Faith Wilding at Art Basel OVR: Miami Beach Miami Beach, 04 December 2020
Faith Wilding's eco-feminist art practice was born out of her MFA at the California Institute of the Arts, from where she established herself as a forerunner of the feminist art movement of Los Angeles in the 1960s.
The artist's bold colours and intricate biomorphic line drawings explore the female form and the natural world.
In Hildegard and I, showing with Anat Ebgi at Art Basel OVR: Miami Beach, suggestions of the life cycle include a figure in the foetal position, encased in a cell, surrounded by creatures that appear half animal, half human.
Main image: Faith Wilding, Hildegard and I (1986). Mixed media on paper. 55.9 x 76.2 cm. Courtesy the artist and Anat Egbi.
'Across Yiadom-Boakye's work, resistance and rebellion are central—an approach to painting that resonates profoundly at a time when the Western art historical canon is being necessarily upended, revised, and challenged.'
Eleonore Koch at Modern Art and Mendes Wood DM London, 28 November 2020
Modern Art and Mendes Wood DM have teamed up to produce two concurrent exhibitions by German-Brazilian artist, Eleonore Koch.
Koch studied under Alfredo Volpi in São Paulo but moved to London in 1968, the year this work was painted.
Disenchanted with the strictly abstract style of her Brazilian Constructive contemporaries, Koch found solace in the similarly pared-back figurative work of British artists, such as Patrick Caulfield and David Hockney.
Her paintings are warm, atmospheric spaces that generously allow small detailed objects—or figurative elements—the room to be transformed into strange stand-alone forms floating mysteriously within pools of rich colour.
Magically poetic and eerily dreamlike, these works seem to exist in another time or place.
Main image: Eleonore Koch, Untitled (1968). Tempera on canvas. 59.5 x 82 cm. Courtesy Mendes Wood DM and Modern Art.
Henni Alftan at OVR: Miami Beach Miami, 25 November 2020
Henni Alftan is a favourite painter of ours and showing this sublime new painting with Karma OVR: Miami Beach.
Born in Helsinki, Finland, Alftan is now based in Paris. Her pared-back paintings are figurative but restrained, and often feature close-ups or cropped compositions reminiscent of photographs.
Areas of flat warm colour and her playful but delicate treatment of light and texture make these images so seductive. She possesses many of the best qualities of an abstract painter, whilst simultaneously teasing us with fragments from her lived experience.
Images: Henni Alftan, Midnight (2020). Oil on canvas. 146 x 114 cm. Courtesy Karma.
Matthew Barney at Sadie Coles HQ London, 24 November 2020
This exquisite graphite and gouache work on paper is one of 20 works in a series from Matthew Barney's solo exhibition Cosmic Hunt at Sadie Coles HQ.
A response to the 2018 film Redoubt, these detailed works depict the wild landscape of the Sawtooth Mountain region of Idaho, where the film is set, and nearby to the artist's hometown.
Each graphite work intricately depicts characters and imagery from the film, which sees a reinterpretation of the ancient myth of Dian and Actaeon. Rendered in a range of hues—magenta, ochre, blue, and orange—the colours evoke the sky, fires, and wilderness of the mountains seen in the winter months.
Cosmic Hunt is showing at Sadie Coles HQ in London at 1 Davies Street from 17 November 2020 to 16 January 2021.
Sanam Khatibi at rodolphe janssen Brussels, 19 November 2020
Born in Tehran, yet raised and currently living in Brussels, Sanam Khatibi's paintings take influence from Northern Renaissance painting, in particular the work of Hieronymus Bosch.
Atlantic is included in Khatibi's current exhibition Cyanide at rodolphe janssen, which presents 21 miniature vanitas paintings. Common symbols from the Golden Age genre include flowers, skulls, and butterflies—here re-presented by Khatibi to reflect on the empty pursuit of goods and pleasures, as well as the transience of life.
Removed from their original function, Khatibi renders these objects as ornamental, their details spotlighted and almost floating amidst this overwhelmingly dark vastness.
Main image: Sanam Khatibi, Atlantic (2020). Oil on panel. 21 x 31 cm. Courtesy rodolphe janssen.
Salman Toor at the Whitney Museum of American Art New York, 18 November 2020
One of the most exciting new figurative painters to have emerged over the last few years is Lahore-born New Yorker, Salman Toor, whose solo show at the Whitney Museum of American Art recently opened in New York and will be on view until 4 April 2021.
Toor's interior scenes—often rendered in his unmistakable emerald green tones—depict imagined narratives heavily influenced by his own experiences as a queer Asian man living in New York. Intimate scenes of lovers kissing or talking over glowing iPhone screens combine with theatrical poses on the dance floor to conjure up an alluringly whimsical atmosphere.
Toor's painterly mark-making and flair for figurative composition, together with his figures' engaging facial expressions imbue these narratives with a sense of nostalgia and emotional intensity; reflecting a depth of understanding and appreciation for Expressionist and Impressionist painters from the past.
Main image: Salman Toor, The Bar on East 13th (2019). Courtesy the artist and Perrotin. Photo: Guillaume Ziccarelli.
Tillmans makes abstract works that challenge pre-existing hierarchies around photography. He constructs cameraless photographic images via a process of exposing photosensitive paper to light sources.
In the case of his 'paper drop' series, Tillmans photographs curved sheets of photographic paper. In these works, the sheet of photographic paper becomes sculptural, transformed into a voluminous, almost liquid state.
Tillmans does not view his abstract work as separate from his figurative output, and their power lies in the startlingly personal sensation elicited from something so abstract.