APAA’s Top Picks from Art Basel Miami Beach 2024
© Fred Tomaselli 2024. Courtesy the artist and James Cohan, New York. Photo by Phoebe d'Heurle
Art Basel Miami Beach is this week, and ten APAA advisors have highlighted their must-see works on view. The fair opens with VIP Preview Days today (December 4th) and tomorrow (December 5th), with public opening hours Friday, December 6th through Sunday, December 8th. Learn more here.
Thank you to our advisors for sharing their top picks from this year’s Art Basel Miami Beach!
Greta Schodel, Untitled (Serie Scritture), 2024
“I am intrigued by stones and in general materials that come from nature. Here the artist is respectful of the material, is gentle and adds another dimension to the stone. It is like a prayer.”
China ink and gold leaf on marble
12.5 x 9.5 x 9.5 cm
Presented by Richard Saltoun Gallery
Rebecca Morris, Untitled (#22-24), 2024
“My pick for this year’s Art Basel Miami Beach is Rebecca Morris’ Untitled (#22-24), presented by Bortolami Gallery. Morris’ works embrace abstraction with an emphasis on pattern, gesture and texture, emphasizing the visibility of the artist’s hand. Her practice is based on experimentation with an array of techniques, including erasure, dripping, and spray painting, applied to canvases lying flat on the floor in an active, physical process. Morris also employs recurring motifs of atomization, patterns, grids, checkerboards, and painted borders alongside a characteristic use of color that focuses on metallic hues and saturated tones. In Untitled (#22-24), we see Morris’ distinctive use of gold to form both a jagged, undulating border around the painting, along with a vertical line bisecting the center of the work. The pigment itself moves from a rich, dusty violet in the upper right corner, to a speckled lilac towards the bottom of the piece. Morris’ experimentation with dripping and spray painting is evident in the pale peach and grape spots splattered across the entirety of the canvas. Her inventive mark-making and use of pigment creates a dynamism that is fresh, spontaneous and invigorating. Abstraction thrives in her capable hands!”
Oil and spray paint on canvas
65 x 65 inches
Presented by Bortolami
Jordan Nassar, Whence Four Rivers, I - VI, 2024
“When I first encountered Jordan Nassar’s work, I was immediately struck by both the installation’s presentation and the materials used. Nassar’s hand-embroidery beautifully reflects the tradition of Palestinian tatreez, or cross-stitch. The intricate precision in the craftsmanship and design is truly impressive, creating an expansive panoramic horizon. Experiencing the work in person invites viewers to appreciate it from a distance while also drawing them in to examine the fine details up close.”
37.5" x 52.5" each (95.25 x 133.35)
Hand embroidered cotton on cotton
Presented by Anat Ebgi
Edmund de Waal, tell it slant, 2024
”Edmund de Waal’s tell it slant captivated me with its brooding elegance and materiality, making it a standout pick at Art Basel Miami Beach. The muted palette and subtle variations heighten the drama of the fragile porcelain, platinum, and silver forms, creating a compelling interplay of light and shadow. The matte shelf functions as both void and frame, amplifying the work’s quiet intensity. De Waal, often inspired by poetry, imbues his compositions with a layered narrative of hidden words. Inspired by 19th century poet Emily Dickinson’s poem Tell all the truth but tell it slant, this work embodies the delicate balance between silence, language, and form.”
Porcelain, platinum, silver, steel, wood, and glass
37 × 48-7⁄16 × 5-1⁄4 in. (94 × 123 × 13 cm)
Presented by Gagosian
Lee Lozano, Untitled, 1963
"I find Lee Lozano a fascinating artist, surrounded by an air of mystery, largely due to her withdrawal from the art world after a career of just over a decade. While her paintings captivate with their abstract exploration of emotional and conceptual themes, her true pièce de résistance was her withdrawal itself—a radical act that transformed her absence into art, turning her life into the ultimate conceptual statement. This profound sacrifice to preserve her integrity and freedom, continues to inspire artists who prioritize authenticity and critique over market-driven narratives.
This work is from her early Tool Paintings series, where the hammer serves as a recurring motif, rich with meaning. It embodies construction and deconstruction, power and force, while simultaneously challenging traditional gender roles. As a traditionally masculine object, the hammer allowed Lozano to explore issues of sexuality and identity.
I particularly admire the power of this raw, dynamic depiction, which reflects her fascination with energy and motion. "
49 5/8 x 49 3/9 inch or 126 x 125,4 cm
Oil on canvas
Presented by Karma
Fred Eversley, Untitled (cylindrical lens), 2024
“Fred Eversley (b. 1941, New York) had his first solo exhibition at the Whitney Museum of Art in 1970 after leaving his job as an engineer for NASA to pursue art full-time in 1967. For over five decades, the artist has worked at the intersection of science and art, using groundbreaking materials (such as resin) and parabolic forms to explore the sculptural properties of light. At Art Basel Miami, visitors will have the opportunity to experience firsthand how his cylindrical lenses dramatically shift depending on variations in light intensity, color temperature, direction, and the viewer's angle relative to both the light source and the work itself. I continue to be impressed by Eversley’s unwavering commitment to scientific research and artistic innovation, which has lead to dynamic sculptural forms that are also exquisite objects of beauty.”
2-color, 2-layer cast polyurethane
95 3/8" x 28" x 14"
Presented by David Kordansky Gallery
Fred Tomaselli, A Year in One Day, 2024
“A must see for Miami Art Basel is Fred Tomaselli’s A Year in One Day where the natural beauty of his work is ever apparent and his intimacy with nature ever present. Riffing on a previous work inspired by the late Robert Irwin’s Central Garden, Tomaselli focuses on his own garden including all the flowers that bloomed in one year. The artist’s recent installation of Wild Things at the 14th Street subway station in Manhattan broadcasts his ability to capture our imagination publicly and in this work he shares with the viewer the intimacy of his own private garden.”
60 x 60 in.
152.4 x 152.4 cm
Acrylic, photo collage, leaves and resin on wood panel
© Fred Tomaselli 2024. Courtesy the artist and James Cohan, New York. Photo by Phoebe d'Heurle
Presented by James Cohan Gallery
Georgia O’Keeffe, Untitled (Green Apple on Dark Plate), 1922
“The composition Untitled (Green Apple on Dark Plate) by Georgia O’Keeffe is the perfect jewel box painting that rarely comes to the private market. Painted in 1922, O’Keeffe is already a profoundly accomplished, respected, and admired artist. Starting in 1916, the female artist is represented by titian Alfred Stieglitz at 291 Gallery. O’Keeffe would subsequently marry Stieglitz two years later. The still life subject of the apple appears in 9 paintings between 1920-1922 including the artwork being presented by Alexandre Gallery. Four of these paintings are in major American Museums. It is rare to see such a classic, elegant and stirring example of the iconic female artist’s work available in the marketplace.”
8 x 7 inches
Oil on canvas
Presented by Alexandre Gallery
Neil Jenney, Morning, 2022 and Evening, 2022
“To quote Roberta Smith who said it very well, Jenney's work, ‘Connotes an art that combines the dead-end figuration of Pop, the dead-end materiality of Minimalism, and a sense of humor that is, if not dead-end then sharply deadpan.’ For me, Jenney's artworks have a unique architecture and conceptual beauty with themes commenting on the landscape, and environmental threads. What could be more timely. Excited to see this diptych at Venus.”
Acrylic on canvas, in artist's frame
18 x 32 x 3 1/4 inches
Presented by Venus Over Manhattan
Sanya Kantarovsky, Circle, 2024
“A striking new large scale work by Kantarovsky who continues his exploration of subconscious emotions with a refined presentation on the canvas. His sophisticated use of colour and handling of the paint create an atmosphere of a beautiful, uneasy dream that speaks to everyone at some level. A must see at Art Basel Miami this year.”
102 3/4 x 78 3/4 inches; 261 x 200 cm
Oil on canvas
Presented by Michael Werner Gallery
Hayley Barker, Wingate Window, 2024
“A modern Bonnard, brilliant, relevant, modern. It is what I like about art, it gives me emotion.”
Oil on linen
207.3 x 169.2 cm (framed)
81 5/8 x 66 5/8 in
Presented by Ingleby Gallery
