UNTITLED, ART Miami Beach,
Dec 4,5,6,7,8, 2019.UNTITLED, ART, the international, curated art fair is pleased to announce its list of exhibitors for the eighth edition of UNTITLED, ART Miami Beach, taking place December 4–8, 2019. A collection of 126 international galleries and nonprofit spaces from 28 countries and 57 cities make up the 2019 roster, carefully selected by Artistic Director and Curator Omar López-Chahoud. For the eighth Miami Beach outing, UNTITLED, ART will also launch a new Writer in Residence program and announce the latest guest curator. San Francisco-based, independent curator Jordan Stein will select and install a special section within the fair and New York-based art writer Osman Can Yerebakan will inaugurate the Writer in Residence program. With an expanded range of participants, UNTITLED, ART is proud to welcome a growing list of outstanding international exhibitors. First-time participants include Addis Fine Art (Ethiopia), MAKASIINI CONTEMPORARY (Finland), Patrick Heide Contemporary Art (London), Pintô International (Philippines) and ZidounBossuyt Gallery (Luxembourg). Selected highlights include Primo Marella Gallery, Milan, presenting Joel Andrianomearisoa, who represented Madagascar at this year’s Venice Biennale, and Benrubi Gallery, New York, presenting hundreds of never-before-seen portraits by Tom Bianchi from 1975-1983. Herlizka + Faria, Buenos Aires, will present a selection of conceptual works by Latin American artists including Marta Minujin, who currently has an exhibition at the New Museum. Yancey Richardson Gallery, New York, will exhibit a group presentation focusing on “the evolution and perception of gender roles and sexual identification,” including works by Mickalene Thomas who will have a concurrent solo exhibition at the Bass Museum of Art. The Chicago-based creative group Blackpuffin will collaborate with the collective For Freedoms on “Looks of Freedom,” an exhibition and performative visual essay offering a stage to “unpack and repack notions of blackness, brownness, queerness and belonging.” UNTITED, ART is an international, curated art fair founded in 2012 that focuses on balance and integrity across all disciplines of contemporary art. UNTITLED, ART innovates the standard fair model by selecting a curatorial team to identify, and curate a selection of galleries, artist-run exhibition spaces, and nonprofit institutions and organizations, in discussion with a site-specific, architecturally designed venue. The eighth edition of UNTITLED, ART Miami Beach will take place December 4–8, 2019 on the beach at Ocean Drive and 12th Street in Miami Beach. The fourth edition of UNTITLED, ART San Francisco will take place January 17–19, 2020 at Pier 35 in San Francisco. Follow us on social media Instagram: @untitledartfair Twitter: @UNTITLEDFAIRS Facebook: @UNTITLEDartfair For more information please visit: www.untitledartfairs.com General Information: December 3 Press and VIP Preview 1pm–8pm December (4–8) Open to the public Open Wed–Sat: 11am–7pm Open Sun: 11am–5pm Admission: General Admission: $40 Discounted Admission (Seniors and Students): $25 Miami Beach residents: $25 Groups of 15 or more: $25 per person
Frieze London 2019
October 2 – 6, 2019
Booth G22
Regent’s Park
London, United Kingdom
Alexander Gray Associates presents an exhibition of recent and historical works by ten Gallery artists, including Frank Bowling, Ricardo Brey, Teresa Burga, Luis Camnitzer, Melvin Edwards, Harmony Hammond, Lorraine O’Grady, Betty Parsons, Joan Semmel, and Valeska Soares.
Frank Bowling
Frank Bowling, Swimmer III, 2017, acrylic and mixed media on collaged canvas, 39.37h x 26.38w in (100h x 67w cm) Courtesy Alexander Gray Associates, New York; Hales Gallery, London; Marc Selwyn Fine Art, Los Angeles. © Frank Bowling/Artists Rights Society (ARS), New York; DACS, London.
For over five decades, Frank Bowling’s practice has been defined by its integration of autobiography and postcolonial geopolitics into abstraction. KITESTALE (2019) features an arrangement of paint and gel medium whose distinct topography suggests that of an archipelago. Reimagining the stenciled landmasses of Bowling’s celebrated 1967–71 Map Paintings, the painting reveals the artist’s ongoing investigation into the nature and possibilities of painting.
Ricardo Brey
Ricardo Brey, La palabra (The word), 2018, mixed media, 19.69h x 4.72w x 25.98d in (50h x 12w x 66d cm)
Courtesy Alexander Gray Associates, New York. © Ricardo Brey/Artists Rights Society (ARS), New York.
Since the late 1970s, Ricardo Brey’s multidisciplinary practice has focused on his research into the origins of humanity and humankind’s place in the world. In sculptures like You Can’t Escape From What You Are (2013), Brey juxtaposes found objects to create a complex narrative about identity and place. Brey's interest in these salvaged objects is tied to his Afro-Cuban spiritual heritage; he believes that all the materials he uses have souls, and that by repurposing them in his artwork he is renewing them—giving them new life.
lorraine o'grady
Lorraine O'Grady, Miscegenated Family Album (Motherhood), L: Nefertiti; R: Devonia reading to Candace and Edward, Jr., 1980/1994, cibachrome prints, 26h x 37w in (66.04h x 93.98w cm), Edition of 8 Courtesy Alexander Gray Associates, New York. © Lorraine O’Grady/Artists Rights Society (ARS), New York.
Lorraine O’Grady’s multidisciplinary practice seeks to confront the limitations of a culture built on exclusivity and resistance to difference. Her celebrated series, Miscegenated Family Album (1980/1994), is a photo-installation of 16 diptychs. In this strongly feminist “novel in space,” O’Grady attempts to resolve a troubled relationship with her sister, Devonia, by inserting their story into that of Nefertiti and her younger sister, Mutnedjmet. Building on remarkable physical resemblances, the paired images span the coeval distance between sibling rivalry and hero worship through “chapters” on such topics as motherhood, ceremonial occasions, husbands, and aging.
Valeska Soares
Valeska Soares, Doubleface (Permanent Rose/Ultramarine Blue-Phthalo Blue), 2019, oil paint and cut out on vintage oil painting, 42h x 30w x 4d in (106.68h x 76.2w x 10.16d cm) Courtesy Alexander Gray Associates, New York; Fortes D'Aloia & Gabriel, São Paulo. © Valeska Soares.
Luis Camnitzer
Luis Camnitzer, Esto no es una pipa, 1974, mixed media, 13.50h x 9.88w x 2d in (34.29h x 25.08w x 5.08d cm)
Courtesy Alexander Gray Associates, New York; Galería Parra & Romero, Madrid. © Luis Camnitzer/Artists Rights Society (ARS), New York.
Luis Camnitzer’s artwork explores subjects such as social injustice, repression, and institutional critique. His 2017 Improbabilities series consists of dice arranged into patterns based on numerical repetition. Subverting the original function of the dice, Camnitzer’s compositions reveal his interest in literal gameplay, as well as his belief that art—and life—are games.
Valeska Soares
Valeska Soares, Doubleface (Permanent Rose/Ultramarine Blue-Phthalo Blue), 2019, oil paint and cut out on vintage oil painting, 42h x 30w x 4d in (106.68h x 76.2w x 10.16d cm) Courtesy Alexander Gray Associates, New York; Fortes D'Aloia & Gabriel, São Paulo. © Valeska Soares.
Luis Camnitzer