THE ART NEWSPAPER Art Basel in Miami Beach: 3-4 December 2016
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○ Download our FREE daily app THE ART NEWSPAPER Art Basel in Miami Beach: 3-4 December 2016 ○ Such bad taste ○ Jill Magid ○ This weekend ○ Basquiat So much for elegance… our Why the artist turned the The talks, events and must- pick of the works at Art Basel in The story behind Jean-Michel ashes of the great architect Luis see shows in Miami, starting Miami Beach that no one could Basquiat’s memorial to a friend Barragán into a diamond ring with Jannis Kounellis at the say are in the best possible taste killed by the NYPD Pages 16-17 >> Margulies Collection Page 2 >> Pages 9-10 >> Pages 21-26 >> Climate change is the hot topic As waters rise, Miami is on the front line of global warming One of the most curious objects at Art Basel in Miami Beach is a glow- ing yellow vitrine that looks fresh from a mad scientist’s laboratory. Inside, a stream of water pounds against a rock, eroding it to noth- ing. The Los Angeles-based artist Carl Cheng created these machines Natural erosion occurs in Carl Cheng’s 1969 in 1969 “to represent how nature machines, on Cherry and Martin’s stand We sent the Magnum photographer Martin Parr out and about this week to capture the arty party scene in Miami—and works” in a future that could be ○ even he had trouble finding a cab. Turn to pages 12-13 for more of his South Beach snaps completely manmade, says Mary plan to address rising tides at the Leigh Cherry of the gallery Cherry artist’s former compound in Cap- and Martin, which is offering two tiva, Florida. According to a recent of the works for $30,000 each. report, a significant portion of the Outside the Convention Center, property is likely to be underwater Unseen Basquiats make debut in Miami that future has already arrived. The by 2045. “We may move buildings rise in the sea level in South Flor- off the ground… we have to look at A controversial collection of lifestyle,” he says. “Works of art The works ida has tripled in the past decade, what is feasible,” says Ann Brady, more than 30 works created by were often exchanged by artists include Untitled eroding Miami Beach’s shoreline the director of the foundation’s Jean-Michel Basquiat when he for drugs.” (Gray face with so quickly that the city has been residency programme. was homeless and possibly using Diaz, himself a former addict, yellow and red) importing sand to restore it. Although these threats can seem drugs are on public display for the says that the Basquiat estate “is (detail, around South Florida’s cultural insti- remote from inside the comforta- first time, at the X Contemporary averse to anything drug-related” 1979-81) tutions are also reckoning with bly dry confines of the fair, some satellite fair (until 4 December). and will “probably disregard the climate change. George Lindemann, works offer potent reminders. The group of paintings, drawings works”. The collection has not didn’t have a studio, which makes the board president of the Bass, says Maya Lin’s Silver Pearl (2015), and collages was created between been authenticated because the them more authentic, in my that environmental concerns have an outline of China’s Pearl River 1979 and 1981 in the Manhattan Basquiat authentication commit- view,” Diaz says. According to informed its acquisitions strategy. cast in recycled silver, is part of a apartment of Basquiat’s friend tee was disbanded in 2012, says the curator, Lichtenberg sold the “Clearly, we are not the institution series about endangered water- Lonny Lichtenberg, a well-known a spokesman for the fair. The es- works to a friend three decades to collect delicate watercolours on ways. (Pace sold the work, priced drug dealer also known as Nep- tate did not respond to requests ago and they have only been seen paper,” he says. The Bass has perma- at $150,000, to a US collector.) Less tune, King of the C (cocaine). for comment. by a handful of people. They are nently installed Ugo Rondinone’s subtle is Doug Aitken’s 2012 light Al Diaz, the curator of the The works, many of them available through Brooklyn’s Miami Mountain (2016) on its front box at Berggruen gallery ($250,000), show, who was part of the Samo sketches of heads, were created Bishop Gallery; prices range from lawn; the stone totem could survive in the shape of the word “End” graffiti collective along with using cheap materials such as $150,000 to $3m. a tornado or flood, Lindemann says. with an aerial photograph of an Basquiat, says that the works tell pencil and crayon on paper or Anny Shaw Meanwhile, the Robert Rauschen- ○ a hidden story. “There were a lot rough wooden blocks. “They were • For a feature on Basquiat’s work MIAMI: © MARTIN PARR/MAGNUM PHOTOS. CHENG: © VANESSA RUIZ. BASQUIAT (WORK): NICOLE NEENAN; COURTESY OF THE BISHOP GALLERY. BASQUIAT (PORTRAIT): LEE JAFFE/GETTY IMAGES LEE (PORTRAIT): BASQUIAT GALLERY. BISHOP THE OF COURTESY NEENAN; NICOLE (WORK): BASQUIAT RUIZ. VANESSA © CHENG: PHOTOS. PARR/MAGNUM MARTIN © MIAMI: berg Foundation is drawing up a Continued on p4 of drugs and a dark side to that done at a time when Basquiat Defacement, see pp9-10 U. ALLEMANDI & CO. PUBLISHING LTD TURIN / LONDON / NEW YORK / PARIS / ATHENS / MOSCOW / BEIJING Roots and Branches New York, Until 23 December Fondation London, Until 7 January THE ART NEWSPAPER ART BASEL IN MIAMI BEACH WEEKEND EDITION 3-4 DECEMBER 2016 9 FEATURES Black Lives Matter Basquiat’s homage, created in 1983, goes on show—and is more topical than ever. By Anny Shaw n September 1983, deeply shaken by the fatal beating of his friend and fellow street artist Michael Stewart while under arrest, Jean- Michel Basquiat went to Keith Haring’s studio at 600 Broadway and scrawled his reaction directly onto the wall. The painting, which Haring named Defacement (The Death of IMichael Stewart), depicts two ruddy-faced NYPD offi cers wielding bright orange batons in the face of a black fi gure. “At the time, Basquiat said ‘it could have been me’. Michael’s death was so traumatic he felt paralysed by it,” says the activist and writer Chaédria LaBouvier, who has organised an exhibition dedicated solely to Defacement at her alma mater, Williams College in Massachusetts (until 29 January). “Basquiat’s last live-in girlfriend Kelle Inman said that Defacement was a painting that really touched him. They were still talking about Michael Stewart fi ve years after his death.” There has been little scholarly research on Defacement, largely because it has only been exhibited twice before: in 2001 and again in 2014-15. It is currently on show in The artist’s Defacement (The Death of Michael Stewart) (1983) is a tribute to his friend and fellow artist, who died while under arrest the recently refurbished reading room at Williams College Museum of Art (WCMA) and is the subject of a new course being taught at the liberal arts university by LaBouvier in January. “There’s a dearth of scholarship on Basquiat in general; his work didn’t BASQUIAT fi t comfortably into the categories that were created for American art in the early 1980s,” says Jordana Moore Saggese, a professor of visual studies at California College of the Arts who spoke at a symposium about Defacement on 10 November. “Around 90% of his works are versus the NYPD in private collections, which also makes research diffi cult.” Another personal collection of around 30 works, created by Basquiat between 1979 and 1981 in Nina. Despite the age gap, she was a close the Manhattan apartment of his friend friend of the New York artist and still owns Lonny Lichtenberg, are on show at Miami’s the work today. “Keith specifi cally left it to satellite fair, X Contemporary, for the fi rst Nina; he thought she would know what to time. Meanwhile, there are plenty of works do with it,” LaBouvier says. “Nina grew up by Basquiat on show at Art Basel in Miami looking at this painting every day.” Beach at galleries including Van de Weghe, LaBouvier also grew up with Basquiat’s Gagosian and Helly Nahmad, who sold one work: her parents were not wealthy painting for $15m this week. collectors, but kept three of his drawings in the family home. She has been researching “We’re in this together” the artist’s life and work since she was Defacement has always been kept in an 19. The current project, however, is intimate environment. Haring cut the particularly poignant for LaBouvier, whose work from his studio wall around a year brother Clinton Roebexar Allen was shot after it was painted and hung it over his dead by Dallas police in March 2013. The bed in an elaborate, baroque-style frame same month she co-founded Mothers sourced by Yoko Ono’s then boyfriend, the Against Police Brutality and has since interior designer Sam Havadtoy. The work become a vocal proponent of the Black remained in Haring’s possession until he Lives Matter movement. died in 1990, when it was given to the Italian ○ DEFACEMENT: © THE ESTATE OF JEAN-MICHEL BASQUIAT/ADAGP, PARIS/ARS, NEW YORK, 2016. BASQUIAT: LEE JAFFE/GETTY IMAGES LEE BASQUIAT: 2016. YORK, NEW PARIS/ARS, BASQUIAT/ADAGP, JEAN-MICHEL OF ESTATE THE © DEFACEMENT: curator Francesco Clemente’s daughter, Jean-Michel Basquiat paints in St Moritz, Switzerland, in 1983 Continued on p10 26 THE ART NEWSPAPER ART BASEL IN MIAMI BEACH WEEKEND EDITION 3-4 DECEMBER 2016 WEEK AT A GLANCE Art Basel in Miami Beach: 30 Nov-4 Dec 2016 X Contemporary THE ART NEWSPAPER Jason Nobu Hotel Miami Beach, Art Basel in Miami Beach ○ Hackenwerth’s 4525 Collins Avenue, Miami Beach Taking place Aviary (2014) daily editions UNTIL 4 DECEMBER at the Solomon EDITORIAL AND PRODUCTION around town R.