Lehmann Maupin returns to Art Basel Miami Beach for the 23rd year with a presentation of new and recent work that foregrounds innovative approaches to traditional art mediums, from multimedia painting, to wall-based and assemblage sculpture, to silk collage, to video-based installation. Presentation highlights include a new painting by Calida Rawles, whose first solo museum exhibition Away with the Tides is on view at the Pérez Art Museum Miami, as well as new silk collages by Billie Zangewa, whose traveling solo exhibition Billie Zangewa: Field of Dreams opens ahead of the fair on November 23 at the Frost Art Museum in Miami.
Additional highlights include new and recent works by Kader Attia, Loriel Beltrán, McArthur Binion, Dominic Chambers, Mandy El-Sayegh, Tracey Emin, Teresita Fernández, Tom Friedman, Todd Gray, Kim Yun Shin, Lee Bul, Liza Lou, Barry McGee, Marilyn Minter, Tammy Nguyen, Arcmanoro Niles, Catherine Opie, OSGEMEOS, Oren Pinhassi, Lari Pittman, Alex Prager, David Salle, Do Ho Suh, Cecilia Vicuña, Erwin Wurm, and Nari Ward. Notably, the gallery will also present a video installation work by Jennifer Steinkamp.
A new painting by Los Angeles-based artist Calida Rawles will debut at the fair. Known for merging hyper-realism and poetic abstraction, Rawles employs water as both a vital, organic material and a historically charged space. Across her compositions, bodies are submerged in exquisitely rendered submarine landscapes of bubbles, ripples, refracted light, and expanses of blue. For Rawles, water acts as a signifier for both physical and spiritual healing, as well as historical trauma and racial exclusion. Rawles uses this complicated duality as a means to envision a new space for Black healing and to reimagine her subjects beyond racialized tropes. This new painting belongs to a body of work depicting residents of Miami’s Overtown neighborhood—the subject of Rawles’ first solo museum exhibition Away with the Tides, currently on view at the Pérez Art Museum Miami through February 2, 2025 and soon traveling to the Memphis Brooks Museum of Art from March 19–September 7, 2025. Across these compositions, both at the fair and in the exhibition, Rawles seeks to illuminate and celebrate the history, resilience, and beauty of this historic neighborhood.
The gallery will also present new work by South African artist Billie Zangewa, who creates intricate silk collages referencing scenes depicting her everyday experience as a woman and mother. Depicting “daily feminism,”—or, as Zangewa defines it, the often-overlooked labor traditionally undertaken by women under the patriarchy—lies at the root of the artist’s practice. In recent work, Zangewa explores a personal, quiet means of feminist resistance, offering an intimate perspective on her daily domestic rituals. In A Charmed Life and A Charmed Life 2 (both 2024), the artist and her son are depicted resting and playing, in water and on a bed. For the artist, depicting these tranquil and solitary moments is a celebration of the ways that women care for themselves, and in turn for their communities. Concurrent to the fair, Zangewa’s solo exhibition Field of Dreams is on view at the Frost Art Museum in Miami through April 13, 2025.
New paintings by McArthur Binion explore an expanded notion of the genre through process, collage, dimensionality, and non-traditional media. In new and recent works from his acclaimed DNA and visual:ear series, Binion combines collage, drawing, and painting to create autobiographical abstractions of painted minimalist patterns over an “under surface” of personal documents and photographs. These recent works engage with hallmarks of Minimalism and Conceptualism—grids, serial forms, and repetition—revealing what seem to be neutral, orderly, or dispassionate forms to be inextricable from formations of subjecthood as his carefully rendered grids both reveal and obscure the under surface. In March 2025, Lehmann Maupin London will present Binion’s work alongside two historically significant artists.
Meanwhile, in Tammy Nguyen’s new multimedia paintings, literary narrative serves as a metaphor for geopolitical theater. Nguyen’s multidisciplinary practice is highly research-driven, exploring the intersections between geopolitics, ecology, and history, using narrative to intertwine disparate subjects through artmaking. Across her mediums, Nguyen’s work aims to unsettle, and the tension between her elegant forms and harmonious aesthetics often belies the nature of her storytelling. She probes this contrast between form and content by confusing the visual plane, working with watercolor and vinyl paint and repeatedly obscuring and revealing her subjects to build friction. The artist’s debut solo exhibition with Lehmann Maupin in New York will open in June 2025, concluding a three-part exhibition series based on Dante’s Divine Comedy; concurrent to the fair, her solo exhibition Timaeus and the Nations is on view at the Sarasota Art Museum in Sarasota, Florida through January 19, 2025.
Iemanjá morena, (1978/2024), a new painting by Chilean visual artist, poet, filmmaker, and activist Cecilia Vicuña, will debut at the fair, concurrent to Vicuña’s major exhibition La Migranta Blue Nipple at Lehmann Maupin in New York (on view through January 11, 2025). Iemanjá morena belongs to the series of paintings presented in the gallery exhibition, which recreate, in oil on canvas, drawings Vicuña made in 1978 but which have since been lost or destroyed, existing only in the artist’s memory and in limited photographic documentation. Many works in the series reference Orixás––deities worshiped in the Yoruba religion which Vicuña learned of during her travel across the Amazon––combined with images collected from her dreams, popular songs, common phrases, and other vernacular sources. Her new paintings bring these original drawings of hybrid Orixás back to life through various embodiments including mermaids (Iemanjá), goddess figures, and others.
A selection of sculptural works probe the boundaries of the genre, including wall-based works by Teresita Fernández and Nari Ward, as well as freestanding sculptures by Lee Bul, Tom Friedman, and Kim Yun Shin. In 2025, Fernández and Kim will have their first solo exhibitions with Lehmann Maupin in Seoul and London, respectively, and Friedman will open his first major solo exhibition with Lehmann Maupin in New York, which will span the gallery’s Chelsea location. Meanwhile, Lee Bul’s Genesis Façade Commission at The Metropolitan Museum of Art in New York, titled Long Tail Halo, is currently on view through May 27, 2025.
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