Though it may seem like ages ago that we scoured the booths during Art Basel Miami week, the reality is that there is never a dull moment in the art world. With all the art fairs, parties, job shuffling (think Sotheby's and Christie's), presidential politics, Zika scare and exhibitions safely in the rear view mirror for another year, here's a rundown of some artists we will be watching in the year to come.
Andrea Bowers, Don't Touch Me, 2016, Cardboard and LED lights
In Susanne Vielmetter's booth at Art Basel Miami, you couldn't miss the work that Andrea Bowers created after the emergence of the Access Hollywood hot-mic recording of then-candidate Donald Trump bragging about sexually assaulting women. "Don't touch me," reads the sign, with electric lights inside cardboard letters in reference to the typical material for signs at protest marches.
Andrea Bowers, Dream, Rise and Organize, 2016, Cardboard and permanent marker
Evan Holloway, Tall Weed, 2016, Steel, cardboard, CelluClay, Cel-vinyl, and acrylic
The sculptural work of Evan Holloway is based on his belief in the simple and fundamental transactions between people and objects. This means that his sculptures are not just abstractions or decorations, but are to be understood as a commentary on contemporary society and its values. Holloway uses the vocabulary of modern sculpture for rigorous formal experimentation; he constantly plays on allusions and materials.
Evan Holloway, Elm-like Key, 2016, oil enamel on bronze
His questioning of perception and representation is also explored through his love of craftsmanship and through his comments on 'style' or 'taste'. His work is characterized by the playful use of color and the mathematical and geometric systems that he uses to disrupt and re-order the associations typically attached to them.
Evan Holloway lives and works in Los Angeles. His works have been featured in many public collections, including the Whitney Museum of Contemporary Art, New York; Hammer Museum, Los Angeles; LACMA, Los Angeles; MCA, Chicago; MOCA, Los Angeles and the Smithsonian Hirschhorn Museum, Washington DC.
José Lerma produces layered, exuberant mixed-media paintings, combining art-historical and biographical references into compositions that are simultaneously abstract and figurative, humorous and dark, chaotic and controlled. Drawing inspiration from his personal history, as well as historical figures and events, Lerma incorporates research and an inventive approach to the traditions of painting and portraiture. Using varying methods and alternative materials, Lerma's gestures and depictions continue to unfold upon investigation--what appear to be bold, expressionist gestures slowly reveal themselves to be meticulous collages of silicone. Vibrating acrylic surfaces come into near focus as infinitely layered drawings.
Jose Lerma, Cafresi, 2016, acrylic and pigmented silicone on canvas
John McAllister, powdery galactic wandering stars, 2016, oil on canvas
John McAllister has won acclaim for his neon-hued and heavily patterned paintings of interiors, landscapes, flowers, and still lifes of the Post-Impressionist era, evoking work by Henri Matisse, Pierre Bonnard, and Georges Braque. Inspired by old photographs of Bonnard's studio, which was scattered with postcards and other memorabilia, McAllister makes witty paintings of images of paintings, playing both the role of the artist and the viewer. He toys with illusions of three-dimensionality, but vibrant colors and decorative patterns prevail, reinforcing the flatness of the picture plane.
Interesting to note: McAllister found inspiration in the early-modernist works he admired in museums, especially New York's Metropolitan Museum of Art, where, as a night guard from 2000 to 2004, after college, he had plenty of time to look at masterpieces.
McAllister's work currently resides in the Rubell Family Collection and the Hammer Museum, LA.
John McAllister, supple blares flourishing, 2016, oil on canvas
Rosha Yaghmai is primarily a sculptor experimenting with both found and cast materials. Her work brings together West Coast Conceptualism with an LA slant. Yaghmai's practice is rooted in psychedelic concepts, exploring themes of transformation and alienation. She uses foreignness and estrangement as a way to open up the possibility of a connection to other temporalities. Rosha Yaghmai lives and works in Los Angeles, California.
Rosha Yaghmai, Smoke Screen (white awning), 2016, cast fiberglass and acrylic
The elements of Los Angeles-based Ramsey Dau's artworks look like they've been torn from old encyclopedias, or found in a utility drawer, or cut from Memphis material libraries, then assembled into collages that blend the modern and the primitive. But sometimes looks can be deceiving - they're all paintings, photorealistic and assembled almost entirely from Dau's imagination, save for some of the objects he depicts that are inspired by images of actual historical artifacts.
Ramsey Dau, Unwelt, 2016, acrylic on wood panel
Merging primitive patterns and mark-making with a modern, minimalist aesthetic, Ramsey Dau paints in a style that he calls "Future Primitivism." Dau was initially inspired by a book from the 1960s about African sculpture; he then began incorporating the cutout pages and black-and-white images into his paintings and collages. He originally pasted pages onto canvas, but now faithfully reproduces photographs by hand with paint. Dau creates these hyper-realistic "painted collages" that challenge the viewer to discern their meaning and mode of creation. His compositions draw heavily on his background in graphic design and rely both on chance and focused intention.
Ramsey Dau, Dunkle Materie (small), 2016, acrylic and polyurethane on panel
Sarah Crowner is a painter whose distinct approach emerged from her impatience with the medium. She is known for canvases in which each color and form is comprised of a different piece of cloth, attached via stitches. Creating dynamic compositions of flat, colored triangles, arcs, and polygons, her blending of materials and textures is so deft that the viewer can only distinguish between painted plane and dyed fabric up close, undermining traditional distinctions between craft, labor and fine art. Crowner sees an element of theater in her paintings, as either backdrops or diagrams for performance.
Sarah Crowner, Sliced Stems 2, 2016, acrylic on canvas, sewn
Evan Robarts' "mop" paintings are made as you would guess, by the artist "swabbing the deck" of the linoleum-covered panel with a mop on the floor, leaving his boot prints as he backs up to complete the job. The plaster is dragged around the surface leaving both mundane and dynamic areas of white, a record of the task and its motions. Besides the pared-down, material-driven and intellectualized aspect to these works, there is also a strong personal, warm and even humorous component as well that for Robarts is particularly important. Robarts was drawn to these materials from personal experience and familiarity. After graduating from Pratt in 2008, Evan worked as a superintendent for a run-down building in Brooklyn that was being superficially fixed up for sale. He did a lot of mopping, and duties like hosing down the sidewalk and repairing hot water heaters, menial tasks which have found their way into his work.
Evan Robarts, Tenant 5D, 2016, Hydrocal on vinyl tile mounted to wood panel