint about what’s in store in Istanbul: “The spatial features of the given venues must also suit the works selected. And of course the local political reality and the special point of time when a biennial takes place constitute an urgency and a context that you as a curator have to relate to. An organic process is crucial when shaping such a statement.” ABMB

PHOTOGRAPHY BY ELMAR VESTNER

by Julie Baumgardner

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INFLUENCERS

Trevor Schoonmaker in New Orleans.

Southern Trailblazer The ambitious and innovative curator Trevor Schoonmaker is transforming not only the Nasher Museum, but also breathing unconventional new life into Prospect.4, New Orleans.

IN RECENT YEARS, a quiet revolution has swept through some of America’s most august institutions. From the Museum of Modern Art in New York to the Los Angeles County Museum of Art, institutions have begun reexamining the art historical orthodoxy, recognizing that their narrow focus on white male artists has left conspicuous gaps in their collections as well as our historical perspective. Many are hastening to expand their holdings or staging retrospectives of underrepresented African-American and female artists. For Trevor Schoonmaker, chief curator of the Nasher Museum of Art at Duke University, this newfound interest is both welcome and long overdue. For two decades, Schoonmaker has carved out a career in these historically overlooked fields, studying contemporary African art at the University of Michigan in the mid-1990s, “before it was even a subject,” he says. “Now it’s just contemporary art.” As an independent curator in New York, he cofounded an Afrobeats club night that inspired his first breakout exhibition, “Black President,” at the New Museum in 2003. The exhibit explored the legacy of legendary Nigerian

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musician and activist Fela AnikulapoKuti through music, documentary footage, and photography, while also featuring new work by artists such as Wangechi Mutu, Yinka Shonibare, and Kara Walker. At the Nasher, a young institution that opened in 2005, Schoonmaker has leveraged his connections with African-American artists to deliver an ambitious schedule of exhibitions that cuts across racial and cultural boundaries, and incorporates a variety of media and disciplines— particularly music. “[Music] has an immediacy that is transporting,” he says. “It hits you both intellectually and emotionally, and I also gravitate towards that in curation.” Shows such

as “Street Level: Mark Bradford, William Cordova and Robin Rhode,” “Barkley L. Hendricks: Birth of Cool,” “The Record: Contemporary Art and Vinyl,” and “Wangechi Mutu: A Fantastic Journey” have clearly resonated in a local community that is 40 percent African-American, and expanded the audience for contemporary art. Schoonmaker has also been the driving force behind the Nasher’s acquisition of works by contemporary African, African-American, and female artists who are on the cusp of widespread recognition. As a result of this prescience, the museum now boasts a contemporary art collection that is both historically important

and highly relevant in a present-day America in the midst of the Black Lives Matter movement and still reeling from a divisive national election— and all of this on a small museum’s limited funds. “When you’re so new, you’re very nimble,” Schoonmaker offers. “We wanted to form an identity around the collection. To get attention, you have to have focus.” His latest exhibition, on view at the Nasher through January 8, 2017, is “Southern Accent: Seeking the American South in Contemporary Art.” An exploration of Southern identity through painting, photography, film, sculpture, site-specific installations, literature, and music, the exhibition seeks to challenge the

THIS PAGE: PHOTOGRAPHY BY SOPHIE LVOFF; OPPOSITE PAGE: PHOTOGRAPHY BY J CALDWELL FOR THE NASHER MUSEUM (SOUTHERN ACCENT); DUKE UNIVERSITY PHOTOGRAPHY (BADUSSY (OR MACHU PICCHU AFTER DARK))

by Meghan Watson-Donald

one-dimensional characterization of the South often found in popular culture. “If you want to portray someone as stupid in a film, what do you do? Give the character a Southern accent, probably a really bad one,” Schoonmaker says wryly. “There’s this attitude of ‘What has the South contributed?’ But the cultural imprint of the South has been huge.” Focusing primarily on unrecognized artists, the exhibition immerses viewers in a feeling of Southern-ness, balancing the gravity of political history rooted in the South with a celebration of its tremendous creative force and beauty. As for what’s next, Schoonmaker was recently appointed artistic director of Prospect.4, New Orleans’s citywide contemporary art triennial, initially launched in the aftermath of Hurricane Katrina to engage artists in rebuilding the city. The 2017 edition will coincide with New Orleans’s

“The cultural imprint of the South has been huge.” —trevor schoonmaker

above, from left:

Visitors take a closer look at Down Home Taste, 1971, by Barkley L. Hendricks, part of “Southern Accent: Seeking the American South in Contemporary Art” at the Nasher Museum of Art; William Cordova’s Badussy (or Machu Picchu after dark), 2004, from “Street Level: Mark Bradford, William Cordova and Robin Rhode.”

tricentennial celebration, giving him an opportunity to reflect on the city’s rich history of colonization, migration, and cross-cultural fertilization. Schoonmaker says he plans to engage New Orleans’s natural environment— the bayous, lakes, and wetlands near the mouth of the Mississippi River—as well as its many unconventional exhibition spaces to find a synergy with the city’s unique cultural landscape. And of course, in the town that gave birth to jazz, there will be music. “Everything I am pursuing intellectually and professionally is what I love personally,” he says. “Looking back, I can see a thread running through my work, but I’ve never pursued it in a strategic way. Every show is actually a part of who I am.” Schoonmaker credits his liberal North Carolina upbringing and his politically engaged parents as key influences on his work. He learned to find comfort

in foreign environments when the family moved to Munich and London during his childhood. However, one formative experience stands out. At the age of 21, he spent the summer with a family friend in Ife, Nigeria, the spiritual and mythical birthplace of the Yoruba people. His host was a political scientist who collected African art, and Schoonmaker fondly recalls evenings they spent together listening to Afrobeats on vinyl and on the radio. “It was life-changing,” he says. Looking ahead, Schoonmaker is hoping to increase his engagement with Latin American art, a field that in his view will only continue to grow in importance, particularly given the changing demographics of the United States. “My interest always lies with something new, the road less traveled,” he says. “It’s really a matter of looking around and seeing what’s happening, and responding.” ABMB

Art Basel | Miami Beach 2016 175

INFLUENCERS

from top: Sudarshan Shetty; his exhibition at the 2016 Yinchuan Biennale in China; a still from his video Shoonya Ghar.

An Artist’s Eye WHEN IT WAS ANNOUNCED that artist Sudarshan Shetty had been chosen as the curator of India’s Kochi-Muziris Biennale, the ears of the art world perked up. Not only because Shetty is one of the most important artists in India, having changed the Indian art world’s ideas about what an installation can be, but because the selection continued a trend of artist-curated biennials, many of which have proven quite successful (see: Michelle Grabner’s Portland Biennial and Christian Jankowski’s Manifesta 11). There is a growing consensus that it is now more pertinent than ever to look at contemporary art through an artist’s eyes. For India, there could be no one more vital to give this platform to than Shetty, a Mumbai-based artist whose kinetic sculptures and intricate installations have created waves in art circles since his debut solo show in 1995. Shetty has revealed that the subtitle of the biennial will be “Forming the Pupil of an Eye,” explaining that the phrase conveys how he has tried to throw into sharp focus what it means to be a contemporary artist. “I started these conversations with lots of art practitioners who were seemingly outside of the expectation of a biennale space,” says the artist in a phone interview from Mumbai. “So it started with those conversations: ‘What does “contemporary” mean? What does it mean for us to be together in time?’ There were a lot of concerns within my work, such as: Is there a way of looking back as a way of looking forward? And then there are aspects that emerged from this conversation about the idea of innovation.” Shetty came up with a diverse group of more than 90 artists, from painters to installation artists to poets,

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for what has been called a “people’s biennial.” He says it was important to keep the audience in mind as he curated: “Can we see the biennale as a process and that it plays itself out as something that is in progress even through the duration of the biennale and perhaps beyond its own physical time and space? Or can people become active participants in the biennale that is in a process of forming itself through time? Having started [by selecting] one of the greatest poets of our times, [Chilean] Raúl Zurita, the selection process was like a chain of events. I am now beginning to see how relationships are in the process

of forming between each of the works represented.” Another concern for Shetty is how contemporary art is seen in his home country. There are dozens, perhaps hundreds, of biennials all over the world, but Kochi-Muziris is the only one in India, and Shetty considers it one of contemporary art’s most necessary exhibitions. “I think in India—it’s not only Kochi—we have very little support for the arts,” he says. “It’s very difficult... We don’t have institutions. When I was growing up as an artist, there was nothing we could rely on—there’s very little support. We had an art fair [the India Art Fair in New Delhi, now co-owned by MCH Swiss Exhibitions], which is now eight years old, and it’s very important for us to have a biennale here. It has a lot of influence on the way people look at art. I think Kochi is the best place to have a biennale in that sense.” There is no doubt that Kochi-Muziris will enrich the art-going public of India as well as out-of-town visitors, but the curatorial process has also enriched Shetty. He says he appreciates being able to meet with so many artists and see different approaches to making art, and in speaking to them, he adds, he has learned how to be more concise in presenting his own works. Currently he is creating a short film about an Indian folktale and says he will utilize his newly acquired methods. “Every time I came out of a studio visit or a meeting with an artist, I could not but reflect upon my own work in that context,” Shetty says. “It has been rewarding and has helped me in many ways to think of my work through those multiple perspectives.” ABMB

PHOTOGRAPHY BY A J JOJI, COURTESY OF KOCHI-MUZIRIS BIENNALE (SHETTY); COURTESY OF YINCHUAN BIENNALE (EXHIBITION); COURTESY OF SUDARSHAN SHETTY (VIDEO STILL)

At India’s Kochi-Muziris Biennale, Sudarshan Shetty brings a unique perspective on contemporary art to an exhibition that he says is crucial to his home country. by Maxwell Williams

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INFLUENCERS

Magnificence on the Mediterranean

LEBANESE RETAIL MAGNATE Tony Salamé can’t recall a time when he wasn’t obsessed with collecting. “I always loved to collect rare and beautiful items,” he says. “I started with postage stamps at a young age and then precious rugs and paintings, which I used to customize my stores and give them an artistic feeling.” In the last decade, Salamé has redirected these urges to focus almost exclusively on contemporary art. In the process, he has rapidly earned a reputation for both deep pockets and decisiveness— he famously often snaps up works, sight unseen, on the recommendation of a trusted adviser like Jeffrey Deitch. After building an impressive 2,500piece collection this way—including blue-chip works by the likes of Wade Guyton, Mark Bradford, Urs Fischer, and Christopher Wool—Salamé has just spent $100 million creating the first major new Beirut museum built in decades, the Aïshti Foundation, which opened in fall 2015 (with a show curated by Massimiliano Gioni), in the ritzy waterfront suburb Jal el Dib. It was designed by starchitect David Adjaye, who himself spent several years as a child living in the city. Salamé hopes this new cultural space will lure the arterati back to what

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has long been considered the Paris of the Middle East. “During periods of unrest, no one ever thought of building a museum here,” he notes. “The idea was to create, in this unique location by the sea, a kind of island or peaceful corner, protected from the turmoil of the city.” Yet this is no conventional kunsthalle: Its 350,000-square-foot site is split almost equally between galleries and 60 different luxury retailers, like Gucci, Bottega Veneta, and Marc Jacobs. Enter through one doorway, and you’re surrounded by contemporary masterpieces; via another entrance, you can spend the day shopping for couture. “Nowadays, the connection between fashion and contemporary art is tighter than ever,” Salamé shrugs. This commercial-creative melding is also a nod to the source of his fortune. Salamé first became involved in the retail business while at law school in Beirut in the late 1980s, picking up designer jeans while on vacation in Italy and reselling them back home. Soon, he had ditched a legal career, and in 1990, opened his first retail store, called Aïshti—Japanese for “I love you”—becoming the local licensee for many international fashion labels; that original shop was in Jal el Dib, the same suburb in which its namesake museum now sits. The canny move into luxury, just as the country emerged from its brutal civil war, made the now 49-year-old Salamé into one of Lebanon’s wealthiest businessmen.

Tony Salamé in front of John Baldessari’s Noses & Ears at the Aïshti Foundation.

He began collecting art after a friend introduced him to Arte Povera (the first painting he bought, by Lucio Fontana, still sits in his office). But it was meeting Deitch at Art Basel in 2005 that really helped cement his love of art. Deitch took Salamé to visit Greek collector Dakis Joannou’s Deste Foundation in Athens; two years later, Salamé founded the Aïshti Foundation, committed to collecting, bringing international contemporary art to Beirut, and supporting exhibitions at the Beirut Art Center. His generosity and influence aren’t limited to Lebanon—he was a significant supporter of the last two Venice Biennales, was an early supporter of “Here and Elsewhere,” the muchheralded comprehensive survey of contemporary art of and about the Arab world mounted at the New Museum in 2014, and frequently lends work to institutional exhibitions worldwide. These days, collecting is a family pursuit: Tony’s wife, Elham, is an active partner—albeit initially a reluctant one. “She used to look at me as if I had lost my mind,” he laughs of his earliest collecting days. Now, while Salamé focuses on monumental, museum-level works, his wife prefers Pop art—both strands are well represented in Aïshti’s holdings. Indeed, the museum’s current show, “Good Dreams, Bad Dreams—American Mythologies,” leans heavily on Elham’s pieces, which explore various artists’ love/hate relationship with the American dream. He’s cagey about forthcoming shows, but hints he’ll plan a counterpart that explores the distinct identity of his hometown, which Salamé considers a cultural mecca. “Beirut is a very challenging city, a piece of Europe on the threshold of the Arab world. That gives it a particular vibe that attracts artists of all kinds.” ABMB

PHOTOGRAPHY BY GUILLAUME ZICCARELLI

At the crossroads of contemporary art and fashion, collector Tony Salamé opens his passion project, the Aïshti Foundation, creating an important cultural center in Beirut. by Mark Ellwood

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INFLUENCERS

Bruce Nauman Even today, this true artist is still helping the world by revealing mystic truths. FOR THE PAST HALF-CENTURY since he made Self Portrait as a Fountain (1966–’67), a suite of 11 photographs in which he poses, shirtless, spitting water in an arc as if he were a cherub in a garden ornament, Bruce Nauman has been a force in contemporary art. Whether it involved electrifying wordplay in neon, contemplating the solitary existence of an artist in his studio in a video, or making plaster casts of body parts, Nauman’s work has stood as an authentic search for meaning in the mundanity of modern life. At age 74, he’s still at it, this fall debuting two sets of larger-than-life video projections that riff on his 1968 video Walk with Contrapposto. In both Contrapposto Studies, I through VII, on view at the Philadelphia Museum of Art through January 8, 2017, and Contrapposto Studies, i through vii, which was shown at Sperone Westwater Gallery in New York in September, Nauman uses his own, now slightly paunchy body to again investigate the pose popularized by the ancient Greeks and enthusiastically adopted by sculptors in the Renaissance, a period that has held his attention since college. Nauman attended the University of Wisconsin, where the art program was oldschool. “We made plaster casts. You couldn’t make a painting until you’d had a bunch of drawing classes. A lot of steps there,” he remembers, speaking from the ranch in Galisteo, New Mexico, he shares with his wife, the painter Susan Rothenberg. “You had to learn how to properly stretch canvas. We mixed our own colors with cans of oil and powder pigment.” He also spent a great deal of time looking at Albrecht Dürer and Michelangelo. “I still think about them a lot,” he says, then recalls his first trip to London, circa 1968. Wandering the National Gallery, he found a Leonardo da Vinci drawing of the Madonna and child, which he revisited on subsequent trips. “It’s a beautiful drawing. They had it in a small, dark room. It would just knock me out, how beautiful it was, and it just seemed like [da Vinci] was from another world. I couldn’t even compete with him, he was so far away.” Yet Nauman forged his own path with the figure, and, not unlike da Vinci, he often relied on his own body. “I had the idea of using the body

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“[Contrapposto] was about this idea of trying to make a perfect human being.” –bruce

nauman

IMAGE COURTESY OF THE ARTIST AND SPERONE WESTWATER, NEW YORK

by Julie Belcove

A still from the Sperone Westwater installation of Bruce Nauman’s video Contrapposto Studies, i through vii, 2015/2016.

as instrument,” he says. Early on, he was struck by the work of composer John Cage and Cage’s partner, choreographer Merce Cunningham. “I was influenced by that—just simple repeated movements. There’s a tension in that because, as you start to get tired, you make mistakes.” His Contrapposto pieces are prime examples. With his hands clasped behind his head, he shifts his weight awkwardly from one leg to the other. “It was about this idea of trying to make a perfect human being,” Nauman offers. Museum of Modern Art associate director Kathy Halbreich calls the new works “hugely absorbing. This seemingly simple operation begins to suggest how any action repeated by a human being, even if it appears to be monotonously the same, is full of complications, anxiety, and subtle changes—in this case as the artist tires.” Halbreich continues, “To see this sign of humanity, we just have to be attentive, as Bruce demands in his famous lithograph [that reads, backwards], pay attention, motherfuckers.” Though the original piece depicted Nauman shuffling down a corridor, with the image getting smaller as he moved farther away, this time he directed the video to stay zoomed in on himself, so that the size of his body remains constant while the room changes around him. Nauman isn’t really sure why he thought to revisit the 1968 piece in the first place. “It is unusual for me to go back and rework something in that way,” he says. “Sometimes older work, when you go back and look at it, you see something there that either you never noticed in the first place or didn’t seem important and now looks like a more important part of the work than I had considered.” Halbreich notes that perhaps the most haunting difference between the early and late Contrapposto works are the intervening 48 years themselves. “We can’t help but grapple with the changes in the human body as it ages—the timebased medium we all inhabit,” she says. As if Nauman, a two-time Venice Biennale Golden Lion award winner, hadn’t already left an indelible mark, Halbreich is spearheading a major retrospective, which will debut in 2018 at the Schaulager in Basel before traveling to MoMA. Halbreich, who knows from experience, having last curated a Nauman survey 21 years ago, muses, “I wonder what will burble up after artists actually get to experience the work.” ABMB

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LUMINARIES

ART IN THE FAMILY A new generation of Latin American collectors, gallerists, and curators carries on and broadens the work of their parents.

PHOTOGRAPHY BY AXEL STEIN (FAJARDO-HILL); COURTESY OF THE ARTIST, © REGINA SILVEIRA (BISCOITO ARTE).

by Margery Gordon

EVERY COLLECTION OF ART BEGINS WITH A SINGLE SELECTION, and Eileen Vergez made her first choice at age 5, when her parents, Juan Vergez and Patricia Pearson-Vergez, allowed their children to each pick a work from a 1994 exhibition of emerging artists at Ruth Benzacar Galería de Arte in Buenos Aires. Eileen adopted a silicone piglet slung from the ceiling, as if a stork had delivered the debut of Nicola Costantino, the daughter of a surgeon and fashion designer, whose Peletería Humana (Human Furriery), made from synthetic skin, took off on a world tour a few years later. She went on to embody Eva Perón in video installations (documented in the new film The Artefacta) for Argentina’s pavilion at the Venice Biennale in 2013, the same year Eileen completed her architecture degree.

Eileen took private lessons with Costantino at 13, but her instincts as an art advisor surfaced the next year in Switzerland on the Vergezes’ scouting trip to Art Basel 2003. “I have two problems,” Eileen recalls reporting back to her parents. “I chose two pieces, and the budget isn’t enough.” Both won her parents’ approval, however, as well as pride of place at their private museum in Buenos Aires. Visitors to Tacuarí, named for the former ink factory’s street, pass through a succession of doors by Polish sculptor Monika Sosnowska and wind up at a wall strung with ribbons that Rivane Neuenschwander stamped with wishes, exchanging scribbled desires for impressions from prior participants in the Brazilian’s signature piece.

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“I learned from my parents not to think about the space I have when I buy a work,” says Eileen, now 27. “I have pieces that don’t fit in my small apartment, but I think someday I will have my own space.” At Tacuarí, she helps maintain records of the holdings that will ultimately be entrusted to her, but she keeps the collections separate, though she confers with her parents about potential purchases. The Vergezes bought two pieces by Samuel Lasso, a 25-year-old Colombian working in Buenos Aires, at the solo show that Eileen organized last year with HILO Galeria de Arte Contemporáneo. A few months after the Vergez and Thyssen-Bornemisza collections combined their works by Olafur Eliasson in Vienna’s Winter Palace, Eileen scored an Eliasson piece from the German gallery neugerriemschneider at Art Basel: a pair of the gilded eyeballs he unveiled this

past June in his intervention at Versailles, which invert and burnish each viewer’s reflection in a galactic interior. It takes an audience to complete any work of art, and multiple generations add layers of meaning. Whether occupation or avocation, art can come to permeate family life, from playing with materials to hanging works in the home to contemplating them in the community. “Exposed to art at such a young age, you grow up taking it for granted that people value this form of expression,” says Ana Maria Celis, whose childhood in Venezuela was livened by the gatherings of art and artists in relatives’ homes. “It always made sense to me that art is an imprint of humanity.” Both sides of Celis’s family tree boast dedicated collectors, but Costa Rican matriarch Sagrario Pérez-Soto remains “the real force,” an early fairgoer still leading her pack at the age of

“Exposed to art at such a young age... it always made sense to me that art is an imprint of humanity.” —ana maria celis

Ana Maria Celis of Christie’s with Picasso’s Les Femmes d’Alger (Version “O”), which she sold for a record $179 million last year. opposite page, from top: Regina Silveira, Biscoito arte (Art biscuit), 1976/1997, part of the Hammer Museum exhibit “Radical Women: Latin American Art, 1960–1985”; Cecilia Fajardo-Hill with her two children, Lucia and Lucas Farrow, and her mother, the poet Rowena Hill.

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80. “My grandmother is able to bring it all together in a way that few collectors can, mixing pre-Columbian, Latin American modernists, traveler paintings, and now super-contemporary,” says Celis. In 2000, shortly after relocating to Manhattan at age 15, Celis represented her grandmother at the opening of a Metropolitan Museum of Art exhibition of some of the pre-Columbian silver rarities that Pérez-Soto has been gathering since her 1960s collaboration on the first book to assess the aesthetic merits of Venezuela’s archeological heritage. Yet Celis didn’t realize how much she had absorbed that heritage until a New York University course on Latin American art tapped into an unexpected well of knowledge that deepened through her studies and her first job, at Sotheby’s. “Fascinated with learning the history of the world through art,” she says, she broadened her purview to include postwar and contemporary art before moving to Christie’s, where the 31-year-old specialist strives “to figure out what this generation is saying and what we will be remembered for.” Movements in art and in life have inspired the collection that Celis’s cousin Tiqui Atencio initiated at 18 with paintings by Venezuela’s Emilio Boggio and Italy’s Valerio Adami, enlarged with works by Warhol and Basquiat when she was living in New York in the 1980s, and enriched with pieces by Damien Hirst and Rachel Whiteread during a late-’90s spell in London. Her literary debut, Could Have, Would Have, Should Have: Inside the World of the Art Collector (just released by Art/Books), opens with anecdotes about formative encounters guided by Pérez-Soto and her late husband Otto Atencio. “I grew up feeling their passion and dedication, which motivated me to follow in their footsteps,” says Atencio, describing them as “great role models” who introduced her to auctions and pre-Columbian art. “My uncle was very academic in his approach—he obsessively studied everything he collected—and Sagrario was more spontaneous while also very informed.” In 2003,

LUMINARIES

Atencio founded the Tate’s Latin American Acquisition Committee, which she chairs; she also chairs the Guggenheim’s International Director’s Council. Insights from nearly 100 of the world’s most important collectors have “confirmed what I always believed,” she says, “that collecting has given everyone in the family—including my cousins and their children—a better sense of joie de vivre.” The Atencios came of age in Caracas during a period of cultural growth fueled by supportive public policies and huge profits from the country’s oil exports. “Venezuela in the 1960s, ’70s, and ’80s was at the forefront of everything that was happening in Latin America,” says Cecilia Fajardo-Hill, who is cocurating “Radical Women: Latin American Art, 1960–1985” at the Hammer Museum in Los Angeles. As curator of the SPACE Collection of 21st-century abstract art from Latin America, she is also mounting “Daily Abstractions,” a collection of “pedestrian materials,” at a private museum in Irvine, California, and at Begovich Gallery at California State University, Fullerton. Both unprecedented surveys are

among dozens of shows premiering in September 2017 throughout Southern California that explore art by Latin Americans and Latinos for “Pacific Standard Time: LA/LA,” spearheaded by the Getty Museum. Museums have been familiar territory for Fajardo-Hill from the time she was a little girl in Florence tagging along on her British mother’s tours of the Uffizi Gallery and at her Venezuelan father’s sculpture exhibitions. “It’s absolutely clear that I became involved in art because of my father,” she says. In 1974, when she was 11, she migrated to the birthplace of her father, José Fajardo, where she took art classes, before deciding that a studio practice wouldn’t suit her. “I really wanted to devote myself to art,” she says, “so it was a relief when I decided to study art history.” She traced the intertwined trajectories of the Caracas art scene and Sala Mendoza, a private foundation’s exhibition space and archive, which she ran through its 45th anniversary. “We had a big fence and were afraid of being attacked by people against the Mendoza family, because [President Hugo] Chavez’s sentiment was the poor-versus-rich narrative, and art

Cristóbal Riestra, director of Galería OMR, with his parents and partners, Jaime Riestra and Patricia Ortiz Monasterio.

FAMILY PLANNING

Eileen Vergez with Rivane Neuenschwander’s I Wish Your Wish. opposite page, top: Solita Cohen de Mishaan

ART IS A FAMILY AFFAIR for the offspring of pioneering dealers in Latin America, who continue to break new ground at home and abroad by balancing tradition and innovation. “We appreciate that we have been handed over businesses that already [participate] in Art Basel,” says Cristóbal Riestra, director of Galería OMR, who has been comparing notes with the children of gallerists in the Americas and Europe since joining his parents’ partnership seven years ago. “We’re starting to shape our parents’ businesses into our own.” Born in 1983, the same year that his parents, Patricia Ortiz Monasterio and Jaime Riestra, opened the frame shop where they mounted Mexico City’s first exhibitions of contemporary art, Riestra has gained a broader perspective over the last two years, guided by various consultants who work with the family’s transitioning and expanding businesses. He applied his education in industrial design to remodel OMR for “Generation 2.0,” increasing specialization and collaboration with a studio format inaugurated this February, marking a clean break in leadership. The descendants of Buenos Aires trailblazer Ruth Benzacar began a new chapter in 2014 by relocating to the city’s nascent art district and organizing their cohorts into an association formalized last year, with Orly Benzacar presiding over meetings with the new government to advocate customs reforms. Now 66, she grew up inside the gallery that her mother began in 1965 by hosting salons and selling work in their home for 18 years before moving into a commercial

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was seen as something elitist,” recalls Fajardo-Hill, who sought refuge in Miami in 2003, becoming the first curator and director of the Cisneros Fontanals Art Foundation—and joining a vast Venezuelan diaspora. The ongoing exodus of art professionals and collectors from that country has not diminished their drive to make, exhibit, and support art. “I dream of a free and open Venezuela with the art culture that we deserve,” says Solita Cohen, 52, who hopes to rehabilitate the community that opened her eyes. “A long tradition of women collecting and working in the arts,” she adds, set an empowering example on outings with her parents, Sadie and Simy Cohen, as they sought Impressionist and modern masters, including Chagall, Renoir, and Botero. “They taught me how to contemplate a piece of art, to look very closely, to feel it.” Drawn to cutting-edge forms, Cohen eventually diverged from her parents’ more traditional tastes. Now young adults, her four children learned to appreciate artistic innovation and their ancestral origins through the work of emerging and established artists from Central and South America, the Caribbean, and the Iberian peninsula. At Mishaan’s condominium in Bal Harbour, near her parents’ longtime home, works by Elias Crespin, the Paris-based grandson of Venezuelan artists Magdalena Fernández and Gego, continue their abstract geometric, kinetic, and optical experimentation. Large paintings that are key to Guillermo Kuitca’s symbolism look out on Miami’s shoreline, alongside conceptual installations that turn inward, reflecting the Chilean and Cuban roots, respectively, of New York residents Alfredo Jaar and Alexandre Arrechea. A member of the Ideas Council of the Museum of Fine Arts Houston’s International Center for the Arts of the Americas, Cohen has also served on acquisition committees and boards of museums from Miami to Montreal to Madrid and Jerusalem. Determined to amplify Latin America’s artistic contributions, she launched the MISOL Foundation for the Arts three years ago in Bogotá, where the home she

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shares with her Colombian husband, Steven Mishaan, brims with the work of native talents like Carlos Motta and Oscar Muñoz (featured at mor charpentier’s booth in the Nova sector this week). “Whatever effort you put into Latin America is worth it,” she says, “because it has a bigger impact.” Her partnerships with nonprofit organizations help artists and curators realize ambitious projects, such as Eduardo Basualdo’s 2014 installation at the Palais de Tokyo, which capped the Buenos Airean’s residency with SAM Art Projects in Paris. At the same time, local initiatives make art accessible for Bogotá residents of all backgrounds, fulfilling Cohen’s mission to treat “collecting as a public responsibility.” The MISOL Foundation presented a course on Colombian art history this fall with the cultural programming arm of the Colombian news magazine Semana. Two years ago, MISOL and the Manila Santana collective produced Diario de Barrio (Neighborhood Diaries), written by inhabitants of Bogotá’s San Felipe arts district, nurturing a new crop of storytellers. Indeed, seeds planted outside the art world’s traditional sphere of influence will be bearing precious fruit for generations to come. ABMB

“My parents taught me how to contemplate a piece of art, to look very closely, to feel it.” —solita cohen

space. As Ruth Benzacar Galería de Arte matured with its artists, Orly expanded the roster in the 1990s, and after her mother’s death in 2001, she embarked on a search for young talent while respecting Argentina’s artistic heritage. According to Orly’s daughter Mora Bacal, 33, a partner in the gallery since 2009, “My grandmother was obsessed with projecting Argentinean artists beyond the country. It’s very important to maintain that contemporary spirit.” Nara Roesler has linked emerging and established artists since her 1970s exhibitions in Recife, the northeastern Brazilian city where her grandfather was dean of the art school. The eponymous gallery she opened in 1989 has expanded with support from her sons Alexandre and Daniel Roesler, doubling the footprint of its São Paulo flagship four years ago and branching out to Rio de Janeiro in 2014 and New York this past March. Before venturing where no Brazilian gallery had gone, the family spent two seasons “warming up” at a retrofitted 1930s house in Ipanema. Alexandre, 46, notes the proximity of the Rio de Janeiro outpost to many of their artists and collectors, roughly three-quarters of whom are based in Brazil, while their new Chelsea branch exposes Galeria Nara Roesler to diverse curators and clientele. “Our mother was involved in the arts before we have any memory,” says Daniel, 44. “So the involvement that we have with the gallery is tied together with life.”

PHOTOGRAPHY © PABLO GARCIA (COHEN); FRANCISCO IURCOVICH (BENZACAR)

LUMINARIES

Ruth Benzacar Galería de Arte’s Mora Bacal and Orly Benzacar in front of a work by Miguel Rothschild.

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Brazil’s Instituto Cultural Inhotim. The reflecting spheres on the left are Yayoi Kusama’s Narcissus Garden, 2009. opposite page: A detail of Jorge Macchi’s open-air sculpture Swimming Pool, 2009, created specifically for the art park.

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10 YEARS GONE When eccentric Brazilian collector and visionary Bernardo Paz first dreamt of his tropical art park, far from the urban centers of SÃ£o Paulo and Rio, many were skeptical. But with a milestone anniversary and major plans for expansion on the horizon, sweet success is his.

PHOTOGRAPHY BY PEDRO MOTTA. OPPOSITE PAGE: MARCELO COELHO

by Laura van Straaten

| Miami Beach 2016

In fact, for many global art destinations like Inhotim, the pastoral is the point. BY NOW, MOST PEOPLE IN THE ART WORLD have either been to, or Take, for example, the 10,000-acre art ranch Tippet Rise Art Center, which know someone who has been to, the Instituto Cultural Inhotim, the enormous conopened last summer in rural Montana and features sculptures by Alexander temporary art and horticultural Shangri-la in Brazil’s state of Minas Gerais. Calder, Mark di Suvero, and the Spanish-born couple Antón García-Abril and But as Inhotim (pronounced een-o-TCHEEN) celebrates the 10-year anniverDébora Mesa. Founders Cathy and Peter Halstead, who looked to TICKON sary of its opening, it is also marking its evolution from a spectacle in the rainas a model, suggest that a challenging journey engenders a sense of discovery forest Disneyland into a valuable cultural landmark and possible institutional and is an asset for the type of experience they wanted to create, which Cathy partner for the most influential and highly regarded leaders of the top museums Halstead describes as “a place where people feel the profound connection and galleries in Europe and the United States. This is all the more remarkable between their own inner nature and the natural world around them… and art because getting there takes some effort for Europeans or Americans; it requires is rooted deeply in the land.” Melissa Chiu, who heads the Hirshhorn Museum a transcontinental flight to Rio or São Paulo, a domestic flight to the city of Belo and Sculpture Garden in Washington, DC, concurs. Of her trek to Tippet Rise, Horizonte (there are now direct flights from Miami to Belo Horizonte, as well), she says, “At a time when art is being experienced as much in the digital realm and then a nearly two-hour drive on routinely rutted roads. as in person, it is wonderful to be able to journey to a physical destination that is Inhotim has easily become more than a “must-see” over the last decade for top devoted to the contemplation of art and the landart world professionals. Like Japan’s Benesse Art scape that enfolds it.” Site Naoshima or (on a smaller scale) Denmark’s Of course, for the leaders of art institutions, a remote Tranekaer International Centre for Art journey to a remote art destination can serve as and Nature (TICKON) and others, the long pila real point of transformational change in a more grimage and the way art is integrated into the practical or actionable way. “The New Museum landscape are as much a part of what makes had a wonderful visit to Inhotim in February of Inhotim a nearly spiritual inflection point as is the 2013,” says Jessica Glaser, the museum’s deputy global nature of the collection itself. development director, who also traveled to On his first such journey to the landscape of Inhotim with an earlier delegation from MoMA Inhotim, gallerist Gavin Brown was unsure what during her previous tenure at that institution. “It to expect. “It was a long way from anywhere, was a group of 28 trustees and council members,” reminding one of an art ‘Jurassic Park,’” Brown Glaser remembers. “That trip broadened our recalls. “I could not imagine that art, when put international network. The New Museum brought to the wheel of such a spectacular wagon, could on two new leadership council members and a survive and still be art.” But Brown found Inhotim board member from Brazil following the visit.” “somewhat utopian, profoundly human, and very above: Inhotim Chief Curator Allan Bernardo Paz, the Richard Branson-meetsgenerous. Inhotim made me think that all we Schwartzman. “The unique conditions Father Time visionary who dreamt up and realknow and think of art in the Anglo-based West is at Inhotim have inspired artists to create some of the greatest works there,” he says. ized Inhotim, has a simple explanation for why encumbered by our history with that art,” he says. clockwise from top left: Installations at places like Inhotim are such a magnet for cura“Inhotim seemed entirely free and of the future. It Inhotim have included Hélio Oiticica and Neville d’Almeida’s Cosmococa, 1973–2009; tors and institutional leadership: “It’s magical. gave me a way to envisage a future, through art, a 2010 installation by Miguel Rio Branco; They come here, they feel something, and they for the first time in a long time.” Doug Aitken’s Sonic Pavilion, 2009.

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PHOTOGRAPHY BY RICARDO MALLACO (COSMOCOCA); WILLIAM GOMES (MIGUEL RIO BRANCO, SCHWARTZMAN); DANIELA PAOLIELLO (SONIC PAVILION). OPPOSITE PAGE: ROSSANA MAGRI (NARCISSUS GARDEN, PAZ); RODRIGO MOURA (AERIAL); PEDRO MOTTA (DE LAMA LAMINA)

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art from fresh perspectives,” he says. can’t explain. This is because what we do here is not just a museum but a desI ask Paz about the role Schwartzman has played in creating the kind of tination. What we do here is a state of mind.” environment that offers milestone moments for even seasoned art world proAllan Schwartzman has been Inhotim’s chief curator since it was still a glint in fessionals. Sucking his Marlboro Blue Ice, Paz answers, “Allan knows me. Paz’s eye. “I think so many museum directors and curators have been our stronAllan knows everything.” As the mentholated smoke lifts and flits about the gest champions because Inhotim offers a set of unique conditions for the collecall-red living room of his private pavilion nestled—unmarked—smack in the tion, display, and experience of art that is not possible in an urban museum,” middle of Inhotim, Paz praises Schwartzman’s understanding, from the start, Schwartzman says. The site-specific commissions for which Inhotim is known of the type of work that makes Inhotim special. “He’s brilliant. I never ask are a big part of its draw: “We have been fortunate that those conditions have anything of him. I never call him in the United States, never. And all the pieces inspired many artists to create some of the greatest works there.” he brings to me, I like.” Surrounded by 5,000 species of plants, Inhotim’s more than 20 pavilions Deciding how and when to pursue work by emerging artists is where function as permanent, freestanding galleries, all but four wholly devoted to Schwartzman’s role is crucial. It is a delicate dance to keep up with the cona single contemporary artist. Additionally, large-scale, site-specific outdoor temporary while not falling victim to the flavor of the month. And for Inhotim, artworks are scattered amid the park’s lush 2,500 acres (which makes it nearly Schwartzman says, the motivating question for five times the size of Storm King, a far less remote each acquisition or commission has been, “What art destination at just an hour-and-a-half drive can resonate in this environment better than it from Manhattan). Highlights are Brazilian artwould in any other environment? What can we ists like Adriana Varejão, Hélio Oiticica, Lygia build where we can create a niche that is additive Pape, and the recently deceased Tunga, as well to scholarship?” When acquisitions happen that as superstars from around the globe, like Doug way, the result is a “wow factor” that has kept artAitken, Matthew Barney, Olafur Eliasson, Anish world insiders coming back for more. Kapoor, Dan Graham, and Yayoi Kusama. My But Inhotim’s hard-won reputation may be at visit coincided with the inauguration of two odds with Paz’s intention to develop the art park in typically global-minded art installations: One new directions. Today, less than 15 percent of the pavilion was wholly devoted to new paintings land Paz owns is developed and open to visitors, by New Yorker Carroll Dunham and the other according to the collector’s nephew Felipe Paz, to a group exhibit of works by Romanian artist who serves as his uncle’s communications manGeta Brătescu, Czech sculptor Dominik Lang, ager, right hand, and head of marketing. There and Filipino artist David Medalla. are plans to change that: Designs are underway Schwartzman credits Inhotim’s hilly, green above: According to founder and visionary for an extensive development with four hotels topography for its increasing popularity and Bernardo Paz, even after 10 years, sheltering up to 1,600 people, additional theaters, its effect on visitors. “Because of our unique “Inhotim will never be finished. It is always becoming.” top, from left: Close-up of streets with retail shops, and a gated community physical environment, the works of art we have Yayoi Kusama’s Narcissus Garden; an with condominiums. focused on, and the way that the art is integrated aerial view of Galeria Claudia Andujar, 2015, one of more than 20 freestanding Recently Felipe Paz explained that his uncle into the landscape and visitors’ experience, galleries set in the 2,500-acre park; and Inhotim’s staff “have plans to expand art professionals and aficionados experience Matthew Barney’s De Lama Lâmina, 2009.

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Yayoi Kusama’s Pumpkin, Naoshima Island, western Japan. above, clockwise from left: Contemporary art objects stand in the garden of the Naoshima Museum; Ensamble Studio’s (Antón García-Abril and Débora Mesa) Beartooth Portal, 2015, in Tippet Rise, Montana; Mark di Suvero’s Proverb, 2002, Tippet Rise, Montana, US.

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Inhotim so it will become a complete cultural experience, and the services offered will also be a source of income to the institution.” But the idea is “not to have, like, a big Nike store here,” he says, “but to have interesting designers-—not big brands, but something charming and contemporary.” Eco-sustainability is a significant part of that vision, which includes residents growing crops, he adds. The fundraising for the expansion has been affected by the economic and political upheaval in Brazil. The hotel I toured in autumn of 2014—described then as “opening soon” and more than halfway finished—is now slated for completion at the end of 2017. “It took longer because of economic issues,” Felipe Paz acknowledges, adding that the hotel will be called Inho and will be managed by the Brazilian resort company Txai. Of course, the growth will include more art. “Our next big site-specific project is a major sculpture by Robert Irwin,” Schwartzman says. And according to Felipe Paz, fundraising is ongoing for two new pavilions, one devoted to Anish Kapoor and one to Ernesto Neto to house pieces by each that Inhotim has already purchased. Also in the works is a pavilion devoted to Olafur Eliasson where the pavilion itself is the artwork. Another part of the expansion is taking the show on the road. The InterAmerican Development Bank is sponsoring several projects in coming months, including what will be Inhotim’s first international exhibition, at four separate venues in Washington, DC, next summer. For Inhotim’s founder, even after a decade, this beautiful place just doesn’t get old. Bernardo Paz confesses that many mornings, after his breakfast, he likes to walk around the grounds before the gates are open to the public. Asked to consider the legacy he’s leaving at Inhotim, Paz takes a moment to reflect. The key to Inhotim’s success, he believes, has been that great art begets great art. The most respected artists “want to be at Inhotim because it is for eternity, and they want to be here with the others,” he says. And that is why, even 10 years in, “Inhotim will never be finished. It is always becoming.” ABMB

PHOTOGRAPHY BY IWAN BAAN, COURTESY OF TIPPET RISE/IWAN BAAN (BEARTOOTH PORTAL); IWAN BAAN, COURTESY OF TIPPET RISE ART CENTER (PROVERB); FRAN ARD/EYEEM/GETTY IMAGES (PUMPKIN)

“ WHAT W E D O [ AT IN H OTIM ] I S N OT J U S T A M US EU M, B U T A D E S T IN AT I O N. W HAT W E D O H E R E IS A S TATE OF M I N D.” — b e r n a r d o pa z

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THE ESSENTIALS:

GENDER, SEXUALITY, AND ART TODAY Four artists spanning three generations sit down with writer and cultural sociologist Sarah Thornton. illustrations by RICHARD KILROY

AT THE CLOSE OF A YEAR WHERE WE SAW OUR FIRST FEMALE PRESIDENTIAL CANDIDATE OF A MAJOR PARTY, it is worth considering the state of gender and sexuality in art and the art world. Judy Chicago, Catherine Opie, Kehinde Wiley, and Zackary Drucker—artists whose ages range between 33 and 77 years—have all made art that significantly challenges the status quo. Here we discuss how their gender, sexual identities, and personal ambitions have influenced their own work and their perception of that of others.

Sarah Thornton

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Sarah Thornton: When I was an undergraduate in the mid-1980s, “gender” referred to one’s personal identity and “sexuality” was about one’s object choice or desire for others. How have you experienced this distinction over the years? Perhaps we could answer this question in generational order. Judy? Judy Chicago: The term “gender” wasn’t used very often in the old days. In the early ’80s, I started work on a project called PowerPlay, which is an investigation of masculinity. When I started doing research in the library on the subject of gender, the only thing I found were books about women. It was as if only women had gender. This was before the advent of gender studies or queer theory. Catherine Opie: I have always identified as butch so, for me, all through the ’80s, gender was already in play. In terms of figuring out my queerness, sexuality and gender were always wrapped up in a specific kind of package because of the fact that I didn’t really identify that much as being female. I identified as butch or tomboy. Then it was further complicated because I wasn’t attracted to femmes, but other butches. I was a butch-onbutch kind of person. Thornton: Perhaps there’s a certain heterosexism in the strict divide between the two terms. Kehinde Wiley: The question makes me think of the performance of gender that was expected of a black male growing up in Los Angeles in the 1980s. Black masculinity was defined by a type of hypersexuality or hypermasculinity and the expectation of conquests and things that were wildly outside my personal expectations. I felt a schism between the public culture and what I knew to be true among my brothers and cousins, a kind of public hardness versus a soft intimacy that embraced the human emotion that happens in a nonsexual way behind closed doors among loved ones in families. Zackary Drucker: Basically, “sexuality” is who you go to bed with, “gender” is who you go to bed as. It is worth noting, however, how astounded people are to learn that trans people have sexuality that is not heteronormative. For example, in the 1960s, when Harry Benjamin published The Transsexual Phenomenon, you could only get a medical intervention, you could only be treated for gender identity disorder, if you were going to transition into a heterosexual identity. In other words, a trans woman who was married to a woman and had children would never qualify for medical treatment

to transition. So, with trans visibility, there’s a new axis presented and it’s made people even more aware of the distinction between gender and sexual orientation. Chicago: To really comprehend the changes, it is worth remembering the LA art scene of the 1960s when I was a young artist. A certain kind of performing masculinity was essential in order to be accepted, and everyone tried to make art as if they were white men. Of course, those guys did not see their behavior as performative, and when we look at them through the new theoretical frameworks, they look like dinosaurs. Drucker: During the election, we witnessed a spectacle of the decay of the white patriarchy as embodied by Donald Trump. I’m sure that that particular obliviousness to patriarchy, race, and class will continue to persist despite the fact that the majority of the population is starting to see it as offensive and/or absurd. Thornton: What is the role of the body in gender and sexuality today? Are we less attached to anatomy and biology than we used to be? I know those are loaded terms, but everything is loaded there. Drucker: We’ve created a virtual landscape in which our physical reality is a lot less important than it used to be. We’re seeing all sorts of larger, cultural trends in response to a changing world. We’re heading towards more possibilities for how to present ourselves in the physical world. We might be able to add things visually. There might be more surgical options. Surgery might be easy and pain free. Looking down the line, I think we’re moving towards a future where gender is not a binary. It is a spectrum, which becomes a sort of pan-sexuality, a cornucopia of possibilities. It will be less easy to define who you’re attracted to, because it will be less apparent what people are. That’s the utopian fantasy, the sci-fi future… but I think we may all live to see a time when our bodies dictate less than they do now. Wiley: I think the Web has given us the illusion that our bodies are less salient… until we come into contact with the actual world and then a wake-up call slaps us in the face. The fact is that we are bound by our bodies physically, but we’re also bound physically, psychologically, and politically as a nation. I am not convinced that the Web, or any other technological device, is going to do away with the cold, hard work of actually coming to terms with the real, physical, communal conversation that we have to have with the insaneness of communities that we perceive to be different. Thornton: Different art forms have different physicalities, and you, Kehinde, are a painter. There is something very physical about painting in contrast to machine-mediated forms like

“THE AVOIDANCE OF GENDERED PRONOUNS IS INSPIRING.” —catherine opie

“A CERTAIN KIND OF PERFORMING MASCULINITY WAS ESSENTIAL IN ORDER TO BE ACCEPTED.” —judy chicago Art Basel | Miami Beach 2016 195

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“BASICALLY, ‘SEXUALITY’ IS WHO YOU GO TO BED WITH, ‘GENDER’ IS WHO YOU GO TO BED AS.” —zackary drucker

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photography and video. I have a theory about why museum attendance and the art market have been surging at the same time as the increasing digitization of the rest of our culture. Basically, the presence, scale, and texture of art honors our bodies. Now, having a body is different from the social constructs of gender and sexuality. Our times are bearing witness to a lot more fluidity, which is liberating, but the flexibility of culture doesn’t deny the fact that we still stand, and will always stand, on two legs. Wiley: I agree. I think painting, the physical skin of painting, relates to the trace of some person, some presence in actuality. Someone was there to put the paint to that canvas. Photographs also trace the presence of their maker. Despite their differences, both mediums are concerned with making contact. And that contact is both a literal sense—the hand to shutter, hand to canvas—but it’s also the more profound sense of connecting one’s own life story with that of others. Opie: The other day, I was reading an article in WIRED magazine about artificial intelligence. President Obama was in conversation with MIT Media Lab Director Joi Ito. It made me think: What are they going to do with AI in relation to gender? Are they making robots that look like one gender or another? Or will we be able to morph our AI assistants and choose? Heterosexuality is still embedded in relationship to the AI world. I really appreciate the body in flux and the ability to achieve your desires. The avoidance of gendered pronouns is inspiring. But it gets complicated in relationship to how conservative we are as a country. Trump revealed utter misogyny. I think there will be further culture wars around what people can do with their bodies. Chicago: Virginia Woolf wrote about how the body doesn’t lie. I have been falsely accused of being an “essentialist.” I always understood gender as a cultural construct— what we used to call the female role. I mean… who didn’t know that? For me, however, one of the dangers of Western culture involves its tremendous denial of the body, such as the denial of death and the idea of somehow being able to vanquish aging. I’m 77. My generation is coming up against the limits of the body. Some have an adversarial relationship with their own bodies and what’s happening to them, which doesn’t seem to be healthy or positive, because ultimately the body wins. So how do we find a place that allows for this great spectrum of bodily and human experience to coexist with the real limits of the body? That’s one of the big challenges for us as human beings today. Also, when we think about how everything is changing, I try to ask: For whom is it changing? Is it changing for everyone? Opie: Yes, there is a lot of fear of the body—the medical ads around aging, erectile dysfunction, menopause… Chicago: It’s like menopause is a disease. Opie: I haven’t really been enjoying it, let me tell yah. Pretty bummed about it. [Laughter] Drucker: If I can just elaborate… Of course, nobody makes it out alive. In my utopian vision of the future, I wouldn’t want to undermine the real barriers that people face because of the bodies they’re born into—bodies of color, bodies in direct conflict with a dominant culture. That’s the reality as well. Thornton: What kind of representations of gender and sexuality in contemporary art do you find most irritating, pernicious, or retrograde? Opie: “Irritating”—I don’t like that term. I’d rather think in terms of critical thinking. From that point of view, cock art is overwrought. I get a little tired of seeing the pictures everywhere. I’m not irritated; I’m just critical about it. “Oh, I’m so transgressive because I used a penis in my work.” I’m like, not really. The early work of Sue Williams used a cock really well, but most usage leaves me flat because I feel that it’s too easy a symbol to use. Thornton: My related pet peeve is guns in art. Guns are often a fake form of transgression, a conformist cliché of de rigueur masculinity. Chicago: What came into my mind was the hoohah about Mel Ramos’s pin-ups. I’m like, what? In the 21st century? I thought those paintings were just going to die out of oldfashionedness. And all of a sudden they’ve become really valuable. His prices are going up. I hated them in the ’60s, and I hate them even more now. Drucker: Maybe there’s nostalgia for misogyny. That artwork maintains the status quo and those power structures in a way that’s oblivious. There is still this perceived neutrality of masculinity, and of whiteness. We need to actively amplify the voices of people who

have not been included in art history. Wiley: Many aspects of our culture are annoying. It’s annoying to see Hillary Clinton attacked for the shrillness of her voice. It’s annoying to see Michelle Obama criticized for the size of her arms or the shape of her ass. It’s annoying to see the work of certain artists simplified because of the color of their skin. The shrillness of colors and textures comes by virtue of the rupture that they’re making in historical and aesthetic presentation. I think that if we embrace that shrill tone or embrace the shrillness of a new color sensibility, we can create a different type of vocabulary that can be weaponized to set a different pathway and set different expectations in our young people. Thornton: I did my PhD partly about hipness. Young “cool” art is really a white male prerogative. Shrillness is kind of the opposite of coolness. Both categories are patrolled by a certain demographic. As my friend Grayson Perry, who is an artist and a cross-dresser, says, “Coolness is the enemy of creativity.” Opie: In crits, when I am talking to students in a position that’s too connected to popular culture without a critique, I’ll just say, “Do you want to just make something that’s cool? Is that it?” Chicago: One thing that does annoy me is ignorance about the history of lesbian art, feminist art, or trans art. The lack of historical understanding in a lot of young people’s art irritates me. They make work as if nothing was ever made before them. Wiley: Which is precisely a type of cool, a type of privilege that allows for solipsistic navel gazing. The hard work of knowing exactly who we are and how we arrived at this point is worthwhile. Thornton: Do you hope to change or improve the world through your work? How exactly? Opie: I think that idealism is really important, and adding a voice is really important. Somebody who comes into a museum utterly homophobic and who views, say, a selfportrait cutting on my back, I don’t really think they’re going to leave the museum cured of their homophobia, but I hope they’ll be asking more complicated questions. It’s about making issues visible and creating dialogue. And that’s all I really hope to do, open up the conversation. Wiley: I think that the culture wars are real. As cultural producers, our words and actions may seem small, but they refract when they go out into the world. We don’t have the privilege to sit back and make the type of work that gets lost. It’s okay in a subtle, poetic, almost seemingly wasteful way to dream of worlds that we want to happen, but not feel as though we have to participate in a conversation that’s politicized in any particular way. For example, 1960s abstraction was frowned upon in the Latino and black communities because it was not perceived to be helping the cause, it was not speaking loudly enough or using its skill set for specific and direct political ends. We should be able to have the freedom of white boys with the hearts and souls of outsiders. Drucker: In Judaism, there’s this notion that when you enter a room, you change everyone in it. I think that change happens in a microcosmic way. You can’t measure it, but it’s palpable in the moment. Having our works in museums and galleries, that’s our gift, our offering. The things that we produce, the things that we leave behind, become part of the future. For much of humanity, that has been reproduction, or the production of children. I think artists have a different but similar impulse. We want to leave the world with representations that line up with our experiences, representations that fill a void, and that legitimate or validate our existence. Chicago: There are a lot of artists who don’t believe sufficiently in the power of art. I believe art can play a big role in the world but it requires that artists are willing to take a risk. The era of irony in art was not sympathetic to me. I was often accused of being overly idealistic. I spent eight years working on a project about the darkness of the Holocaust, so I knew full well what the world was like. I did something else, though, that also has to do with the Jewish mandate: I chose hope. For a long time, I felt quite alone in choosing hope. Art, I continue to believe, has an important role to play in transformation. But the ability to imagine the world as a better place and the conviction that you can make a difference requires a great belief in the potential of human beings. Thornton: On that note, I thank you all. This conversation exceeded my expectations. You have been awesome. ABMB

“WE SHOULD BE ABLE TO HAVE THE FREEDOM OF WHITE BOYS WITH THE HEARTS AND SOULS OF OUTSIDERS.” —kehinde wiley

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JASO N S

Jason Schmidt began photographing artists in their studios and at their installation sites in 2000 using a Linhof 4x5 camera. At the time, he could not have predicted how many years of his life this endeavor would ultimately consume, taking him from the Giardini at seven separate Venice Biennales to the high desert of California to the nighttime cityscape of Times Square, shooting more than 600 artists to date and publishing two monographs, Artists (2007) and Artists II (2015). It is useful to approach his photographs as a series of open-ended questions. Who are these artists and what connections do they have to one another? Caught somewhere in the process of completing a sculpture or a painting or a sound installation, where do they see their projects taking them and, by extension, us? At what point does abandonment become impossible and the piece start to gel as a work of art? The images perfectly illustrate the extremes of artistic terrain and the varying modes of production of artists working today. No longer is there a unified aesthetic community, or a hierarchy of methodology in the creative practice, or even regional divides on matters of interpretation, style, and taste. The studio is the true laboratory of the present, where work

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SC HM IDT

gets done and questions are raised and pretense is dashed and tough decisions are made—whether in the dusky light of an East Village walk-up or in the glaring sun on a California beach. Essentially, Schmidt supplies a keyhole to the creative process that is denied even to the critic. The lingua franca here is the artists’ own clutter, their own poses, and their own words, unmediated by the press release. Some of these artists have already left an indelible mark on history (one has merely to view Ed Ruscha walking down the Sunset Strip [below] to feel the power of an icon). Others are almost unrecognizable by face or name, and they may be forgotten, or celebrated, in the years to come. Schmidt’s gift is not that of a historian but of a documentarian. More than a collection of timeless studio portraits, Schmidt’s photographs capture moments teetering on the point of crystallization. If you are looking for statements, refer to Janson’s History of Art. These photographs are the present. The paint has not yet set. The Margulies Collection at the Warehouse is exhibiting 135 of Schmidt’s images from this series through April 29. by Alix Browne and Christopher Bollen

E d Ru s c h a , N o v e m b e r 8 , 2 0 0 3 , We s t H o l l y w o o d , C a l i f o r n i a

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left:

J o h n B a l d e s s a r i , J u n e 4 , 2 0 0 9 , Ve n i c e B i e n n a l e , Ve n i c e , I t a l y

right: top: above:

D a s h S n o w, A u g u s t 7 , 2 0 0 7 , N e w Yo r k , N e w Yo r k

M i c k a l e n e T h o m a s , N o v e m b e r 3 , 2 0 0 9 , N e w Yo r k , N e w Yo r k

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U g o R o n d i n o n e , D e c e m b e r 2 4 , 2 0 0 0 , N e w Yo r k , N e w Yo r k

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clockwise from top left:

Ya y o i K u s a m a , J u l y 1 1 , 2 0 1 2 , N e w Yo r k , N e w Yo r k D o u g A i t k e n , M a y 2 1 , 2 0 0 4 , M a r i n a d e l R e y, C a l i f o r n i a A d a m Fu s s , N o v e m b e r 2 5 , 2 0 0 3 , N e w Y o r k , N e w Y o r k J o a n J o n a s , A p r i l 1 9 , 2 0 0 9 , N e w Yo r k , N e w Yo r k Art Basel | Miami Beach 2016 203

LUMINARIES

Isa Genzken, June 17, 2007, Skulptur Projekte, M u n s t e r, G e r m a n y N i c k C a v e , Fe b r u a r y 1 9 , 2011, Chicago, Illinois

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Christian Holstad, March 6, 2009, N e w Yo r k , N e w Yo r k Pierre Huyghe, June 5, 2 0 0 1 , Ve n i c e B i e n n a l e , Ve n i c e , I t a l y

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THE MARGULIES COLLECTION AT THE WAREHOUSE IS EXHIBITING 135 OF SCHMIDTâ&#x20AC;&#x2122;S IMAGES FROM THIS SERIES THROUGH APRIL 29, 2017.

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left: above:

Pa u l M c C a r t h y, J a n u a r y 1 0 , 2 0 0 3 , A l t a d e n a , C a l i f o r n i a

G u e r r i l l a G i r l s , J u n e 9 , 2 0 0 5 , Ve n i c e B i e n n a l e , Ve n i c e , I t a l y

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Game Changer From a Jimi Hendrix song to a Salvador Dalí belly button (or not), artistic influences take many forms. Here, three artists, one gallerist, one curator, and one patron share the works, performances, and personalities that resonated with them and led them to pursue a career in art. In some cases, the inspiration bears little relationship to the interviewee’s practice. Chalk it up to creativity— or to the cross-cultural, cross-generational, crossdisciplinary power of art.

LIZA ESSERS Owner and director of Goodman Gallery, Johannesburg, Cape Town “In Johannesburg, 10 years after the 1994 advent of democracy in South Africa, the Sontonga Quartet performed William Kentridge’s animated films, collectively titled 9 Drawings for Projection. Philip Miller’s gutwrenching compositions accompanied the work. The setting, the Women’s Jail, once housed Winnie Mandela. The adjacent men’s sections had housed her husband as well as Mahatma Gandhi. Art, music, liberation, and celebration united in one piece. At such moments, I realize how communities are able to use art to transcend the traumas of history.”

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top: Salvador Dalí, Le cabinet anthropomorphique (The Anthropomorphic Cabinet), 1936. above: A still from William Kentridge’s 9 Drawings for Projection.

HAYV KAHRAMAN Iraqi-born, Los Angeles-based artist “A Dalí replica hung on every wall of our Baghdad home. A reclining woman with drawer handles for nipples and a keyhole as belly button (or was that her vagina?) hypnotized me. Why couldn’t I see her face? What were in those drawers? Was it even a she? I was obsessed with how her body morphed into an object, how the flesh was this raw umber golden color. I’ve never seen the original painting. When I close my eyes, I feel like I can touch it.”

PHOTOGRAPHY BY BPK BILDAGENTUR/KUNSTSAMMLUNG NORDRHEIN-WESTFALEN, DUESSELDORF, GERMANY/WALTER KLEIN/ART RESOURCE, NY/© SALVADOR DALÍ, FUNDACIÓ GALA-SALVADOR DALÍ, ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 2016 (THE ANTHROPOMORPHIC CABINET); © ANDY FREEBERG, 2015, COURTESY OF JACK SHAINMAN GALLERY (KAHRAMAN); BY JOHN HODGKISS, COURTESY OF GOODMAN GALLERY (ESSERS); COURTESY OF GOODMAN GALLERY (9 DRAWINGS FOR PROJECTION)

Six art-world luminaries consider what ignited their passion for art and what continues to fuel their creativity. by Alina Cohen

PHOTOGRAPHY BY DAVIS MUSEUM AT WELLESLEY COLLEGE/ART RESOURCE, NY/© 2016 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / VG BILD-KUNST, BONN (SLED #1); BY ANA HOP (REYES); WHITNEY BROWNE (EDWARDS); © COPYRIGHT SMOKING DOGS FILMS, COURTESY OF SMOKING DOGS FILMS (HANDSWORTH SONGS)

PEDRO REYES Mexico City-born and -based multimedia artist “Three artists have really impacted me. All were interested in an expanded version of sculpture that included the mind, politics, and society, as well as extreme experimentation with materials. Hans Haacke’s idea of process and pieces that would change according to the environment (and his engagement with politics) made a deep impression on me. I also devoured any documentation on Joseph Beuys and his social sculpture that I could find. Later I discovered Juan Downey and his visionary mix of ethnography and cybernetics.”

above: Joseph Beuys, Sled #1, 1969. bottom: A still from the Black Audio Film Collective’s Handsworth Songs, 1986.

ADRIENNE EDWARDS Visual arts curator at large for the Walker Arts Center in Minneapolis “I first saw the remarkable film Handsworth Songs [1986], by the Black Audio Film Collective, as a Spelman College student. It spoke to civil unrest in Britain with an eloquence that intrigued me. The work is unlike anything else I have seen: The combination of film as abstraction and the abstraction of notions of blackness resonates with me as profoundly radical. They connected blackness to social, economic, and political systems. Handsworth Songs is universal and cosmopolitan, able to speak to larger concerns through particular experiences.”

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DANA FAROUKI Collector, patron, and cochair of the board of directors of Creative Time in New York City “My mother reminds me that I was not the easiest of children. I was, however, a willing museumgoer. I vividly remember a Matisse in a blockbuster show in Nice, France. I was mesmerized by the artist’s sense of color. He remains a favorite. I was then convinced to pursue a life and career in the arts after my first history of art course with Kermit Swiler Champa at Brown University. He taught me what I consider to be a language—a way of looking at and understanding art.”

above: Henri Matisse, Pianist and Checker Players, 1924. below: Jimi Hendrix performing in the 1960s.

KATHARINA GROSSE Painter, born and based in Germany “Jimi Hendrix—the music and the person—inspires me. Listening to his music is like putting my finger in an electrical socket. He was multidimensional, erotic, aware of his sexuality, and truly free. The powerful and extraordinary intelligence that emanates from his music is based on an exact awareness of who he is, how he sounds, what he feels, and what he wants to experience. I relate to the urgency in his art—to perform, to communicate, to reach out and touch people.” ABMB

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PHOTOGRAPHY BY MATTEO PRANDONI/BFANYC.COM (FAROUKI); COURTESY OF NATIONAL GALLERY OF ART, WASHINGTON/© 2016 SUCCESSION H. MATISSE/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK (PIANIST AND CHECKER PLAYERS); BY MICHAELIS/ULLSTEIN BILD VIA GETTY IMAGES (HENDRIX); © KATHARINA GROSSE 2015/VG BILD-KUNST BONN, 2015/PHOTO BY ANDREA STAPPERT (GROSSE)

LUMINARIES

3085 Munroe Drive, Miami $50,000,000 | Web# A10152619 Pablo Alfaro 305.613.1186

KNOWN GLOBALLY. LOVED LOCALLY. With 19 South Florida offices and 6,000 agents nationwide plus, the international scale and scope of Knight Frank Residential, the world’s largest independent property consultancy, the Douglas Elliman network reaches across 59 countries and 6 continents. Chances are, your buyer has worked with us before.

1111 Lincoln Road, 805, Miami Beach, FL 33139 O: 305.695.6300 | elliman.com/offices/florida 1111 LINCOLN RD, PH-805, MIAMI BEACH, FL 33139. 305.695.6300 © 2016 DOUGLAS ELLIMAN REAL ESTATE. EQUAL HOUSING OPPORTUNITY.

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THE NEW DEFINITION OF SOPHISTICATED ELEGANCE 6440 North Bay Road, Miami Beach | $30,500,000 | Newly constructed 15,000 sf home located on Miami Beach’s prestigious North Bay Road. With dramatic wide bay views, gracious rooms and a modern layout this 7 bedroom, 9 baths+2 home establishes a new standard for sophisticated design and elegant living. Incorporating organic and modern materials, the house features sliding glass walls throughout which allow for a unique Miami style of indoor/outdoor living. Elliman.com/A2189183

DARIN TANSEY Director of Luxury Sales C: 305.924.4100 O: 305.695.6300 darin.tansey@elliman.com

FOR ALL THINGS REAL ESTATE, VISIT ELLIMAN.COM/FLORIDA 1111 LINCOLN RD, MIAMI BEACH, FL 33139. 305.695.6300 © 2016 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. EQUAL HOUSING OPPORTUNITY.

THE GEM OF NORTH BAY ROAD 5446 North Bay Road, Miami Beach | $29,000,000 | Located on prestigious North Bay Road, lay an architectural masterpiece nothing short of spectacular, representing years of devotion. Situated on a 33,000 sf lot with 8 bedrooms and 8.5 baths, this estate encompasses 13,500 sf of living space and 190’ of waterfrontage. The “smart home” was meticulously built combining traditional elegance with contemporary flair. Features include a Chef’s kitchen, Otis elevator, 3 Koi ponds, a floating spiral stair case, Guest Villa, 3-car garage, and a roof top terrace. Living rooms offer sweeping views of the picturesque Miami skyline. From Developers Todd Michael Glaser and The Posner Group. Elliman.com/A10018704

LUXURY RENTAL ON STAR ISLAND 4-5 Star Island, Miami Beach | $90,000/month | This 17,000 sf Character rich Italian Villa is sprawled across 2 acres on Miami Beach’s Ultra Exclusive Star Island. Located throughout the property are 14 Bedrooms , 17 Bathrooms including a master suite with over sized closets and private gym. Other Features include a 5000 bottle Wine Cellar, Media Room, European kitchen, large Pool/Spa, and an 8 car garage. Large French Doors open to an expansive rear courtyard revealing views of Downtown Miami and her incredible sunsets. 5 Star Island offers a tranquil and idyllic setting for a family where privacy and security are paramount. Available for immediate occupancy.

BRETT HARRIS Director of Luxury Sales O: 305.677.5000 C: 305.764.9401 brett.harris@elliman.com

A TIMELESS ARCHITECTURAL MASTERPIECE 300 Costanera Road, Coral Gables | $27,260,000 | Completed in May 2016, “Casa Costanera” is an impressive modern Mediterranean estate. Located in exclusive Cocoplum, this custom designed elegant home sits on a corner lot with 1.3 acres for maximum privacy and over 480 ft of water frontage. Offering 21,042 sf of living space, this home features exceptional craftsmanship with designer interior finishes, commercial elevator, 3 kitchens, separate staff/guest quarters and more. Situated on the Coral Gables waterway with direct access to Biscayne Bay. Elliman.com/A10128724

BARBARA ESTELA Broker Associate O: 305.695.6046 C: 786.239.4227 barbara.estela@elliman.com

HILDA JACOBSON Realtor Associate O: 305.695.6046 C: 786.213.4511 hilda.jacobson@elliman.com

ONLY FREESTANDING RESIDENCE ON OCEAN DRIVE 222 Ocean Drive, Miami Beach | $13,995,000 | A one-of-a kind property that has the honor of being the only freestanding home on Ocean Drive. Surrounded by the best dining, shopping, and beaches in South of Fifth, this property offers over 7,000 sf of luxurious living space and a walkable lifestyle. Elliman.com/A2189605

MODERN VENETIAN ISLES MASTERPIECE 401 West Rivo Alto Drive, Miami Beach | $5,190,000 | New construction finished in 2015 by well-known architect, Ralph Choeff. This statement property features over 5,000 interior sf, 5 bedroom, 5.5 baths, Lutron system, outdoor cabana with kitchen, heated pool, and one of a kind, 1,000+ sf roof deck with bay views. Elliman.com/A10130057

JOHN SANDBERG Director of Luxury Sales O: 305.695.6039 C: 305.586.7200 john.sandberg@elliman.com

ANN NORTMANN Senior Project Director O: 305.695.6039 C: 786.385.6977 ann.nortmann@elliman.com

FOR ALL THINGS REAL ESTATE, VISIT ELLIMAN.COM/FLORIDA 1111 LINCOLN RD, MIAMI BEACH, FL 33139. 305.695.6300 Â© 2016 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. EQUAL HOUSING OPPORTUNITY.

COCONUT GROVE’S TROPICAL “HAMMOCK HOUSE” 3503 Banyan Circle, Coconut Grove | $6,950,000 | Impeccably designed 6,212 sf home offering 6 bedrooms, 7.5 baths and guest house in exclusive Camp Biscayne. Expansive modern interiors naturally flow through sliding glass walls to tropical oasis boasting salt-water pool, spa and summer kitchen. Elliman.com/A10170215

MICHAEL LIGHT Broker Associate O: 305.350.9842 C: 786.566.1700 michael.light@elliman.com

RAFAEL MONTEJO Realtor Associate O: 305.695.6070 C: 305.490.0153 rafael.montejo@elliman.com

AT D O U G L A S E L L I M A N R E A L E S TAT E

WATERFRONT SPLENDOR 400 Alton Road, 3203, Miami Beach | $4,375,000 | Entered through a private elevator lobby, this stunning 3 bedroom, 3.5 baths, 3,058 SF flow-thru condo offers one of the most preferred layouts with majestic bay, ocean, Fisher Island and Downtown Miami views. Elliman.com/A10085871

DISTINCT LIVING Palau | 1201 20th Street, PH7, Miami Beach | $2,500,000 | Customize your 3 bedroom, 1,745 SF PH with a large and rare 1,460 sf private rooftop terrace in South Beach’s “it” Sunset Harbour neighborhood. Just delivered Palau offers the best. Elliman.com/A10141081

ADRIANA PINTO-TORRES Realtor Associate C: 786.493.1388 adriana.pintotorres@elliman.com theAPTteam.elliman.com

TRACY FERRER Realtor Associate C: 786.214.0099 tracy.ferrer@elliman.com theAPTteam.elliman.com

MARIELA STOCHETTI Realtor Associate C: 786.554.2889 mariela.stochetti@elliman.com theAPTteam.elliman.com

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ROOFTOP PARADISE

OCEANSIDE LIVING AT FAENA HOUSE

GATED OPEN-BAY NEW CONSTRUCTION

7002 Fisher Island Drive, PH2, Fisher Island $38,500,000 | Largest penthouse available as re-sale in newest Fisher Island development. A spacious 9,715 sf of interiors and 2-level terraces made up of 8,595 sf with rooftop pool, Jacuzzi, and outdoor kitchen. Web# A10125578. Pablo Alfaro, C: 305.613.1186

3315 Collins Avenue, 5-B, Miami Beach | $12,000,000 Oceanfront Faena House. The 4,165 sf unit features fullyfurnished interiors with a spacious floor plan made up of 4 bedrooms, 5 baths, 1 powder room, staff quarters and a wraparound balcony, adding 1,301 sf of outdoor covered space. Web# A10149787. Pablo Alfaro, C: 305.613.1186

7311 Belle Meade Island Drive | $8,650,000 | New construction wide-open bay house by DNA Architecture and TOGU Interior design. This double gated lot and 7,171 sf of ultra high end finishes includes European massive white doors, Cotto d Este porcelain giant tiles mixed with oak wood floor and an Infinity pool. Web# A10169867. Caroline Nicolai, C: 305.600.6940

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BOCA RATON WATERFRONT ESTATE

GATED LAKE-FRONT ESTATE IN WESTON

STUNNING 160’ CORNER WATERFRONT HOUSE

717 Marble Way, Boca Raton | $6,500,000 Contemporary, newly remodeled waterfront estate has a prime location. Walk to the beach, golf course and bike to Mizner Park, Boca Raton & Resort, and along A1A. Web# RX-10264436. Tina Anderson, C: 561.379.8220

16200 Saddle Club Road, Weston | $6,000,000 Lake Front ranch-style estate with 10,838 sf on over 4 acres with dramatic fireplace, tennis court, diving pool, guest house, summer kitchen and staff quarters. Web# A10051462. Shelia Gasson, C: 305.323.0963

1270 East 82nd Street, Miami | $5,250,000 | New modern construction home with Togu interior designer. This 5,668 sf house features high-end finishes on a 9,500 sf lot with wood and concrete floors, a 20 ft living room ceiling, IPE wood outdoor flooring and East exposure. Web# A10169938. Caroline Nicolai, C: 305.600.6940

WATERFRONT LIVING IN BOUTIQUE MIAMI BEACH ENCLAVE WITH HANGING GARDENS

SOHO MEETS MIAMI BEACH CHIC

1201 20th Street, 402, Miami Beach | $2,450,000 | South Beach’s only new waterfront luxury condo in walkable Sunset Harbor! Design your dream home in huge 2,045 sf 3 bedroom 3.5 bath residence with additional 732 sf outdoor living space! Also features: convertible utility room, gourmet Italkraft kitchen cabinets, Sub-Zero, Wolf and Bosch appliances. Amenities Include: gym, rooftop pool, valet, 24-hour doorman. Close to: restaurants, shops, boating, paddling, Venetian Islands! Web# A10158032. Paul Basile, C: 305.582.6426

1701 Sunset Harbour Drive, L702, Miami Beach | $2,149,000 | Impeccable 3 bedroom, 3 bathroom 2,613 sf SoHo inspired loft-style condo in the middle of Miami Beach. The modern designer finishes throughout include Crestron Automation and lighting, Quartz countertop, and a roof-top terrace overlooking the park, Bay, and city skyline. Web #A10136102. Denver Bright, C: 954.703.9741

FOR ALL THINGS REAL ESTATE, VISIT ELLIMAN.COM/FLORIDA

1111 LINCOLN RD, MIAMI BEACH, FL 33139. 305.695.6300 © 2016 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. EQUAL HOUSING OPPORTUNITY.

NEO-CLASSICAL MEDITERRANEAN ESTATE

NEW CONSTRUCTION WATERFRONT HOME

QUINTESSENTIALLY FAENA

272 Marinero Court, Coral Gables | $8,499,000 This 7 bedroom, 6.5 bath gated waterfront estate includes a stunning foyer, iconic marble fireplace, chef’s kit, resort lifestyle - garden side pool and spa. Yacht with No Bridges to Bay and Deep water access. Web# A10029061. Rose Harris Group, C: 305.804.7673

480 Solano Prado, Coral Gables | $8,300,000 | This stunning home includes 140 ft water frontage, 7 bedrooms, 5 full and 2 half baths, open spaces and no fixed bridges. Web# A10028706. Hilda Jacobson C: 786.213.4511 | Sabriane Brandao, C: 917.331.3706

3315 Collins, 5C, Miami Beach | $6,975,000 | Residence 5C offers 11’ ceilings with an open floor plan and expansive 1,190 sf wrap around terrace with views of the Atlantic Ocean. Molteni kitchens with polished Thassos marble and a full Miele appliance suite. Web# A10094105. Jorge Sanchez C: 305.970.7681 | Pietro Belmonte, C: 305.335.1981

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PONCE DAVIS EXTRAORDINARY ESTATE

SPECTACULAR FRENCH MANOR ESTATE

CONTEMPORARY NEW CONSTRUCTION

8301 Southwest 53 Avenue, Miami | $4,499,000 | A 7 bedroom, 6.5 bath gated estate with outstanding design details including a dramatic foyer and staircase, a gourmet kitchen, bar, theatre, lagoon pool and spa. Host family and friends in it’s amazing guest house. Web# A10029061. Rose Harris Group, C: 305.804.7673

9598 Southwest 62 Court, Pinecrest | $3,499,000 Exceptional French Manor gated estate with a pristine park setting. This 6 bedroom, 6 bathroom estate merges fine architecture with ultimate design and luxury. Details include Jerusalem stone floors, 2 family rooms and more. Web# A10120496. Rose Harris Group, C: 305.804.7673

5990 Southwest 80 Street, South Miami | $2,390,000 Gorgeous open floor plan home with floor-to-ceiling glass, Gray porcelain/wood floors and an Italian-inspired custom kitchen with Wolf/Sub-Zero appliances. Exterior details include a gated entrance and lush landscaped pool. Web# A10056086. Rose Harris Group, C: 305.804.7673

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WATERFRONT 4-STORY TOWNHOMES

LUXURIOUS TOWNHOMES

SELLING FOR LOT VALUE

29 North Shore Drive, 20J, Miami Beach | $1,184,000 Iris on the Bay is a collection of 43 townhomes with 3 and 4 bedroom floor plans, modern architecture, 2-car garages, a rooftop terrace, private elevators, and boat slips. Web# A10146576. Angela Stroll, C: 786.247.1204

9900 East Bay Harbor Drive, Bay Harbor Islands Starting at $995,000 | Modern and luxurious new construction townhomes each with their own private rooftop pool and picturesque views. Floor plans include 3 or 4 bedrooms. Spacious living and dining areas. Web# A2045457. Ilene Tessler C: 305.458.1200 | Bonnie Brooks, C: 305.206.4186

119 East 2nd Court, Miami Beach | $1,600,000 | Build your dream home on guard-gated exclusive Hibiscus Island, The 9,750 sf dry lot includes 3 bedrooms, 3 baths, a salt water pool, and gas generator. Live in this elite private community with waterfront park including tennis courts, basketball court, field and tot lot playground. Web# A10156508. Tracey E. Hagen, PA, GRI, C: 305.586.3584

FOR ALL THINGS REAL ESTATE, VISIT ELLIMAN.COM/FLORIDA

FIFTH AVENUE PENTHOUSE IN THE SKY

EXTRAORDINARY TRIPLEX

ESTATE ELEGANCE ON THE HUDSON

400 Fifth Ave, PH1N | $9,450,000 | Stunning 60th floor condo with mesmerizing views of New York City perched atop 5-star Hotel. This residence offers 3 bedrooms plus library, 3.5 baths, high ceilings, fireplace, and full amenities. Web# 2234778. Gail Sankarsingh, C: 646.592.3431, O: 212.891.7626

178 Franklin St | $9,000,000 | Elegantly renovated, 5-bedroom town home like triplex. There are 3 separate entrances, a skylight atrium courtyard, imported marble, and up to 13-ft ceiling heights. Web# 2548898. C. Michael Norton, C: 917.701.5723, O: 212.965.6022 | Ruth Hardinger, C: 917.301.4739

Irvington, NY | $8,995,000 | ~17,000 sf grand stone and brick Georgian mansion set on 12 glorious acres in the coveted Matthiessen Park overlooking the Hudson River with indoor pool, beautiful gardens and sweeping lawns. Just 13 miles from New York City. Web# 4636346. Ellen Schwartz, C: 914.420.4615

PRISTINE PARK AVENUE CONDO

MODERN MARVEL

EXQUISITE TOWNHOUSE

515 Park Ave, 7B | $7,695,000 | Just renovated with no expense spared. This stunning residence overlooks Park Ave with a loft-like living room, 10-ft ceilings, lavish finishings, chef’s kitchen, and white-glove service. Web# 2502610. Pamela Kurtz C: 917.494.0460, O: 212.705.1063

Bedford, NY | $7,495,000 | Award-winning architects Ogawa and Depardon designed this 13,000-sf custom retreat on 20 serene acres. Features include 5 bedrooms, 7.5 baths, indoor pool and spa, wine cellar, 3 fireplaces, reflecting pool and Koi pond, gym, theater and paddle court. Web# 4610550. Elizabeth Audet, C: 914.494.5921

118 East 64th Street | $6,500,000 | This elegantly designed 4-story townhouse has original architectural detail, 5 marble fireplaces, high ceilings, herringbone floors, and 2-zone central air conditioning. A lovely home offering a rare opportunity to live on one of NYC’s most prestigious blocks. Web# 2317689. Suzanne Sealy O: 212.891.7619

ONE OF THE LARGEST TERRACES IN NYC

LIVE/WORK LOFT IN FLATIRON

TRIPLE MINT AT SUPERIOR INK

345 East 50th Street, PHB | $4,200,000 Sophisticated and chic triple mint move-in condition penthouse with exceptional grand indoor/ outdoor entertaining areas, 2 bedrooms each with dedicated terraces. Web# 2549137. Patricia Isen, O: 212.303.5227| Betsy S. Green, O: 212.891.7067

39 East 20th St, 5 fl | $3,495,000 | Located in a loft building with all full floors, enter this renovated residence through keyed elevator which opens directly to the grand living space. Features include a chef’s open kitchen with top-of-the line appliances. Web# 2428492. Diane Johnson, O: 212.418.2075 Scott Boyd, O: 212.891.7121

400 West 12th St, 6E | $2,875,000 | Hollywood glamour comes to Manhattan’s most desirable neighborhood. Beyond turn-key perfect, this gorgeous 1-bedroom suite is offered furnished down to the last detail. Web# 2405196. Brett Miles C: 917.363.6756, O: 212.274.7915 | Reid Price C: 917.922.0355

FOR ALL THINGS REAL ESTATE, VISIT ELLIMAN.COM

575 MADISON AVENUE, NY, NY 10022. 212.891.7000 © 2016 DOUGLAS ELLIMAN REAL ESTATE. ALL MATERIAL PRESENTED HEREIN IS INTENDED FOR INFORMATION PURPOSES ONLY. WHILE, THIS INFORMATION IS BELIEVED TO BE CORRECT, IT IS REPRESENTED SUBJECT TO ERRORS, OMISSIONS, CHANGES OR WITHDRAWAL WITHOUT NOTICE. ALL PROPERTY INFORMATION, INCLUDING, BUT NOT LIMITED TO SQUARE FOOTAGE, ROOM COUNT, NUMBER OF BEDROOMS AND THE SCHOOL DISTRICT IN PROPERTY LISTINGS SHOULD BE VERIFIED BY YOUR OWN ATTORNEY, ARCHITECT OR ZONING EXPERT. EQUAL HOUSING OPPORTUNITY.

TRIBECA PENTHOUSE LIVING

EXTRAORDINARY OCEAN-FRONT ESTATE

WESTCHESTER GRAND ESTATE

11 North Moore, PH | $25,000,000 | Exquisite 5-bedroom, 5.5-bath penthouse featuring ceilings up to 18-ft, glorious views and parking as well as a 3,200-square-foot roof terrace with private pool. Full service building. Web# 2278411. Fredrik Eklund and John Gomes, O: 212.891.7676

Long Branch, NJ | $33,995,000 | This oceanfront, 9-bedroom, ~ 14,000-sf home is a masterpiece reminiscent of an 18th century French chateau. Melding old-world craftsmanship with the modern conveniences discerning buyers expect, this beach home provides luxurious spaces. Web# DE09967. Ginette (Gigi) Ancona O: 201.721.8610 C: 917.691.2897

Bedford Corners, NY | $36,000,000 | ~10,000-sf brick Georgian mansion on 64 serene acres with Hudson Valley views. Half mile long driveway, 6 FPL, guest house, heated pool with cabana, and tennis court. 45 min to NYC. Web# 4629976. Frank Haymson, C: 914.649.2637

MASTERPIECE WEST CHELSEA PH

BACCARAT FULL-FLOOR

520 West 19th St, PHB | $18,500,000 Unparalleled luxury 5-bedroom penthouse living and views galore at downtown’s premier 520 West Chelsea condominium. Web# 2355527. Brett Miles C: 917.363.6756, O: 212.274.7915 | Ried Price C: 917.922.0355

20 West 53rd St, 47 | $23,800,000 | Stunning full-floor at Baccarat Hotel & Residences Fifth Avenue, NYC. 4 bedrooms, 4.5 baths condo with 14-ft ceilings, fireplace, and spectacular 360 degree views. 10,000 sf of amenities. Web# 2505993. Gail Sankarsingh, O: 212.891.7626 | Lauren Muss O: 212.350.8000

REGAL ON ROUND HILL ROAD

4-BR WITH PARK VIEW IN TOP CONDO

SUNRIDGE FARM

Greenwich, CT | $9,900,000 | Extraordinary Round Hill compound privately sited on over 6 spectacular acres. Blends Old World ambiance with 21st century living. Accommodating both large scale entertaining and casual family living, the interior incorporates impeccable quality, using the finest materials with careful attention to detail. Web# CT97775. Lyn Stevens, C: 203.912.6720

10 Madison Sq West, 14F | $9,995,000 | Be the first to live in this gorgeous brand new high-end home with direct views of Madison Squar Park, 4.5 baths, doorman plus concierge, 10,000 sf Residence Club, 60-ft heated pool, and kid’s room. Web# 2550265. Barbara Lockwood, O: 212.891.7218 C: 917.670.7787

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GROUNDBREAKING

Steel Clouds: Materializing the Internet Three artists use media and technology to reveal the power of manipulating and distorting images. BELYING THE CUMBERSOME, room-filling size of early computers and the acres-wide server farms of today is the perceived immateriality of the cloud—that great spectral computer in the sky. Due to the economic imperative of technology companies to create an accessible experience for the greatest number of consumers, computer science can often appear to be a form of magic. We used to hold photos and records in our hands; now, they live as code we don’t understand in places we’ll never see, and somehow appear on any screen we want with a swipe and a click. Indeed, as we’ve further advanced our technology through proprietary companies such as Apple and Google, the further we’ve also moved away from understanding how exactly these technologies work. A growing cadre of artists is determined to bridge this divide,

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showcasing the materiality of the Internet and network culture, and their concomitant landscape and geopolitics. Maybe most well known among them is artist Trevor Paglen, who creates collages, films, and photographs that give shape to network architecture. Most recently,

Paglen has conceptualized this architecture through a reimagining of landscape from a traditionally horizontal to a vertical plane. So rather than visualize landscape as sprawled out on a horizontal axis, following our notion of borders, Paglen urges us to think about our

earthly landscape as ranging from a great depth to extending to the sky. In his recent essay “Some Sketches on Vertical Geographies” for e-flux Architecture, Paglen, who also holds a PhD in geography from the University of California, Berkeley, frames this geography in terms of network

left:

A still from Lance Wakeling’s video A Tour of the AC-1 Transatlantic Submarine Cable, 2011. above, from left: A photographic view and maritime map from Trevor Paglen’s Cable Landing Sites works. shown here: NSATapped Fiber Optic Cable Landing Site, Point Arena, California, United States, 2014.

IMAGES COURTESY OF TREVOR PAGLEN; METRO PICTURES, NEW YORK; ALTMAN SIEGEL, SAN FRANCISCO (CABLE LANDING SITE); COURTESY OF LANCE WAKELING (A TOUR OF THE AC-1 TRANSATLANTIC SUBMARINE CABLE)

by Karen Archey

IMAGES COURTESY OF THE ARTIST AND TANYA LEIGHTON, BERLIN

architecture. He begins with undersea cables that lie 20,000 feet below the ocean on the seabed. These fiber-optic cables carry our telecommunications data, and although the idea of such an infrastructure seems quite modern, Paglen notes that their protoversions were laid as early as 1857. Paglen’s geography extends up to 0, or mainland, on which these data cables dock at landing stations and connect with the rest of the world’s network technology. He further extends this geography to aerostats (aircraft such as blimps that are lighter than air), which conduct persistent surveillance over occupied territories at 2,500 feet, then government-controlled predator drones at 25,000 feet, further on up to the radar and radio transmissions at 260,000 feet, and up into space at 160–2,000 kilometers at low-earth orbit, where most satellites are placed, and out into the galaxy. At exactly 36,000 kilometers directly above the equator, there’s a strip just a few kilometers wide that makes up geostationary orbit—the orbit where satellites remain relatively stationary as the world spins. This real estate is so finite and valuable that there’s even a commission called the International Telecommunications Union that controls these satellite placements. Paglen is notoriously outspoken about governmental surveillance operations such as the NSA, and worked as a cinematographer for the Oscarwinning documentary Citizenfour. His pieces almost always come back to the militarization of the Internet and network technology, which itself has military origins. Given that so much of network infrastructure exists within vertical geographies that are uninhabitable or inaccessible to humans (in the deep sea, in the air, hidden on a coastline), these technologies remain out of sight, and hence out of mind. Paglen’s artistic work—consisting of virtuoso photographs of cables on the sea floor, blown-up shots of drones that are no more than a triangle cutting across the sky, or images of NSA headquarters in otherwise unremarkable corporate buildings— protests against this invisibility. Artist Lance Wakeling also takes on the task of visually representing network technology. His video A Tour of the AC-1 Transatlantic Submarine Cable is a first-person travelogue that visits the landing points of the AC-1 transatlantic submarine telecommunications cable, which docks at Fire Island, New York; Sennen Cove, England; Castricum, the Netherlands; and Sylt, Germany. Wakeling states on his website that part of the motivation for making the video is combating “the problem of representing global communication structures, whose scale far exceeds that of the individual.” Shot as a first-person narrative, A Tour fully exploits the subjective expressiveness endemic to travelogues, personalizing his experience bearing witness to this infrastructure in order to make it relatable to viewers.

ABOVE:

Stills from Aleksandra Domanović’s video From yu to me, 2013/14.

Wakeling starts out at JFK Airport heading to London, and then Paddington, and ﬁnally Land’s End, and tells the story of his Republican National Convention-related arrest and detention at the Tombs in downtown Manhattan, a stone’s throw away from the former Verizon data center on Pearl Street. Like Paglen, Wakeling connects surveillance culture and network infrastructure, symbolized by the highly visible Verizon building, as instances of state control. In Land’s End, his enterprising innkeeper drives him to the cable landing stations and then to the train station in exchange for a positive review of his hotel stay. Wakeling then goes on to visit the landings in the Netherlands and Germany, traveling by train and ferry. Wakeling often explains network technology, rhapsodizes in coincidence, and sometimes waxes beautifully on the signiﬁcance of it all. Addressing a multiplexor, a device that makes many signals in a data cable into one, which is then shot across a stream and decoded via a demultiplexor, as follows:

“Like the global network itself, the nature of a multiplexor is difficult to represent because its form does not express its function.” The work of Aleksandra Domanovi spans sculpture, 2-D work, and video, and often looks at the history of the Internet in tandem with that of the former Yugoslavia and its dissolution. Her documentary video From yu to me (2014) offers an abridged history of the Yugoslavian Internet as told by Borka Jerman-Blažič and Mirjana Tasić. Both women administrated the Yugoslavian countrycode top-level domain, or ccTLD .yu. (A ccTLD is simply the ending of a website URL that ends in a country code such as .us [United States], .de [Germany], etc. A private nonprofit corporation called the Internet Assigned Numbers Authority, founded in 1988, determines representative trustees for each ccTLD, who then manage it as they see fit.) Via Domanović’s interview questions, we are led through a rich story of a developing Internet in the late 1980s and early ’90s amid the fall of Communism and the rise of the Web—though the technology administrators pioneering the Internet in the United States were often unaware of the political situation in Yugoslavia. The “yu” and “me” in From yu to me refers to both “you and me,” as the Internet is now characterized by its ability to connect us near and far, as well as the ccTLDs .yu for Yugoslavia and .me for Montenegro, suggesting that .yu was fractured into many smaller nation-states after the dissolution of Yugoslavia. Domanović was inspired to create From yu to me because she was amazed that, up until 2010, the .yu ccTLD still existed and was surprised that it slipped through the cracks of history. “I grew up in a country that ended when I was 11, and there are a lot of things worth preserving that got lost,” she said in a recent interview. Things disappeared because people didn’t care about preserving the fabric of Yugoslavia, reverting instead to the histories of their respective individual nation-states, but also because there was a pervasive sense of postwar national shame that many wanted to bury. To boot, many national monuments were destroyed and replaced with kitschy monuments of Hollywood characters such as Rocky. Domanović has also made work about such monuments, prevalent among Balkan countries, and refers to them as Turbo-sculpture. While network infrastructure is often concealed physically by dint of its larger-than-life scale and uninhabitable environs, so too is it obscured by its technicality, which often deters daily Internet users from asking basic questions about its functionality and politicization. Here, Paglen, Wakeling, and Domanović work to close the ever-increasing gap between Internet usage and informed political understanding. ABMB

Art Basel | Miami Beach 2016 227

GROUNDBREAKING

Out of Africa Three global curators discuss the artists who epitomize the diversity and vibrance of the African diaspora.

Assistant curator at the Perez Art Museum Miami

In 2016, emerging artists of color have pushed the limits of conceptual art and representation. Three artists in particular question our relationship to technology and self-representation, portray the dynamics of hybridity, and address politics through practices such as skin bleaching—phenomena that define our contemporary moment: Ebony G. Patterson Ebony G. Patterson has had a great year, with a commission for the São Paulo Biennial and a solo exhibition at the Studio Museum in Harlem, proving that her groundbreaking aesthetic captivates both national and international audiences. (The hit TV series Empire also showcased her work.) Born in Jamaica, Patterson is known for her meticulous, highly decorative large-scale works that radiate color in images portraying Caribbean and American experiences of blackness. She came to prominence with her critically acclaimed series Gangstas for Life (2007–09), depicting contemporary Jamaican dancehall culture, notions of masculinity, and the current skinbleaching trend in the Caribbean. Martine Syms Recently debuting her first solo exhibition at the Institute of Contemporary Arts in London, Martine Syms captivated our eyes this year, embodying her ethos as a conceptual entrepreneur. Also a participant in Made in L.A. 2016, the Hammer Museum biennial in Los

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Angeles, Syms explores the relationship between media images and lived experiences in association with how business and culture transform our contemporary life. She produces lectures, videos, objects, photographs, and publications addressing Afrofuturism, language, queer theory, and Internet culture, and sometimes alludes to Twitter or YouTube in her works. Commissioned by the New Museum for its 2015 Triennial: Surround Audience, Syms’s A Pilot For A Show About Nowhere uses the premise of a pitch for a TV sitcom to produce a larger discussion of the dynamics of representation in American culture as well as viewership and its social codes. Firelei Báez At the end of 2015, Firelei Báez was awarded the Catherine Doctorow Prize for Contemporary Painting and had her first solo exhibition, at the Pérez Art Museum in Miami. This year she received the Chiaro Award and has used a variety of high-profile residencies to prepare for her upcoming solo show at the Andy Warhol Museum in Pittsburgh. Báez makes highly intricate largescale drawings informed by science fiction, Caribbean folktales, female subjectivities, and the connections between the experience of race in the Caribbean and in the US, as exemplified by her series Can I Pass? Introducing the Paper Bag to the Fan Test (2011–12). In this work, she centers her attention on two absurd tests for racial categorization, exploring identity in hybrid cultures.

top right: Ebony G. Patterson, …they were just boys (…when they grow up…), 2015-16. bottom right: Firelei Báez, Palmas for Martí (novias que no esperan), 2016.

PHOTOGRAPHY BY RAYMOND ADRIAN (ORTIZ); COURTESY OF THE ARTIST AND MONIQUE MELOCHE GALLERY (PATTERSON); COURTESY OF THE ARTIST AND GALLERY WENDI NORRIS, SAN FRANCISCO (BÁEZ)

MARIA ELENA ORTIZ,

YVETTE MUTUMBA Curator at the Weltkulturen Museum in Frankfurt

The hype surrounding contemporary art from African perspectives is clearly growing. While this is without a doubt interesting, it also demonstrates that a hierarchy still exists between the “center” and the “periphery.” The inclusion of African perspectives in exhibitions and collections around the globe should actually be the norm. It is important to remember that this work has not just emerged recently; it has long-standing parallels in art history

and also considerable heterogeneity— it does not fit simply and conveniently into one well-promoted category. Bogosi Sekhukhuni, ruby onyinyechi amanze, and Sarah Waiswa are examples of an emerging generation of young artists who offer African perspectives and whose practices are defined by multilayered questions and interests: Bogosi Sekhukhuni A 25-year-old from South Africa, Bogosi Sekhukhuni is a founding member of the “tech-health artist group” NTU (whose stated mandate is “to provide decolonial therapies for the digital age”) and has worked with the digital arts collective CUSS Group, which invited him to perform at the ninth Berlin Biennale. “Technology is the way out for black youth,” says Sekhukhuni, “not necessarily politics.” Working primarily with video in a post-Internet aesthetic,

the artist explores how the Internet can be equated to a thinking process, with both characterized by interlinked ideas. He has screened video at the Centre Pompidou in Paris as part of the 89+ Prospectif Cinéma presentation and at the Tate Modern in London, and he will show work at this year’s Kampala Art Biennale. ruby onyinyechi amanze Born in Nigeria and raised in the UK and the US, ruby onyinyechi amanze is currently an artist-in-residence at New York’s Queens Museum. Represented by Mariane Ibrahim in Seattle and Tiwani Contemporary in London, she produces drawings that feature a range of figures and characters with futuristic elements, reflecting her interest in a fourth dimension, in the shifting of time and space. “I’m interested in space because of how malleable and limitless it is,” the artist says. “Place is far less fluid. It’s a fixed

notion and also quite arbitrary and stale in its design. I’m not interested in making art about where I’m from. I’m from everywhere and nowhere.” Sarah Waiswa Born in Uganda and based in Kenya, photographer Sarah Waiswa won the prestigious Rencontres d’Arles Discovery Award this year for her project Stranger in a Familiar Land, which explores the persecution of albinos in sub-Saharan Africa. As a documentary and portrait photographer, Waiswa, who holds degrees in sociology and psychology, is immersed in looking at the various notions of identity on the African continent. With her work, she says, she aims to create “visual poetry and tell stories in the most organic and creative way possible.” top: ruby onyinyechi amanze, either way, you’ll be in a pool of something, 2015.

Art Basel | Miami Beach 2016 229

GROUNDBREAKING

JULIA GROSSE, Editor in Chief of Contemporary And (C&)

Tabita Rezaire The French-Guyanese-Danish newmedia artist Tabita Rezaire is a young voice from Johannesburg, a kind of health advocate in the shape of a postInternet artist. Her highly complex videos, in which she performs yoga and preaches about the health of the body and mind, play with our deep longing for peace in times of global uncertainty. “It is the whole colonial/capitalist/patriarchal/scientific/technological/ medical/penal/educational complex that needs to be taken down,” says Rezaire, who studied at Central Saint Martins in London and is part of the artist collective NTU. “We need to reconnect and decolonize on all levels and become responsible.” Appau Junior Boakye-Yiadom London multimedia artist Appau Junior Boakye-Yiadom draws on various inspirations in his work, but he is a master at creating unusual connections, such as pairing Yorkshire clogs with West African steps or employing pigments, introduced via trade, from Flemish

230 Art Basel | Miami Beach 2016

painting. “Whether it’s an iconic image or an object, I am attracted to things that already exist in the world,” says the artist. “I still have that same approach, but with different material.” Ranging from still images and found objects to videos assembled from archival footage to installations ignited by live actions, Boakye-Yiadom’s works refuse to hue to a single narrative but instead celebrate multiplicity. Francisco Vidal Lisbon-based painter Francisco Vidal, who is of Angolan and Cape Verdean descent, views himself as a machine and his studio as a workshop. He does in fact work very fast, frequently producing countless colorful graffitilike paintings on handmade paper that take over his studio and often touch on colonialism and Angola’s past. Vidal represented Angola at the 2015 Venice Biennale and plays an instrumental role in fostering the visual-arts scene in the country’s capital, Luanda. His Utopia Luanda Machine refers to the idea of the artist in flux. “The utopian part references the ‘dream’ studio—you can export yourself to another location

and work,” he says. “It also acts like a machine: It’s a toolkit for mass-producing screen prints, and it contemplates the industrial revolution still to happen in Angola.” ABMB

from top:

Francisco Vidal’s exhibition “Workshop Maianga Mutamba”; Francisco Vidal, Black Fire, New Spirits No. 4, 2015.

PHOTOGRAPHY BY GEORGIA KUHN (GROSSE); SYLVAIN DELEU (TOP); MICAEL COSTA (BOTTOM)

We live in a fascinating time in the art world, with an increasing number of important young voices emerging from Africa and the African diaspora. The idea of identity has many layers for these artists—having grown up in London to Ghanaian parents or having studied in Johannesburg with a residency in Kampala and a gallery in Oslo. What may be most interesting is the tendency of many of them, after studying in Britain or Amsterdam, to go back to Nairobi or Cairo and start their own artist-run space, informal institution, or residency program to serve young local talent.

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GROUNDBREAKING

ARTIST IN RESIDENCE

With competition for a spot in a coveted residency program at an alltime high, Kate Sutton takes a look at some of the most distinctive international residencies and how participation can affect an artist’s career.

232 Art Basel | Miami Beach 2016

every couple of months another city is crowned “the New Berlin.” Often this title has little to do with the city’s art institutions or producDETROIT TO tion facilities and everything to do with cheap rent. As any old “New VILNIUS TO Berlin” can tell us, the flip side of this attention is that once artists BELGRADE, and institutions help regenerate a neighborhood, it becomes increasingly difficult for them to stay there. With astronomic rents driving creative professionals further and further from the center of cultural capitals like New York, London, and San Francisco, affordable housing—let alone studio space—becomes an artist’s ultimate luxury. This may help explain why artist residencies have become so indispensable to today’s art world, even as artists themselves move away from traditional studio practice. While by no means a new phenomenon—one of the United States’ most prestigious residencies, the Skowhegan School of Painting & Sculpture, debuted in 1946, and the exchange program at the American Academy in Rome dates all the way back to 1893—residencies have undergone something of a renaissance lately, with variations and experimental formats cropping up everywhere from the rice fields of Thailand to an island off Newfoundland to commercial container ships trekking across the Pacific. Typically, a residency program provides artists with a quiet work space, often in an Ikea-style setting (the white cube made bedroom), with a few local-color quirks thrown in for inspiration. “Artist residencies offer invaluable time away from the constraints of daily life—to reflect, focus, experiment, create—and give artists opportunities to respond critically to the world around them,” says Alexandra McIntosh, director of programs and exhibitions at Fogo Island Arts, a residency program whose starkly beautiful setting in Canada has attracted artists like Willem de Rooij, Silke Otto-Knapp, and Lisa Oppenheim. “This is especially important given our contemporary moment of disposable content, instantaneous reaction, and mass dissemination,” she adds. “I never sought commissions or commercial success,” admits Nigerian-born artist Onyedika Chuke. “What I wanted was an opportunity to conduct research for my archive and create work with no strings attached.” A board member of the nonprofit Residency Unlimited, Chuke has amassed an impressive string of residencies since graduating from Cooper Union in 2011, including the Verbier 3-D sculpture program in Switzerland, Pioneer Works in Brooklyn, New York, and a stay at the American Academy in Rome as part of an exchange program with the Queens Museum. “The one pitfall is the competition for such residencies,” he adds. “With up to 200,000 artists graduating from American art schools every year, there are simply not enough residency programs nor exhibition institutions to service such a population.” (One trick that Chuke has found is to apply for a summer spot: “Programs tend to give more leniency to emerging artists when the more established artists are on vacation.”) Artist Maayan Strauss, founder of the Container Artist Residency, concurs. “The art world is extremely saturated with artists,” she says, “and it is not an easy industry to penetrate.

FROM

Residencies are an important way for artists to build their career, especially for those who do not receive gallery representation early on. More than the work space and stipends offered by many residencies, the framework they provide for art-making, including the connections and exposure they entail, as well as their strong addition to an artist’s résumé, are all important in developing one’s art practice in a professional sense.” Strauss got the idea for the Container Artist Residency—which sends artists on extended voyages aboard container ships—from her own three-week journey from Haifa, Israel, to New Jersey (then the cheapest available transportation for an artist with limited means). “In such a hyperconnected world that presents us with endless streams of information that we don’t necessarily need, the isolation offered by many residencies is key. It allows time and space for a more focused process. This is definitely one of the significant aspects of Container Artist Residency: There is very limited Internet and cellular access onboard a cargo ship. It is paradoxical and interesting that the physical platform that connects the world—shipping—is actually a very isolated place.”

left:

A plot of climbing string beans at the Land in Thailand. below: Maayan Strauss, Curve, 2011 (from her Container Artist Residency). opposite page: Fogo Island Arts’ Squish Studio in Newfoundland, Canada.

Art Basel | Miami Beach 2016 233

PHOTOGRAPH PHOTOGRAPHY BYÂ©TKFRANCESCA (TK); VON HABSBURG/THYSSEN-BORNEMISZA ART CONTEMPORARY FOUNDATION. OPPOSITE PAGE: PHOTOGRAPHY BY GONZALO ANGARITA (ATELIER MONDIAL)

GROUNDBREAKING

234 Art Basel | Miami Beach 2016

left:

TBA21 Academy’s expedition vessel for the Current. below, clockwise from top

left:

Onyedika Chuke, FMA: Dome and Double Nymph: An Architectural Template for Spiritual Worship, 2012 (created during a residency at the Verbier 3-D Sculpture Park in Switzerland); Atelier Mondial, the Swiss home of the Davidoff Art Residency; Davidoff’s Altos de Chavón residence; the Zarya Artist-inResidence building in Vladivostok.

While isolation may be conducive to focus, more and more frequently, residencies are styled as networking opportunities rather than refuge. As Devon Bella, director of collections and residencies at the San Francisco branch of the Kadist art foundation, points out, “We have found that being in the center of a city, with access to lots of different resources as well as Kadist’s local and international network of colleagues, collaborators, and partners, is more helpful than the more common retreat model of an artist residency. The value of Kadist is bringing artists into conversation with local attitudes and inclinations, and in return providing local audiences with the opportunity to become part of an artistic process that reflects another cultural or political point of view.” This kind of exposure can be critical in scenes that lack a developed infrastructure for the support of emerging artists. For example, the Caribbean-based Davidoff Art Residency, in partnership with Art Basel, was formulated to help foster the local art scene by facilitating international exchange. Every year, the program brings five international artists to the Dominican Republic while also placing artists from the Caribbean in programs as far-flung as Beijing, Bogotá, and Basel. Meanwhile, the Zarya Artist-in-Residence program operates at a former sewing factory in Vladivostok, a Russian city closed to foreigners from 1958 until 1992. “Zarya is significant not only for the artists, but also for the city itself,” says Zarya chief curator Alisa Bagdonaite. “In this once-isolated art scene, the residency acts as an embassy of new strategies.” One of London’s most famous residencies, at the Delfina Foundation, also operated as a kind of embassy, by hosting artists exclusively from North Africa and the Middle East. “The value of this format is that it provides opportunities for deep and considered engagement with

a region, accounting for all of its diversity and complexities,” explains Aaron Cezar, director of Delfina. In 2014, however, the foundation shifted from a geographic focus to thematic, in turn transforming the role of the institution itself. “The themes mean that we aren’t just the hosts,” he says, “but collaborators and repositories of all of the knowledge produced during residencies.” The idea of a residency as a repository of knowledge is the impetus behind another experimental program currently making waves (quite literally). Founded in 2015 by Francesca von Habsburg, the Current is a three-year initiative that sends artists, architects, marine biologists, and other scientists to islands in the Pacific—the front lines of climate change—to collaboratively brainstorm solutions to urgent environmental issues. So far participants have included curators Ute Meta Bauer and Cesar Garcia and artists Tue Greenfort, Armin Linke, and the Propeller Group. A similarly eco-conscious initiative is the Land, set up in 1998, which has brought artists like Rirkrit Tiravanija, Philippe Parreno, Superflex, and Tobias Rehberger to interact with a simple plot of land in Thailand. The project started as an “experimental community,” advocating for the meditative pleasures of working with the land through sustainable farming. With a little help from Tiravanija, the Land has operated as a foundation since 2004, offering its space free of charge; in 2014, it announced plans to add a formal artist residency, a project publicized during Art Basel in Basel on Messeplatz as part of Tiravanija’s 2015 collaborative work DO WE DREAM UNDER THE SAME SKY. “The Land Foundation belongs to no one, and at the same time it belongs to everyone,” says the foundation’s manager, Sedhapong Kirativongkamchon. Perhaps what’s important is not where artists live, but how. ABMB

GROUNDBREAKING

Tiffany Zabludowicz in front of Ewaipanoma (Rihanna), outside the Kunst-Werke Institute for Contemporary Art in Berlin. below: The Galerie Gmurzynska exhibit at Art Basel Miami Beach 2015. background: The Charlie Billingham solo presentation by Supportico Lopez at ABMB 2015.

THE ART OF MARKETING TO MILLENNIALS The younger generation has proved to be a somewhat reluctant collector base. Alexander Forbes takes us inside the minds of these elusive animals and explains how their buying behavior differs from that of their parents.

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THIS PAGE AND OPPOSITE PAGE: PHOTOGRAPHY COURTESY OF ART BASEL (BACKGROUND AND ATMOSPHERE IMAGES). OPPOSITE PAGE: PHOTOGRAPHY COURTESY OF M WOODS, BEIJING (XUFU HUANG)

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WITH THE FRENZIED pace of collecting that characterized 2013 and 2014 came the rise of a social network, Instagram, that helped young buyers gain even quicker access to works by their most coveted artists. The photo-sharing app made a splashy entrance in the art world, with artists, dealers, and collectors creating an ever-longer list of contemporary-art-related hashtags, posting images of fresh-from-the-studio works, and selling them via direct message. The emerging-art boom has since waned, as a more sober global economic environment has put a pause on art flipping (to the relief of many in the art world) and returned the focus to works of real quality and substantial provenance. But Instagram remains a significant factor in art-world dealings. This is particularly the case for art’s youngest patrons, the so-called millennials that galleries, fairs, auction houses, and museums are all looking to attract. As 22-year-old Chinese collector Michael Xufu Huang, a cofounder of the private Beijing museum M Woods, explains, “My generation is generally more tech-savvy and we share our opinions more easily.” So while you may not see the same number of in-comment offers on works of art today that you would have two years ago, the platform has become a key place for self-marketing (by galleries and collectors alike), and, says Huang, it “allows collectors to do preliminary research before stepping out the door and going to see art in person.” With the launch of Instagram Stories this past August, the platform further augmented the ability of tech-savvy art-world denizens like Huang to share those in-person experiences. The feature, similar to the rival app Snapchat, allows users to post short videos and images that disappear after 24 hours. And the art world has been quick to adopt this opportunity for more informal posting. It has provided virtual access of unprecedented depth to artists and a look behind the scenes of what collecting art is really like today. A tap through Huang’s Story might reveal him lunching with the Lauders or wearing an Oculus Rift at Rachel Rossin’s studio. But the collector says these technologies haven’t necessarily changed the fundamentals of how millennials build relationships or purchase art: “I don’t think there is much difference from the older generation of collectors. We value the same thing—we have to trust the

dealer’s taste and integrity.” Tiffany Zabludowicz, a fellow notable young collector, agrees, noting that technology is less attuned to discovering fresh talent. “You still have to go out and see everything. It’s not always totally expected where you’ll find someone new.” Young collectors’ habits have changed in some notable ways, however. Among the more subtle but crucial distinctions between this new generation of collectors and their forebears is the way they have been conditioned to consume information. While older collectors gravitate toward industry bibles like Artforum and are more likely to research a few specific artists they want to acquire, young collectors are used to being able to “like” and “follow” all their favorite things and be algorithmically delivered what is most relevant to them at any moment—and the same goes for art. Online art platforms have sprung up and expanded to meet this demand. They allow collectors to sit back and let technology seek out the best work by a desired artist at the desired price for them by scanning the entire global marketplace. No longer does a busy collector have to scour the several hundred galleries of a major art capital or as many booths at an international fair. According to the latest report from the European Fine Art Foundation, online art purchases grew by 7 percent last year, to $4.7 billion, even while the art market as a whole contracted by 7 percent. Users of digital platforms consistently trend younger than your average collector. And while a recent survey by the insurance company Hiscox found that millennials have purchased art online in the same proportion as those over 60 years old, a significant number of millennials—19 percent—said they bought their first work through an online platform, more than twice as many as in last year’s survey. Huang, Zabludowicz, and many of today’s young collectors share a community-minded approach. They favor supporting small communities of artists over focusing on a specific genre or collecting work from those who are already part of the dominant art-historical narrative. Huang (with fellow young collectors Lin Han and Wanwan Lei) went so far as to establish M Woods to “fill the gap,” he says, created by China’s lack of public art institutions. Zabludowicz took advantage of an opening in an office building in New York’s

Michael Xufu Huang beside a Bodu Yang painting at M Woods in Beijing. left: The Acquavella Galleries exhibit at ABMB 2015. below: The Positions sector at ABMB 2015.

Times Square this past May to host a residency called Work in Progress, in which a handful of emerging artists who were mostly friends—Brad Troemel, Joshua Citarella, and Haley Mellin, among them—came together to work for just over three weeks. “It all comes down to supporting the artist,” says Zabludowicz about her strategy, whether she’s buying an artwork or setting up a residency. Other young collectors have taken a charitable approach to collecting with platforms such as ArtLifting, which helps the homeless sell their art (among its clients is the tech giant Microsoft). This shift in the collecting habits of millennials—from name brands to the stories of individual creators—is certainly not confined to the art world. Major luxury brands are reckoning with a similar move, as clients increasingly seek out items made in small batches by local producers. This shift may also help explain the greater focus on purchasing works by artists of the past who have been underappreciated. But the common thread is a positive one: Technology, rather than serving to homogenize taste (as so many in the art world feared), is in fact helping to expose the art world to a much broader range of creative expression. ABMB

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NEWS

AND THE WINNER IS… With an eye toward connecting cities around the world with the international art market, Art Basel is traveling the globe to celebrate and promote local art scenes. First up, Buenos Aires. by Fred Bernstein panel discussions, tours of private collections—the kinds of events that surround Art Basel in Switzerland, Hong Kong, and Miami Beach. The idea, Foret says, is to bring Buenos Aires to the art world and the art world to Buenos Aires. Those two things “form a single loop,” he explains. While Art Basel’s relationship with the Argentine capital will last at least three years, the schedule will be designed around weeks packed with enough special events to draw artworld denizens from across the world. (Art Basel Cities programming will be scheduled to fit into the already packed art-world calendar, Foret promises.) This is not about art sales but, Foret notes, “If collectors come and visit galleries and end up buying art, that’s great for everyone.”

This week, Foret will be meeting with stakeholders from Buenos Aires. Several of those stakeholders—including Horacio Rodríguez Larreta, the mayor of Buenos Aires; collector Alec Oxenford; and gallerist Orly Benzacar—will take part in a December 1 panel discussion called “The Future of Buenos Aires’ Cultural Landscape.” “Art has been one of the historical pillars of the city of Buenos Aires,” says Larreta, who expects that Art Basel Cities will further strengthen that pillar. The Art Basel Cities program was developed in response to the huge interest by cities to bring an Art Basel fair to their cities. With its fairs spread across three continents, Foret explains, “Art Basel is strongly positioned globally, and we do not think

there’s an opportunity to create a fourth fair.” So the question became: Can Art Basel tap its resources and expertise to help other cities hone their appeal to the contemporary art world? “It’s about bringing a local art scene and the international art world together.” Foret and his team spent weeks in Buenos Aires. What they found was not only a wealth of local talent, he says, but an enthusiasm that makes Buenos Aires a perfect partner for this exciting project. “They have the content and they have the drive. I was inspired by the warmth and ambition and commitment to culture exhibited by everybody we met in Buenos Aires.” In choosing the first Art Basel Cities partner, he adds, “The human factor was very significant.” ABMB

PHOTOGRAPHY COURTESY OF THE CITY OF BUENOS AIRES

LAST MARCH, ART BASEL announced a new initiative: Art Basel Cities, a program intended “to amplify the cultural impact of chosen cities, helping them take a strong position in the art world,” says Patrick Foret, Art Basel’s director of business initiatives. Foret spent much of 2016 visiting candidate cities, meeting with cultural, business, and political figures, and consulting with his advisory board, a group of high-powered artists, curators, museum directors, architects, and even an urban theorist. In September Art Basel announced that Buenos Aires had been chosen as the inaugural Art Basel Cities partner, with programming to start in 2017. That programming, currently being defined in partnership with the city, could include museum exhibitions,

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NEWS

ARCHITECTURE BY DESIGN Reflecting the continued melding of design and architecture, Design Miami/ gives its annual Design Visionary Award to the innovative architectural firm SHoP, which has also created the fair’s always experimental, ephemeral entry pavilion.

FOR SEVERAL DAYS EACH DECEMBER, Design Miami/ sets up in the parking lot adjacent to the Miami Beach Convention Center. This year, the center’s renovation limited access to the site, but Rodman Primack, Design Miami/’s chief creative officer, remained patient: “It’s imposed a lot of new constrictions on us, but that’s made it exciting.” Indeed, the entire city is in the midst of a growth spurt, as evidenced by the construction cranes that crenelate Miami’s skyline. The new Miami is being designed, piece by piece, by acclaimed international architects commissioned by the city’s developers. Yet this transformation also presents a host of design challenges, from aging infrastructure to stretched public services. By presenting Design Miami/’s Design Visionary Award to the New York-based SHoP Architects, Primack hopes to recognize design’s vital role in planning and architecture. “With the award, we want to start looking at broader implications of design practice,” he says. “We want to look at urbanism. Cities are the future, and we see SHoP at the forefront of ways in which we can make cities cleaner and greener and

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more efficient while adding density.” Recognized for designing Brooklyn’s Barclays Center and Manhattan’s East River Esplanade, the firm also designed the entry pavilion for this year’s design fair. “We’re taking it as a moment in SHoP’s career to pause and do some research,” says Gregg Pasquarelli, a founding principal of the firm. He adds that its “Dunescape” pavilion, installed in 2000 in the courtyard of MoMA PS1 in Long Island City as part of the Young Architects Program (an annual competition that gives emerging architects the opportunity to build projects conceived for the museum space), provided SHoP with inspiration for a decade’s worth of work. Collaborating with Branch Technology, SHoP has used 3-D printing to create an entry structure consisting of microtrusses organized in reinforced cellular units that can be extrapolated into expansive, complex arrangements. The pavilion, titled “Flotsam & Jetsam,” features several spiderlike vaulted forms that branch out in organic arrays, providing canopies overhead while terminating at ground level in benches and even a bar. Passersby can peer into the tight-knit skeletal structure of the pavilion and deduce what’s going on inside. “It’s kind of a way for the public to get a view into the nascent ideas of the architect,” says Pasquarelli. And this year, the public will have more time to do so: At the conclusion of the fair, the pavilion will be moved to the Institute of Contemporary Art, Miami, in the city’s Wynwood district, to host performances and other museum activities. Architecture’s influence on design will also be felt inside the fair. For the first time, Design Miami/ has commissioned designers for the Design Talks stage and seating area. DDG, a New York-based architecture and development firm, will design the amphitheater, while architect Ole Scheeren will debut a new global retail concept for Dean & DeLuca in the Design Miami/ Market. This year, more than 30 galleries will exhibit at the fair, five of them as part of the Design Curio program. Volume Gallery will show lounge chairs and a credenza by architect Ania Jaworska alongside a daybed by Jonathan Muecke and works from Anders Ruhwald and Christy Matson. Volume’s director, Sam Vinz, says he’s used to

above: A rendering of this year’s Design Miami/ entry pavilion, designed by SHoP. left: Mathieu Lehanneur, Spring Lamp (Irish Green 52 CM), 2016.

by Jordan Hruska

working with both designers and architects: They “approach the pieces/projects that we do together as experiments within their concepts and material approaches that can be applied to design challenges regardless of scale—meaning a side table is a chair is a room is a building.” The French architect Jean Prouvé took a similar view. The design principles he applied to his modular buildings can also be found in his chairs, which have become highly collectible

objects in the past decade with the continued interest in midcentury French design. Among other pieces, Galerie Patrick Seguin will show Prouvé’s Présidence Desk No. 201 (designed in 1948), whose tapered legs and stainless steel struts recall his buildings. While Prouvé sought to replicate highly functional systems in his designs, Mathieu Lehanneur’s work exists in a less predictable realm. He designed his “Spring” lamp series, presented by

New York’s Carpenters Workshop Gallery, with ethereal LED-threaded blown-glass tubes erupting in U-shaped curves. Ashlee Harrison, the gallery’s director, notes the power in the spatial relationship between architecture and industrial design. “The careful attention to the objects curated within a space dictates the manner in which one inhabits and engages within the environment,” she says. “There is no hierarchy, as one relies on the other to create a complete experience.” ABMB

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SPONSORS

To Art Its Freedom The global financial service company UBS has been amassing one of the alltime great corporate art collections for 60 years now. This week it unveils a comprehensive new publication celebrating the work and its rich history. by Meghan Watson-Donald WHEN MARY ROZELL TOOK the helm of the UBS Art Collection last year as the global head, she became the custodian of over 30,000 artworks displayed in more than 720 offices in 54 countries. As she confronted this formidable responsibility, an idea was born: to publish a visual essay that would showcase the collection’s tremendous scope and historical importance, surveying its greatest works from the 1960s to the present day. “I’m interested in how we share this collection and in defining its identity,” Rozell says. “It’s a forward-thinking collection that reflects the art of our time.” The result of her endeavors is UBS Art Collection: To Art its Freedom, a lavishly illustrated book featuring 180-piece highlights, from Abstract Expressionist masterpieces to iconic Pop works to the art of today, published by Hatje Cantz. Its title, Rozell explains, was inspired by the motto of the Vienna Secession: To every age its art. Essays by Rozell and the curator and scholar Dieter Buchhart provide a contextual framework for the images. Rozell explores the collection’s

historical evolution as UBS merged with institutions whose assets included significant holdings in fine art, the most important of which was the legendary Paine Webber Collection formed by respected collector Donald Marron. Buchhart provides a personal, scholarly interpretation of the collection from an art historical perspective. The book launch takes place in the UBS Lounge at Art Basel in Miami Beach, where a special collectors’ edition will be available to UBS clients and guests. On exhibition in the lounge, the firm presents “UBS Art Collection: A History and A Moment,” featuring a cross-section of works from the book alongside new acquisitions that reflect Rozell’s vision for the collection’s future. “There are endless possibilities when you have a collection like this in terms of the connections you can make, both conceptual and visual,” says Rozell. A highlight of the historical works on display is a 1973 Ed Ruscha, Now Then As I Was About to Say, which will hang at the lounge entrance. The work formed part of the original Paine

Webber collection, and is among the last of 44 works to be gifted to New York’s Museum of Modern Art by February 2017. This is the last time the work will be exhibited as part of the UBS Collection, and for Rozell, hanging the Ruscha above the entrance is a gesture of bittersweet farewell. “It marks this time of great change in the collection,” she says. “It just symbolizes the end of this era.” If the Ruscha represents the collection’s past, complementary works on view by artists such as Cy Twombly, Christopher Wool, and Alighiero Boetti provide a bridge to the present, while Carroll Dunham’s monumental canvas, Large Shape with Bands, 1989, injects the space with vibrant color and movement. The newest acquisitions include Doug Aitken’s foam, wood, and mirror text sculpture, Free, 2016, acquired just before Art Basel in June, and a new work by Brooklyn artist Israel Lund, who creates abstract silkscreens on raw canvas derived from photocopies, photographs, and PDFs using the CMYK color model. Rozell was immediately drawn to Lund’s

work, which calls to mind Monet’s paintings of Giverny. “The palette and texture of the silkscreen made a visual impact on me when I was in the studio. It was like a cascade,” she says. “I don’t know if it’s the water or the flowers, but it was very evocative of that.” For Rozell, developing relationships with artists and young galleries will play an essential role as the UBS Art Collection continues to redefine itself in the 21st century. She would like to see the collection become more reflective of the company’s worldwide business, including more female artists as well as artists from the many regions where UBS engages with its clients, so these works can hang alongside blue-chip pieces in local offices. “I like to show artists that are not established next to artists that are,” says Rozell. “It’s really nice to give them that space.” Already, artists from 73 countries are represented, and Rozell recently opened an office in Hong Kong due to the growing importance of art from Asia. “As the bank grows and becomes more global, we want the collection to reflect that.” ABMB

Carroll Dunham, Large Shape with Bands, 1989, part of the UBS Art Collection.

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On the Road in Support of the Arts

Rebecca Louise Law’s installation Growth in the NetJets Lounge.

Luxury carmaker BMW unveils its latest Art Car and a display of photographs taken on a rocky journey to the past. by Betsy F. Perry

John Baldessari

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The Inverted Meadow Artist Rebecca Louise Law “paints” the NetJets Lounge this December with a landscape of flowers. by Brett Sokol If you’re looking to gauge the luxe appeal of Art Basel in Miami Beach, look skyward. The fair is on track to draw almost the same number of private jet flights as the Super Bowl—close to 800 last year. Nearly a quarter of those flights were taken by clients of NetJets, which sells fractional ownership in its fleet of aircraft. It’s hardly surprising, then, that NetJets is continuing its longtime partnership with Art Basel. “Our sponsorship demonstrates our commitment to providing exceptional experiences for our owners and their guests,” explains NetJets’ vice president of communications, Kristyn Wilson. “Art is a passion for many of our owners. Our partnership with Art Basel gives us a rich opportunity to engage with them at the event and invite them to intimate, early previews of the worldclass art on display.” To that end, Wilson says NetJets’ own onsite lounge will feature a sprawling installation by London-based artist Rebecca Louise Law. Utilizing her signature style of what Law calls “painting with flowers,” the lounge will become home to a massive canopy of thousands of dried and preserved flowers, woven together for a visually dazzling effect. Call it a floating landscape, or as one critic likened it, a gravity-defying “inverted meadow.” However, while many of the flowers are sourced from Holland’s famed greenhouses, don’t expect to see tulips—or even a European color palette, for that matter. “It will have a Miami twist,” promises Wilson. ABMB

PHOTOGRAPHY BY MARTIN EHLEBEN (BALDESSARI); COURTESY NETJETS EUROPE (INSTALLATION)

While BMW’s decade-long partnership with Art Basel is profoundly appreciated and its contribution to the arts reflected in many aspects of the fair, it’s the car company’s much anticipated reveal of its latest Art Car that excites and revs up enthusiasts gathered this week. Designed by a celebrated artist, the chosen qualifier this go-round is innovative conceptual artist John Baldessari, the 19th artist selected to follow illustrious colleagues such as Jeff Koons, Frank Stella, and Andy Warhol. Baldessari has decorated the new base model BMW M6 GT3 with his signature primary-colored dots in red, yellow, and blue and has also acknowledged the importance of creating art outside of a museum. Referring to this collaboration, Baldessari has said, “This will be my fastest artwork yet!” But for those who take refuge in BMW’s lounge within Art Basel’s Collectors Lounge at the Miami Beach Convention Center, the treat is viewing several of the glorious and slightly mysterious photographs taken by Oxford-educated artist Abigail Reynolds, winner of the third BMW Art Journey award, created in collaboration with Art Basel to support emerging artists worldwide. As part of a multicontinent, yearlong expedition to be completed in 2017, Reynolds is documenting her project, “The Ruins of Time: Lost Libraries of the Silk Road,” using 16mm film and a heavy Bolex camera while on her motorbike exploring libraries lost to political conflicts, looting, or natural disasters. “Sometimes I want to throw myself into something, like a stone into the water,” Reynolds says. “It’s part of being an artist to want to get beyond yourself and find something—a state of being—which is beyond the ordinary.” ABMB

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Erasing Borders With its Davidoff Art Initiative, the cigar manufacturer honors its employees in the Dominican Republic by supporting the area’s emerging artists. by Brett Sokol

Light by Erwin Olaf was inspired by the unique natural prints found on Maison Ruinart’s cellar walls.

Into the Deep Photographer Erwin Olaf descends deep underground to capture the ancient Champagne cellars of Ruinart. by Tamara Warren Beneath the earth’s surface are the dimly lit chalk tunnels where Ruinart, the world’s oldest house of Champagne, allows its bottles to mature. An essential part of Ruinart’s storied history, the crayères, which have existed since the Middle Ages, captivated the eye of renowned photographer Erwin Olaf, who captured their almost mystical beauty for a series of images commissioned by the company, which will be shown in the Ruinart Lounge (in the Collectors Lounge) of Art Basel in Miami Beach. When Olaf arrived at Maison Ruinart in Reims, France, in February, he began staging an elaborate photo shoot. But after two days, he wasn’t feeling inspired, so he sent everyone home and, armed only with his smartphone, descended alone 38 meters into the crayères, hoping to spark his imagination. Ultimately he turned to his old Hasselblad camera to produce starkly beautiful black-and-white photographs. “Instead of taking pictures of immense geography, he focused on the details of the cellar,” says Ruinart spokesperson Jean-Christophe Laizeau. “He did something very precise and very detailed.” Founded in 1729, Ruinart has enlisted many artists over the years to reflect on its centuries-old process, starting in 1896, when André Ruinart commissioned Czech artist Alfons Mucha to design a poster. More recently, Georgia Russell, Gideon Rubin, Maarten Baas, and Piet Hein Eek have created works inspired by Ruinart. “All of the artists have carte blanche,” says Laizeau. “The artists are very free to do what they want to do.” ABMB

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PHOTOGRAPHY BY ERWIN OLAF (RUINART)

“It’s about giving back; it’s about engaging the community,” explains Albertine Kopp, manager of the Davidoff Art Initiative, a philanthropic program focused on the Caribbean, launched in 2012 by the cigar manufacturer Oettinger Davidoff AG. “We have over 200 people working in our Swiss headquarters, but we have over 3,500 employees worldwide. They are the heart of the company.” Yet “culture has been underestimated and undersupported there. This might be the same problem facing all of Central and South America, but at least that is a connected landmass. The issue with the Caribbean is that it’s islands. To travel from one island to another, you have to have financial support.” Accordingly, while the initiative provides small grants to Dominican cultural institutions and operates an exchange program and panel discussion series at the country’s Altos de Chavón School of Design, its core is the annual Davidoff Art Residency. Each year, five emerging to midcareer Caribbeanbased artists are selected for three-month residencies at one of five locations: the International Studio & Curatorial Program in Brooklyn, New York; Künstlerhaus Bethanien in Berlin; the Red Gate Residency in Beijing; Atelier Mondial in Basel, Switzerland; and Flora Ars + Natura in Bogotá, Colombia. With residencies in such far-flung locales, Kopp hopes the Davidoff Lounge at this year’s Art Basel in Miami Beach—where the company is a partner—will serve as “a hub,” helping to connect current resident artists and alumni to the cultural players gathered at the fair. But the goal isn’t simply networking; it’s to erase geographic boundaries altogether. “In the contemporary art world, you can’t say that something looks like it was made by a French artist,” Kopp says. “You can’t differentiate a French artist from a Swiss artist from a German artist.” The objective, she explains, is to add “Dominican” to that list, bringing artists of the Caribbean into the global fold. ABMB

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Perfect Timing Swiss watchmaker Audemars Piguet collaborates with Chinese artist Sun Xun to create an installation using up-to-the-minute techniques. by Betsy F. Perry

German sound artist Nik Nowak in front of his 1.5-ton, 4,000watt “Panzer” Sound Tank. bottom left: Artist Sun Xun, whose installation will be unveiled during Art Basel in Miami Beach.

This Week in Miami, You Meet the World German audio giant Sennheiser mixes music and art for a performance to remember. by Alina Cohen GERMANY-BASED INTERNATIONAL AUDIO company Sennheiser, which introduced the world to open headphones in 1968, has always been at the forefront of expanding the limits of how people hear. Accordingly, its presentation this week will challenge audiences to reconsider the boundaries between sound and visual art. Thanks to Sennheiser, people can enjoy a special performance, “Sound Tank Meets Bass Mekanik” at Wynwood’s famous Gramps venue on Wednesday, November 30. During the “sound clash,” German sound artist Nik Nowak and Miami bass DJ Neil Case will perform together. Nowak will operate his 1.5-ton “Panzer” Sound Tank, a mobile 4,000-watt subwoofer sound-system sculpture, across from Case’s Boom Car. Video projections by Moritz Stumm will provide the visual component. Part music battle, part spectacle, it’ll certainly be noisy. According to Uwe Cremering, Sennheiser’s head of global marketing, the event is “bringing the experience of sound in a new dimension to life, bringing in a local legend, and bringing music styles together in something contemporary.” With digital media, he expects the performance to extend far beyond the Miami community. In the past, Sennheiser has collaborated with such diverse international personalities as Mexican sculptor Pedro Reyes, musician Imogen Heap, and Swiss artist Zimoun. By working with the company’s equipment, says Cremering, today’s artists are “making a difference and showing their momentum to the world.” As to why Art Basel is an important venue for the firm, Cremering puts it very simply. There, he says, “you meet the world.” ABMB

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PHOTOGRAPHY BY BENJAMIN KAHLMEYER (NOWAK); COURTESY OF AUDEMARS PIGUET (XUN)

AUDEMARS PIGUET, the centuries-old creator of luxe timepieces, has commissioned Sun Xun, a Beijing-based artist with a technologically advanced skill set, to create the installation “Reconstruction of the Universe”—a series of videos, chockablock with elements incorporating traditional crafts and revolutionary artistry, and projected onto three spherical screens housed inside a bamboo pavilion. Under the guidance of acclaimed guest curator Ruijun Shen, this complex installation uses state-of-the-art projection technology—made available through the collaboration of Audemars Piguet with URBANDRONE—to create these films along with Time Spy, a 3-D animated film that enlisted the help of hundreds of Chinese art students and requires the audience to use custom-made glasses designed by the artist. Sun Xun, celebrated internationally with a host of solo exhibitions, has employed a panoply of materials from woodcuts to ink drawings in these ambitious films to explore, as he reveals, “the five elements that are the existential base in the changing process of the world and that structure the universe, according to Chinese tradition.” “The complexity, technical accuracy, and innovation at the heart of Sun Xun’s artistic endeavors parallels the craftsmanship of our work, and our involvement springs from a desire to support contemporary artists who share similar values,” says Olivier Audemars, vice chairman of the board of Audemars Piguet and a member of the advisory group that selected Sun Xun as the recipient of its second annual Audemars Piguet Art Commission. ABMB

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Art might not be the only thing you can learn about at the fair this year. by Tamara Warren

AS A PARTNER OF ART BASEL IN MIAMI BEACH, Douglas Elliman presents a tasteful and nuanced approach in its lounge. The high-end real estate company is attuned to the way environment can affect the presentation of artwork, and this astute eye is mirrored in its booth. Chief Creative Officer Roy Kim worked closely with the design firm Watson & Company to devise a clean, welcoming aesthetic, while the New York- and Toronto-based Avenue Road has created unique furniture for guests. “We present our properties in a way that they do not feel overly commercial,” Kim says. “We treat it in a much more beautiful way. We want people to be drawn in by the work itself.” Douglas Elliman affords an opportunity for guests and visitors to explore its projects across New York, South Florida, California, Connecticut, Colorado, and New Jersey in its lounge. Guests can learn more about these properties when they visit the Douglas Elliman Lounge and see examples of the interplay between real estate and art. Douglas Elliman associates advise developers on how to create an environment that’s conducive to hanging and displaying individual pieces. The booth is intended for visitors to explore real estate options, if they so choose, but also provides an inviting refuge at the fair. “I want fairgoers to appreciate that we have a deep understanding of architecture and design and that these are not just dwellings,” Kim says. “The design value of our properties is important.” ABMB

PHOTOGRAPHY BY SCOTT WISEMAN (LOUNGE); COURTESY OF DOUGLAS ELLIMAN (PROPERTY)

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clockwise from top left: Henry Moore, Reclining Connected Forms; Yousuf Karsh, Albert Einstein; Marco Cochrane, Bliss Dance, The Park, 2010; Bob Dylan working, National Harbor.

Public Property From the Las Vegas Strip to Miami Beach, MGM Resorts International brings art to the people. by Tamara Warren

AS EXECUTIVE DIRECTOR of MGM Resorts International’s Fine Art Collection, Tarissa Tiberti is well aware of the impact that public works of art can have on people. On the Las Vegas Strip—one of the most heavily trafficked thoroughfares in the world—she oversees an extensive art program that has earned much acclaim. The Aria Campus Fine Art Collection features the work of 15 artists, including several large-scale sculptures. “It’s important to wander through the properties and come upon artwork and to have a moment and see something within,” Tiberti says. It’s appropriate, then, that MGM Resorts International is supporting the Public sector of Art Basel in Miami Beach. “It seemed to be a natural fit,” she

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says. “Everything we do has to do with the public and the community.” In 2016, Public features sculptures and installations by 20 artists from around the world displayed throughout Collins Park. This year’s theme is “Ground Control,” inspired by David Bowie, with the sector investigating the ways in which established and emerging artists use and interpret physical, social, and psychic space. One piece, by Magdalena Abakanowicz, presented by Marlborough Gallery, consists of 10 gigantic bronze figures; William J. O’Brien, presented by Marianne Boesky Gallery, shows his first work of outdoor sculpture; and Ugo Rondinone presents (in collaboration with the Bass Museum) a massive sculpture made up of colored boulders. ABMB

IMAGE COURTESY OF ARIA (MOORE); COURTESY OF BELLAGIO GALLERY OF FINE ART (KARSH); PHOTOGRAPHY BY BARRY TORANTO, COURTESY OF THE PARK (COCHRANE); COURTESY OF MGM (DYLAN)

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Redressing the Imbalance Art Basel Magazine’s seventh annual Women in Arts luncheon honors artist Diana Al-Hadid, collector and philanthropist Ella Fontanals-Cisneros, and MOCA LA board cochair Lilly Tartikoff Karatz. by Stacey Goergen

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Mera Rubell, Lynda Benglis, Ann Philbin, and Teresita Fernández). This week, Diana Al-Hadid, Ella FontanalsCisneros, and Lilly Tartikoff Karatz will be recognized. At the age of 35, Diana Al-Hadid, a Syrian-born artist, has already had over 20 solo exhibitions at museums and galleries around the world. Her family immigrated to the US when she was 5, so she has been hesitant to place too much significance on the country of her birth, even dismissing its importance lest her work be seen through the lens of diversity. Yet “there was a point where I became curious about my own statistical anomaly,” she says, “which I kept discovering because people would ask me how I got to be a female artist making large-scale sculptures, born in Syria and raised in Ohio.” Al-Hadid attributes her strong work ethic to “innate immigrant anxiety,” which leads to long hours in the studio. She has also noticed “that many of the broad thematic concepts in my work point to the friction between living in one place and knowing it’s your home while you are also seen as a foreigner or an outsider.” Born in Cuba and raised in Venezuela, Ella Fontanals-Cisneros is a collector, entrepreneur, and philanthropist who has helped transform Miami into a global destination for contemporary art. In 2002, she established the Cisneros Fontanals Art Foundation to provide grants, commissions, and exhibition opportunities for Latin American artists. The following year, she founded an exhibition space, the Miami Art Central, which she later donated to what is now Pérez Art Museum Miami. Her collection includes more than 2,500 works, and she intends for the majority of them to remain in the public domain.

from top: Diana Al-Hadid, Ella FontanalsCisneros, and Lilly Tartikoff Karatz.

In an interview last year, she said, “I believe that it is our responsibility as collectors to continue sharing the artists’ works and ideas with audiences, artists, and the community in general.” Since 2014, Lilly Tartikoff Karatz has cochaired the board of trustees of the Museum of Contemporary Art, Los Angeles, helping to guide the institution out of a tumultuous period during the term of its director Jeffrey Deitch. She was introduced to the artistic community through her years at New York City Ballet, where she danced under the direction of George Balanchine

and Jerome Robbins. But as engaged as she has been in the world of ballet and music, Tartikoff Karatz only recently became “obsessed” with the visual arts. “Everything we do is wrapped around art,” she says enthusiastically in describing a busy day in New York with her husband, Bruce Karatz. “There is a certain type of discipline that has to exist to be an artist. It’s a certain obsession, focus, and mindset.” This singular sense of purpose has helped her lead a revitalized board, newly committed to assuring MOCA’s long-term success. ABMB

PHOTOGRAPHY BY SARAH TRIGG (AL-HADID); MAURICIO DONALLI (CISNEROS); TRACEY MORRIS (TARTIKOFF)

THE GUERRILLA GIRLS, an anonymous group that boisterously challenges museums and galleries for their lack of gender and racial diversity, turned 30 last summer, prompting a flurry of attention toward the continued inequities in the art world. ARTnews dedicated an issue to the subject, concluding that while progress has been made, there is still much to do, and revealing that when New York’s Museum of Modern Art reopened in 2004, only 4 percent of the artworks on view in the permanent collection galleries were by women. A recent New York Times op-ed by Victoria and Albert Museum curator Sonnet Stanfill notes that only five of the world’s top 33 museums (those with budgets of more than $20 million) are run by women. She points out that maledominated museum boards recruit those institutions’ top management, and the male sensibility then trickles down to the selection of artists exhibited and promoted, which in turn affects artists’ prominence and market value. Art Basel Magazine has been an avid supporter of women in the arts since its launch in 2001. And as editor-in-chief of ABM, Sue Hostetler has been the host of the highly-respected Women in Arts luncheon for several years. Of its genesis, Hostetler says, “At that time, the parity issues were even more stark than they are today, and it seemed like a worthy way for those of us in the industry to come together and celebrate women whom we admire.” Nadja Swarowski, also a keen supporter of female artists and designers, soon came on board as a sponsor. The Women in Arts luncheon is now an annual event honoring female artists, curators, collectors, and museum directors (past honorees include visionaries like Lisa Phillips, Anne Pasternak,

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ART BASEL IN MIAMI BEACH

256 Art Basel | Miami Beach 2016

SCHEDULE

A 2015 installation at Art Basel in Miami Beach by Gavin Brown featuring work by Rirkrit Tiravanija and Sturtevant, in the Galleries sector. opposite page: Zanele Muholi, Ntozabantu VI, 2016, from the South Africa-based gallery Stevenson, in the Galleries sector.

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SCHEDULE

Hans-Peter Feldmann, Golden Shoes with Pins, presented by 303 Gallery, in the Galleries sector.

6:00 pm – 8:00 pm. Maison-de-Mode .com pop-up at The Bazaar @ Faena cocktail kick-off. 3201 Collins Ave. By invitation only 7:00 pm. Petra Levin and Stefano Tonchi host a dinner celebrating Thomas Bayrle’s “One Day on Success Street” and 10 years of W art. The home of Petra and Stephen Levin. By invitation only TUESDAY, NOVEMBER 29, 2016

10:00 am – 11:00 am. Pérez Art Museum Miami | Guided press preview for current exhibitions by Julio Le Parc and David Reed. 1103 Biscayne Blvd., Miami 12:00 pm – 6:00 pm. Design Miami | Collectors Preview. Meridian Avenue and 19th Street, Miami Beach. Access with Art Basel VIP Card 4:00 pm – 6:00 pm. Art Basel Welcome Reception and Preview of Public. Hosted by Art Basel and the City of

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Miami Beach. Includes special performances and a preview of Art Basel’s Public sector, curated by Nicholas Baume, director and chief curator of Public Art Fund, New York. Collins Park, between 21st and 22nd Streets. Access with invitation or Art Basel First Choice VIP Card 6:00 pm – 11:00 pm. Audemars Piguet | Press reception (6 pm – 7:30 pm) followed by an opening party for Sun Xun’s “Reconstruction of the Universe.” Music by DJ Martin Solveig. Oceanfront, between 21st and 22nd Streets, Miami Beach. RSVP to nour.karam@audemars piguet.com 7:00 pm – 9:00 pm. Institute of Contemporary Art | Opening reception celebrating the first American museum presentation dedicated to renowned German artist Thomas Bayrle, who has explored the profoundly complex impact of technology on humans and their environments.

4040 NE Second Ave., Miami. Access with Art Basel VIP Card 8:00 pm – 10:30 pm. Soho House and BMW | Artist Talk. The talk will be followed by a cocktail reception in celebration of Art Basel in Miami Beach. Soho Beach House, 4385 Collins Ave., Miami Beach. RSVP essential at bmw-art-journey. com/events/sohohouse 5:00 pm – 8:00 pm. The opening of the “Desire” exhibition, curated by Diana Widmaier Picasso and presented by Larry Gagosian and Jeffrey Deitch. The Moore Building in the Design District. Open to the public WEDNESDAY, NOVEMBER 30, 2016

9:30 am – 10:30 am. Art Basel Press Conference. Collectors Lounge, MBCC. Access with Art Basel VIP Card or Press Card Following the Art Basel press conference. UBS Art Collection | Book Launch. UBS Lounge, MBCC.

RSVP essential 11:00 am – 4:00 pm. Art Basel First Choice Opening, with Art Basel First Choice VIP Card. Hall B and Hall D, MBCC 4:00 pm – 8:00 pm. Art Basel VIP Preview, with Art Basel VIP Card. Hall B and Hall D, MBCC 4:00 pm – 5:00 pm. Davidoff Art Initiative | Press Reception. Davidoff Lounge in the Collectors Lounge, MBCC. Access with Art Basel VIP Card or Press Card 4:30 pm – 5:00 pm. Sennheiser/ Press Get-Together. Sennheiser Lounge in the Collectors Lounge, MBCC. Access with Art Basel VIP Card or Press Card 6:00 pm – 8:00 pm. Film | Sound Work. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer, and Susannah Stark.

MONDAY, NOVEMBER 28, 2016

SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access 7:30 pm – 9:30 pm. BMW, Davidoff & UBS | VIP Reception. Cocktail reception featuring the world premiere of the next BMW Art Car created by John Baldessari, as well as the Davidoff Art Initiative and Limited Art Edition 2016 by French- Jamaican artist Olivia McGilchrist. Botanical Garden, 2000 Convention Center Dr., Miami Beach. Access with Art Basel First Choice VIP Card. RSVP essential at bmw-arts-design.com/ art_basel_miami_beach 8:00 pm – 10:00 pm. Film: Short Film Program | Best Dressed Chicken in Town, running time 120 minutes. Curated by David Gryn. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access

PHOTOGRAPHY COURTESY OF THE ARTIST AND FREDRIC SNITZER GALLERY

8:00 pm – 10:00 pm. Public | Opening Night. A special evening program with live performances, as part of the Public sector. Curated by Nicholas Baume, director and chief curator, Public Art Fund, New York. Collins Park, 2100 Collins Ave., Miami Beach. Free public access 10:00 pm – 11:00 pm. Film: Double Bill | Rita Ackermann and Christian Marclay, running time approximately 53 minutes. This double bill brings together two stunning works by Rita Ackermann and Christian Marclay. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access THURSDAY, DECEMBER 1, 2016

10:00 am – 11:30 am. Conversations | Premiere | Artist Talk featuring Julio Le Parc in conversation with Estrellita B. Brodsky, curator of Le Parc’s PAMM exhibition. Hall C Auditorium, MBCC. Free public access 11:00 am – 3:00 pm. Art Basel Vernissage. Hall B and Hall D, MBCC. Access with Art Basel First Choice VIP Card, Preview VIP Card, or Vernissage Card

2:00 pm – 7:00 pm. Salon | Discussion 2:00 pm – 3:00 pm. Art Basel Cities Discussion | The Future of Buenos Aires Cultural Landscape. Featuring Horacio Rodriguez Larreta, mayor of Buenos Aires City, Buenos Aires; Diego Radivoy, director general of Creative Industries of Buenos Aires City, Buenos Aires; Orly Benzacar, owner and director, Ruth Benzacar Galería de Arte, Buenos Aires; Alec Oxenford, collector and founder of OLX & Letgo, Buenos Aires. Moderator: András Szántó, author

Hernan Bas, a tropical depression, 2016, presented by Fredric Snitzer Gallery, in the Galleries sector.

and cultural consultant, New York 3:00 pm – 4:00 pm. Discussion | Biennial Commissions: Impact and Complications. Featuring HE Sheikha Hoor Al Qasimi, president and director, Sharjah Art Foundation, Sharjah; Damián Ortega, artist, Mexico City; Gabriele Horn, director, Berlin Biennial for Contemporary Art, Berlin. Moderator: Kate Sutton, writer, Zagreb

4:00 pm – 5:00 pm. Discussion | Why Is Gender Still an Issue? Featuring Maura Reilly, director, National Academy Museum & School, New York; Joan Snyder, artist, New York; Susan Fisher Sterling, director, National Museum of Women in the Arts, Washington, DC; Paul Schimmel, partner and vice president, Hauser Wirth & Schimmel, Los Angeles. Moderator: Jillian Steinhauer, senior editor, Hyperallergic, New York 5:00 pm – 6:00 pm. BMW | Press Reception announcing the winner of

Art Basel | Miami Beach 2016 259

SCHEDULE

Danny Lyon, Crossing the Ohio, Louisville, 1966, in the Galleries sector.

5:00 pm – 6:00 pm. Debate | Public Museums & Private Partnerships. Featuring Neal Benezra, director, San Francisco Museum of Modern Art, San Francisco; Norah Stone, trustee of San Francisco Museum of Modern Art, San Francisco; Howard Rachofsky, collector, Dallas. Moderator: Carol Kino, journalist, Wall Street Journal, New York 6:00 pm – 7:00 pm. Discussion | New Biennials in the Americas. Featuring Ngahiraka Mason, curator, Honolulu Biennial; Rocío ArandaAlvarado, curator, Site Santa Fe, and senior curator, El Museo del Barrio; Trevor Schoonmaker, artistic director, Prospect.4, and chief curator at the Nasher Museum of Art at Duke University; Pablo León de la Barra, curator, Site Santa Fe, and

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Guggenheim UBS Map Curator, Latin America, Solomon R. Guggenheim Museum. Moderator: Jens Hoffmann, co-artistic director, Front International, Cleveland, and director of Special Exhibitions and Public Programs, The Jewish Museum 7:00 pm – 8:00 pm. Lecture Performance | 18 Low Resolution Stories. Bernardo Ortiz, artist, Bogotá. Hall C Auditorium, MBCC 6:00 pm – 8:00 pm. Film | Sound Work. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer, and Susannah Stark. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access 8:00 pm – 10:00 pm. Film: Short Film Program | Best Dressed Chicken in Town, running time 120 minutes. Curated by David Gryn. SoundScape

Park, The New World Center, 500 17th St., Miami Beach. Free public access 9:00 pm – 12:00 am. Pérez Art Museum Miami | Reception celebrating the Miami art week with live music, performances, and more. 1103 Biscayne Blvd., Miami. Access with Art Basel VIP Card 10:00 pm – 10:30 pm. Film | Program TBD, running time approximately 33 minutes. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access 11:00 pm – late. Dom Pérignon Annual Party. Wall, W Hotel FRIDAY, DECEMBER 2, 2016

10:00 am – 11:30 am.Conversations | Artist Talk |Artists’ Influencers. Featuring Glenn Ligon, artist, New York; Claudia Rankine, Frederick Iseman Professor of Poetry at Yale University. Moderator: Hans Ulrich

Obrist, artistic director, Serpentine Galleries. Conceived by Hans Ulrich Obrist, this new series brings together artists with the individuals who have been of great influence to the development of their artistic practice. It partners artistic vision with the important thinkers who have informed and inspired them. Hall C Auditorium, MBCC. Free public access 12:00 pm – 8:00 pm. Art Basel Public Days 1:00 pm – 7:00 pm. Salon | Discussion 1:00 pm – 2:00 pm. Art Market Talk | Post-Election Art Market. Featuring Heather Podesta, founder and CEO, Heather Podesta + Partners, Washington; Daniel H. Sallick, chairman, Hirshhorn Museum and Sculpture Garden, and founder and partner, Subject Matter, Washington. Moderator: Josh Baer, advisor and publisher, Baer Faxt, New York

PHOTOGRAPHY COURTESY OF THE ARTIST AND EDWYNN HOUK GALLERY

the next BMW Art Journey. BMW Lounge in the Collectors Lounge, MBCC. Access with Art Basel VIP Card

One East Las Olas Boulevard, Fort Lauderdale, Florida 33301 954 525.5500 nsuartmuseum.org 15 minutes from Fort Lauderdale Hollywood International Airport. From Miami, I-95 express lanes now go all the way to Fort Lauderdale.

REGENERATION SERIES: ANSELM KIEFER FROM THE HALL COLLECTION Supported by Hall Art Foundation, Vontobel Swiss Wealth Advisors AG, Dr. David and Linda Frankel and Sandra Muss

THROUGH AUGUST 27, 2017 Anselm Kiefer Winterwald, 2010 Oil, emulsion, acrylic, shellac, ash, thorn bushes, synthetic teeth, and snakeskin on canvas in glass and steel frames Hall Collection, Courtesy Hall Art Foundation, Photography: Charles Duprat

FRANCESCO CLEMENTE: DORMIVEGLIA THROUGH APRIL 23, 2017 Francesco Clemente Dormiveglia series 1998 Oil on canvas Courtesy of the artist, Kim Heirston Art Advisory, New York © Francesco Clemente

Supported by Rita Holloway, Barbara and Michael Landry, Lisa and Steven Smith/SMITH Manufacturing and W Fort Lauderdale. Additional support provided by the Consulate General of Italy in Miami.

SAMSON KAMBALU: NYAU CINEMA THROUGH APRIL 23, 2017

Samson Kambalu Moses (Burning Bush)l, 2015 Courtesy of the Artist and Kate MacGarry, London.

ART BASEL VIP DIRECTOR’S BRUNCH Saturday, December 3, 2016, 10am - 1pm Hosted by Bonnie Clearwater, NSU Art Museum Director and Chief Curator. Free Shuttle from Miami Beach Convention Center. Shuttle departs Convention center at 9am, arrives at NSU Art Museum 10am, Departure for Convention Center 11:30 am

Supported by Oliver Kamm and the Wege Foundation

ALSO ON VIEW BELIEF + DOUBT: SELECTIONS FROM THE FRANCIE BISHOP GOOD AND DAVID HORVITZ COLLECTION THROUGH JANUARY 22, 2017

Supported by the James L. Bildner Charitable Trust and Northern Trust. Additional support provided by Sotheby’s.

Exhibitions and programs at NSU Art Museum Fort Lauderdale are made possible in part by a challenge grant from the David and Francie Horvitz Family Foundation. Funding is also provided by The John S. and James L. Knight Foundation, Nova Southeastern University, Hudson Family Foundation, Broward County Board of County Commissioners as recommended by the Broward Cultural Council and Greater Fort Lauderdale Convention & Visitors Bureau, the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture. NSU Art Museum is accredited by the American Alliance of Museums.

SCHEDULE

2:00 pm – 3:00 pm. On Collecting | What is Modern, Really? Featuring David Fleiss, co-owner and director, Galerie 1900-2000, Paris; Niklas Svennung, partner and senior director, Galerie Chantal Crousel, Paris; Ahmed Alsoudani, artist, Berlin; Herbert Neumann, collector, New York. Moderator: David Ebony, contributing editor, Art in America, New York

4:00 pm – 5:00 pm. Art Market Talk | The State of the Emerging Art Market. Featuring Beat Raeber, coowner, RaebervonStenglin, Zürich; Rob Teeters, principal, Front Desk Apparatus, New York; Shelley Fox Aarons, MD, collector and supporter of contemporary art, New York. Moderator: Sarah Douglas, editor-inchief, ARTnews, New York 5:00 pm – 6:00 pm. Artist Talk | Mark Dion: South Florida Endeavors. Mark Dion, artist, in conversation with Tim Rodgers, director, Wolfsonian-FIU 6:00 pm – 7:00 pm. Discussion | Air Space, Third Space and Monumentality. Featuring Christian Wassmann, founder, Studio Christian Wassmann, New York; Matías Duville, artist, Buenos Aires; Laura Raicovich, president and executive director, Queens Museum. Moderator: Arie Amaya-Akkermans, head of programmes, Ab/Anbar, Tehran/Moscow. Hall C Auditorium, MBCC 6:00 pm – 8:00 pm. Film | Sound Work. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer, and Susannah Stark. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access

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from top: Katherine Bernhardt, Untitled, 2016, presented by Xavier Hufkens Gallery; Joyce Pensato, Texas Batman, 2015, presented by Petzel Gallery; both in the Galleries sector.

PHOTOGRAPHY COURTESY OF THE ARTIST AND XAVIER HUFKENS, BRUSSELS (UNTITLED); COURTESY OF THE ARTIST AND PETZEL, NEW YORK (TEXAS BATMAN)

3:00 pm – 4:00 pm. Artist Talk | Francesco Clemente: Sleep of Reason. Francesco Clemente, artist, New York, in conversation with Bonnie Clearwater, director and chief curator, NSU Art Museum Fort Lauderdale, Florida

SCHEDULE

Andy Warhol, Portrait de Man Ray, 1974, presented by Galerie 1900–2000, in the Galleries sector.

8:30 pm. Film | Feature Film. Colony Theatre, 1040 Lincoln Road, Miami Beach 10:00 pm – 11:00 pm. Film: Double Bill | Liliana Porter and Alfredo Jaar, running time approximately 60 minutes. This double bill combines two aesthetically different works that both feature a powerful musical score. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access SATURDAY, DECEMBER 3, 2016

10:00 am – 11:30 am. Conversations | Public/Private | Debating Disruption:

264 Art Basel | Miami Beach 2016

Has Technology Really Changed the Artworld? Featuring Sebastian Cwilich, president and COO, Artsy, New York; Laurent Gaveau, head of the Lab, Google Cultural Institute, Paris; Christiane Paul, adjunct curator of Digital Art, Whitney Museum of American Art, New York; Simon Denny, artist, Berlin. Moderator: András Szántó, author and cultural consultant. Technology has had a profound effect on almost every walk of life. Every other week, it seems, new digital ventures are launched in the art world. When it comes to the fundamentals, has technology already left a mark on the art world? Compared to other fields, digital disruption in cultural institutions and markets is still in its infancy. What will transformative disruption look like? Where will the game-changing technologies come from? The conversation seeks to clarify what is truly new and what digital

innovation holds in store for the art world of tomorrow. Hall C Auditorium, MBCC. Free public access 12:00 pm – 8:00 pm. Art Basel Public Days 2:00 pm – 7:00 pm. Salon | Discussion 1:00 pm – 2:00 pm. Crowdfunding | Reclaiming Networks: Global & Local Artist (TBD). Featuring Stefan Benchoam, director, Proyectos Ultravioleta, and codirector, Nuevo Museo de Arte Contemporáneo (NuMu), Guatemala City; Katy Diamond Hamer, art journalist, New York; Chana Budgazad Sheldon, director, Locust Projects, Miami. Moderator: Renaud Proch, executive director, Independent Curators International, New York 2:00 pm – 3:00 pm. Discussion | LA and

the Proximity Factor. Featuring Mary Leigh Cherry, co-owner, Cherry and Martin, Los Angeles; Thao Nguyen, art, architecture, and design agent, Creative Artists Agency (CAA), Los Angeles; Philipp Kaiser, independent curator and critic, Los Angeles; Lita Albuquerque, artist, Los Angeles. Moderator: Jori Finkel, journalist, The Art Newspaper and The New York Times, Los Angeles 3:00 pm – 4:00 pm. Artist Talk | Howardena Pindell: Travelogues. Howardena Pindell, artist, New York, in conversation with Naomi Beckwith, Marilyn and Larry Fields Curator, Museum of Contemporary Art, Chicago; and Valerie Cassel Oliver, senior curator, Contemporary Arts Museum, Houston 4:00 pm – 5:00 pm. Debate | Spectacle, Events & Arts. Featuring Juan Andrés Gaitán, director, Museo Tamayo Arte

PHOTOGRAPHY COURTESY OF GALERIE 1900-2000, PARIS

8:00 pm – 10:00 pm. Film: Short Film Program | Best Dressed Chicken in Town, running time 120 minutes. Curated by David Gryn. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access

SCHEDULE

Contemporáneo, Mexico City; Moisés Cosio, collector, Mexico City; Nato Thompson, chief curator, Creative Time, New York; Kara Walker, artist, New York; Hrag Vartanian, editor-in-chief and cofounder, Hyperallergic, New York. Moderator: Phong Bui, cofounder, editor-in-chief, and publisher, The Brooklyn Rail, New York 5:00 pm – 6:00 pm. Discussion | Latin American Collaborations. Featuring Catherine Petitgas, collector and patron, chair of the board of Gasworks/Triangle Network, London; Alexandre Arrechea, artist, Havana. Moderator: Ricardo Porrero, director general and editor-in-chief, Editorial Código, Mexico City. Hall C Auditorium, MBCC

266 Art Basel | Miami Beach 2016

6:00 pm – 7:00 pm. Artist Talk | Sun Xun: Reconstruction of the Universe. Sun Xun, artist, Beijing, in conversation with Barbara Pollack, art critic and independent curator, New York. Hall C Auditorium, MBCC 6:00 pm – 8:00 pm. Film | Sound Work. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer, and Susannah Stark. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access 8:00 pm – 10:00 pm. Film: Short Film Program | Best Dressed Chicken in Town, running time 120 minutes. Curated by David Gryn. SoundScape Park, The New World Center, 500 17th

St., Miami Beach. Free public access 10:00 pm – 11:00 pm. Film | Love Songs–Four Films by Wilhelm Sasnal, running time 60 minutes. Ranging from 2002 to 2015, this selection of films by Polish artist Wilhelm Sasnal emphasizes the artist’s interest in the intersection of music, visual art, and film. SoundScape Park, The New World Center, 500 17th St., Miami Beach. Free public access

SUNDAY, DECEMBER 4, 2016

10:00 am – 11:30 am. Conversations | Artist Talk | The Artist and the Gallerist. Pamela Echeverría, gallerist; Jill Magid, artist and writer, New York. Moderator: Sofía Hernández Chong Cuy, curator of contemporary

art, Colección Patricia Phelps de Cisneros, New York. This panel offers a frank and informal conversation about the unique and fundamental relationship between artists and their gallerists. Jill Magid, conceptual artist and writer, speaks with gallerist Pamela Echeverría. Moderated by curator Sofía Hernández Chong Cuy, they discuss how they met, how they came to work together, and if and how their working relationship has changed over time. How has the dynamic of an emerging market affected, if at all, the development of the artists’ work? What is the significance of this relationship, and how does it differ from other relationships? What have they learned from each other and what are their plans for the future? Hall C Auditorium, MBCC. Free public access

PHOTOGRAPHY COURTESY OF MEYER RIEGGER

Jonathan Monk, Unmasked Man (Paul behind Paul etc), 2016, presented by Meyer Riegger, in the Galleries sector.

12:00 pm – 6:00 pm. Art Basel Public Days 1:00 pm – 3:00 pm. Salon | Discussion | Artists’ Resale Royalties in the US. Featuring Lauren van Haaften-Schick, art historian and associate director, The Art & Law Program, New York; Tony Matelli, artist, New York; Maxwell Graham, director, Essex Street, New York. Moderator: Franklin Boyd, founder, Xipsy, New York 2:00 pm – 3:00 pm. Artist Talk | The Artist as Composer. Featuring Molly Palmer, artist, London; Susannah Stark, artist, London; Kathryn Mikesell, founder, The Fountainhead Residency and Studios, Miami; Rachel Manson, artist, New York. Moderator: William Simmons, author, Hyperallergic, New York. With an introduction by Film curator David Gryn. Hall C Auditorium, MBCC All day. Gaetano Pesce & The Setai Hotel present Tree Vase at the pool.

ADDITIONAL DAILY EVENTS AND COLLECTION VISITS DAILY EVENTS: MONDAY, NOVEMBER 28, AND DAILY FROM THURSDAY, DECEMBER 1, TO

PHOTOGRAPHY COURTESY OF THE ARTIST AND CAROLINA NITSCH

SATURDAY, DECEMBER 3

5:00 pm – 10:00 pm. Audemars Piguet | Multimedia Installation. Chinese artist Sun Xun has created a large-scale, immersive multimedia installation for the Audemars Piguet Art Commission. A series of animated films using classic Chinese graphic techniques are projected in 2-D and 3-D on flat and spherical screens under a poetic bamboo canopy. Oceanfront, between 21st and 22nd Streets, Miami Beach. Free public access

Warehouse | Breakfast hosted by Martin Z. Margulies and Katherine Hinds, curator. 591 NW 27th St., Miami. Admission requires a $10 donation to Lotus Village Homeless Shelter EVERY DAY FROM THURSDAY, DECEMBER 1, TO SUNDAY, DECEMBER 4

Show opening hours. Davidoff Cigar Lounge. Botanical Garden, 2000 Convention Center Dr., Miami Beach. Access with Art Basel VIP Card

Marilyn Minter, Spray On # 1, 2016, with Carolina Nitsch, in the Edition sector.

COLLECTION VISITS: Wynwood, downtown Miami, Miami Beach, Coral Gables, and other locations. Maps available at BasFisher Invitational, Downtown Art House, Locust Projects, and on artbasel.com/ miamibeach. Free public access SATURDAY, DECEMBER 3, AND SUNDAY,

EVERY DAY FROM THURSDAY,

DECEMBER 4

EVERY DAY FROM WEDNESDAY,

DECEMBER 1, TO SATURDAY,

NOVEMBER 30, TO FRIDAY,

DECEMBER 3

DECEMBER 2

9:00 am – 12:00 pm. Artist Studio Visits. Visit and meet artists in their studios in

9:00 am – 12:00 pm. The Kampong | Guided Tour. American artist Mark Dion recreates famed plant explorer David Fairchild’s laboratory at his

9:00 am. The Margulies Collection at the

historic waterfront estate in Coconut Grove. 4013 S. Douglas Road, Coconut Grove. Access with Art Basel VIP Card

MONDAY, NOVEMBER 28, AND SATURDAY, DECEMBER 3

10:30 am – onwards. Carlos and Rosa de la Cruz Home. Visit the home of Carlos and Rosa de la Cruz in Key Biscayne. Free public access. RSVP essential to rsvp@delacruzcollection.org by November 25 EVERY DAY FROM MONDAY, NOVEMBER 28, TO SUNDAY, DECEMBER 4

9:00 am – onwards. The Margulies

Art Basel | Miami Beach 2016 267

SCHEDULE

Collection at the Warehouse. New Exhibitions: “Jannis Kounellis: Paintings”; “Anselm Kiefer: Installations.” Featuring Radcliffe Bailey, Florian Baudrexel, Mark Dion, David Ellis, Mark Manders, Olaf Metzel, Meuser, Will Ryman, Jason Schmidt. Permanent Exhibition: Chamberlain, de Kooning, Eliasson, Flavin, Heizer, Judd, Noguchi, Philipsz, Segal, Serra, Tony Smith, Franz West. 591 NW 27th St., Miami. Admission requires a $10 donation to Lotus Village Homeless Shelter EVERY DAY FROM TUESDAY,

Design District. Free public access EVERY DAY FROM WEDNESDAY, NOVEMBER 30, TO SUNDAY, DECEMBER 4

9:00 am – onwards. Rubell Family Collection | “High Anxiety: New Acquisitions” and “12 Brazilians.” Showing works by Aaron Fowler, Cy Gavin, Isa Genzken, Andrea Ursuta, Andre Komatsu, Kathryn Andrews, Frank Benson, Thiago Martins de Melo, Katja Novitskova, Solange Pessoa, Sonia Gomes, Paulo Nazareth, and others. 95 NW 29th St., Miami. Free public access

NOVEMBER 29, TO SATURDAY, DECEMBER 3

EVERY DAY FROM WEDNESDAY,

9:00 am – onwards. De la Cruz Collection | “Progressive Praxis.” The exhibition explores the impact of preceding art movements and how contemporary artists conceptually engage with the advancements of technology. 23 NE 41st St., Miami

NOVEMBER 30, TO SUNDAY,

268 Art Basel | Miami Beach 2016

DECEMBER 4

Times vary. CIFO | “Toda Percepció́n es una Interpretación: You are Part of It.” Presenting works from Ella Fontanals-Cisneros and CIFO Collection, including Wrinkle

Environment 1 by Argentinian artist Liliana Porter, a recreation of her work from 1969. 1018 N. Miami Ave., Miami. Free public access EVERY DAY FROM WEDNESDAY, NOVEMBER 30, TO SUNDAY, DECEMBER 4

For the first time under the Design Miami/ tent, Louis Vuitton presents an installation of Objets Nomades, a collection of furniture that reinvents the house’s Art of Travel. During Design Miami/, Louis Vuitton will unveil two new pieces to the collection: the Blossom Stool designed by Tokujin Yoshioka and the Fur Cocoon by the Campana Brothers. Louis Vuitton Miami Design District store, 140 NE 39th St., Miami EVERY DAY FROM WEDNESDAY, NOVEMBER 30, THROUGH MARCH 31, 2017

The Loewe Foundation presents an

exhibition that draws attention to the rich materiality of the natural world of Irish artist William McKeown and British potter John Ward. The store will be populated with over 40 different vessels by Ward among wallpaper designed by McKeown—all under the overarching 18th-century granary building installed permanently within the space. Miami Design District, 110 NE 39th St., Ste. #102 THURSDAY, DECEMBER 1, AND FRIDAY, DECEMBER 2

9:00 am – onwards. The Craig Robins Collection private brunch reception and guided tours of the collection, including works by Nicole Eisenman, Urs Fisher, and John Baldessari, alongside a stellar collection of postwar to contemporary limitededition design pieces. 3851 NE Second Ave., Ste. 400, Miami Design District. Access with Art Basel VIP Card. RSVP to rsvp@dacra.com ABMB

PHOTOGRAPHY COURTESY OF THE ARTIST AND SUSANNE VIELMETTER LOS ANGELES PROJECTS

Andrea Bowers, Ban Assault Weapons Now, 2016, presented by Susanne Vielmetter Los Angeles Projects, in the Galleries sector.

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LAST WORD

Stephen & Ellen Susman by Sue Hostetler

SHE IS A FORMER news anchor and director of the State Department’s Art in Embassies program (from 2013—2016), responsible for managing the collection that hangs in American embassies all over the world. He is a renowned trial attorney and political fundraiser. Together, Ellen and Stephen Susman are the well-liked art collecting couple whose Houston home has been referred to as “part gallery, part cozy hangout.” Their collection includes works by Robert Rauschenberg, Lynda Benglis, Beatriz Milhazes, Ed Ruscha, and Jenny Holzer. I sat down to find out how they roll when in Miami and what inspires their love of art.

Ellen, given that your job entailed buying and curating work for the American embassies, does this make you the de facto decision-maker when you and Steve are buying something for your personal collection?

272 Art Basel | Miami Beach 2016

Favorite piece ever acquired at Art Basel? SS: A piece by Yorgo Alexopoulos called The Long Swell. ES: Condensed Milk Ball by Takuro Kuwata. What is the greatest emotional or personal benefit you feel you have experienced from collecting art? ES and SS: Becoming friends of other collectors and having a hobby we can indulge globally. In every city, there is a museum and some sort of art gallery. We love that art connects us in so many ways with local, national, and international communities. ES: No, not at all. Steve and I agreed that we both have to like something before we acquire it with our joint resources. However, if one of us really feels strongly and the other doesn’t, we also have the ability to choose to buy it separately. Sometimes that happens, but generally it’s more fun to see art together and try to agree on whether it’s a piece we want to add to the collection. Art Basel in Miami Beach is celebrating its 15th anniversary. Many first scoffed at the idea of a serious, worldclass fair here. Why do you think it has succeeded? ES: When the Miami fair began in 2002, it filled a huge gap in the art world. Until that time, except for the Armory, all of the important art fairs were in Europe. The show in Miami Beach changed

that dynamic. It offered sun, fun, a great venue, and became the hippest place to be and see art. Pieces on hold or sold-out the first day! The traffic! Leonardo sightings! No tickets to the Madonna concert left! We all know what a wild week it can be. Tell me the truth: What is the craziest thing you’ve ever witnessed? SS: We love the people-watching, and of course it’s fun to see Leo with his baseball cap, or the identical twins, or the two guys who dress the same in crazy costumes. It’s interesting… when lines get blurred... sometimes “real life” is indistinguishable from art. Everyone “complains” about the myriad events that besiege their week—though I personally think

If money were no object, what piece of art would you buy tomorrow? ES: A Rothko. I find his work to be so profound. SS: A Josef Albers. An artist once said to me, “It’s more exciting to be at the center of creation than of commerce.” With the mega-dealers, dollars, and auction results of the current contemporary art market, how does one reconcile this? ES and SS: If you buy for the love of the work and the relationship you can develop with the artists, then I think the deals, dollars, and auctions are just an interesting addendum. The real pleasure for us is that the artist is acknowledged for their work. That’s the win-win. ABMB

PHOTOGRAPHY BY GREGG DELMAN

What initially attracted you to collecting art? Stephen Susman: As a young and poor lawyer, I realized that the only place I could get a free drink was a gallery opening. I went to so many that I finally got embarrassed into buying something. As my resources increased, I kept buying better pieces. Then Ellen took it to a new level. Ellen Susman: For me art is transformative. What could be better than finding a piece of art that rocks your psyche in some way—from political to personal? And then there’s the fun of the process.

this seems like faux protestation, as no one loves the attendant scene more than the art crowd. What do you think? ES and SS: It is always a treat to see so many friends and acquaintances from all over the world at the fair. Whether it’s joining a small group for dinner, party-hopping with various galleries— the relationships we have with people because of our interest in art is one of the biggest pluses we have experienced.