Lisson Gallery’s presentation at the 2024 edition of Art Basel Miami Beach highlights new painting, sculpture, photography and textile works by artists across its roster, as well as a selection of important historical pieces, including works by Kelly Akashi, Olga de Amaral, Cory Arcangel, Tony Cragg, Carmen Herrera, Oliver Lee Jackson, Josh Kline, Anish Kapoor, Lee Ufan, Leiko Ikemura, Sean Scully, Tunga, Hiroshi Sugimoto, and more.
Presented for the first time is a new oil on canvas work by Lee Ufan from his Response series of paintings. Rooted in Lee’s anchoring of his works to the moment of ‘encounter,’ these paintings are defined by their singular sweeps of acrylic – a moment in time and space when the brush marks the canvas. Response (2024) depicts a gently waved brushstroke in a gradient from rich umber through to the palest pink.
Coinciding with Hiroshi Sugimoto’s solo exhibition ‘Form is Emptiness, Emptiness is Form’ at Lisson in Los Angeles, the gallery brings two large-scale photographic prints by the artist to Miami Beach. Opticks 261 (2018) captures the myriad of colors found in split light travelling through a Newton’s Prism, while Tyrrhenian Sea, Scilla (1993) depicts equal sections of sea and sky, offering a view on the very essences of life in water and air.
Read moreCarmen Herrera’s Cyma (1971) sees two red rectangular sections at each side of the canvas separated by a bold, white ‘T’ shape. This era in Herrera’s painting practice can be characterised by its reluctance to follow any principal art movements of the time, instead seeing Herrera launch into new forays in her paintings that were mostly composed in bold primary colors alongside white or black. Ahead of her upcoming solo presentation at Lisson New York, tempera and oil paintings on jute by Leiko Ikemura will also be on view.
Elsewhere, in Olga de Amaral’s Alquimia XXVII (1985), strands of intricately layered golden linen, gesso and acrylic strands cascade from the wall, while Incident Upwards (2022) by Tony Cragg stands tall in stainless steel. Further sculptural highlights of the presentation include Silent Anchor VI (2024) by Otobong Nkanga, whose commission at the Museum of Modern Art, New York, continues through June 2025; and a new piece from Hugh Hayden’s continual series of seasoned cast iron skillets with African mask reliefs. The presentation will also feature Untitled (2010) an alabaster work by Anish Kapoor, in addition to a cobalt blue and silver mirror work by the artist.
On the occasion of his solo exhibition ‘Duane Street, 1981-1983’ at Lisson in New York, and major solo museum presentations including at the Centre Pompidou, Paris, the gallery shows Sean Scully’s Wall Red Pink (2024), recalling sun-warmed stone walls. Also presented is the 2018 No. 19, 2018 (11.5.18) by Oliver Lee Jackson; and the absorbing Cicada (2023) by Shirazeh Houshiary, in densely layered pigment and pencil on Aquacryl on canvas and aluminium.
