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Art Basel 2020 Online Viewing Room

Sean Kelly Gallery presents a carefully curated selection of works that reveals the rich spectrum of aesthetic tendencies expressed by artists with whom we work, including Marina Abramović, Dawoud Bey, Jose Dávila, Candida Höfer, Rebecca Horn, Idris Khan, Joseph Kosuth, Hugo McCloud, and Shahzia Sikander, amongst others, and offers a particular  focal  point  on Kehinde Wiley’s monumental  sculpture, Rumors of War, 2019.

Our presentation  includes  historically important works by iconic artists Abramović, Horn, and Kosuth, as well as exciting works by mid-career artists such as Callum Innes and Mariko Mori, and compelling new works by Julian Charrière, Hugo McCloud and Sam Moyer. Abramović’s Self Portrait with Skeleton, 2003, is linked to her performance Nude with Skeleton, and is one of her most iconic images. Horn’s Der Sonnenseufzer,  2006,  which  translates  as  “The  Sun  Sigh,”  is  a  classic  example  of  the artist’s sculpture and was included in her retrospective at the Museum Tinguely in 2019. In this work, the violin plays three haunting sounds, representing two contained worlds of  light  and  dark. Kosuth’s Titled  (A.A.I.A.I.)' [begin], [middle], [end], Webster's  N.D., 1968, is an exceptionally rare  example from his “Definitions,” series, a work  whose apparent graphic simplicity belies  its unmistakable philosophical  and  psychological complexity.

Jose Dávila’s Untitled (Les Ménines), 2020, similarly engages a deconstructed  graphic  sensibility  to  riff  on  iconic  moments  from  the  history of art. Callum Innes’s Exposed Painting Quinacridone Gold,  2020, suggests  a  freezing  in time,  or  the  momentary arrest of an ongoing process, whereas Idris Khan’s Two Bar Rhythm, 2020, engages a series of densely layered texts that speak to the metaphysical collapse of time into singular moments.  

While these artist’s works express the timelessness of art, Kehinde Wiley’s  monumental  sculpture Rumors of War, 2019, which was  unveiled in  Times  Square  in  September  2019,  before  moving to its final home at the entrance to the Virginia Museum of Fine Arts in Richmond in December is decidedly of the moment, having  quickly  become  an  iconic  emblem of the Black Lives Matter movement. Today this sculpture stands as an untarnished beacon to the future, as the very works that it was created in response to—the  numerous  memorials to the Confederacy lining Richmond’s Monument Avenue—are being permanently removed.

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