Coinciding with Art Basel Miami Beach 2019, White Cube presents an off-site project by Cerith Wyn Evans in the Miami Design District (3802 NE First Avenue). Featuring recent sculpture and installation, including the major neon work The Illuminating Gas... (after Oculist Witnesses) (2015), the exhibition runs from 30 November to 8 December 2019.
At the fair, White Cube’s booth (D23) includes works by Georg Baselitz, Cerith Wyn Evans, Theaster Gates, Antony Gormley, Al Held, Damien Hirst, Christian Marclay, Dóra Maurer, Sarah Morris, Haim Steinbach, Kaari Upson and Danh Vo.
Teeth on a Pepsi Plinth (2017) by Los Angeles-based Kaari Upson, who recently joined White Cube. Like much of her work, this sculpture nods to personal memories – her mother's daily ritual of enjoying a can of Pepsi – whilst commenting on American culture.
Al Held’s B/W & Orange (1967), a previously unexhibited painting investigating spatial relationships through a multi-dimensional, interlocking composition. A pioneer of hard-edged abstraction, Held’s (1928−2005) first exhibition in Asia is currently view at White Cube Hong Kong.
Wir nehmen ein wenig Rosa (2018) by Georg Baselitz, whose early works are on show in a group exhibition at Deichtorhallen, Hamburg, until 5 January 2020.
Damien Hirst’s Dominion (2019), a painting from his recent ‘Mandalas’ series, which features iridescent and delicate butterfly wings laid onto a canvas and held in place by a richly coloured surface of gloss paint.
In the inaugural Meridians sector, dedicated to large-scale works, Theaster Gates’ Dance of Malaga (2019) is premiered for the first time in the US. The film, displayed recently at the Palais de Tokyo in Paris, and going on show in the artist’s first UK museum exhibition at Tate Liverpool from 13 December 2020, furthers Gates’ exploration of performance and non-linear narratives through a commemoration of the people of Malaga Island, Maine.