2
SUE
IS
FREE
EVERY
DAY
THE ART NEWSPAPER
Art Basel in Miami Beach: 6 December 2018
Brazil fights back
Country’s galleries are out in force at the
B
fair after far-right Jair Bolsonaro’s election
razilian galleries are
the largest delegation
of Latin American
exhibitors at Art
Basel in Miami Beach,
accounting for 14
stands—and responses
to the country’s recent election of the
far-right president Jair Bolsonaro can be
felt around the city this week. The former
army captain, who takes up office in
January, has been dubbed “the Trump of
the tropics”, and his controversial views
and apparent lack of a cultural policy have
caused alarm in Brazil’s art sector.
Mendes Wood, based in São Paulo,
Brussels and New York, is showing
paintings by Antonio Obá that respond
to the Afro-Brazilian artist’s recent self-
imposed exile in Europe and the US.
Obá received hundreds of threatening
messages after his 2015 performance Acts
Fair looks to the future as ‘campus’ around convention centre grows
With the renovated $615m Miami Beach
Convention Center fully open for this year’s fair
comes a transition to what Noah Horowitz, Art
Basel’s director of the Americas, describes as the
“next chapter” for Art Basel in Miami Beach.
OBÁ, KAWS AND LILLEY: © VANESSA RUIZ. KATZ: COURTESY OF RICHARD GRAY GALLERY
One of the biggest additions is the 60,000
sq. ft Grand Ballroom, half of which is given over
to Abraham Cruzvillegas’s Autorreconstrucción:
To Insist, to Insist, to Insist… (2018). This work is
the only free project, after the fair discontinued
its Film and Public sectors. However, Art Basel
is “focusing on developing a new concept”,
according to a spokeswoman for the fair.
So does this signal an intention to introduce
something like Unlimited, the show of large-
scale installations that is such a hit in Basel? “We
are not ruling out any possibility,” Horowitz says.
“This is the first step in that direction. We want
to see how visitors circulate and use the space.”
THEART NEWS PAPER .COM / DOW N LOA D THE F R EE DA ILY A PP
Mendes Wood is showing
work by Antonio Obá, who
is being sued by the state
of Transfiguration: Disappearance of a
Recipe for a Saint, in which he ground up
a statuette of the Virgin Mary and poured
it over his naked body, was shared on
social media by far-right groups last year.
The gallery’s director Renato Silva says
that Obá, in the paintings, is “trying to
bring back to life the body and the mind
that [the far right] stole from him”.
The artist is now “being sued by
the state for public moral indecency
and damaging a religious object. Given
Bolsonaro’s appointment, we are probably
going to have to get him out of the
country,” says the gallery’s co-founder
Matthew Wood. Mendes Wood is also
exhibiting works by Sonia Gomes, the
first living Afro-Brazilian woman to have
a solo show at a major Brazilian museum
(Still I Rise, São Paulo Museum of Art,
until 10 March). Wood says: “A lot of leftist
intellectuals are using their agency in art
Abraham Cruzvillegas’s performance and
installation piece is in the Grand Ballroom
to express their opposition to the political
situation. But who knows for how much
longer we’re going to be able to do that?”
The Brazilian artist Marcius Galan, who
is showing with Galeria Luisa Strina at the
fair, says that some of Bolsonaro’s plans,
such as the “end of the ministry of culture”
and “the criminalisation of activism”, are
worrying. Pointing to the closure of an
exhibition dedicated to queer art at the
Santander Cultural Center in Porto Alegre
in 2017, Galan says: “I think artists are the
biggest risk to an authoritarian system of
government, so today, a cruel narrative is
being constructed to demoralise artists.”
Bolsonaro’s divisive ascent echoes
increasingly polarised politics worldwide,
from the election of US President
Donald Trump to the UK’s vote to leave
the European Union. “The population
was so divided—families were fighting,
friendships were being shattered,”
says Thiago Gomide, the co-director of
Bergamin & Gomide, another São Paulo-
based gallery showing at the fair.
Some are taking matters into their own
hands; for example, under the “collective
action” known as Colera Alegria, people
are encouraged to share posters on social
media to reappropriate “forms and words
misrepresented by right-wing discourses”,
using the hashtag #coleraalegria.
Miami’s institutions are also providing a
platform. This week, the Portuguese artist
Pedro Neves Marques unveils a new work
called A Mordida (the bite) at the Pérez
Art Museum Miami. The film, he says,
“fictionalises the Zika epidemic through
genetically modified mosquitos, creating
an eerie mood reflective of the increase
of intolerant conservatism in politics in
Brazil, especially with the election of the
fascist Jair Bolsonaro”. Although the work
is abstract, he hopes that it is “very clear
about the current militarisation of society”.
Anna Brady
The Grand Ballroom is large enough to host
large-scale sculptures, and the fair’s spokes-
woman says that installing and accessing such
works in the mezzanine space would not be an
issue. The carpeted floor could make the room
more fitting for performance, however.
Horowitz stresses that more outdoor
spaces will be available by 2019, including a 5.8-
acre park planned for the convention centre’s
parking lot and a 3.5-acre green space around
the historic Carl Fisher Clubhouse to the north.
An 800-room hotel, to be built on a parking lot
behind the Fillmore Miami Beach theatre, will
create what Horowitz calls a “campus” around
the convention centre. “There are more oppor-
tunities before us in terms of retail, lifestyle,
indoor and outdoor space, but we don’t need
to rush into this decision,” he says.
Anny Shaw
/ @ THEA RTNEW SPAP ER /
Talking points: kids, Kabinett
and going crazy for KAWS
Two local children are taking it in turns to man Josh Lilley’s
stand in the Nova section of Art Basel in Miami Beach, as
part of the artist Derek Fordjour’s rough-hewn installation
Backroom. The brothers are not actors; Fordjour wanted
to introduce the future of the “real” Miami to the fair. Lilley
says: “We all just come here for a week and end up engaging
so many people in this city without even thinking about who
they are.” Of the eight mixed-media works on the stand, seven
had presold; the remaining piece, Haberdashery (2018), was
being held for one of several interested institutional buyers.
VIPs stormed the Pace Prints
stand when the fair opened
on Wednesday, in the hope
of snagging an editioned
triptych by KAWS, priced
at $65,000. After a slew of
$40,000 prints sold out last
year, collectors were eager to
get their hands on the next
round, but the demand well
exceeded the edition run
of 100. Within ten minutes,
a lottery system was put in
place, and many would-be
buyers left empty-handed. “There’s a crisis in value-making
going on here,” says the art adviser Lisa Schiff, who adds that
people are “buying with their ears” rather than their eyes.
On Richard Gray Gallery’s
stand in the Kabinett
sector, an installation of
intimately scaled post-war
works drawn from Gray’s
personal collection proves
a poignant tribute to the
dealer, who died in April.
The works have all been
promised as institutional
gifts, but also on the gal-
lery’s stand are paintings
by Alex Katz and Franz
Kline, which sold to private
Sold for $500,000: Red Hat collectors for around
(Nicole) (2013) by Alex Katz $500,000 each. M.C.
@ TH EARTN EWSPAP ER. OFFI CI AL
 2 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018
NEWS
6 December 2018
New
wave art
Are super-yachts the
best places to keep
your collection?
A
nyone driving into
Miami Beach this
week is sure to pass
a string of super-
yachts—floating signi-
fiers of their owners’ wealth. These
highly visible luxury purchases,
which come with their own multi-
million-dollar price tags and creative
names, often hold a cache of cultural
treasures, from antiquities to con-
temporary art. But is a yacht the best
place to keep your art collection?
In theory, works are no more
at risk on a super-yacht, where
temperature, humidity and light
are maintained by a full-time crew
of up to 50 people, than in a house.
High-value items on a yacht will also
be insured separately, since they
could be worth more than the boat.
They may also be fakes. “Insurance
Doris Salcedo’s new memorial in Colombia
reshapes the meaning of guerrilla weapons
“In peace processes all over the
world, women have been called
upon to testify and to forgive what
happened to their fathers, broth-
ers and sons,” says the Colombian
sculptor Doris Salcedo, “but never to
talk about themselves and what has
happened to their own bodies.” Now,
some of the 15,000 women sexually
assaulted during the 53-year war
between the Colombian government
and leftist Farc rebels are telling their
stories through a new memorial—or
“anti-monument”, as Salcedo calls
it—to mark the signing of the peace
deal almost two years ago.
For the project, titled Fragmentos
(“fragments” in Spanish), Salcedo
used 37 tonnes of weapons turned
over by Farc fighters, which she
THE EXHIBITION PROGRAMME WILL BE INAUGURATED BY THE GROUP SHOW:
A WOMAN LOOKING AT MEN LOOKING AT WOMEN
CURATED BY KASIA REDZISZ.
brokers will often suggest that you
have something of exceptional
value copied and put the original
somewhere safe,” says the lawyer
Jonathan Watson, a partner with
MFB Solicitors in London.
There is, of course, the danger
of your art being seized—not by
pirates, but by Customs & Excise
(which some taxpayers consider to
be the same thing), if you attempt to
avoid paying duty on objects bought
in other parts of the world. Recent
court cases should serve as warnings
to collectors who try to hide their
assets by sending them out to sea.
This summer, the mega-yacht
Equanimity, belonging to the
36-year-old Malaysian businessman
Jho Low, was first seized in Bali. Low,
who is now a fugitive, is accused of
stealing billions from his country’s
sovereign wealth fund 1MBD and
using the money to buy real-estate
and yachts, as well as an art collec-
tion that at one point contained a
$39m painting by Basquiat as well
as works by Van Gogh, Monet,
Calder and Rothko. “We don’t know
Guns used to make Fragmentos,
the Colombian sculptor’s new work
melted down, mixed with cold rolled
steel and set into slabs. Salcedo and
the women pounded the metal into
1,300 tiles, which now form the
floor of a Carlos Granada-designed
contemporary art centre that is due
MUZEUM SUSCH
OPEN TO THE PUBLIC FROM JANUARY 2ND 2019
IN THE ENGADIN VALLEY IN THE SWISS ALPS.
WWW.MUZEUMSUSCH.CH
if valuable art was on the yacht,”
Watson says. “But the insurance
brokers probably do.”
In a similar case, Vijay Mallya, the
former chairman of India’s largest
brewer, who has also been charged
with financial misconduct, had his
yacht—the Indian Empress—seized
in Malta. Although the boat was sold
in September for €35m, a number of
items that were on board, including
valuable paintings, were spirited
away before they could also be
to open in Bogotá on 10 December.
It was a cathartic and poignant
process, Salcedo says. “The women’s
reaction was extraordinary because
of their awareness that the gun’s
meaning was being transformed
by their agency of hammering and
reshaping the metal. They were
quite moved to realise that they were
making art and history,” she says.
The project was initially met
with resistance from Farc command-
ers who envisaged another type of
monument. But Salcedo talked them
round. “They wanted the guns to
continue this myth of the warrior, of
the person who frees your country
using violence. But as a female sculp-
tor, the last thing I wanted to do was
build an obelisk,” she says.
seized, according to Watson.
Such cases raise interesting
questions in a world where yachts,
often with a complex web of
ownerships, transport valuable art
from one jurisdiction to another. In
2015, for example, French customs
officers seized Picasso’s Head of a
Young Woman (1906) from Adix,
the Spanish billionaire Jaime Botín’s
yacht. Although it was moored in
Corsica, He argued that it was sailing
under a British flag and was thus in
Salcedo decided instead to open
a dialogue about what it means
to be a victim. “In any country or
in any war, there is no such thing
as the perfect victim. There are
perpetrators who are often also
victims, and some victims who
eventually become perpetrators. So
it’s a far more complex view of what
it means to be responsible for war
crimes,” the artist says.
Farc rebels began to recount
their own harrowing expe-
riences. Some had been
recruited as children; others
had seen members of their
families tortured and killed.
“In our war, everybody is a little
bit of everything,” Salcedo says.
Anny Shaw
Works of art were
spirited away from
the super-yacht
Indian Empress
before it was seized
by authorities
the UK’s jurisdiction, but this held
no sway with Spain’s judges, who
deemed the work a national treasure
and Adix subject to Spanish law.
“There are a host of local rules
and regulations governing the
inventories of yachts,” Watson says.
“They vary from country to country
and even from port to port.” All
of which makes climate and light
control seem like the least of a
collector’s concerns.
Andrea Marechal Watson
Female artists in
demand, says report
Female artists have long fought for a
fairer share of the art market’s atten-
YACHTS: DIEGO TUSON/AFP/GETTY IMAGES. SALCEDO: JUAN FERNANDO CASTRO; COURTESY OF THE ARTIST. NERI: © VANESSA RUIZ
tion—and collectors may finally be
giving it. According to the 2018 UBS
Investor Watch Pulse Report, released
today, gender is a determining factor
when buying a work for three out of
five collectors, and 70% intend to
buy works by women in the next year.
“We’ve had a lot of clients with wom-
en-centric collections for a while,”
says Alissa Friedman of Salon 94,
which has works by Marina
Adams, Huma Bhabha, Judy
Chicago, Marilyn Minter
and Ruby Neri on its
stand. “Hopefully
this means the rest
of society is just
catching up.” M.C.
Ruby Neri’s Two Women
(2018), at Salon 94
AEROSOLAR CONVERSATIONS

(T)HERE | ENTANGLING ECOLOGIES, WEAVING THE SOCIAL

How would it feel to breathe in a post-fossil fuel era?
Tuesday December 4 | 3:30pm | Aerocene Exhibition, Oceanfront

SOMEWHERE | COSMIC IMAGINARIES TOWARDS NEW

WITH THE SUPPORT OF CCK BUENOS AIRES. COURTESY THE AEROCENE FOUNDATION AND CCK AGENCY.

INTERPLANETARY POLITICS
How can we rethink and change our relationship with the Universe
AEROCENE TATA INTI PERFORMANCE. AUGUST 7, 2017. SALINAS GRANDES, JUJUY, ARGENTINA.

and response-ability to the Planet Earth?

PHOTOGRAPHY BY DANIEL KIBLISKY, GENTILEZA PRENSA, AND TOMÁS SARACENO, 2017

Thursday December 6 | 5:30pm | Aerocene Exhibition, Oceanfront

ART BASEL CONVERSATIONS, ARTIST TALK | ARTISTS’ INFLUENCERS

Friday December 7 | 10am | Auditorium, West lobby, Miami Beach Convention Center
4 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018
COMMENT
Christian
Viveros-Fauné
Art Basel: Latin
American art’s
El Dorado
For Art Basel in Miami
Beach’s 10th Anniversary in
2011, the local developer and
collector Craig Robbins reflected in The
Art Newspaper on the wide-ranging
impact of the fair juggernaut. “Cultural
events can have a huge influence on
how a city evolves,” he said. The same
goes for global art scenes, he might
have added. Consider Art Basel in
Miami Beach (ABMB). Just as the fair
has transformed Miami’s image and
economy, its history reveals the annual
gathering’s enormous influence on
Latin America’s flourishing art trade.
December in Miami has become
Latin American art’s month in the
sun. Yet plenty of sceptics doubted
the region’s potential when the south
Florida city was selected as Art Basel’s
American destination in 2000. Early
concerns about the breadth and quality
of Latin collectors abated quickly with
the arrival of the early crowds. By
2004, The Art Newspaper reported
that the Latin American market had
“expanded rapidly”; two years later, the
same patrons were said to be “collect-
ing internationally, while US buyers are
looking south”.
In a 2009 interview, former
journalist turned ABMB director Marc
Spiegler spoke of how Miami became
the “nexus for the Latin American
elite”. As he put it: “It was one of
[ABMB’s] founding principles to have
access to the Latin American market
and to develop it in the process.”
T NEWS
AR PA
E
TH
PE
R
AT AR
YEARS
T
BE
AS
B
EL
IN M I A M
The fair’s planning paid off and then
some. What art consultant Lisa Schiff
once referred to as a “soccer mentality”,
where Argentines buy Argentine art
and Mexicans buys Mexican art, and so
on, quickly gave way to more worldly
collecting. This, in turn, morphed into a
broadening of Latin America’s collector
networks. Regional buyers met one
another in Miami, where they also
interacted with their North American
and European counterparts. By 2013,
a transformation had taken place: half
a dozen major museums in the US and
Europe, including New York’s Museum
of Modern Art and Tate Modern in
London, had developed special funding
dedicated to supporting Latin American
art, enshrining its collectors as both
trustees and global tastemakers.
Related developments ensued.
Institutions like the Museum of Fine
Arts, Houston, the Royal Academy
of Arts in London and the Pérez Art
Museum in Miami, partnered with
Latin American collectors such as Ella
Fontanals-Cisneros and Patricia Phelps
de Cisneros to produce history-making
travelling shows. Similar museums
south of the border—among them
Mexico City’s Jumex Collection and
ABMB_TAN_Clark.indd 1
The Art
H
AC
Newspaper
I
PODCAST
in association with
“December in Miami
has become Latin
American art’s
month in the sun”
Museo de Arte Latinoamericano de
Buenos Aires—underwent significant
expansion. The same happened with
fairs: cue the creation of ArtBo in
Bogotá, Zona Maco in Mexico City
and MECA in Puerto Rico. Predictably,
these advances dovetailed with
higher prices for Latin American art at
galleries and auctions.
According to experts, Latin
American art’s growth continues to Conversation and debate
evolve. At a 2017 talk at ABMB devoted from inside the art world
to art in Argentina, the consultant Listen and subscribe
András Szántó laid out a formula for A new episode debuts every Friday via
frictionless integration into the global
the usual podcast channels, including
art world. “You need strong institu-
tions,” he said, “strong artists, collec- iTunes, TuneIn and SoundCloud. From
tors who are able to give that initial a desktop or laptop, find the show at
boost and a regulatory environment theartnewspaper.com/podcast
that invites the art trade.” Argentina,
like the rest of Latin America, only
meets the first three conditions. This theartnewspaper.com
leaves ample room for setbacks, but
also plenty for growth. ␣ 
MNUCHIN GALLERY
ART BASEL | MIAMI BEACH
DECEMBER 6 – 9, 2018
STAND C8
www.mnuchingallery.com | contact@mnuchingallery.com | 212-861-0020
Ed Clark, Untitled, 2009, acrylic on canvas, 50 1/8 x 73 5/8 inches (detail)
11/21/18 3:38 PM
6 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018
DIARY
6 December 2018
Agony Uncles
The Haas
Brothers
answer our readers’ questions
Nikolai (left) and Simon Haas
How can I think critically about my
work without being too negative
and sabotaging myself? Can I be my
own best worst enemy?
SIMON That is a hard line to
navigate. Just remember that you
can make the choice between letting
your inner voice be a saboteur or a
constructive helper. Go with your gut
more than with your head—the ego
is a dangerous thing and can make
you fear putting yourself out there,
even when your work makes you feel
something. Putting out work requires
you to be vulnerable, so you have to
remember your own worth regardless
of how people respond to it. Work is
about the feeling it gives its maker,
so it cannot be wrong. Let the critic
come in when it is helpful, but not
otherwise. [The drag queen and actor]
RuPaul says that he tells his inner
critic: “You can look, but don’t stare.” I
think that is great advice.
NIKOLAI Show it to people you
love and even those you do not.
Take what they say to heart if they
give it to you in earnest. Art is a form
of communication; I want to make
things that speak to a lot of people. So
understanding your audience is very
important. Again, just be yourself.
Who would win in a fight, you
or the Campana Brothers?
NIKOLAI If they wanted to fight, they
would win. I have been in enough
hockey fights to never do that again. I
think we would be pretty passive.
SIMON I really do not like fights. I
hope we would instead agree to work
on a piece together. I admire those
guys; it would be a cool piece.
CARLOS ALFONZO (1950-91) A Tongue to Utter, 1988, acrylic on canvas, 11 x 16 ft and Ballerinas, 1988, steel and paint, 115 x 45 x 48 in;
95 x 47 x 50 in; 92 x 60 x 47 in. Courtesy of private collection and LnS Gallery. Photo: Nuuris Ortiz.
OVERHEARD AT ART BASEL IN MIAMI BEACH
“I could never fit all those big
beasts in my back bedroom”
A VIP confronted with Paola Pivi’s floor-to-ceiling
installation of fake bear rugs on Perrotin’s stand
Cherry on top
E
ART
NEWS
PA
H
PE
T
R
AT AR
CH
YE AR S
EA
T
FROM THE ARCHIVE AS
B
I
B
EL
IN M I A M
2008: Chris Taylor arrested—again
No Art Basel in Miami Beach would be complete without some Chris Taylor catastrophe,
for this handsome, part-time rock star and full-time gallerist with Museum 52 is a lightning
rod for the wrath of US authorities. Readers may remember that he was brought to the
ground by a Swat team outside Miami’s Deuce bar last year, after police mistook him for a
South Beach gangster of a similar description. Now, in another case of mistaken identity,
he was nearly refused entry into the US by Homeland Security, who assumed that he was
the deadbeat Georgian criminal of the same name. Only after strenuously explaining that
he had never been to the state was the hapless Taylor reluctantly admitted into Miami.
Bidders, Bono and bonkers bespoke trainers
Stars came out in force last night in Miami’s
Design District for the (RED) charity
auction in support of HIV/Aids causes. U2
frontman and (RED) co-founder Bono was
on hand to launch the event, co-organised
CHERRY: GETTY IMAGES, 2018. TAYLOR: ITAR-TASS NEWS AGENCY/ALAMY. BONO: DIMITRIOS KAMBOURIS/GETTY IMAGES FOR THE (RED) AUCTION 2018. ANTON: COURTESY OF PETER ANTON. HAAS BROTHERS: JOE KRAMM/R & COMPANY
by the UK starchitect David Adjaye and
Partygoers at White Cube’s lavish Art Basel bash, held at Soho Beach House the artist Theaster Gates. Presiding over
earlier this week, chomped on mountains of seafood, quaffed buckets of the auction was Oliver Barker of Sotheby’s,
champagne and went back to the 1990s, dancing to classic hits performed who encouraged the audience to take
by none other than Neneh Cherry. The sassy Swedish rapper belted out some home the paddles “and use them for what-
of her most famous tunes, including Buffalo Stance and Manchild, sending ever”. Bidders vied for pieces by Adjaye, From left: Larry Gagosian, Theaster
the well-heeled crowd into a frenzy. “You’re a classy crowd,” Cherry hollered. Gates and other art-world heavyweights Gates, Bono and David Adjaye
“This is all for the love of art.” Most of the arty bunch were determined to including Marilyn Minter, Jeff Koons, Jenny
throw their best moves, with some rather interesting jerking motions in Holzer and Ebony Patterson, whose work walked away with snazzy bespoke trainers
evidence on the dance floor. “Yo, Miami bitch,” shouted Cherry, before quickly was snapped up by Gates for the hammer designed by Christian Louboutin, stiletto-
correcting herself wryly. “Sorry! Miami Beach.” price of $58,000. Two lucky bidders maker to the stars—in red, naturally.
Chocoholics anonymous
Who likes chocolate and art? Just about
Artoon by Pablo Helguera
everybody this side of the North Pole.
Those who crave the sweet stuff are
bound to “almond joy” the US artist Peter
Anton’s ten-foot-high sculpture Choco
Tower, which comprises six lip-smacking,
supersized stacked chocolates that look
good enough to eat. This tower of sweet
treats, presented by Germany’s Galerie
von Braunbehrens, is on show at the
Art Miami fair. “The creation of Choco
Tower is a natural evolution of my work.
Chocolate has a powerful influence over
us and stirs passion and emotions like
no other food,” Anton says, outlining
why the brown stuff matters. “I love to
celebrate the importance and allure of
food within people’s lives, both past
and present,” he adds. But chocoholics
looking for their daily fix should not sink
their teeth into the good-enough-to-eat
piece unless they want a mouthful of Visions of (very big) bon bons:
aluminium casing. Peter Anton’s Choco Tower
REJOINED IN MODERN CONCERT FOR THE
FIRST TIME IN TWENTY YEARS
Carlos Alfonzo’s A Tongue to Utter and Ballerinas
On view at the Lowe Art Museum through May 2019, courtesy of LnS Gallery
L OWE
2610 SW 28th Lane 1301 Stanford Drive
Miami, FL 33133 Coral Gables, FL 33146
www.lnsgallery.com 305.284.3535
www.lowe.miami.edu
 I B E A C H , USA/
MIAM
E C E M B E R 5–9/
D

Unique Triple Girl Floor Lamp/ Katie Stout, 2018/

Courtesy of Joe Kramm and R & Company

E R Y/
E R Y/
GALL
L
GAL
LES
ART
AJA
L
GR
NA
NA
IO
Y/ /
CT
TI

D
IS

I
N

/
V
R

RY
U

VI
C
/F

R
/

I
LE
E
E
A
O

RS R
D

LL

E E
LS / AL
N

V BE A
ON
A

R G
C A R P E N T E R S W O K S H O P G A L L E R Y/ C
L

A N G S
N/

M / E
H

E R A S T U D I O A P A R T M E N T- G A L L E R Y/ E TA G E P R O J E C T S / F R I E D V I E R Q U
D I D I E R LT D /
D

U
N

R A C G RA
E

R I E P A T R I C K S E G U I N / G A L E R I E E G A A
T H E F U T U R E P E R F E C T/ G A L E PHILIPP J
IO

I
ON / M E G EG U
E

G A LL E R I A A N TO N E LL A V I LL A N OVA / G A LL E RY A LL / H O ST L E R BU R R OWS/ JAS

D

O N I
J O H N K E I T H R U S S E LL / K AS M I N / L A F FA N O U R – G A L E R I E D OWN T B RET A RI S ST
OWN/ L E M /
Y IL L
E RRE LER
I

E R N O / M O D E R N E G A L L E R Y / O R N A M E / P I
M

MERCADO MO D N T U M AL ER
R

E G
IA

9 4 D E S I G N / S A R A H M Y E R S C O U G H G A L L E R Y/ S I D M
R & C O M P A N Y/ S A L O N
M

DD N
SOUTHERN GUILD/ THOMAS FRITSCH – RTRIUM/ TO S IG
A E
#D
DESIGNMIAMI.COM @DESIGNMIAMI
 Surrounded Islands
(Project for Biscayne Bay, Greater Miami, Florida) 1981
pencil, fabric, charcoal, wax crayon, pastel, aerial photograph,
Christo Surrounded Islands
and enamel paint (Project for Biscayne Bay, Greater Miami, Florida)
11 × 28", 27.9 × 71.1 cm; 22 × 28", 55.9 × 71.1 cm; two parts
© 2018 Christo 1981–83

Miami Beach Convention Center Art Basel Miami Beach

Booth D8 December 6 – 9, 2018

TAN_BaselMiami_112618.indd 2 11/27/18 2:31 PM

 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018 9

FEATURE
Art market

The growth in
art-secured lending
could transform
the art market’s
relationship with
the financial
markets.
By Georgina Adam

A
Warhol or a Wool hanging
on your wall may give you
great pleasure, but it used
to be that art gave you no
monetary return—unless
you sold it.
No longer. Today that
work of art can remain on your wall and at
the same time give you cash in hand, allowing

The art that keeps

you to buy more art, inject some money into
your business, cover a guarantee at auction or
pay off an urgent tax demand.
Borrowing against art poses specific
problems because of its portability, its hetero-
geneous nature and difficulty in establishing

ENRICHING
a reliable price. And yet, according to a report
published last year by Deloitte and ArtTactic,
in 2017 the global total of loans outstanding
against art was eye-popping: between $17bn
and $20bn.
“Perhaps the biggest driver of growth
in this field has been a mindset shift by
collectors who once viewed their art purely
as a hobby or aesthetic pursuit and now view
it as a strategic asset,” writes Evan Beard, a
national art services executive at US Trust, in
the first Tefaf Art Finance Report, published
earlier this year. US Trust has a stunning
$6.7bn out in loans secured against art, and A US dollar bill signed by Andy Warhol and “Americans are so much more accustomed
other private banks such as Citi or JP Morgan (from left) Takashi Murakami, Keith Haring to borrowing,” says Barbara Chu, a partner
have loan books that also run into the bil- and Anselm Kiefer, who have all had owners at Emigrant Fine Art Finance, the art lending
lions of dollars. use their works to leverage loans arm of Emigrant Bank: “And there are cultural
“You will probably find that many of biases against borrowing in some countries;
the US-based names in Artnews’s top 200 people are generally averse to debt in the UK
collectors list have borrowed against their art and Germany.” She adds: “Our financing offers
holdings,” Beard says. While precise figures another option for people to monetise their
are difficult to obtain, according to a number offshore assets.”
of players in the market, the vast bulk—in The biggest loan books are held by private
excess of 80%—of the art-secured lending banks, such as US Trust, with departments
business is in the US. servicing their clients by giving recourse loans
against their art holdings. But for others, there
are specialist boutique lenders offering both
ON THE RISE recourse and non-recourse loans, and here is
MURAKAMI: AFLO/ALAMY. KIEFER: DPA PICTURE ALLIANCE ARCHIVE/ALAMY. WARHOL: PETER MACDIARMID/GETTY IMAGES

And it is a buoyant sector: “Our client base in where there are a number of newcomers in
the US is strong and growing,” says Suzanne the field: the London-based Fine Art Group
Gyorgy, the head of Citi Private Bank’s Art moved into this area two years ago, TPC Art
Advisory and Finance. “Most notable is the Finance just one year ago. The auction houses
increase in the size of the art loans. Ten to 15 are also more than willing to lend against art
years ago, typical art loan facilities were in and the main player, Sotheby’s, has a $1.1bn
the tens of millions; today it is increasingly war chest with which to do so.
common to offer art loans facilities in the hun- Almost all of the firms will lend against
dreds of millions.” And while the US is strong, 40% to 50% of the appraised value of the
Gyorgy says: “Business is growing dramatically work; some will take possession, others
in Asia and Latin America as well.” not. In the US, Uniform Commercial Code
(UCC) filings identify works of art with a lien
against them, and in many cases this means
“In 2017, the global total that the borrower can continue to enjoy
their work of art and not see it crated off into
of loans outstanding storage. Elsewhere in the world, where no
UCC exists, lenders generally want to hold
against art was the art until the loan is paid off.

$17bn to $20bn”  CONTINUED ON PAGE 10

THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART

19–22 SEPTEMBER 2019 | CHICAGO | NAVY PIER

Presenting Sponsor
 10 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018
FEATURE
Art market
 CONTINUED FROM PAGE 9
UCC filings are publicly available, and a
quick browse through some of the lenders
reveals a wide spread of owners who have lev-
eraged works. The Turkish trader Yomi Rodrik,
for example, has borrowed against nine works
by the likes of Rudolf Stingel, Anselm Kiefer,
Takashi Murakami and Jean Dubuffet from
Athena Fine Art Financing, launched three
years ago by Carlyle Group with $280m in
funding (but now seeking a buyer). Omanut
Holdings borrowed against 25 works, including
pieces by Keith Haring, Mark Grotjahn and
KAWS, from TPC Art Finance. Art dealers who
have taken loans—among them Pace, Mitchell-
Innes and Nash, Paul Kasmin and Gagosian—
can also be found in the filings.
INTEREST-RATE VARIANCE
Interest rates vary wildly depending on a
number of factors. At one end of the spec-
trum are the private banks, which can offer
very favourable rates—from the mid-single
figures—to their clients, who have other
assets beside art; some will only lend over
$5m, with a minimum term for at least a
year. And remember that a $5m loan means
the work of art must be worth at least double
that. Most lenders, as well, prefer to lend
against a collection rather than a single piece.
Then there are the specialised lenders,
KEY TERMS EXPLAINED
FULL-RECOURSE LOAN: If the debt
is not repaid, the lender can go after
the borrower’s other assets.
NON-RECOURSE LOAN: If the debt
is not repaid, the lender can take the
art given as collateral but cannot seek
further compensation, even if its value
is lower than the amount of the debt.
LIEN: The right to keep possession of prop-
erty belonging to another person until a
debt owed by that person is discharged.
UCC: Uniform Commercial Code. This pub-
licly available database in the US registers
assets given as collateral; it often allows
the borrower to keep possession of the
art while the loan is still outstanding.
who are likely to charge interest in the upper
single figures; some, such as TPC, Falcon Fine
Art or Emigrant, are the lending arm of a
bank or finance company. “Non-banks” such
as Sotheby’s will lend up to 60% of the low
auction value at around 8% interest, but gen-
erally will do so against future consignment of
the work(s) for sale.
At the other end of the scale are short-
term, lower-value lenders such as Borro,
with offices in London, New York and Los
Angeles, which might give a loan for just
£100,000 for three months, but at 1% to 2.5%
interest per month.
Outside the US, according to Tim Hunter of
Falcon, “the market is massively underdevel-
oped”. He identifies a number of reasons: the
absence of UCC, the varying laws in different
countries and cultural differences. But things
are changing, says Freya Stewart of the Fine
Art Group, which lends in the $150m to $500m
range: “In Europe, younger collectors have
a different view of the concept of leveraging
assets; they are far savvier than the older
generation and see this as a smart thing to do.”
However, some borrowers may be entering too
enthusiastically into loan agreements. This year
there have been cases of overleveraging, for
example the US art dealer Anatole Shagalov,
who has taken loans against art but has alleg-
edly defaulted on some purchases. An outlier,
perhaps, but the consequence of what some
see as a very frothy art market.
Assets can
be seized if a
borrower fails to
repay a loan
SOME OF THE MAIN PLAYERS
PRIVATE BANKS: Citi Private Bank, Emigrant
Bank, Goldman Sachs, JP Morgan, US Trust
SPECIALISED LENDERS: Athena Art Finance,
Artemus, AOI Advisors, Borro, Falcon, Fine Art
Group, Rosenthal & Rosenthal, TPC Art Finance
AUCTION HOUSES: Sotheby’s,
Heritage, Phillips
The dealer Anatole
Shagalov bought
Keith Haring’s
Untitled (1982) for
$6.5m at Sotheby’s
in 2017, but
defaulted on the
payment. Sotheby’s
has accused him
of attempting to
hide his assets
by signing over
$10m-worth of art
for $6.9m to the art
loan company AOI
LOAN AND FINANCING OPTIONS TO CONSIDER
SOTHEBY’S FINANCIAL TPC ART FINANCE
SERVICES Specialised lender
Auction house  Founded in 2017, belongs to the
Chicago-based Three Points Capital
 Leading provider of auction-related
 Lends 45%-50% of value of art, non-recourse
financing, established 25 years ago; has
 Interest rates are “low to mid-teens”,
access to Sotheby’s combined credit facility
depending on the size of the loan
with a borrowing capacity of $1.1bn
 Minimum loan $250,000, maximum $5m
 Generally lends up to 60% of an auction low  Takes possession of the asset
estimate, average interest rate in Q3 was 8%.
for duration of loan
 Minimum and maximum size of loan not revealed
 Recourse loans
 Generally take possession of the asset FALCON FINE ART
Specialised lender
CITI  London-based, created four years ago as the
Private bank art arm of the specialist financier Falcon Group
 Lends 40%-50% of the appraised
 Pioneered the sector, has been offer-
ing loans against art since 1979 value for works of art
 Minimum loan size $5m, no maximum  Interest rate is “high singles over Libor”
 Minimum loan $1m, no upper limit
 Interest rate: “Based off of Libor and driven
 Clients can sometimes keep
by the financial strength of the borrower”
possession of the asset
 Recourse loans
 In the US, generally does not take posses-
HARING: © THE KEITH HARING FOUNDATION; COURTESY OF SOTHEBY’S
sion, but does in the rest of the world BORRO
Specialised lender
ARTEMUS  London-based but offices in US. Belongs
to US debt fund Victory Park Capital
Specialised lender  Lends against art and high-value assets such
 Founded by former trader Asher Edelman as wine and classic cars, 50% of value
with financing from real estate giant Dursts  Minimum loan £100,000, maximum £10m
 Gives recourse or non-recourse loans, or buys  Short-term loans—can be just three months
art at 50% value and leases it back to the seller  Interest rate 7% to late teens per annum
 Interest rate 8%+  Takes possession of the asset for
 Minimum $1m, no maximum the duration of the loan
770 NE 125th Street
North Miami, FL 33161
305.893.6211 | mocanomi.org
Opening Celebration
Thursday, December 6, 2018 | 8 - 11pm
On view November 27, 2018 - April 7, 2019
TAS19_Advertising.indd 191 11/19/18 8:09 PM
 12 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018

IN PICTURES
Miami’s movers and shakers

The US artist
Charles Gaines

The performance artists and The UK artist

regular fair-goers Eva & Adele Marc Quinn

The US conceptual artist

Hank Willis Thomas

The US artist Storm Janse van Rensburg, the head curator at Georgia’s Scad

First on to
Stephon Senegal Museum of Art, with fellow Scad curator Humberto Moro

the f loor
Art Basel in Miami Beach opened to VIPs on an overcast Wednesday morning,
but there were plenty of sunny faces to lighten the mood. We spotted curators,
collectors, artists and, of course, celebrities—although the ever-present actor
and collector Leonardo di Caprio evaded our lens. The art collector
Maja Hoffmann
Eagle eyes: Gareth Harris and Victoria Stapley-Brown. Portraits: Vanessa Ruiz
 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018 13

Touria El Glaoui, the founder of

1-54 Contemporary African Art Fair

Alan Faena, the Argentine art collector who The British-Liberian visual Justine Ludwig, the director of the New York-
launched the first Faena Festival this week artist Lina Iris Viktor based non-profit arts organisation Creative Time

The US painter
Amy Sherald
LOPEZ AND SHERALD: © GARETH HARRIS. ALL OTHER IMAGES: © VANESSA RUIZ

The singer and actress Jennifer Lopez with her boyfriend, The art collectors Debra
former New York Yankees baseball star Alex Rodriguez and Dennis Scholl
 16 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018

INTERVIEW
Artists

Pedro Reyes and

Carla Fernández:
‘Death to planned
obsolescence’
The Design Miami Visionary award-winners tell us
about their projects at the fair. By Gabriella Angeleti

T
The husband- he artist Pedro Reyes and Two large-scale installations designed
and-wife team the fashion designer Carla by Reyes and Fernández are being shown at
are showing two Fernández are the winners Design Miami (until 9 December), along with
new installations of the 14th edition of the works from the past decade. These works con-
at Design Miami, Design Miami Visionary trast hands-on design traditions with concerns
FERNÁNDEZ AND REYES: ANA HOP; COURTESY OF DESIGN MIAMI

as well as works Award, an annual prize
made over the established in collaboration
past decade with the Savannah College of Art and Design
(Scad) to honour creatives making significant
contributions to the design world. The artists—
and husband-and-wife team—were recognised
for their “always brilliantly synthesised spec-
trum of influences, from Brutalism to Mexican
indigenous culture to progressive values”, says
Craig Robins, the founder of Design Miami.
around automation and our tech-obsessed zeit-
geist, and also address current socio-political
issues. On 5 December, Rodman Primack, the
fair’s chief creative officer, moderated a talk
with the artists on the importance of “coming
together to make art, architecture, design and
fashion that is rooted in social consciousness
and justice, and that keeps craft alive and
vibrant”, Reyes says. Scad is slated to open an
exhibition of the artists’ works next February.

Palexpo / 31.01-03.02.2019 / artgeneve.ch

Grimaldi Forum Monaco / 26-28.04.2019 / artmontecarlo.ch

 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018 17

THE ART NEWSPAPER: Your work deals with

cultural heritage, artisanal traditions and
social justice. What can visitors expect to
see in the Design Miami exhibition?
CARLA FERNÁNDEZ: It’s a full retrospective
of our works. In the booth, there are some
of my contemporary designs that were made
in collaboration with indigenous female arti-
sans across Mexico who specialise in hand-
made textiles and utilise centuries-old tech-
niques. The textiles are woven to be treasured
and we create few of them, doing so slowly.
We say: death to planned obsolescence. We
understand that artisans need time to think,
learn, transform and transcend. It is not only
a romantic idea, but also a way to ensure that
people who choose these professions will be
safe from the destructive waves that automa-
tion is bringing to society.
PEDRO REYES: The exhibition also has various
stone carvings I’ve done over the past five
years. That tradition goes back 3,000 years in
Mexico. At a time when a lot of designers are
going for 3D printing or computer-controlled Pedro Reyes and Carla Fernández’s work at original settlers, we are all immigrants. political standpoint. We are living through
machining, I’m more interested in revealing Design Miami. Below, the artist Joan Jonas Art fairs are effective platforms to address a humanitarian crisis, where immigrants
the natural properties of different stones. wearing one of Fernández’s designs social issues because they welcome many from Latin America are persecuted and fam-
There are also shovels from the Palas por spectators with different backgrounds from ilies are being separated and abused on
Pistolas (Guns for Shovels) project, an ongoing metates [hand-mill stones], molcajetes [mortar all over the world. We think that part of the grounds of their ethnicity. This persecution
work that began in 2007 in Culiacán, Mexico. and pestles] and most Pre-Columbian pottery importance of art nowadays is to bring about has brought us indelible images of detention
The shovels were made from crushed because an object with three legs always sits social change and not only the selling of it. centres where children as young as four-
guns donated by residents and then firmly on the ground. This tripod shape was years-old are being held and separated from
used to plant trees. I’m also showing considered a design error, so I’m interested You’ve designed a special project for the their families. We believe that it’s our duty
works from the Disarm project, a in tackling this principle with a modern plaza at the fair. What inspired this work? to present such images so that these acts of
series of instruments made from language. There’s an elegant yet bold sim- FERNÁNDEZ: Our presentation addresses one racism don’t go unnoticed. We want to open
weapons. These are both forms of plicity to these types of tools that haven’t of the most important issues of our time: a conversation about the ongoing human-
upcycling that can turn an instrument changed much in thousands of years. migration. There are two different installa- itarian crisis of migrants in the US, as it is
of death into instruments of life. tions, one of them showing two large-scale our firm belief that the art world can’t be
Instead of creating fear, these What messages do you hope effigies carrying different tools, representing oblivious to the world in which we live.
objects can create trust. visitors take away? the many trades done by immigrants in the
Travelling across FERNÁNDEZ: For us, it’s US. The work becomes a sort of monument You’re also designing the graphic
Mexico, Carla and I important to show that the to honour and acknowledge the energy that identity of the fair, which is based on
became aware that political borders we know today immigrants bring into each profession, and to protest posters.
there was no need are only 200 years old in compar- show their diversity and richness. REYES: For several years, we have been col-
for us to import ison to a continent that has been The second one, presented within a con- lecting protest posters from Mexico, Latin
sources of inspi- inhabited for 11,000 years. Our goal tainer, revisits the subject of migration from a America and Europe. These obviously have
ration because we is to bring some perspective to a a sense of urgency. The inspiration comes
have so much to time where xenophobia and racism
“The art world from the bold graphics of the handmade
INSTALLATION SHOTS: © VANESSA RUIZ

unearth from our are increasing. Looking ahead, we protest signs, posters and ephemera from
past. The furniture I’m
designing is based on
are going to have increasing migra-
tion. On the other hand, we also
can’t be oblivious the 1968 uprisings in Mexico, Paris, Prague
and Berkeley. Fifty years ago, there was a
Pre-Columbian artefacts.
My metate chair has three
want to show that many of these
indigenous cultures continue to
to the world in revolution that signalled a social and cul-
tural turning point worldwide and inspired
legs, a constant feature in exist, and that, in contrast to these which we live” artists to also get political.

1-4, 2019
CenturyLink Field Event Center
seattleartfair.com

daniel buren

photo-souvenir: Daniel Buren, Prisms and

Mirrors High Relief - n0 XXIII: Situated Work, 2018
 ANDY WARHOL, SKULLS, 1976

BOOTH E6

NEW YORK LONDON HONG KONG ZÜRICH LEV YGORV Y.COM

© 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

Art_Newspaper_ABMB_12-SIZE.indd 2 11/27/18 12:11 PM

New York – Chelsea London Hong Kong

Diane Arbus Untitled Gordon Matta-Clark Flavin, Judd,

November 2–December 15 Works 1970–1978 McCracken, Sandback
November 21–December 20 November 15–December 21

Lisa Yuskavage
Babie Brood: Amadeo Lorenzato Marcel Dzama
Small Paintings 1985–2018 January/February January 22–March 9
November 8–December 15

Josef Albers
January 8–February 16

Charles White
January 10–February 16

God Made My Face:

A Collective Portrait
of James Baldwin
Curated by Hilton Als
January 10–February 16

R. Crumb
January 10–February 16

New York – Upper East Side

Lisa Yuskavage
New Paintings
November 8–December 15

James Welling
January 10–February 16

David Zwirner
@miamidesigndistrict

EXPLORE ,

D I S C OV E R ,

INSPIRED.
Miami’s Cultural Landscape
 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018
CALENDAR
Art Basel in Miami Beach
CHICAGO: © JUDY CHICAGO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; PHOTO: © DONALD WOODMAN/ARS, NEW YORK; COURTESY OF SALON 94, NEW YORK, AND JESSICA SILVERMAN GALLERY, SAN FRANCISCO
Judy Chicago reshapes art history
Miami hosts an appraisal of an artist whose
critical feminist gaze has never dimmed
Judy Chicago:
A Reckoning
UNTIL 21 APRIL 2019
Institute of Contemporary Art, Miami
Thanks to her landmark
Dinner Party installation
(1974-79), Judy Chicago is credited
with giving women a figurative
seat at the male-dominated table
of history. Now, an exhibition at
the Institute of Contemporary Art,
Miami (ICA Miami) brings together
seven other bodies of work,
produced between the 1960s and
1990s, to present a fuller picture of
the US artist’s own monumental
contributions to that history. The
presentation includes lesser-
known pieces that are rarely
Ink Painting | China, Japan, South Korea | Featured Programming
exhibited and not often connected
with her career.
Judy Chicago: A Reckoning
is one of the broadest surveys
of her diverse work mounted to
date. It explores the artist’s early
Minimalist sculptures and paint-
ings—such as her brightly hued
Op Art-inspired canvas Heaven
is for White Men Only (1973)—as
well as her transition to figuration,
as seen in works from her 1990s
series, PowerPlay.
Interest in Chicago’s work has
been on the rise over the past
several years as more institutions
re-evaluate the inclusivity of
their post-war and contemporary
collections. Yet according to Alex
Gartenfeld, ICA Miami’s artistic
director, the 79-year-old artist’s
work has always been timely,
having consistently dealt with
themes such as the social mechan-
ics of power, female agency and
even ecological disaster.
“Something that is always sur-
prising to me is how for decades
her work as a whole was treated
as less important in a variety of
ways,” Gartenfeld says, adding
that both critics and scholars have
lauded her work while subtly
suggesting that it did not stack up
to that of her male peers. “It was
either too didactic or not formal
enough,” he says.
Chicago, however, invites the
comparison of her work to that
of her male contemporaries and
directly references many of them,
“It is always surprising to me how her
work is treated as less important”
One of the
artist’s sprayed
car bonnets,
Flight Hood
(1965/2011)
even if obliquely. One of the exhi-
bition’s strengths is how it fore-
grounds her staunchly feminist
voice, which continues to reshape
the historical canon’s understand-
ing of Modernism. Some of the
earliest works in the show are
her boldly coloured, and precisely
rendered, paintings of biomorphic
shapes on car bonnets.
“Her colour palette is uniquely
her own,” Gartenfeld says. “But
she didn’t shy away from using
these mass-produced industrial
materials.” This was what artists
such as Donald Judd and Carl
Andre were also incorporating
into their subdued and austere
works. Her Sunset Squares sculp-
ture series, created in 1965 and
updated for ICA Miami, looks like
21
a cross between Judd’s large cubes;
their pastel acrylic and canvas
finishing serving as a cheeky nod
to artists of the Light and Space
genre such as Robert Irwin, but
with the centres of the squares
cut out so as to leave a giant void.
“She was very much involved in
that artistic conversation—she
was presenting a critique of
the machismo of Minimalism,”
Gartenfeld says.
The exhibition includes other
key feminist pieces, such as her
test plates for the Dinner Party,
shown publicly for the first time,
as well as the Birth Project (1980-
85), a series of 85 needlepoint
and textile works, as well as one
large-scale drawing, all containing
images of pregnancy and birth,
which were somewhat controver-
sial at the time of their creation.
Another more ephemeral piece
is being reprised especially for the
show in the form of a site-specific,
one-day smoke installation in
the museum’s sculpture garden,
which is due to be presented on
23 February. Her smoke pieces
from the 1960s and early 1970s
were originally developed as a
critique of monumental architec-
ture, and what she perceived as
the tendency of male land artists
to destroy nature in service of
their artistic legacy.
Indeed, in 1970 she became the
subject of Richard Serra’s ire after
she lambasted him for cutting
down a slew of Redwood trees
for a show at the Pasadena Art
Museum in southern California.
“To have contended with
ambivalent, if not completely
negative, reactions to her work
with such high levels of ambition
and belief in the importance of
the themes addressed in it is truly
humbling,” Gartenfeld says. “She
brings more ideas and energy to
the table than any artist I’ve met.
She’s always been thinking about
how she fits into art history. We’re
just catching up.”
Margaret Carrigan
○
See pages
22-24 for full
exhibition
listings
 22
CALENDAR
Art Basel in Miami Beach
Listings are arranged
alphabetically by
category
○ Non-
commercial
Art and Culture Center
of Hollywood
1650 Harrison Street, Hollywood
• Center to Center
UNTIL 6 JANUARY 2019
ArtCenter/South Florida
924 Lincoln Road, Miami Beach
• Parallels and Peripheries
UNTIL 16 DECEMBER
Windows at Walgreens,
6700 Collins Ave, Miami Beach
• Nayda Collazo-Llorens: Recorded
Instance Plotted Movement
UNTIL 20 JANUARY 2019
• Susan Lee-Chun: 10 X-Large
UNTIL 3 FEBRUARY 2019
Audemars Piguet
Art Commission
Miami Beach Oceanfront,
between 21st and 22nd St
• Tomás Saraceno for
Aerocene: Albedo
UNTIL 9 DECEMBER
Bakehouse Art Complex
561 NW 32nd Street, Wynwood, Miami
• Collectivity
UNTIL 30 MARCH 2019
The Bass
2100 Collins Avenue, Miami Beach
• Paola Pivi: Art with a View
UNTIL 10 MARCH 2019
• Aaron Curry: Tune Yer Head
UNTIL 21 APRIL 2019
• The Haas Brothers: Ferngully
UNTIL 21 APRIL 2019
Walgreens Windows,
2300 Collins Ave, Miami Beach
• Odalis Valdivieso: Performing
the Self and Other Selves
UNTIL 1 MARCH 2019
Boca Raton Museum of Art
501 Plaza Real, Boca Raton
• Daniel Faust: Florida
Photos from the 1980s
UNTIL 24 MARCH 2019
• Imagining Florida: History and
Myth in the Sunshine State
UNTIL 24 MARCH 2019
• Michael Smith: Excuse Me!?!... I‘m
Looking for the Fountain of Youth
UNTIL 24 MARCH 2019
Centro Cultural Español Miami
1490 Biscayne Boulevard, Miami
• Eugenio Ampudia: the
Immobility of Movement
UNTIL 14 DECEMBER
De la Cruz Collection
23 NE 41st Street, Miami
• More/Less
UNTIL 1 NOVEMBER 2019
Faena Art
Faena Forum, 3300 Collins
Ave, Miami Beach
• Faena Festival: This is Not America
UNTIL 9 DECEMBER 2018
Flagler Museum
1 Whitehall Way, Palm Beach
• Star Power: Edward Steichen’s
Glamour Photography
UNTIL 6 JANUARY 2019
Haitian Heritage Museum
105 4141 NE Second Ave, Miami
• Marc Baptiste: Haiti à la Mode
UNTIL 25 APRIL 2019
THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018
Kentridge’s dark tale descends on sunny Miami
William Kentridge: More of the Freedom Tower’s second-floor recurring procession. Leading the The eight-screen video installation
Sweetly Play the Dance exhibition space. Kentridge’s
large-scale video installation, More
procession is a jovial brass band, yet
the atmosphere becomes darker and
alludes to real-life global tragedies
MDC Museum of Art + Design, Sweetly Play the Dance (2015), is a darker as each part of the parade participants. The images allude to
Freedom Tower, Miami Dade College 15-minute rendition of the danse introduces a set of new characters real-life events and tragedies such as
UNTIL 20 JANUARY 2019 macabre or “dance of death”, an that play out their parts to a tune of the Ebola outbreak in Africa and the
The South African artist allegorical representation of our suffering. The twists and turns of global refugee crisis, but instead of
William Kentridge brings his inescapable mortality. The eight pirouetting dancers swirl past getting too specific, Kentridge keeps
brazenly outspoken imagery to the larger-than-life projections create a silhouettes of frail figures affixed to the overall work universal—like
big screen—that is, a 130ft-long visual storybook in which silhouetted intravenous drips while other figures death itself.
screen wrapping the perimeter walls figures march in a choreographed, poke, prod and swing at the Sarah Vitale
HistoryMiami Museum • Judy Chicago: a Reckoning • Daniel Chimowitz: Walking Canvases Means I Love You in Italics Museum of Contemporary
101 West Flagler Street, Miami UNTIL 21 APRIL 2019 UNTIL 3 FEBRUARY 2019 UNTIL 16 FEBRUARY 2019 Art, North Miami
• Miami Street Photography • William Copley: the Coffin • The Art of the Lithograph 770 NE 125th Street, North Miami
Festival 2018 They Carry You Off In 7 NOVEMBER-3 MARCH 2019 Lowe Art Museum • AfriCobra: Messages
6-9 DECEMBER UNTIL 12 MAY 2019 University of Miami, 1301 Stanford to the People
Locust Projects Drive, Coral Gables UNTIL 7 APRIL 2019
Institute of Contemporary JW Marriott Marquis Hotel 3852 North Miami Ave, Miami • Yousuf Karsh:
Art, Miami 225 Biscayne Boulevard Way, Miami • Bethany Collins: the Litany American Portraits NSU Art Museum
61 NE 41st Street, Miami • Lobby Installation including UNTIL 26 JANUARY 2019 UNTIL 20 JANUARY 2019 Fort Lauderdale
• Larry Bell: Time Machines Federico Uribe and Alex Katz • Michael Loveland: In • Giampaolo Seguso: 1 East Las Olas Boulevard,
UNTIL 10 MARCH 2019 UNTIL 9 DECEMBER Process [Civic Sculpture] My Page Is Glass Fort Lauderdale
• Manuel Solano: I Don’t Wanna UNTIL 26 JANUARY 2019 UNTIL 27 JANUARY 2019 • Remember to React: 60
Wait for Our Lives to be Over Jewish Museum of Florida-FIU Various locations • Dialogues: Studio Glass Years of Collecting
UNTIL 14 APRIL 2019 301 Washington Avenue, Miami Beach • Jibade Khalil Huffman: “______________” from the Florence and Robert UNTIL 30 JUNE 2019
Werner Collection • William J. Glackens and
UNTIL 27 JANUARY 2019 Pierre-Auguste Renoir:
• Elsie Kalstone: Imaginative Things Affinities and Distinctions
Titans of Surrealism mingle with UNTIL 19 MAY 2019 UNTIL 19 MAY 2019
contemporary art in De la Cruz show
Mandarin Oriental Hotel Patricia & Phillip Frost
500 Brickell Key Drive, Miami Art Museum
• Real Men Modesto Maidique Campus, FIU,
UNTIL 7 DECEMBER 10975 SW 17th Street, Miami
• The Writing on the Wall
The Margulies Collection UNTIL 9 DECEMBER
at the Warehouse • Relational Undercurrents:
591 NW 27th Street, Miami Contemporary Art of the
• New Installations: Peter Caribbean Archipelago
Buggenhout, Cate Giordano, UNTIL 13 JANUARY 2019
Imi Knoebel, Sol Lewitt,
Ibrahim Mahama, Barry Pérez Art Museum Miami
McGee and Kishio Suga 1103 Biscayne Boulevard, Miami
UNTIL 27 APRIL 2019 • Felice Grodin: Invasive Species
• Photography: Walker Evans, UNTIL 1 JANUARY 2019
Helen Levitt and Albert • Christo and Jeanne-Claude:
Renger-Patzsch Surrounded Islands, Biscayne
UNTIL 27 APRIL 2019 Bay, Greater Miami, Florida
• Permanent Collection: 1980-83
Chamberlain, De Kooning, Eliasson, UNTIL 17 FEBRUARY 2019
Judd, Kiefer, LeWitt, Neto, Noguchi, • Arthur Jafa: Love Is the Message,
Segal, Tony Smith and Franz West the Message Is Death
UNTIL 27 APRIL 2019 UNTIL 21 APRIL 2019
• Lynne Golob Gelfman: Grids
MDC Museum UNTIL 21 APRIL 2019
of Art + Design • Ebony G. Patterson: While
Freedom Tower, Miami Dade College, the Dew Is Still on the Roses
600 Biscayne Boulevard, Miami UNTIL 5 MAY 2019
The show features more than 150 works from the De la Cruz Collection • William Kentridge: More • Pedro Neves Marques:
Sweetly Play the Dance A Mordida
More/Less The aim was to display art made mostly UNTIL 20 JANUARY 2019 UNTIL 26 JULY 2019
De la Cruz Collection within the last 30 years that considers the • Superflex: We Are All • Hew Locke: For Those
UNTIL 1 NOVEMBER 2019 current sociocultural climate. “We believe In The Same Boat in Peril on the Sea
that this show questions the issues that are UNTIL 21 APRIL 2019 UNTIL 1 SEPTEMBER 2019
KENTRIDGE: PHOTO: FRANCISCO MORAGA
The collectors Rosa and Carlos de la relevant today,” says Carlos de la Cruz. The • Liliana Porter: El hombre
Cruz have selected more than 150 wide-ranging group show intermingles The Moore Building con el Hacha y Otras
works from their holdings in various pieces by pivotal Surrealists Salvador Dalí 191 NE 40th Street, Miami Situaciones Breves
media—paintings, works on paper, and Wifredo Lam alongside contemporary • Gagosian and Jeffrey Deitch UNTIL 29 SEPTEMBER 2019
photographs, sculptures and large-scale works by Thomas Houseago and Lucy Present Pop Minimalism/ • José Carlos Martinat:
installation pieces—for the show, More/Less. McKenzie, among others. S.V. Minimalist Pop American Echo Chamber
UNTIL 9 DECEMBER UNTIL 26 JANUARY 2020
 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018 23

Rubell Family Collection

95 NW 29th Street, Miami
• Purvis Young
UNTIL 29 JUNE 2019 Today’s talks and events One of the world’s most
• New Acquisitions
UNTIL 29 JUNE 2019 prominent collections of
Schmidt Center Gallery,
postwar and contemporary art
Florida Atlantic University Featuring: Jean-Michel Basquiat, Mark Bradford,
777 Glades Road, Boca Raton
Jasper Johns, Jeff Koons, Barbara Kruger,
• Decolonizing Refinement:
Contemporary Pursuits in the
Yayoi Kusama, Ed Ruscha and Andy Warhol
Art of Edouard Duval-Carrié
UNTIL 2 FEBRUARY 2019

Vero Beach Museum of Art

3001 Riverside Park Drive,
Vero Beach
• Made in Germany: Art Since 1980
from the Rubell Family Collection
UNTIL 6 JANUARY 2019 Abraham Cruzvillegas’s Autorreconstrucción (2018)
March 23–Sept. 1, 2019
Exclusive West Coast Presentation
• 150 Years of Painting and Sculpture
from the Permanent Collection THURSDAY 6 DECEMBER Miami Beach Convention Center
UNTIL 13 JANUARY 2019 10am Premiere Artist Grand Ballroom
Talk: Allora & Calzadilla 4pm Collector Talk: Changing
The Wolfsonian-Florida Miami Beach Convention Center Times, Changing Collections
International University Auditorium, West Lobby Miami Beach Convention Center
1001 Washington Avenue,
Miami Beach
 Jennifer Allora, Guillermo
Calzadilla and Manuel Cirauqui
Auditorium, West Lobby
 Bridgitt Evans, John opening october 19, 2019
• Wit as Weapon: Satire 1pm Collector Talk: Private Hoffman and Josh Baer
and the Great War Institutions and Art Education 4pm Designing Free-Space
UNTIL 13 JANUARY 2019 Miami Beach Convention Center and Curating Free Time
• Made in Italy: MITA Textile Auditorium, West Lobby Design Miami/ Talks Theatre Free General
Design 1926-76
UNTIL 28 APRIL 2019
 Julieta González, Ella
Fontanals-Cisneros, J. Tomilson
 Michaela and Simon de
Pury, Ralph Nauta and Lonneke Admission
• Frank Brangwyn: Bringing Hill and Shumon Basar Gordijn of Studio Drift, Marc 221 S. Grand Ave.
the Empire Home 1.30pm Individualism and Glimcher, Robert Hanea, Roth Downtown Los Angeles
UNTIL 27 MAY 2019 the Spectrum of Modernism (Eduardo Neira) and Alexander thebroad.org
• Enter the Design Age Design Miami/ Talks Theatre Groves of Studio Swine
UNTIL 31 MAY 2019  Mattia Bonetti, Rene 5pm Back to the Body:
• The Art of Labour Gonzalez, Chad Oppenheim, Human-Oriented Forms in
UNTIL 11 AUGUST 2019 Mark Bickerstaffe and Art, Design and Architecture
Daniella Ohad Design Miami/ Talks Theatre
Young at Art Museum 2.30pm Museum Talk:  Hans Ulrich Obrist, Virgil
751 SW 121st Ave, Davie 21st-century Audiences Abloh, Arthur Jafa, Francis
• Duane Brant: Sew Organ Miami Beach Convention Center Kéré, Torkwase Dyson and TBRO-0027_art_basel_ad_FN.indd 1 11/15/18 5:01 PM
UNTIL 6 JANUARY 2019 Auditorium, West Lobby Grace Wales Bonner
• Haiiileen: LightScapes, an  Lisa Phillips, Gary Tinterow, 5.30pm Museum Talk: Looking
Illuminating Exhibition about Madeleine Grynsztejn Towards Sustainable Funding
the Wonder of Light and Arthur Cohen Structures in Latin America
UNTIL 28 APRIL 2019 3pm Social Sculpture: Miami Beach Convention Center
Sustainability and Auditorium, West Lobby
YoungArts Campus Social Systems  Gabriela Garza, Alec
2100 Biscayne Boulevard, Miami Design Miami/ Talks Theatre Oxenford, Joel Yoss,
• Education as the  Mikolaj Sekutowicz, María Mercedes González
Practice of Freedom Sarah Faraj, Mollie Dent- and Chris Sharp
UNTIL 9 DECEMBER Brocklehurst, Cyrill Gutsch, 5.30pm Audemars
Nikolai & Simon Haas, Francis Piguet Artist Talk: Tomás
Wynwood Walls Kéré and Claudia Paetzold Saraceno for Aerocene
Goldman Global Arts Gallery, 2520 3pm and 5pm Performance: Oceanfront Between 21st and
NW 2nd Avenue, Wynwood, Miami Abraham Cruzvillegas, 22nd Street Miami Beach
• Alexandre Farto aka Vhils: Ethereal Autorreconstrucción: To  Eva Diaz, Denis Maksimov,
UNTIL 9 DECEMBER Insist, to Insist, to Insist... Olivier Audemars and Elvia Wilk
CHRISTO: COURTESY OF THE PÉREZ ART MUSEUM MIAMI. ABRAHAM CRUZVILLEGAS’S AUTORRECONSTRUCCIÓN: TO INSIST, TO INSIST, TO INSIST… (2018): © PAULA COURT; COURTESY OF THE KITCHEN, NEW YORK

David Castillo Gallery Durban Segnini

420 Lincoln Road, Miami Beach 3072 SW 38th Ave, Coconut
○ Commercial • The Strangeness Will Wear Off Grove, Miami
UNTIL 31 JANUARY 2019 • Large Format: Painting
Alfa Gallery & Abstraction
1627 Brickell Ave, Miami Diana Lowenstein Gallery ONGOING
• Consciousness 98 NW 29th Street, Wynwood, Miami
UNTIL 17 DECEMBER • Lori Cecchini and Dirk Salz Emerson Dorsch
• Onyx: Group Exhibition UNTIL 31 DECEMBER 5900 NW 2nd Avenue, Miami
6 DECEMBER-7 MARCH 2019 • Paradise Summit Miami
Dot Fiftyone Gallery UNTIL 2 FEBRUARY 2019
Bill Brady Miami 7275 NE 4th Ave, Little River, Miami
90 NW 72nd Street, Miami • Pepe Lopez: Root/Route, Fredric Snitzer Gallery
• Austyn Weiner: Mid-Explosion a Personal Cartography 1540 NE Miami Court, Miami
UNTIL 5 JANUARY 2019 UNTIL 10 FEBRUARY 2019 • Alexandre Arrechea:
Uninhabited Order
UNTIL 12 JANUARY 2019
April 4–7, 2019
Givenchy
106 NE 39th Street, Miami
• Naomi Fisher
Opening Preview: April 3
UNTIL 9 DECEMBER
Pier 94
Ideobox Artspace Premier Corporate
2417 North Miami Ave, New York City Partner of AIPAD
Wynwood, Miami
• Florencio Gelabert: Displacements
7 DECEMBER-31 JANUARY 2019

Loewe Foundation
110 NE 39th Street, Miami Tickets & Information: AIPADShow.com
A sketch for Christo and Jeanne-Claude’s Surrounded Islands, in an
exhibition about the 1980s project at the Pérez Art Museum Miami  CONTINUED ON PAGE 24
 24
CALENDAR
Art Basel in Miami Beach
 CONTINUED FROM PAGE 23
• Chance Encounters IV
UNTIL 31 JANUARY 2019
Mindy Solomon Gallery
8397 NE 2nd Ave, Miami
• Ezra Johnson: Floating on Top
UNTIL 12 JANUARY 2019
Nina Johnson
6315 NW 2nd Ave, Miami
• Judy Chicago: Atmospheres
UNTIL 2 MARCH 2019
• Jim Drain: Zapf DingBats
UNTIL 5 JANUARY 2019
Pan American Art Projects
274 NE 67th Street, Little River, Miami
• Carolina Sardi: Space as Form
UNTIL 5 JANUARY 2019
Primary Projects
15 NE 39th Street, Miami
• Carlos Betancourt: Process
Ritual Future Eternal
UNTIL 12 JANUARY 2019
Robert Fontaine Gallery
2075 NW 2nd Ave, Miami
• Time and Timeless
UNTIL 15 DECEMBER
Space Mountain Miami
738 Martin Luther King
Boulevard, Model City, Miami
• Precious Child’s Divinity
7 DECEMBER-18 JANUARY 2019
Stephen P. Clark Center
111 NW 1st Street, Miami
• Art Miami-Dade
UNTIL 15 DECEMBER
THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018
THE ART NEWSPAPER
○ Miami
Art Basel in Miami Beach daily editions
satellites EDITORIAL AND PRODUCTION Head of sales (the Americas):
Kathleen Cullen
Editor (The Art Newspaper):
Alison Cole Advertising sales director:
Aqua Art Miami Henrietta Bentall
Co-editors (fair papers):
1530 Collins Ave, Miami Beach Marketing manager (the Americas):
Emily Sharpe, Helen Stoilas
UNTIL 9 DECEMBER Production editor: Ria Hopkinson Steven Kaminski
Copy editors: Matt Barker, Alison Administrator/book-keeper
Art Africa Miami Arts Fair (the Americas): Anthony Shao
Gunn, Dean Gurden, Andrew
McIlwraith, Robert Spellman Digital development director:
920 NW 2nd Avenue
Designers: Bryan Mayes, Andrew Mikhail Mendelevich
UNTIL 9 DECEMBER System administrator:
Lindesay, Anamaria Stanley
Lucien Ntumba
Photographer: Vanessa Ruiz
Art Miami Picture editors: Katherine Hardy,
Office co-ordinator and customer
One Herald Plaza, NE 14th Street, Miami support: Margaret Brown
Gabriella Angeleti, Winnie Lee
UNTIL 9 DECEMBER Ulm stools (1954) by Max Bill at Martina Simeti’s stand, Design Miami
Contributors: Georgina Adam, PUBLISHED BY U. ALLEMANDI
Gabriella Angeleti, Anna Brady, & CO. PUBLISHING LTD
Context Art Miami Nada Miami 6-9 DECEMBER Margaret Carrigan, David Castillo,
Aimee Dawson, Melanie Gerlis, Gareth US OFFICE:
One Herald Plaza, NE Ice Palace Studios, 1400 North Harris, Martha Lufkin, Emily Sharpe, T: +1 212 343 0727
14th Street, Miami Miami Avenue, Miami Satellite Art Show Anny Shaw, Victoria Stapley-Brown, E: nyoffice@theartnewspaper.com
UNTIL 9 DECEMBER 6-9 DECEMBER 18 NW 14th Street, Miami Helen Stoilas, Sarah Vitale, Christian UK OFFICE:
6-9 DECEMBER Viveros-Fauné T: +44 (0)20 3586 8054
Design and production E: londonoffice@
Design Miami/ Pinta Miami (commercial): theartnewspaper.com
Meridian Ave and 19th Mana Wynwood 2217 NW Scope Miami Beach Daniela Hathaway
Street, Miami Beach 5th Ave, Miami Beach 801 Ocean Drive, Miami Beach TO SUBSCRIBE OR RENEW:
UNTIL 9 DECEMBER UNTIL 9 DECEMBER UNTIL 9 DECEMBER DIRECTORS AND PUBLISHING The Art Newspaper is published
Publisher: Inna Bazhenova 11 times a year (not in August)
Chairman: Anna Somers Cocks T: +44 (0)20 3586 8054
Fair Red Dot Miami Spectrum Miami Art Show E: subscriptions@
Chief executive: Russell Toone
Brickell City Centre, 701 S Miami Ave Mana Wynwood, 2217 NW 5th Mana Wynwood, 2217 NW 5th theartnewspaper.com
Management accountant:
7-10 DECEMBER Ave, Wynwood, Miami Ave, Wynwood, Miami Evgenia Spellman Printed by Southeast Offset, Florida
UNTIL 9 DECEMBER UNTIL 9 DECEMBER Accountant: Matha Murali © The Art Newspaper Ltd, 2018
Fridge Art Fair Associate publisher, fairs and All rights reserved. No part of this newspaper may
be reproduced without written consent of the
Langford Hotel, 121 SE Prizm Art Fair Superfine events media: Stephanie Ollivier copyright proprietor. The Art Newspaper is not
Head of subscriptions and responsible for statements expressed in the signed
STOOLS: PHOTO: COURTESY OF WB FORM
1st Street, Miami Alfred I. DuPont Buillding, 169 1001 Ocean Drive, Miami Beach articles and interviews. While every care is taken by
membership: James Greenwood the publishers, the contents of advertisements are
UNTIL 8 DECEMBER East Flagler Street, Miami UNTIL 9 DECEMBER Head of sales (UK): Kath Boon the responsibility of the individual advertisers
UNTIL 9 DECEMBER
Ink Miami Untitled Art, Miami Beach
Suites of Dorchester, 1850 Pulse Miami Beach Ocean Drive and 12th To subscribe, visit subscribe.theartnewspaper.com
Collins Ave, Miami Beach Indian Beach Park, 4601 Street, Miami Beach @theartnewspaper @theartnewspaper @theartnewspaper.official
UNTIL 9 DECEMBER Collins Ave, Miami Beach UNTIL 9 DECEMBER
 THE WORLD’S LEADING ART FAIR

EXPLORE MODERN AND

CONTEMPORARY ART & DESIGN

MAY 3 – 7
PARK AVENUE ARMORY

GALERIE 1900-2000 THOMAS GIBSON FINE ART KAMEL MENNOUR

ACQUAVELLA GLADSTONE GALLERY VICTORIA MIRO
GALLERIES, INC. GALERIE GMURZYNSKA MNUCHIN GALLERY
APPLICAT-PRAZAN BERNARD GOLDBERG MODERNITY
L’ARC EN SEINE FINE ARTS, LLC EDWARD TYLER NAHEM
BECK & EGGELING MARIAN GOODMAN FINE ART
INTERNATIONAL FINE ART GALLERY HELLY NAHMAD GALLERY
BERGAMIN & GOMIDE OSCAR GRAF NILUFAR GALLERY
BERGGRUEN GALLERY RICHARD GREEN PACE GALLERY
BEN BROWN FINE ARTS GALERIE KARSTEN GALERIE PERROTIN
GREVE AG PETZEL GALLERY
CAHN INTERNATIONAL AG
HAMMER GALLERIES R & COMPANY
GALERIE GISELA CAPITAIN
HAUSER & WIRTH ALMINE RECH GALLERY
CARDI GALLERY
HAZLITT HOLLAND- REZA
CARPENTERS WORKSHOP
HIBBERT GALERIE THADDAEUS
GALLERY
GALERIE MARC HEIREMANS ROPAC
DANSK MØBELKUNST
HEMMERLE ADRIAN SASSOON
GALLERY
GALERIE MAX HETZLER SKARSTEDT
MASSIMO DE CARLO
SPRÜTH MAGERS
DEMISCH DANANT HOSTLER BURROWS
TAFFIN
PATRICK DEROM GALLERY JOUSSE ENTREPRISE
TORNABUONI ARTE
DICKINSON SEAN KELLY
LEON TOVAR GALLERY
DI DONNA GALLERIES TINA KIM GALLERY
DAVID TUNICK, INC.
LAFFANOUR - GALERIE GALERIE KREO
VALLOIS
DOWNTOWN / PARIS SIMON LEE GALLERY
GALERIE GEORGES-
GALERIE BERNARD DULON GALERIE LEFEBVRE PHILIPPE & NATHALIE
CHARLES EDE LÉVY GORVY VALLOIS

DONALD ELLIS GALLERY VEDOVI GALLERY

LISSON GALLERY
AXEL VERVOORDT
EYKYN MACLEAN LUHRING AUGUSTINE
WADDINGTON CUSTOT
FD GALLERY LUXEMBOURG & DAYAN
VAN DE WEGHE
PETER FREEMAN, INC. MATTHEW MARKS GALLERY
WHITE CUBE
FRIEDMAN BENDA THE MAYOR GALLERY
W&K-WIENERROITHER
Image courtesy of Adrian Sassoon, London

GAGOSIAN MAZZOLENI & KOHLBACHER

GANA ART FERGUS MCCAFFREY WILDENSTEIN & CO. INC.
GALERIE DAVID ANTHONY MEIER DAVID ZWIRNER
GHEZELBASH FINE ARTS

TEFAF.COM #tefaf2019

TEFAF_NYS19_AD_TAN_ABMB_241x381mm_Artwork.indd 1 30/11/2018 16:17

 26 THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH DAILY EDITION 6 DECEMBER 2018
COLLECTOR’S EYE
Art lovers tell us what they’ve bought and why
Jorge Pérez
T
he billionaire real
estate developer
and art collector
Jorge Pérez and
his wife Darlene
Boytell-Pérez have
more than 1,000
works by contemporary and Modern
Latin American artists, including
Roberto Matta, Frida Kahlo and
Diego Rivera. Over the last decade,
the Buenos Aires-born collector has
made significant donations to the
Pérez Art Museum, Miami (Pamm),
the Herzog & de Meuron-designed
museum on Biscayne Bay that was
renamed in 2013 in recognition of
his contributions. In 2016, Pérez
gave the museum $10m, along
with more than 200 works of art
from his collection. Last year, he
helped to launch Pamm’s Latin
American and Latinx Art Fund, an
initiative created to support the
museum’s future exhibitions and
programming. Pérez also supports
the National YoungArts Foundation,
the Frost Art Museum at Florida
International University and the
Miami International Film Festival.
THE ART NEWSPAPER: What was
the first work you bought?
JORGE PÉREZ: A lithograph by Man
Ray that I purchased in 1970 with
Save up to 50% on gifts,
subscriptions & renewals*
The art world unwrapped
Quote code FAMB121B at subscribe.theartnewspaper.com
*Subscribe before 10 December to receive The Year Ahead with the January issue
the winnings of a dorm room poker
game in college—a payout that
kicked off my lifelong passion for
collecting. The piece still hangs in
my office, a daily reminder of where
I started and why I collect art.
What is your most recent buy?
We literally bought a piece yes-
terday, a neon called Successful
Woman, Angry Men by Hank Willis
Thomas that will be displayed at
Goodman Gallery’s booth during
Art Basel Miami Beach.
What is your preferred way of
buying art?
I prefer galleries I have an estab-
lished relationship with and who
represent my favourite artists.
Working with local galleries also
allows me the opportunity to
communicate with the artists
themselves, which is priceless.
Sometimes I buy from the auction
houses, especially if it is a piece I
have been following for a while.
What is the most valuable piece
in your collection?
A triptych by Joan Mitchell that is
currently on display at Pamm. The
piece is called Iva and was painted
in 1973, when she started working
out of her large studio in France.
If money were no object, what
would be your dream purchase?
The large Water Lilies by Claude
Monet, at the Musée de l’Orangerie.
Which work do you regret
not buying when you had the
chance?
Diego Rivera’s Calla Lily Vendor
came to auction about 20 years
ago… I lost by one bid!
If your house was on fire, which
work would you save?
Helen Frankenthaler’s Vanilla
or Frank Stella’s Scramble. We
installed both in our master
bedroom. Staring at each from bed
is my new favourite way to relax.
Which of all the works in your
collection requires the most
maintenance?
We have a Niki de Saint Phalle
sculpture right on Biscayne Bay. The
rain and salty air makes round-the-
clock maintenance and attention a
requirement. It brings so much life
and colour to our collection, so it
is worth the trouble. We also have
a work on paper that Raymond
Pettibon and Marcel Dzama collabo-
rated on. It is installed in one of my
office’s hallways and requires con-
siderable care, but is a showstopper.
“We have pieces
in every inch of
the house, even
in the closets”
What is the most surprising
place you have displayed a work?
The walls of my master bathroom
feature many pieces I am fond of.
Truth is, we have pieces in every
inch of the house, from the stair-
wells to the bathrooms and even the
closets. We love to live with art.
Which artists, dead or alive,
would you invite to your dream
dinner party?
I am going to pick ones who have
passed, or else I would have a lot
of artist friends upset by exclu-
sion. Diego Rivera and Frida Kahlo
are two of my dream dinner guests:
intelligent, emotional and wild!
What is the best collecting advice
you have been given?
Don’t buy right away when you see
a work, let it sink in and think of it
for the long-term. With that said, I
only wish that I followed my advice
more often…
Interview by Gabriella Angeleti
Rule
of law
Legal tips for
art lovers
Buyers: diversity
in arts brings out
diverse legal issues
“FOR YEARS, MANY people thought
of Miami primarily for the beach,”
but the “city at the crossroads of
the Americas” hosts a range of art,
from murals by international artists
to vernacular architecture, says
Franklin Sirmans, the director of the
Pérez Art Museum Miami. A fitting
backdrop for the diversity of works
at Art Basel in Miami Beach, where
offerings ranging “from the early 20th
century to contemporary art, and
from oil paintings to digital works,”
can raise different legal questions,
says Frank Lord, a New York art lawyer.
For example, how do you know if
export and import requirements were
complied with on foreign works?
A pre-war piece could be subject
to claims that it was Nazi loot. For
mid-century works—for example by
Warhol or Pollock, “authenticity can be
a big question,” Lord says. Other legal
questions can arise for contemporary
art—if it is a digital work, how many
copies will be sold? What if the physical
media degrades or the technology
becomes obsolete?
To address authenticity concerns,
“representations and warranties as to
authenticity are important to have in
the purchase agreement or invoice,”
says New York art lawyer John Cahill.
“If the artist issues certificates of
authenticity, buyers should be sure to
get the original and not a copy.” Buyers
may also be able to check authenticity
with the artist’s estate, studio, or a
catalogue raisonné.
Buyers should be aware that
allegations of copyright infringement
PORTRAIT: PHOTO: NICK GARCIA, COURTESY OF THE RELATED GROUP
are more common for a 20th-century
or later work, given the explosion in
both consumer and private images.
“Buyers can ask for a representation
and warranty that a work does
not infringe anyone’s copyright or
intellectual property rights,” Cahill
says. If a work is infringing, “it could
be subject to impoundment and
destruction.”
Martha Lufkin
 DOWNTOWN M

DECEMBER 4-9 | 2018 VIP PREVIEW DEC 4

ONE HERALD PLAZA
INTERNATIONAL | DOWNTOWN MIAMI
CONTEMPORARY ON BISCAYNE
+ MODERN BAY
ART FAIRS
A RT MIA MI.CO M | CO N TEX TA RTMIAMI.COM

ART MIAMI PARTICIPATING GALLERIES 313 ART PROJECT Seoul | Absolute Art Lugano | Acacia Gallery La
Habana | Adelson Galleries Boston | Allan Stone Projects New York | AMS-XS Santiago | Amy Li Gallery Beijing | Andrea Schwartz Gallery
San Francisco | Andreas Binder Munich | Arcature Fine Art Palm Beach | ARCHEUS / POST - MODERN LONDON | Art Nouveau Gallery Miami |
ARTIKA Barcelona | ART PARK Seoul | Arthur Roger Gallery New Orleans | ARTITLEDcontemporary Amsterdam | Artscape Lab Miami | Ascaso
Gallery Miami | Avant Gallery Miami | Bernice Steinbaum Gallery Miami | Berry Campbell New York | BOCCARA ART New York | Bowman
Sculpture London | C24 Gallery New York | C. Grimaldis Gallery Baltimore | Casterline|Goodman Gallery Aspen | Catherine Edelman Gallery
Chicago | Caviar20 Toronto | Cernuda Arte Coral Gables | CHASE CONTEMPORARY New York | Christopher Cutts Gallery Toronto | Clark
Gallery Lincoln | Contessa Gallery Cleveland | Cynthia Corbett Gallery London | David Benrimon Fine Art New York | David Klein Gallery
Detroit | DEAN PROJECT Miami Beach | Debra Force Fine Art New York | Diana Lowenstein Gallery Miami | DIE GALERIE Frankfurt | Durban
Segnini Gallery Miami | Eduardo Secci Florence | Emmanuel Fremin Gallery New York City | Erik Thomsen Gallery New York | Espace Meyer
Zafra Paris | Ethan Cohen Gallery New York | FABIEN CASTANIER GALLERY Miami | FREDERIC GOT Paris | Galeria de Arte Ascaso Caracas |
Galeria Freites Caracas | Galería La Cometa Bogotá | Galeria Miquel Alzueta Barcelona | Galería RGR+ART Mexico City | Galerie Barbara von LOCATION
Stechow Frankfurt | Galerie Bhak Seoul | Galerie de Bellefeuille Montreal | Galerie Ernst Hilger Vienna | Galerie Forsblom Helsinki | Galerie
Art Miami + CONTEXT Art Miami Pavilions
Francesco Vangelli De Cresci Paris | Galerie Pascal Lansberg Paris | Galerie Raphael Frankfurt | GALERIE ROTHER WINTER Wiesbaden | Galerie
One Herald Plaza @ NE 14th Street | Miami, FL 33132
Sylvia Kovacek Vienna | Galerie Terminus GmbH Munich | Galerie von Braunbehrens Stuttgart | GALLERIA CA’ D’ORO New York | Gibbons &
Nicholas Dublin | Gilden’s Art Gallery London | Goya Contemporary Baltimore | Grosvenor Gallery London | HELENE BAILLY GALLERY Paris | between the Venetian and MacArthur Causeways on Biscayne Bay
Heller Gallery New York | Helwaser Gallery New York City | HEXTON | modern and contemporary Chicago | Holden Luntz Gallery Palm Beach HOURS
| Hollis Taggart Galleries New York City | HORRACHMOYA Palma | James Goodman Gallery New York | JanKossen Contemporary New York |
Art Miami + CONTEXT Art Miami VIP Previews
Jean Albano Gallery Chicago | Jerald Melberg Gallery Charlotte | Jerome Zodo Gallery London | JONATHAN FERRARA GALLERY New Orleans
| Jonathan Novak Contemporary Art Los Angeles | Keumsan Gallery Seoul | Kuckei + Kuckei Berlin | Landau Contemporary at Galerie
Tuesday, Dec 4 .................................................... 5:30PM – 10PM
Dominion Montreal | Laurent Marthaler Contemporary Zurich | Leeahn Gallery Daegu | LEEHWAIK GALLERY Seoul | Leslie Feely Fine Art New Access for Art Miami, CONTEXT & Aqua Art Miami VIP Cardholders
York | Level London | LICHT FELD Gallery Basel | Liquid art system Capri | Long-Sharp Gallery Indianapolis | Louis K. Meisel Gallery New York & Press as well as Art Basel, Untitled, NADA and Design Miami VIP
| Lyndsey Ingram London | MA2 Gallery Tokyo | Maddox Gallery London | Marina Gisich Gallery Saint Petersburg | Mark Borghi Fine Art New Cardholders
York | MARK HACHEM Paris | Markowicz Fine Art Miami | Masterworks Fine Art Oakland | Maybaum Gallery San Francisco | McCormick Gallery
Chicago | Michael Goedhuis London | Michael Schultz Gallery Berlin | Nancy Hoffman Gallery New York | NanHai Art San Francisco | Nikola Art Miami + CONTEXT Miami Public Hours
Rukaj Gallery Toronto | Olga Korper Gallery Toronto | Omer Tiroche Gallery London | Onishi Gallery New York | OPERA GALLERY Miami | Wednesday, Dec 5 - Saturday, Dec 8...........................11AM – 8PM
Osborne Samuel Gallery London | Pablo Goebel Fine Arts Mexico City | Paik Hae Young Gallery Seoul | Pan American Art Projects Miami | Sunday, Dec 9 ............................................................11AM – 6PM
PLACIDO / SCOGNAMIGLIO Milan | Polka Galerie Paris | Pontone Gallery London | Priveekollektie Contemporary Art | Design Heusden
aan de Maas | PYO Gallery Seoul | RANIVILU ART GALLERY Miami | Richard Levy Gallery Albuquerque | Robert Fontaine Gallery Miami |
Rosenbaum Contemporary Miami | Rosenberg & Co. New York | Rosenfeld Gallery New York | RUDOLF BUDJA GALLERY Miami Beach | Schacky GETTING AROUND
Düsseldorf | Sims Reed Gallery London | Skipwiths London | Sladmore London | Smith-Davidson Gallery Miami | SOUL ART SPACE Busan | VALET PARKING $25 Daily Rate
Sous Les Etoiles Gallery New York | Spanierman Modern New York | SPONDER GALLERY Boca Raton | Sundaram Tagore Gallery New York | TAI Enter NE 14th Street from Bayshore Drive for valet drop-off.
Modern Santa Fe | Tansey Contemporary Denver | taubert contemporary Berlin | Taylor | Graham New York | Tresart Miami | UNIX Gallery (Limited availability.)
New York | Vallarino Fine Art New York | VERTES Zürich | Vertu Fine Art Boca Raton | Vivian Horan Fine Art New York | Waltman Ortega Fine
Art Miami | Wanrooij Gallery Amsterdam | Watanuki Ltd. / Toki-no-Wasuremono Tokyo | Waterhouse & Dodd New York | Wellside Gallery PUBLIC PARKING $20 Daily Rate
Seoul | Wexler Gallery Philadelphia | William Shearburn Gallery St. Louis | William Weston Gallery London | Yares Art New York | Yufuku Omni Garage adjacent to the Fairs | 1645 Biscayne Blvd.
Gallery Tokyo | Zemack Contemporary Art Tel Aviv | Zolla/Lieberman Gallery Chicago
COURTESY SHUTTLE
CONTEXT ART MIAMI PARTICIPATING GALLERIES 3 Punts Galeria Barcelona | 532 Gallery Thomas Daily shuttle service will connect Art Miami+ CONTEXT with the
Jaeckel New York | Able Fine Art NY Gallery New York | Ai Bo Gallery Purchase | Alida Anderson Art Projects Potomac | Analog Contemporary JW Marriott Marquis Miami and the Pérez Art Museum Miami.
Philadelphia | ANNA ZORINA GALLERY New York | ANSORENA Madrid | Art Angels Los Angeles | ART DESIGN GALLERY Guéthary | ArtLabbé
Gallery Coral Gables | Avenue des Arts Los Angeles | Bel Air Fine Art Miami | Bivins Gallery Dallas | Black Book Gallery Denver | BLANK
SPACE New York | Bruce Lurie Gallery Los Angeles | Cantor Fine Art Venice Beach | Cavalier Galleries New York | Chiefs & Spirits The Hague | at the Aqua Hotel | 1530 Collins Ave
CHUNG JARK GALLERY Seoul | Connect Contemporary Atlanta | Contempop Gallery New York | Counterpoint Contemporary Bridgehampton Miami Beach, FL 33139
| Cube Gallery London | Denise Bibro Fine Art New York | Duane Reed Gallery Saint Louis | DURAN | MASHAAL Montreal | Estudio Arte One of the top showcases for emerging art, the boutique fair
Contemporaneo La Habana | ETERNITY GALLERY Miami | FP Contemporary Los Angeles | FREDERIC GOT Paris | Gabriel Wickbold Studio & supports a wide range of young and established galleries with
Gallery Sao Paulo | Galería Alfredo Ginocchio Ciudad de México | Galería Casa Cuadrada Bogotá D.C. | Galeria Contrast Barcelona | GALERIA strong emerging and mid-career artists. www.aquaartmiami.com
LGM Bogotá | GALERIE BENJAMIN ECK Munich | GALERIE ISABELLE LESMEISTER Regensburg | Galerie LeRoyer Montreal | Galerie Matthew
Namour Montreal | Galeries Bartoux Paris | GALLERIA STEFANO FORNI Bologna | Gallery Aurora Yang-san | Gallery G-77 Kyoto | GALLERY Aqua VIP Preview
JUNG Seoul | Gallery Henoch New York | Gallery TABLEAU Seoul | GAMA GALLERY Istanbul | GEMA LLAMAZARES Gijón | Hang Art San Francisco Wednesday, Dec 5 .................................................... 3PM – 10PM
| Hashimoto Contemporary San Francisco | HAVOC Gallery Burlington | HEITSCH GALLERY Munich | Hernandez Art Gallery Milan | Heron
Access for Aqua Art Miami, Art Miami & CONTEXT VIP
Arts San Francisco | HOHMANN Palm Desert | Juan Silió Gallery Santander | K+Y gallery Paris | Kim Foster Gallery New York | Laura Rathe Fine
Cardholders & Press as well as Art Basel, Untitled, NADA and
Art Houston | Lawrence Fine Art Lawrence | Liquid art system Capri | Lucía Mendoza Madrid | MAC Miami Beach | Markowicz Fine Art Miami
| Momentum Gallery Asheville | N2 Galería Barcelona | NIL GALLERY Paris | NINE Gallery Gwangju | Oliver Cole Gallery Miami | Peninsula
Design Miami VIP Cardholders
Fine Art GUANACASTE | Projects Gallery Miami | Rebecca Hossack Art Gallery New York | Rele Gallery Lagos | Retrospect Galleries Byron
Bay, NSW | Rhodes Contemporary London | Ronen Art Gallery Amsterdam | SASHA D espacio de arte Córdoba | Sergott Contemporary Art Aqua Public Hours
Alliance Rancho Santa Fe | Simons Gallery The Hague | Spoke Art New York City | STOA Estepona | TAMBARAN 2 New York | Tauvers Gallery Thursday, Dec 6......................................................... 12PM – 9PM
international Kyiv | ten|Contemporary Nevada City | The Light Gallery Medellin | URGEL | FLECHA Madrid | Vitavie Gallery Toronto | VK Friday, Dec 7 - Saturday, Dec 8 ...................................11AM – 9PM
Gallery Amsterdam | Want Art Gallery New York | Whitewall Contemporary Delray Beach | Woolff Gallery London | Z GALLERY ARTS Vancouver | Sunday, Dec 9 ............................................................11AM – 6PM
ZK Gallery San Francisco
 How do I
see the bigger
picture?
Together we can establish strong, open and long-lasting
relationships. With the expertise and resources of our truly
integrated, global approach. We’re here to bring the
bigger picture into focus.

For some of life’s questions, you’re not alone.

Together we can find an answer.

© UBS 2018. All rights reserved.

BR-Art_Basel_241x381mm_BackCover.indd 1 08/11/2018 09:52