The late sculptor Fred Sandback’s Untitled (Sculptural Study, Seven-part Triangular Construction), 1982-2011, transformed David Zwirner’s booth into a minimalist void in the Unlimited sector of the fair
Isabel Nolan’s stainless steel installation, Section “Voiding the Walls”, 2018, put the booth of Dublin-based Kerling Gallery in the frame
Antoine’s Organ, 2016, by Rashid Johnson, black steel, grow lights, plants, wood, shea butter, books, monitors, rugs, piano, presented at Unlimited by Hauser & Wirth
Swimming pool in Palm Springs, 2015, by Vincent Mercier, at Photo Basel. Courtesy of the artist and Galerie Ctherine & André Hug
Sprüth Magers presented works by Louise Lawler, Andro Wekua, and Thomas Scheibitz among others. Left, Mum in Bed, 2017, by Gary Hume, gloss paint on aluminium. © Gary Hume, VG Bild-Kunst, Bonn, 2018. Courtesy of Sprüth Magers. Photography: Stephen White. Right, KAY’S HOTEL ROOM STU It sounds great. What’s the title and the next line?, 2017, by John Baldessari, varnished inkjet print on canvas with acrylic paint. © John Baldessari. Courtesy of the artist, Marian Goodman Gallery and Sprüth Magers. Photography: Joshua White
Outside of the main fair, Swiss gallery von Bartha staged a solo exhibition by Brooklyn-based artist Landon Metz at its Basel space. Metz’s practice centres on the activitiy painting, but also includes sculpture, installation, performance and sound. Pictured, installation view of ‘Feels So Right Now’ (12 June – 21 July) by Landon Metz at von Bartha, Basel. Photography: Andreas Zimmermann. Courtesy of Von Bartha
Further into von Bartha, a duet of Metz’s dye paintings span the gallery’s sloped ceiling. Using dye on unprimed canvas, the artist has merged pigment with the fibres of the plane. Pictured, installation view of ‘Feels So Right Now’ (12 June – 21 July) by Landon Metz at von Bartha, Basel. Photography: Andreas Zimmermann. Courtesy of Von Bartha
Gallerist Isabelle Bscher celebrated Galerie Gmurzynska’s 49th year at Art Basel with a duet of exclusively curated Cabinet exhibitions, including a selection of rare works by the late Robert Indiana (pictured) alongside a section devoted to two giants of 20th-century art, Roberto Matta and Marcel Duchamp. Courtesy of Galerie Gmurzynska
Widely known today for his LOVE paintings and sculptures, he was however much more versatile and subtle as an artist: he pioneered the use of numbers and letters in art and his paintings and sculptures frequently contain coded personal, historical, social or political messages. To honour him and commemorate his death in May 2018 at age 89, Galerie Gmurzynska has assembled a rare selection of his works, including paintings and monumental sculptures from the 1960s to the 1990s. Courtesy of Galerie Gmurzynska
The ‘Matta/Duchamp’ exhibition at Galerie Gmurzynska sought to illustrate how they influenced and inspired one another in the key decades during and after the Second World War when both of them migrated to New York. Courtesy of Galerie Gmurzynska
Installation view of Los Angeles-based gallery David Kordansky’s Art Basel booth. Photography: Annik Wetter. Courtesy of David Kordansky Gallery, Los Angeles, CA
Part of Theaster Gates’ new series The Madonnas, the prints extend from the research and visual language underpinning his multi-part exhibition and performance project ‘Black Madonna’, on show at Kunstmuseum Basel (9 June – 21 October 2018) and continuing to Sprengel Museum Hannover (23 June – 2 September 2018) and Haus der Kunst in Munich (26 October 2018 – 25 August 2019). The works begin with scans of photographs selected by Gates from the Johnson Publishing Company’s image archive. These are then ’remixed’ with screen-printed layers of colour, geometric designs and text, often including the brand of his new, fictional publishing house, Black Madonna Press. Pictured, They Wore Black on the Inside, 2018, by Theaster Gates, digital and screen print on Somerset 330gsm paper. © Theaster Gates and White Cube. Photography: Ollie Hammick. Reproduced by permission of Johnson Publishing Company, LLC
Theme of Five I, 1965, by Sam Gilliam, acrylic on canvas, presented by David Kordansky at Kunstmuseum Basel for the exhibition ‘The Music of Color, 1967-1973’. Photography: Fredrik Nilsen. Courtesy of David Kordansky Gallery, Los Angeles, CA
Untitled, 2018, by Sam Gilliam, acrylic on Cerex nylon at David Kordansky’s Unlimited booth. Photography: Annik Wetter. Courtesy of David Kordansky Gallery, Los Angeles, CA
A 1970s architectural invention by Carlos Cruz-Diez found a new lease of life at the Art Basel lounge of Swiss bank UBS. The display reunites artworks not seen together since 2011, presented in collaboration with the artist’s studio. Pictured, Environnement Chromatique [Chromatic Environment], 1975-1979, by Carlos Cruz-Diez, installation view at UBS, Flurpark SBG, Zurich
Saturday, 2017, by Camille Henrot, presented by König Galerie, Kamel Mennour, and Metro Pictures. © Art Basel
Orientalism and Reverse #5, 2017, by Tatiana Macedo, archival pigment print, at Photo Basel. Courtesy of the artist and Carlos Carvalho Arte Contemporanea
341-03, Kahoku Town, 2008, by Yoko Ikeda, at Photo Basel. © Yoko Ikeda. Courtesy of IBASHO
Tornabuoni Art presented the first ever fair booth solely devoted to the famed Plastiche of the late Alberto Burri, who began making these plastic works in 1961 after a period of illness. The stand included eight of Burri’s Plastiche, dating from 1962-1965, in black, transparent and red tones. The Plastiche furthered the artist’s quasi-alchemical exploration and manipulation of simple raw materials, embracing ‘a kind of creation through destruction’. Radical for its time, Burri’s method involved ‘painting’ plastic sheeting with a blowtorch, which was then a new consumer product of the 1960s.
Private aviation company NetJets commissioned Belgian illustrator and street artist Oli-B to create site-specific work for its VIP lounge inspired by air travel. Read more about the collaboration here.
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