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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