Event: Art Basel

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Marianne Boesky Gallery is pleased to present works by Ghada Amer, Jennifer Bartlett, Sanford Biggers, Pier Paolo Calzolari, Svenja Deininger, Mary Lovelace O’Neal, Suzanne McClelland, Sarah Meyohas, Donald Moffett, Hannah van Bart, and Michaela Yearwood-Dan for Art Basel 2024.

With new embroidered paintings and a bronze sculpture, Ghada Amer builds on her ongoing investigation of language and material. Grounded in precise mathematical abstractions, Jennifer Bartlett’s works call into question the rigid—often self-imposed—constraints and restrictions of the grid, resulting in dynamic compositions with deep poetic and aesthetic resonance. In marble works from his Chimera series and quilt-based works from his Codex series, Sanford Biggers continues his investigation into our understandings of collective historical narratives, mythologies, and traditions. Onto the surface of pigmented and salt-strewn panels, Pier Paolo Calzolari attaches small objects, providing focus for contemplation within the surrounding textures and colors. In new paintings, Svenja Deininger opens dialogues between shape, color, texture, and surface. With two paintings from her Mexico series, Mary Lovelace O’Neal mines the visual language she has developed over her six-decade career, iterating on the imaginative forms, innovative materiality, and inventive handling of color that define her practice.

Repeating, burying, and dissolving fragments of language within her paintings, Suzanne McClelland alternately obscures and exposes their linguistic and numerical origins. In a new, multi-panel hologram, Sarah Meyohas surfaces magnified, abstracted imagery of plant matter—a reminder that the natural world is its own form of technology. In multi-dimensional paintings, Donald Moffett exposes the urgency of environmental degradation at the hands of governments and industry. Throughout her atmospheric portraits, still lifes, and landscapes, Hannah van Bart captures strange figures and uncertain lands. In large-scale paintings, Michaela Yearwood-Dan embeds botanical motifs and diaristic meditations within brushy abstract forms and heavy drips of paint, reflecting an inviting domesticity.

Together, these works produce a dialogue that highlights—and complicates—their shared themes, exemplifying the gallery’s interest in forming narratives across backgrounds and mediums while speaking to the very nature of what it means to make art today.