Event: Art Basel Miami Beach

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Marianne Boesky Gallery is pleased to return to Art Basel Miami Beach with work by Ghada Amer, Gina Beavers, Sanford Biggers, Pier Paolo Calzolari, Martyn Cross, Svenja Deininger, the Haas Brothers, Thalita Hamaoui, Allison Janae Hamilton, Jay Heikes, Jammie Holmes, Mary Lovelace O’Neal, Dashiell Manley, Suzanne McClelland, Danielle Mckinney, Sarah Meyohas, Serge Alain Nitegeka, Celeste Rapone, Hannah van Bart, and Michaela Yearwood-Dan.

Throughout her practice, Ghada Amer (b. 1963; Cairo, Egypt) tugs at the threads of cultural dualities—feminine and masculine, craft and art, figuration and abstraction, East and West—with sensitivity and specificity. With a remarkable fluency in the particular visual vernacular of the internet, Gina Beavers (b. 1974; Athens, Greece) reimagines various aspects of online culture—makeup tutorials, memes, food porn, bodybuilding selfies, and digital advertisements—in sculptural relief paintings that both intrigue and repulse. Positioning himself as an artistic intermediary, Sanford Biggers (b. 1970; Los Angeles, CA) continuously interrupts established narratives, intervenes directly into historical forms, and remixes recognizable cultural symbols to complicate collective mythologies and traditions. Renowned for the material inventiveness and formal originality of his expansive, genre-defying practice, Arte Povera pioneer Pier Paolo Calzolari (b. 1943; Bologna, Italy) embraces a fascination with the alchemical while examining the potential of light, the essence of memory, and the poetic character of the natural world.

Informed by medieval imagery, various literary genres, and a deep connection to printed books, the paintings of Martyn Cross (b. 1975, Yate, United Kingdom) are at once earthbound and celestial, reveling in the mystical power of vast, otherworldly landscapes. Through her improvisational process of painting, revising, and repainting, Svenja Deininger (b. 1974; Vienna, Austria) reveals abstract compositions defined by layered planes of rich colors, subtle textures, and delicate patterns. The Haas Brothers—twins Nikolai and Simon (b. 1984; Austin, TX)—investigate the slippery divide between art and design with humor, whimsy, and inventive originality. In her vibrant, kaleidoscopic paintings, Thalita Hamaoui (b. 1981; São Paulo, Brazil) imagines lush, fantastical landscapes. Drawing on her upbringing in the rural American South, Allison Janae Hamilton (b. 1984; Lexington, KY) weaves themes of environmental justice, folklore, and mythology into her multidisciplinary practice. Throughout his materially innovative and richly conceptual practice, Jay Heikes (b. 1975; Princeton, NJ) continuously reimagines an atlas of signs, symbols, and stories, largely of his own devising. In intimate, intuitive paintings, Jammie Holmes (b. 1984; Thibodaux; LA) captures poignant narratives of Black families, communities, and traditions in the American South.

A dynamic force in American painting since the 1960s, Mary Lovelace O’Neal (b. 1942; Jackson, MS) draws on a broad range of influences—from Minimalism to Abstract Expressionism—in a practice that parses concerns of race and gender while remaining fully immersed in conceptual and metaphysical investigations of joy, exuberance, and the sublime. In a practice characterized by focused, repetitive, often labor-intensive techniques and processes, Dashiell Manley (b.1983; Fontana, California) manifests various psychological states—from anxiety to meditative calm—on canvas. In recent paintings, Suzanne McClelland (b. 1959; Jacksonville, FL) examines the visual, semantic, and acoustic dimensions of language, parsing the limitations and malleability of communication, the impact of technology on interpreting information, and the mechanics of translation. In pensive, cinematic portraits, Danielle Mckinney (b. 1981; Montgomery, AL) captures solitary female protagonists in moments of leisure and respite. Conceptual artist Sarah Meyohas (b. 1991, New York, NY) considers the production of value, the nature of exchange, and the romantic resonance of the sublime in a practice that seeks to reveal the systems—both innate and manufactured—that govern contemporary society.

Deploying the visual languages of minimalism and geometric abstraction and a stark, limited color palette, Serge Alain Nitegeka (b. 1983; Rwanda) reappropriates modernism’s formal preoccupations with color, line, and shape to examine the lingering effects—both personal and political—of forced migration, displacement, and statelessness. Imbued with autobiographical details, art historical references, and the artifacts of daily life, the paintings of Celeste Rapone (b. 1985; New Jersey) embody the anxiety and longing inherent to the millennial condition. Throughout the intimate, atmospheric paintings of Hannah van Bart (b. 1963; Oud-Zuilen, Maarssen, the Netherlands), haunting landscapes emerge from painterly fogs while imagined figures penetrate viewers with hypnotic, longing gazes. Throughout paintings, works on paper, ceramics, and site-specific mural and sound installations, Michaela Yearwood-Dan (b. 1994; London, UK) endeavors to build spaces of queer community, abundance, and joy.