ART BASEL MIAMI BEACH | Booth E6

We are showing works by RODOLFO ABULARACH (1933-2020, Guatemala City, Guatemala) for the first time, in addition to new paintings by PAULO PASTA (b. 1959, Ariranha, São Paulo, Brazil). Abularach and Pasta imagine equally inventive and objective spaces; Abularach through his exploration of the human eye as the key to the psyche and Pasta through his pulsating color combinations that seamlessly combine rationality and feeling.

New paintings by VIAN SORA (b. 1976, Baghdad, Iraq) burst with the artist's characteristic dynamism and reflect her ongoing search for harmony and transcendence in her practice. Sora's work complements that of CHAKAIA BOOKER (b. 1953, Newark, NJ), who similarly investigates themes of identity and belonging through her sculptures made from rubber tires. The physicality of both artists' processes - Sora uses a variety of tools and methods to carve out her surfaces, sometimes even her own breath, while Booker slices, twists, and weaves rubber tires into radically new forms - radiates from each work.

Two sculptures by MEL KENDRICK (b. 1949, Boston, MA) demonstrate the artist's ability to transform a space with his unique compositional sensibility and innate understanding of the qualities of his materials. The angular forms of Kendrick's sculptures contrast the smooth, rounded vases of YOUNG-JAE LEE (b. 1951, Seoul, Korea). Lee's vessels are profound in their simplicity and often embrace the natural qualities of the clay from which they were formed, much like Kendrick does with the natural imperfections of wood.

Works on paper by JORINDE VOIGT (b. 1977, Frankfurt, Germany) and painted works by JONATHAN MEESE (b. 1970, Tokyo, Japan) complete the larger-scale installation. Voigt uses a precisely coded system of mark-making to translate an array of natural and psychological phenomena into pictorial form. Meese's practice seeks to adopt ideological and historical symbols and empty them of meaning. The adoption of real-life symbolism into evocative artworks push Voigt and Meese closest to representation -- along with Abularach -- in this group of works on display.

GEORG BASELITZ

ENRICO BAJ

BRUCE CONNER

JOSEPH CORNELL

CARROLL DUNHAM

GEORGE GROSZ

WILLEM DE KOONING

BARRY LE VA

SHERRIE LEVINE

RICHARD LONG

ROBERT MANGOLD

BRICE MARDEN

GIORGIO MORANDI

JIM NUTT

ROBERT RYMAN

RAY YOSHIDA

Since its founding, David Nolan Gallery has placed a strong emphasis on raising consciousness of works on paper without any restrictions. This display of master drawings demonstrates the unlimited possibilities of the medium, ranging from De Kooning’s abstraction to Grosz’s figuration. Each artist on display has significantly contributed to the history of drawing, and their achievements are brought into focus here. Drawing also has the capacity to transcend the restrictions of the art historical period, as the core principle of pencil on paper has remained unchanged for centuries. Therefore the comparisons to be made between drawings spanning decades and centuries are endless – whereas it is difficult to compare a Renaissance painting to a contemporary one.

WILLIAM COPLEY

CARROLL DUNHAM

GEORGE GROSZ
JIM NUTT
WARDELL MILAN

MALCOLM MORLEY

ALBERT OEHLEN

ERWIN PFRANG

JOHN TWEDDLE

SANDRA VASQUEZ DE LA HORRA

RAY YOSHIDA

This display reflects the way gender and sexuality are increasingly part of public discourse and makes visible a subject typically considered taboo, despite its art historical lineage, as artists have always been fascinated by drawing the human body. We trace the topic across various artists and styles, ranging from the provocative to the playful, from Malcolm Morley’s spurts of energy and playfulness to William Copley’s cinema-inspired renditions of naked women engaging in sexual acts. George Grosz approached the body in a classic way, as a healthy investigation with his wife as his model; Carroll Dunham’s semi-abstract compositions are as important as the figures drawn; and Sandra Vásquez de la Horra’s rendition is inspired by literature and the artist’s fascination with the darker side of life. Ultimately, however, your takeaway of this intimate display will be rooted in your own preconceptions and experiences, even more so than is usual in one’s interpretation of art.