For Art Basel Hong Kong, Anat Ebgi is pleased to announce START OVER PLEASE, a solo presentation of new works by Canadian artist Tammi Campbell.

Taking from her perspective, a decentered feminist lens, Campbell’s work dons the art historical canon as armature and challenge. The artist’s work notes how totemic male artists dominate institutional, collection, and market narratives, despite decades of powerful waves of decolonization and feminist critique.

The presentation is anchored by Campbell’s ‘in-process’ Ruscha text painting, “START OVER PLEASE.” Upon quick glance, the artist appears to have left masking tape on the canvas, but in reality it is another of her signature trompe l’oeil material transmutations. The tape itself is made from cast acrylic paint. Meanwhile the painting’s directive text dominates the picture encouraging close reconsideration of each of the works displayed. Start over, reexamine accepted narratives, begin anew.

Campbell’s practice starts with an extensive research period bordering on forensic. She dives deeply into the materials and processes of the artist she decides to appropriate. For instance, for the recreated Ruscha text drawings, the research led her to track down the actual deadstock paper from the 1970s and pastels he used in order to achieve an exactness, a precision. Each element is obsessively considered. Campbell will go as far as mimicking processes time, foxing, and sun fading before she proceeds to the final step: the wrapping.

The artist carefully “wraps” each work in acrylic paint that has been cast in molds to replicate bubble wrap, tape, and cardboard. Her ability to nearly replicate packing materials out of paint is alchemical. In addition to Ruscha, Campbell continues her investigation of other artists whose work she has learned to imitate, including Jasper Johns, Andy Warhol, and Kenneth Noland. Each is shown with her material reconstructions: faux bubble wrap, cardboard, polywrap, and wood crates.

Campbell’s appropriative practice comes out of a long line of women artists, such as Sturtevant and Sherri Levine, who have employed appropriation to compelling ends. There is a nod to institutional critique in the desire to literally “package up” and put away these works into storage to make room for women or lesser recognized artists, while simultaneously unable to escape the visibility of the canon itself.

There is cheeky humor to Campbell’s works that raises questions about institutional structures, the canon, and systems of invisible labor used to validate those histories.

Tammi Campbell (b. 1974, Calgary, Alberta) received her BFA from the University of Saskatchewan, Saskatoon. Recent solo exhibitions include Exactly Wrong, MAKI Gallery, Tokyo; Boring Art, Anat Ebgi, Los Angeles, CA; and On View, Blouin Division, Montréal, QC. Campbell has also exhibited her work across Canada and the U.S. including Arsenal, New York, NY; Gavlak, Los Angeles, CA; Mendel Art Gallery, Saskatoon, SK; Justina M. Barnicke Gallery, Toronto, ON; and the Galerie de l’UQAM, Montréal, QC. She participated in the Canadian Biennale 2014 at the National Gallery of Canada, Ottawa, ON, as well as the 30th International Symposium of Contemporary Art of Baie-St-Paul. In fall of 2023, Campbell will return to Los Angeles for her second solo exhibition at Anat Ebgi. Campbell lives and works in Montréal, Quebec.

Anat Ebgi is pleased to present new works by native Angeleno Greg Ito and Paraguayan born Faith Wilding for Art Basel Miami Beach. Though generationally distant these two artists are joined by their explorations of rebirth, renewal, and revitalization. The collaborative installation brings together works that examine family histories, the environment, and cultural upbringing through distinct usage of material and symbology.

The installation transforms the booth into an elemental space, rich painted umber walls and carpeting recall fertile soil. Ito’s paintings, articulated with his unique graphic vernacular, serve as windows into a future world born of devastation. Wilding’s totemic sculptures covered in arcane symbology float on elevated pedestals. Flora and earth as subjects hold significance to both Ito and Wilding.

Whereas Wilding’s pieces reference her growing up in the jungles of Paraguay and lost knowledge of indigenous plants and language, Ito’s work draws from personal and family history as a Japanese Americans, including his grandparents’ experience of being forcibly relocated to an internment camp during World War II. Ito’s latest works, created for Art Basel Miami Beach, meditate on shifting family roles, birth, death, and generational turnover with memories passed on and others lost to time. Among his repeating symbols: flames, cocoons, and the moon, gingko leaves especially draw a personal connection to his family’s origin—symbolic of longevity and used for medicines. Suggestive of narrative, the works marry themes of life’s dualities such as the cycle of destruction and regrowth.

Wilding’s papyrus sculptures harken back to a series of ‘cocoons’ she made in the 1980s which were burned and filled with dirt to sprout seeds. Similar to Ito’s burning vistas, Wilding utilizes fire as a symbol to insist on renewal—a chance to begin again. In this new body of work, the chrysalis or bodily form and metaphoric sprouted seeds turn outward to the viewer. As archaeological forms they present a tactility, something akin to a fetish or effigy. The runes and text incorporated within the sculptural objects speak of the loss of the natural environment within the anthropocene. The ritualized objects suggest transformation and power through knowledge and poetics of the earth—a recurring motif of Wilding’s ecofeminist practice. Through fusing written word and visual iconography, Wilding’s works create an apparatus for the viewer to engage with an alternative way of seeing nature and its forces.

Greg Ito (b. 1987, Los Angeles, CA) earned his BFA from San Francisco Art Institute. His work has been exhibited widely in solo and group exhibitions including at Institute of Contemporary Art, San Diego, CA; Long Beach Museum of Art, Long Beach, CA; Maki Gallery, Tokyo, Japan; Anat Ebgi, Los Angeles, CA; SPURS Gallery, Beijing, China; Lyles and King, New York, NY; Jeffrey Deitch, New York; NY and Yerba Buena Center for the Arts (YBCA), San Francisco, CA. Ito’s work is included in the permanent collections of the Institute of Contemporary Art Miami. Ito lives and works in Los Angeles, CA.

Faith Wilding (b. 1943, Paraguay) has exhibited extensively worldwide since the late 1960s. A 2014 retrospective of Wilding’s work, Fearful Symmetries, travelled to five venues across the United States. Wilding’s work was also included in the seminal survey WACK! Art and the Feminist Revolution, organized by Cornelia Butler, which traveled from the Museum of Contemporary Art (Los Angeles) to the National Museum of Women (Washington DC), PS1 Contemporary Art Center (Long Island), and the Vancouver Art Gallery. This year marks the fiftieth anniversary of Womanhouse, an influential Los Angeles exhibition, installation, and performance space organized through the CalArts Feminist Art Program. At Womanhouse, Wilding’s Womb Room fiber installation and performance, Waiting, are some of the best known and highly influential works of the 1970s Feminist Art Movement. Wilding’s book By Our Own Hands, catalogues this important era experimentation and collaboration that defined west coast Feminist art during the early 1970s.

Wilding has exhibited at museums such as The Whitney Museum of American Art, New York, NY; The Hammer Museum, Los Angeles, CA; The Drawing Center, New York, NY; Documenta X, Kassel, Germany; the Institute of Contemporary Art/Boston, MA; the Singapore Art Museum, Singapore; the Reina Sofia Museum, Madrid, Spain; Centre for Contemporary Arts, Glasgow, Scotland; and the Bronx Museum of Art, New York, NY. Wilding is Professor Emerita of Performance Art at the School of the Art Institute of Chicago and has taught at institutions Cooper Union, New York University, the Woman’s Building in Los Angeles and the San Francisco Art Institute. While teaching at Carnegie Mellon University in the 1990s and 200s she was a co-founder of the cyberfeminist collective, subRosa. Wilding was awarded a Guggenheim Fellowship in 2009 and has been the recipient of numerous grants for the past five decades. In 2014, she was awarded the prestigious Women’s Caucus for Art Lifetime Achievement Award. Her work is in the permanent collections of the Hammer Museum, The Art Institute of Chicago, Minneapolis Institute of Art, RISD Museum, University Club of Chicago, and Los Angeles County Museum of Art. Wilding lives and works in Rhode Island.

For Art Basel Hong Kong, Anat Ebgi is pleased to present Out Look, a solo installation of new paintings by Los Angeles artist Alec Egan. This presentation is a continuation of works presently on view in his solo exhibition Look Out at the gallery’s location 6150 Wilshire Blvd from May 21 – June 25, 2022.

A large painting Fruit Bowl with Bird anchors the booth, combining Egan’s use of interior scenes, still life painting, and atmospheric landscape. Drawn from his own memory and imagination, the fictitious interiors, and scenic landscapes speak to tropes of nostalgia, Americana, and the profundity of the mundane.

Egan’s large interiors, decorated with lavish floral patterns, repeatedly use typical domestic items such as furniture, books, and footwear as symbolic motifs that harken back to personal histories while conjuring hypothetical narratives about the absent residents. In the smaller works, object motifs reappear, such as the bowl of spaghetti in Bowl of pasta with flower poster, or the mirrored palms in Green room (waiting room), and underscore a reflective tone in the exhibition, adding emphasis to these symbolic gestures within the works.

The natural world is not confined to Egan’s landscapes of sun drenched skies and wave paintings, rather the lush wallpapers of peculiar buds, blooming bouquets, and fruit-patterned fabrics intricately come together as meditations on the domestic, natural beauty, and fragility of life. Rich with art-historical references ranging from Van Gogh to Hokusai, Egan’s sentimental dreamscapes are simultaneously faithful and inventive engagements with painterly tradition.

Alec Egan (b. 1984, Los Angeles, CA) completed his MFA at Otis College of Art and Design in 2013, and received a BFA in creative writing and poetry from Kenyon College. Recent solo exhibitions include Miro’s Corner at MAKI Gallery in Tokyo, Japan; The Study at Charles Moffett Gallery, New York, NY; and August, Anat Ebgi, Los Angeles, CA. His work has been exhibited in group and solo exhibitions at Dubuque Museum of Art, Dubuque, IA; California Heritage Museum, Santa Monica, CA; and the Torrance Art Museum, Torrance, CA. Egan lives and works in Los Angeles, CA.

TINA GIROUARD

DECEMBER 1 – 4, 2021

BOOTH S16

 

Anat Ebgi is pleased to present a selection of historic sequin tapestries by Tina Girouard at Art Basel Miami Beach. This solo presentation precedes a career retrospective of Girouard’s work, which will open at the Bronx Museum of the Arts, New York in Fall 2023.

Within Girouard’s oeuvre, the sequin works represent the collaborative nature of her approach to making art and her interest in examining cross-cultural influences. After many years researching Haiti’s connection to her native Louisiana, Girouard traveled to the country for the first time in 1990. On this first visit, she met master sequin artist Antoine Oleyant; the two developed a friendship and artistic partnership. The following year, she set up an auxiliary studio in Port Au Prince, where she worked and researched in cultural exchange with Haitian artists for several years. To further promote understanding of these artists and Haitian culture, she authored the seminal book Sequin Artists of Haiti in 1994.

The sequined Vodou prayer flags beckon and pay tribute to Iwa, or “invisibles” in Haitian Creole, spirits who bring messages of faith and hope. Much like Vodou itself, the flags represent a coming together of different cultures and consciousnesses. Reflecting on the time working in Haiti Girouard wrote: “Never intending to appropriate a traditional Haitian art form, my desire was to come to a point of collaboration naturally. Open to sharing our separate ideas, techniques, and cultures, we wanted to achieve that goal spontaneously by working side by side.” Throughout this period Girouard shared her Pattern and Decoration sensibilities while they taught her about Iwa iconography. The earliest sequin pieces were a continuation of her 1980s painting practice including stenciled and repeated patterns with motifs drawn from her home state such as alligators, ants, rifles, and saxophones. The spirit of collaboration in this body of work is underscored in Desir (1998), where names of her collaborators are incorporated in glass beads into the work; exchange was not only part of Girouard’s process, but an essential part of her work’s content.

Girouard’s glittering compositions are rooted in her practice as a post-minimalist and Pattern and Decoration artist. Countering austere minimalist art with exuberant color, eclectic compositions, and unorthodox new materials Girouard reflected Louisiana’s diverse local culture, while also looking into the wider world. Her tapestries draw from a range of influences—flora and fauna, technology, the spiritual—and celebrate the power of cross-cultural dialogue, while raising important questions about authorship, ownership, and authenticity that have only become more relevant in our increasingly globalized world.

Tina Girouard (1946 – 2020) has an exhibition history that includes a 1983 mid-career retrospective mounted at the Rufino Tamayo Museum in Mexico City, and international events such as the 1980 Venice Biennale, the 1977 Paris Biennale, 1977 Documenta VI and 1972 Documenta V, Kassel. Girouard’s work has been exhibited widely at galleries and museums including: Leo Castelli Gallery, The Kitchen, Walker Art Center, New Orleans Museum of Art, Museum of Contemporary Art Chicago, Palais des Beaux-Arts Brussels, Holly Solomon Gallery, David Zwirner, the Museum of Contemporary Art Los Angeles, and the New Museum. Her work was recently on view in the exhibition With Pleasure: Pattern and Decoration in American Art 1972 – 1985 curated by Anna Katz, originating at MOCA Los Angeles, which travelled to the Hessel Museum of Art, Bard College, NY. Girouard’s work is in the permanent collections of the Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; Ludwig Forum fur International Kunst Aachen, DE; Rufino Tamayo Museum, Mexico City, Mexico; and Stedelijk Museum Actuele Kunst, Gent, Belgium.

GREG ITO: THE ARRIVAL OF SPRING

For Art Basel Hong Kong, Anat Ebgi is pleased to present The Arrival of Spring, a solo installation of new works by Greg Ito. The presentation title acknowledges the birth of Ito’s daughter Spring, who was born earlier this year. A five-panel polyptych titled Paradise (2021) anchors the booth and lays bare Ito’s language of transition and becoming. A dramatic landscape framed by a continuous row of windowpanes reveals a city with a fire on the horizon as it is slowly engulfed in flames and finally emerges as a space of bountiful blooms and birds taking to the sky.

Using symbols and a visual language that draws upon of his hometown Los Angeles—and the five generations his family has lived there, Ito’s cinematic painting style seeks to explore the precariousness of life and desire for security. The artist is fundamentally a storyteller; he effectuates rumination on the collective through the deeply personal — a desire for an evolution, a cultural reset. Informed by his grandparents’ experience as interned Japanese-Americans during World War II, the sense of “home” as a refuge from the outside world is a fleeting and fragile one.

Ito’s new works are a direct reflection of the past year, where the floods and fires became real experiences. Looking specifically at the cultural shifts following the COVID-19 lockdown and the Black Lives Matters protests and riots, Ito felt as though a veil had been lifted to reveal the injustice and corruption of America that is omnipresent and thoroughly ingrained within the fabric of the culture itself. The fires and destruction from these protests became a global symbol of rebirth — the need to burn down the forest to return the nutrients to its soil. As a forest grows only stronger from its inevitable burning, from the flames comes a new vision of the future.

Greg Ito (b. 1987, Los Angeles, CA) embraces a graphic visual style to create cinematic paintings and installations that address themes of time, love, loss, hope, and tragedy. Ito earned his BFA from San Francisco Art Institute in 2008. His work has been exhibited widely in group and solo exhibitions including Maki Gallery, Tokyo, Japan; Anat Ebgi, Los Angeles, CA; Division Gallery, Montreal, QC; Arsenal Contemporary, Toronto, ON; Jeffrey Deitch New York, NY; Andrew Rafacz Gallery, Chicago, IL; Shulamit Nazarian, Los Angeles, CA; Et al, San Francisco, CA; and Yerba Buena Center for the Arts – YBCA, San Francisco, CA. A forthcoming solo exhibition at Anat Ebgi Los Angeles will open Fall 2021. Ito lives and works in Los Angeles, CA.

Anat Ebgi is pleased to present a selection of works from the 1980s and 1990s by Tina Girouard and Faith Wilding. Each of these artists utilize craft practices and forms and techniques assigned in history to women, such as watercolor or textile arts, as a means to investigate natural motifs and subvert the iconographic canon dominated by white males.

Tina Girouard’s sequins works from the early 1990s were made in collaboration with the Vodou Flag makers of Haiti. The glittering imagery is rooted in her practice as a post-minimalist and Pattern and Decoration artist. Countering austere minimalist art with exuberant color, eclectic compositions, and unorthodox new materials Girouard reflected Louisiana’s diverse local culture, while also looking into the wider world. Her compositions include references to a global range of cultures and the sequins works celebrate the power of collaboration and cross-cultural dialogue, while raising questions about authorship, ownership, and authenticity.

Faith Wilding’s paintings and drawings construct a world where nature and humans are part of each other—creative energies and forms of the imagination that are simultaneously generative and destructive. Her visual language draws from vast sources of inspiration including recurring motifs of seed pods, embryos, thrusting leaves, continents, geodes, and other organic forms suggestive of wombs. Wilding’s work is potent with ideas of genesis, transformation, life cycles, and personal mythologies; her vibrant paintings express interconnectedness and spiritual exuberance.

The works for OVR’s Survey sector direct focus to topics such as domesticity, feminist imagery, nature, and an increasingly globalized world. Both artists seek to supplant male dominated narratives and offer feminist counterpoints to Western art historical iconology.

Anat Ebgi is pleased to announce a solo presentation by Jibade-Khalil Huffman for the Art Basel OVR:2020.

The interconnected nature of race, rage, and anxiety inspires Huffman’s newest body of work and begins with the piece Ballot or the Bullet. The title is a reference to Malcolm X’s speech on radical black nationalism that extolls “the type of Black man on the scene in America today [who] doesn’t intend to turn the other cheek any longer.” The figure of X’s speech calls to mind the public rage and uprising following in the wake of continued brutality and murder by the hands of the police— from athletes using their public platform to raise awareness of racialized violence to the literal tearing down of monuments that present oppressors as heroic figures.

The cacophonous imagery relays larger circuitous themes of Huffman’s work. Following the poetic logic of Huffman’s collaged videos and images turns this public sense of rage inwards, revealing the anxiety, exhaustion, and frustration on a personal level.

The selection for Art Basel:OVR includes several works from recently opened museum shows which have been made inaccessible due to the global pandemic. Utilizing the potential of mass visibility with his chosen mediums, Huffman’s projects enter public consciousness and open the doors of shuttered institutions through online visibility.

Jibade-Khalil Huffman’s (b. 1981) received an MFA in Literary Arts from Brown University, an MFA in Studio Art from USC, and a BFA from Bard College. He currently has two museum solo exhibitions on view: Now That I Can Dance, Tufts University Art Galleries, Medford, MA and Action Painting, Museum of Contemporary Art Tucson, AZ. Previous exhibitions include the Hammer Museum’s “Made in L.A.” (2014); MOCA Los Angeles (2017); Portland Institute for Contemporary Art (2015); The Jewish Museum, New York (2016); LAX ART (2016), The Studio Museum in Harlem (2016); Los Angeles Contemporary Exhibitions (2016); Institute of Contemporary Art, Philadelphia (2017); Swiss Institute (2017); KMAC Museum, Louisville (2018); Ballroom Marfa (2018) The Kitchen, NYC (2018) and the Museum of Contemporary Art, Cleveland (2019). His past performances include P.S.1/MoMA (2010), MOCA Los Angeles (2014), ICA, Philadelphia (2017), Museum of Contemporary Art, Cleveland (2019) and Frieze Projects (2019). From 2015-2016, he was Artist in Residence at the Studio Museum in Harlem. Huffman is also the author of three books of poems: Sleeper Hold (Fence, 2015), James Brown is Dead (Future Plan and Program, 2011), and 19 Names For Our Band (Fence, 2008).

Meridians Sector, Booth M27

Anat Ebgi is pleased to present the historic restaging of Tina Girouard’s Pinwheel (1977) for the inaugural Meridians sector at Art Basel Miami Beach. In partnership with the Lumi Tan (The Kitchen), as Curatorial Producer, the performance will take place each day of the fair December 3-8, 2019.

The near hour-long piece features four performers creating a stage-like environment in four quadrants using silk patterned fabrics. As the action unfolds, each performer incorporates base objects and elements all connected to their given personae of ANIMAL, VEGETABLE, MINERAL, and OTHER. The performers activate the space and enact rituals defined by Girouard’s symbolic language according to a detailed set of instructions and diagrams.

The original staging of Pinwheel, which included Girouard acting as both director and performer, made its debut in the Great Hall of the New Orleans Museum of Art in 1977 as part of the exhibition Five From Louisiana, alongside the works of Lynda Benglis, Robert Rauschenberg, Richard Landry, and Keith Sonnier.

Pinwheel is Girouard’s grand finale performance of “Solomon’s Lot,” a durational project of nearly a decade centered around several lengths of uncut Japanese silk from the 1940s with interconnected performances, videos, photographs, and both painterly and sculptural installations. Through each new installation or performance Girouard exposed the way the rigid armature of “Solomon’s Lot” allowed for interpretation, ceremony, and the spiritual through performative action.

Girouard’s work and legacy finds itself in a unique position at the intersection of several movements. Her works are connected to the post-minimal movement through her close association with 112 Greene Street, but also deeply associated with the Pattern and Decoration movement in New York. Throughout both of these movements her work is strongly intertwined with feminist art history with her consideration of domestic space and the “women’s work” that has become indicative of her practice.

The performance of Pinwheel at Art Basel Miami Beach Meridians is produced in collaboration with Lumi Tan of The Kitchen and generously supported by The Miami Beach EDITION. 

Special thanks to Sabrina Talamo for directing, and to the dancers: Brenden Chee, Laura Diaz, Adrienne Khouri, Brianna Miller, Maria Pusateri, and Alonzo Williams.

Tina Girouard (b. 1946, DeQuincy, LA) was an early founding participant of 112 Greene St., FOOD, the Clocktower and PS1, Creative Time, and the Fabric Workshop. Girouard’s exhibition history includes a 1983 mid-career retrospective mounted at the Rufino Tamayo Museum in Mexico City, and international events such as the 1980 Venice Biennale, the 1977 Paris Biennale, 1977 Documenta VI and 1972 Documenta V, Kassel. Girouard’s work has been exhibited widely at galleries and museums including: Leo Castelli Gallery, The Kitchen, Walker Art Center, New Orleans Museum of Art, Museum of Contemporary Art Chicago, Palais des Beaux-Arts Brussels, Holly Soloman Gallery, Los Angeles Institute of Contemporary Art, David Zwirner, and the Museum of Contemporary Art Los Angeles. Girouard currently has works on view at MOCA Los Angeles for the exhibition With Pleasure: Pattern and Decoration in American Art 1972 – 1985 curated by Anna Katz and the Ludwig Muzeum Budapest for the exhibition Pattern and Decoration. Her work is in the permanent collections of the Museum of Modern Art, New York, NY; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; and the Stedelijk Museum Actuele Kunst, Gent, Belgium. Girouard lives and works in Cecilia, LA.

 

Image: ©2019 Tina Girouard / Artists Rights Society (ARS), New York.

Nova Sector, Booth N19

Anat Ebgi is pleased to present works by Jordan Nassar and Cosmo Whyte at Art Basel Miami Beach. Both Nassar and Whyte allow decorative remnants from a colonial history to seep into the aesthetic decisions of their works, allowing the pieces to question and critique identity construction and the representation of colonized and migrant peoples.

The artists follow the trajectory of craft tied to cultural lineages and incorporate these elements in their practice as self-identifying members of diasporas. Nassar’s usage of a traditional form of Palestinian embroidery aligns with his practice with the native history of the region. Whyte’s works on paper contrast Nassar’s by highlighting the syncretic forces of colonization.

Nassar will present a suite of landscape and geometric patterned works which directly reference embroidery symbology of a group of bereaved Palestinian women he works very closely with in the West Bank. Made in direct collaboration with them, this series comprises of works with large sections made entirely by the women, who leave open windows in the embroidery in which Nassar follows their patterning and aesthetic color decisions to make his undulating landscapes. This installation presents the dialogue between Nassar’s own embroidery and its connection to the site and women of Palestine.

Whyte will present a new series of large-scale drawings and a sculptural installation. The works on paper are created with layers of charcoal depicting black bodies obscured with distortion and excessive limbs. Sections of the paper are cut into Spanish lace patterning, and adorned with gold and pitch black glitter. The compositions are based on photographs the artist took of West Indian Carnival, Jouvert, as it is performed in the diasporic communities of Miami. The sculptural installation entitled The Enigma of Arrival in Four Sections: Carry On is comprised of airplane seats reupholstered in a domestic chintz fabric, the tops of which are draped with Spanish lace. The almost allegorical installation reimagines the tumultuous passage of displaced and migrant peoples.

Jordan Nassar (b.1985, New York, NY) earned his BA at Middlebury College in 2007. His work has been featured in solo and group exhibitions globally at institutions including the Whitney Museum of American Art, New York, NY; Museum of Arts and Design, New York, NY; Katonah Museum of Art, Katonah, NY; James Cohan Gallery, New York, NY; and The Third Line, Dubai, UAE. Nassar is the subject of two institutional solo exhibitions in 2019. Jordan Nassar: Between Sky and Earth is Art@Bainbridge at Princeton University’s inaugural exhibition and his major solo exhibition The Sea Beneath Our Eyes opened at the CCA – Center for Contemporary Art Tel Aviv in September 2019. Nassar is in the permanent collections of the Los Angeles County Museum of Art, Los Angeles, CA; Marciano Foundation, Los Angeles, CA; Rhode Island School of Design Museum, Providence, RI; and the Whitney Museum of American Art, New York, NY, where he is included in the current exhibition Making Knowing: Craft in Art 1950 – 2019. Nassar lives and works in Brooklyn, NY.

Cosmo Whyte (b. 1982, St. Andrew, Jamaica) received a BFA from Bennington College, VT and an MFA from Maryland Institute College of Art, MD. He has exhibited work widely within the United States, Jamaica, Norway, France and South Africa. Whyte has won many awards including the Forward Art Emerging Artist of the Year Award (2010), the International Sculpture Center’s Outstanding Student Achievement in Contemporary Sculpture (2015), Vermont Studio Residency Full Fellowship (2015), and an Artadia Award (2016). In 2016 he participated in the Atlanta Biennial, and in the recent 2017 Jamaica Biennial. He recently opened a solo exhibition of his work at MOCA Georgia, Beneath Its Tongue, The Fish Rolls The Hook To Sharpen Its Cadence, curated by Allison Glenn, Associate Curator of Contemporary Art, Crystal Bridges Museum of American Art. Whyte is the Visual Art Program Director at Morehouse College in Atlanta, GA where he lives and works.

Booth #S03

For Art Basel Miami’s Survey Sector, Anat Ebgi presents artist Faith Wilding, focusing on specific works from 1969-1979. 

The 1970s marked an explosion of work and research of a purely feminine nature which sought to move beyond male-centric painting and art history. As an early radical feminist, Wilding was a co-initiator of the Feminist Art Programs at Fresno State and California Institute of the Arts (CalArts), a founder of the Woman’s Building, a participant of the seminal “Womanhouse” exhibition, significantly contributing to the discourse of feminist art, especially in relation to Los Angeles.

Faith Wilding’s paintings and works on paper from this particular period often reference the botanical and metaphysical –  floral buds, leaves chrysalises, insects and bodily metamorphoses. Moth Triptych (1974) is an example of the artist’s watercolor series depicting the physiognomy of a moth, abstracted into undulating and delicate geometric forms. Throughout the three compositions, forms shift and unfurl, a gesture echoed by various accompanying graphite drawings of falling leaves and opening buds. Often embellished with gold leaf, Wilding references early medieval herbals, bestiaries, and alchemical manuscripts. Alongside her organic studies, the booth also includes documentation of Wilding’s performance, “Waiting,” The repetitious poetry traces birth to adolescence, wife to motherhood to death— the woman protagonist always in waiting, in service to someone, something. By examining this presupposed passivity, and annunciation of the process, Wilding reclaims her body, motives and time. The “Waiting” performance is the inception of Wilding’s prolific studies on the biological processes of growing and becoming.  

The Survey Sector presentation seeks to re-introduce Wilding’s incredibly diverse and prolific works made during this historic period. 

Positions Sector Booth #P03