Luhring Augustine:

Mark Handforth’s Harlequin Star (2023), comprised of aluminum, prismatic foils, and LED light, encompasses the local Miami based artist’s hallmark motifs: the star form evoking points of light infinitely radiating out, electrical light fixtures emanating the immaterial glow of the urban landscape, and a colorful collage of prismatic highway reflective foils that further move and hover the light through a sort of diamond patterned skin. 

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Jessica Silverman:

‍Three Day Weekend (2023), an acrylic on canvas by Chelsea Ryoko Wong is a vibrant figurative composition depicting a seaside dinner party amongst friends. Reflecting the diversity of the Bay Area, Wong’s highly stylized paintings often consider her colorful interpersonal experiences growing up in California. 

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Tina Kim Gallery:‍

Kibong Rhee’s Extra-ordinary-late-summer is composed of Polyester fiber, acrylic pigment on canvas. Rhee’s misty and multilayered landscapes challenge the eye, encouraging the viewer to contemplate the delicate balance between temporal fleeting moments and the eternal, while evoking nostalgia and ephemerality. Rhee’s interest in water in all its forms - as liquid, as fog, and as a life-giving force, is a consistent theme in his landscapes. 

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Mitchell-Innes & Nash:

Paradise (2023), is an oil and acrylic on canvas by Rafael Delacruz. A self-taught painter, Delacruz’s practice begins with the act of drawing distinct forms and motifs. A car, a shopping cart, a bird or a clothed leg slide smoothly from cartoonish figuration into dream-like abstraction. His canvases feature vignettes of everyday life overlaid with diaphanous blocks of color. Carefully considered surfaces alternately reveal and conceal narrative elements- such as a small sedan- images which carry significant personal meaning for the artist. Forms are layered over one another, obscuring legibility and instilling a spiritual, totemic quality to quotidian objects. 

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kaufmann repetto:

Katherine Bradford’s Lifeguard with Lap Sitter (2023) showcases Bradford’s mesmerizing visual language which freely traverses the relationship between non-objective and representational painting. This painting depicts a bather/swimmer and lifeguard, recurrent subjects in Bradford’s practice. The featureless bodies, supporting one another, are sketched in bold colors. A house is pictured in the distance with its reflection cast across the surface of the painted body of water.

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Fredric Snitzer:

‍Pierrot with overbite (2006) is an acrylic on panel by Hernan Bas. This beautiful work was produced during an Artist Residency in Giverny, France at Claude Monet's iconic House and Gardens.

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Pace Gallery:

Matthew Day Jackson’s Geyser (2023) draws inspiration from Thomas Moran’s print The Castle Geyser, Upper Castle Basin (1874) which provided Americans with some of the first imagery of what would become Yellowstone National Park. Jackson used images of another of Yosemite’s geysers, Old Faithful, sourced from the artificial intelligence program Midjourney, which generates images from natural language descriptions called "prompts.” The artist employs an innovative photomechanical process that utilizes laser technology to both apply and remove color on chiseled plywood layers, creating laser-cut jigsaw-like pieces. Poured liquid lead underscores the effervescence of the titular geyser shown mid-eruption; Geyser depicts both what is beneath Earth’s surface as well as what is beyond it, incorporating images of Jupiter’s moons from NASA and resulting in a richly hued topographical study at the intersection of art history, science fiction, and the fraught history of the American West.

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Kasmin:

Alma Allen’s, Not Yet Titled (2023) is a unique sculpture shaped and polished from a found piece of black marble from Mexico, where the artist lives and works. Known for his distillation of diverse organic references, the artist’s works simultaneously invite and resist classification. Often realized in stone, wood, or bronze—materials hand- selected from quarries or foraged from landscapes in the area surrounding his studio—the works emit a mysterious and ineffable lifeforce. 

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Lehmann Maupin:

Robin Rhode’s Black Swan (2022) demonstrates how the South African artist engages the urban landscape to create complex, symbolically rich narratives that disrupt and transform their environments. Rhode is best known for his multi-panel works that deftly combine photography, performance, wall painting, and drawing. Negotiating the urban landscape, these photographs often depict silhouetted figures interacting with carefully composed wall paintings that the artist paints in public spaces, most often in the city of Johannesburg.

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Sean Kelly:

In Wu Chi-Tsung’s Cyano-Collage 182 (2023) of cyanotype photography, Xuan paper, acrylic gel, acrylic, mounted on aluminum board, the artist connects Eastern and Western culture and art to integrate traditional aesthetics within a striking contemporary language. This ongoing Cyano-Collage series replaces the traditional ink and brush used in Chinese shan shui paintings –literally, “mountain-water-pictures”—with experimental photography to reinvigorate the traditional landscape language. 

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Pictured: Robin Rhode, Black Swan, 2022. Courtesy of Lehmann Maupin and the artist. ⁠

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During Art Basel in Miami Beach, each request on artworks that collectors place on Access by Art Basel will include a donation pledge towards The Miami Foundation or The International Committee of the Red Cross. The first Access sale is open from Monday, November 27, and requests can be submitted on artworks through Sunday, December 10. Visitors to Art Basel Miami Beach will be able to view the works included in the sale in-person at the fair from Wednesday, December 6. Access by Art Basel is powered by Arcual.

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Access by Art Basel

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