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And There Were Gardens Bright With Sinuous Rills View Gallery

18 December 2013

And There Were Gardens Bright With Sinuous Rills

Selects from our favorite galleries at Miami Art Week 2013.


The birth of the Basel art fair was arguably imagined with a more measured approach than the one enacted at 2013′s Art Basel Miami Beach inauguration of the pleasure dome. Still, despite moments of excess, we did see a vast array of contemporary art. We traversed the city—our vapor-dishing pals Ploom in tow—and pulled a selection from our favorite galleries and artists into a grouping for you, readers. Despite your nagging post-party fatigue, click through, for even Kubla Khan was able to find paradise within the war and tyranny. Or perhaps that one goes the other way around.

François Ghebaly Gallery, Los Angeles
L.A. based François Ghebaly’s artists on view at NADA Miami included Joel Kyack, a former Flaunt cover artist. Other artists featured in the programming include: Neil Beloufa and Davide Balula (both of whom had solo exhibits at the gallery in Los Angeles this year), Marius Bercea, Gina Osterloh, Robert Russell, and Oscar Murillo.

Martos Gallery/Shoot the Lobster, New York
An art critic favorite, Martos gallery recently broke rank with youthful midtown galleries following repeated features in publications including the New Yorker, The New York Times, and ArtForum. The gallery’s recent exhibit, Lonely Girl—curated by Asher Penn—explored an aesthetically mixed collection of female artists under 30 (including Petra Cortright, featured in our latest, The Care Issue). With work ranging from absurd to compelling, the exhibit ignited conversations on female art within contemporary and new media platforms.

The NADA Miami booth featured original aluminum wallpaper by Olivier Mosset and saw the launch of various artist-designed commodities (including shirts, posters, and records from Shoot the Lobster) available for purchase.

Roberts & Tilton, Los Angeles
Home to Flaunt favorite Betye Saar, L.A.-based Roberts & Tilton exhibited older work from Saar, juxtaposed with newer offerings from Kehinde Wiley—he too tries his hand at assemblage—and text-based work from Daniel Joseph Martinez, free of the often vividly disturbing imagery typically associated with the artist’s sculptures, though no less memorable.

Sprüth Magers, Berlin and London
Duo Monika Sprüth and Philomene Magers’ impressively constructed roster traverses contemporary art history with a sense of ease. Their Basel programming included a selection of old and new work: a print from Barbara Kruger; painting and sculpture from Kanye West-favorite George Condo; and storyboards from John Baldessari. Missing were any stirrings from Kraftwerk, a seemingly unlikely addition to the aforementioned, until one notes their recent move to  visual and performance-based work. The group will lead an eight-part concert at the L.A. Philharmonic in March.

 P.P.O.W Gallery, New York
Contemporary gallery P.P.O.W. exhibited a booth of rarely seen and obscure works from 74-year-old Carolee Schneemann, a paint, film, mixed media, and performance artist widely recognized for her explorations into gender and sexuality.  The booth’s inclusion of her painting, photographic, and assemblage work, allowed for a compressed look at a small (but important) moment in art history.