Blog / Trevor’s Top Ten: Art Basel Miami Beach 2010


blog-barkley-twoBy Wendy

Over the course of four days, Trevor Schoonmaker trolled Art Basel Miami Beach 2010, from the main fair at the Miami Convention Center to satellite fairs and Miami-based art museums. Trevor, who is the Patsy R. and Raymond D. Nasher Curator of Contemporary Art at the Nasher Museum, curated “The Record: Contemporary Art and Vinyl,” which is on view through February 6, 2011. Following is Trevor’s list of Top 10 works of art that stood out among thousands (scroll down to see corresponding images). Hurry to see them today or tomorrow, the last days of the fair:

1. Barkley Hendricks, “Brilliantly Endowed,” at Jack Shainman Gallery, New York.
This famous self-portrait (pictured at top) was part of the solo exhibition that Trevor organized, “Barkley L. Hendricks: Birth of the Cool,” which originated at the Nasher Museum in 2008 and traveled to New York, Los Angeles, Philadelphia and Houston.
Trevor’s note: “American masterpiece. Belongs in a major museum collection.”

2. Mounir Fatmi, “Maximum Sensation,” Lombard-Freid Projects, New York.
The Moroccan-born artist, who lives and works in Paris, embellished skateboards with prayer rugs in a humorous, deep and political installation that is both spiritual and secular.
Trevor’s note: “This smart, playful installation gave me new energy at the end of a long day.”

3. Christian Marclay, “White Album with Two Black Dots,” at White Cube gallery, London.
London- and New York-based artist Christian Marclay made a drawing directly on a copy of The Beatles’ White Album.
Trevor’s note: “As if the White Album could get any better! This may be Christian’s best album cover work.” (It sold on the first day of the fair.)

4. William Cordova, “Untitled,” at Arndt, Berlin.
The artist, born in Peru, divides his time mostly between Miami and New York. He created this work on paper with intricate details. Miniature objects in the drawing include stacks of records, speakers, microphones, books, drums and other belongings.
Trevor’s note: “William’s incredible attention to detail draws you in. His recurring motifs function as a visual vocabulary.”

5. Lynette Yiadom-Boakye, “The Counter,” at Jack Shainman gallery, New York.
This young artist, born and raised in London, makes lush oil portraits of fictional figures.
Trevor’s note: “Her expressive brush strokes bring to life her imaginary characters. They’re really like psychological portraits.”

6. Los Carpinteros, “Conga Perla,” at Sean Kelly Gallery, New York.
The Havana-based collective (The Carpenters) created this sculpture of a melting conga that is fun, clever and surprisingly simple.
Trevor’s note: “Soft-serve conga!”

7. Paul Pfeiffer, “Caryatid (red, yellow, blue),” at Paula Cooper gallery, New York.
This video tryptich shows three soccer players engaged in collisions on the field, alone in their contortions because the artist removed, or erased, the ball and opposing players.
Trevor’s note: “His isolation of the player brings out the theater in football.”

8. Fernanda Fragateiro, “(Not) Reading Rainbow Colors,” at Arratia Beer, Berlin.
In this sculpture, the Portuguese artist mounted dozens of paperback books, all leftist literary texts from 1960s Germany, in a column on the wall. The colors of the book covers make a rainbow. She trimmed the sides of each book so the black text is visible as a pattern.
Trevor’s note: “She shows us Germany’s intellectual and aesthetic history through a beautiful modernist lens.”

9. Mark Bradford, “The Throat Would Let Go,” at Sikkema Jenkins, New York.
The L.A.-based artist’s large-scale abstract collage is made from different materials, including paper posters and signs removed from the streets of south central Los Angeles, which he tears, bleaches, sands and builds up in layers to create dimension.

Trevor’s note: “Mark continues to make great work. He even just pressed a record, which I’m eager to hear.”

10. Dave Muller, “(Fill) (In) (Blank),” at Blum and Poe, Los Angeles.
This work consists of four panels: works on paper, each about seven feet tall, of “portraits” of record albums in the artist’s collection. Muller, who lives and works in San Francisco, faithfully depicted every flaw in the cardboard album covers with acrylic paint that, on his brush, behaves more like watercolor.

Trevor’s note: “His attention to detail is almost devotional. By meticulously reproducing the wear and tear on the albums he reveals a personal connection and love for each.

Dario Robleto, “Lincoln’s Melancholy,” D’Amelio Terras gallery, New York.
This drawing was not on view, but the gallery pulled it out of back storage for Trevor to see. (Maybe it is hanging at the fair over the weekend?)
The work bridges the Houston-based artist’s interests in Americana/folk art/history and vinyl records.
Trevor’s note: “It’s a gorgeous work and a rare opportunity to see Dario’s hand at drawing.”

IMAGES: In order of Trevor’s Top Ten List, captured from iPhones and cameras carried by members of the Nasher Museum group.




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