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Art Basel Miami
Art Basel Miami, 30 November4 December 2021
Timothy Taylor is pleased to present our 2021 Art Basel Miami booth, featuring a diverse selection of works by twenty artists: Etel Adnan, Cecily Brown, John Chamberlain, Daniel Crews-Chubb, Jean Dubuffet, Jorge Eielson, Armen Eloyan, Alex Katz, Jonathan Lasker, Sahara Longe, Chris Martin, Josephine Meckseper, Annie Morris, Richard Patterson, Hilary Pecis, Antonia Showering, Antoni Tàpies, Eduardo Terrazas, Honor Titus and Ding Yi. Together, these artists embody the balance between early-career contemporary artists and established post-war figures that is a hallmark of the gallery’s singular visual program, raising questions about changing approaches to figuration and abstraction; explorations of materiality; and evolving perspectives across successive generations on how to chronicle the human experience at each moment in history.

Since the 1960s, Alex Katz has captured what he calls ‘the artefacts of culture’, summarizing the essence of American life in hyper-stylized paintings with a crisp sensory vividness that projects the immediate present. Two portraits, Ada in Blue Sweater (1959) and Kate (2017) show the evolution of his signature flat, hard-edged style towards increasingly minimal, monumental works over time. Birds 12 (2021), a recent work, playfully riffs on Alfred Hitchcock’s chilling 1963 film The Birds, evoking the icy whiteness of concrete in winter and the neat delicacy of birds with masterful precision.

Combining Old Master techniques with a wholly contemporary, lifelike style, emerging artist Sahara Longe’s vivid portraits of friends and family members convey the warmth and affection of community and close relationships. Recurring shades of violet, magenta and velvety green glow with luminous colour, adding a fantastical element to narratives drawn from memories and lived experience.

Etel Adnan and Hilary Pecis take dramatically different approaches to landscape with skewed, abstracted perspectives in playful paintings that both draw upon the influence of Matisse and Derain. Summoning the sweeping California vistas where she makes her home, Pecis explores her surroundings by creating deliberately flattened, richly detailed landscapes and still lifes based on personal photos and souvenirs. Simple geometries radiating light stand in for landscape elements in Adnan’s minimal paintings, which visualize the beauty and awe of the natural world with a precise formal economy.

Armen Eloyan embraces total abstraction in his new, starkly monumental series of Numbered Paintings, combining a deeply physical and process-based approach to the canvas with a careful examination of colour and light. Each emerges in a single burst of intensive work, which he compares to a theatrical performance, lending the paintings a sense of pent-up physical force. Richard Patterson’s contradictory combination of painterly abstraction and figurative elements and rich, jewel-toned pigments formally recalls the work of the English painter Howard Hodgkin. ‘Great figurative art has always had elements of abstraction. Similarly, my abstract works have a pictorial space that evokes portraiture and landscape,’ says Patterson.

Figurative painters Antonia Showering and Honor Titus recall personal experiences to create meditative scenes imbued with a sense of romance and nostalgia. Showering layers abstract pools of rich colour in her atmospheric and emotive portraits of friends and family; Titus depicts moments of solitude and intimacy in recent works inspired by the ritualized formal movement of athletic sports and leisure activities.

Jonathan Lasker, Eduardo Terrazas and Josephine Meckseper examine intersecting geometries: Meckseper through her new abstract paintings reinterpreting the history of still life, while Lasker plays with cryptic symbols and ideas of language through the playful juxtaposition of hieroglyph-like signs and marks on pastel-bright canvases layered with impasto. Terrazas looks to the harmony of the cosmos for inspiration in his four-decade series of geometric works, which apply indigenous Mexican Huichol yarn techniques to contemporary abstraction. Ding Yi has refined a three-decade series of abstract paintings, Appearance of Crosses, based on a singular language of x and cross symbols. In his latest paintings, Ding uses a unique combination of painting and sculpting to reflect on our place within the universe and its geometric harmonies, creating an impression of shifting light resemblant of stars.

Annie Morris creates seemingly precarious stacks of asymmetrical, jewel-toned boulders, each incorporating raw pigments sourced from her travels. Morris returns repeatedly to the ‘Stack’ sculptures to explore issues of trauma, loss and rebirth related to her experiences of motherhood and childbirth. Chris Martin fuses expressionistic abstraction with references to pop culture, art history and spiritual mysticism in his vibrant collage-based paintings, exploring the idiosyncrasies of contemporary life through a characteristically eclectic outlook.

Jean Dubuffet dedicated the last decade of his life to a suite of major series in quick succession, which make up a third of his complete works. In Paysage Avec 4 Personnages, from his Lieux abrégés series, Dubuffet transforms details of the urban landscape into a deliberately simplified constellation of pale blue and rose-colored cells, distilling the subjectivity of everyday experience into surrealism.

Cecily Brown, known for her virtuosic canvases of vivid, expressive colour, fills Peasouper (2004) with swirling brushstrokes alive with energy. Painted in a characteristic palette of moody browns and flesh tones, the painting suggests the continual flux of human movement and the erotic experience. The late Peruvian artist Jorge Eielson is best known for his Quipus series, an exploration of material, form and communication which he began in 1963 and continued for four decades. Using shape and colour to convey meaning, the works are reinterpretations of the ancient quipu, a record-keeping system devised by the pre-Columbian Incas of Peru, translated as ‘talking knots.’ Eielson reinterpreted the ancient device in raw canvas that he stretched, twisted, knotted, and then painted in monochrome or polychrome bands, with each hue, knot, and intersection representing a symbol or word.

Our selection exemplifies the gallery’s focus on visual diversity, drawing from a mix of established and early-career artists with a strong emphasis on surface texture and a playful, experimental approach to the subject matter of painting.
Art Basel Miami – Timothy Taylor