Photoshop CS: 86 by 60 inches, 300 DPI, RGB, square pixels, default gradient "Spectrum", mousedown y=2000 x=8000, mouseup y=24400 x=8000; tool "Wand", select y=25000 x=7800, tolerance=40, contiguous= off; default gradient "Spectrum", mousedown y=25000 x=1

Cory Arcangel
86 x 60 inches; 218 x 152 cm


Stanley Whitney
Black Gouache on Fabriano
9 x 9 inches; 23 x 23 cm  


Art Basel Miami Beach - Art Galleries 2014

Cory Arcangel, Suzanne McClelland, Tabor Robak, Ryan McGinley, Sam Samore, Stanley Whitney, and David Ratcliff
December 4th – 7th 2014
83 Grand Street

Team Gallery is pleased to announce our participation in the 2014 edition of Art Basel Miami Beach. This marks our tenth appearance at the fair. Our presentation includes works by Cory Arcangel, Suzanne McClelland, Ryan McGinley, David Ratcliff, Tabor Robak, Sam Samore and Stanley Whitney. We will again be located in booth G08.

Following his successful September shows with Team in both New York and Los Angeles, Cory Arcangel offers new works from his Lakes series, which consist of flat-screen televisions turned on their sides to display semi-iconic pop cultural images to which the artist has applied the Java applet called “lake.” These examples are particularly self-reflexive, referring to elements of the artist’s own oeuvre in order to further confound the lines separating Fine Art and the so-called lowbrow. These new Lakes will be shown alongside a new work from his continuing Photoshop CS series.

In advance of her second solo show with the gallery, Suzanne McClelland provides paintings that employ pieces of text – height, weight, suspected location, crime – from FBI wanted posters for domestic terrorists. This framework allows the artist to explore the separation between representations and the represented: the FBI’s efficient use of a few words and numbers as a person’s surrogate perfectly exemplifies the semiotic gap that drives McClelland’s practice.

Fire and fireworks provide the dramatic backdrops for a group of new photographs by Ryan McGinley. These smoke-filled scenes epitomize this recurring element of the artist’s practice: they distill ecstatically beautiful moments from situations simultaneously constructed and utterly unpredictable. McGinley’s paradisiacal photographs create and capture a world as immediate and visceral as it is ultimately unattainable.

By David Ratcliff hangs a new painting from his Stars body of work. The artist’s always-appropriative practice consists of cobbling together found visuals, then stenciling and spray-painting the collaged images onto canvas. These works all take the form of small, evenly gridded five-point stars, rendered in a single color. In this newfound context, the seemingly innocuous subject matter manages to convey a powerful sense of emptiness and dread: childlike adornment comes to represent the death and decay of cultural material.

Tabor Robak has created an immersive single-channel video. The artist’s practice employs CGI and the visual language of contemporary video games to create complex and mesmerizing environments. His work has a complex relation to narrative and mimesis: while it contains elements of both, they serve primarily as a platform to acknowledge the medium’s own artifice, to isolate and explore abstracted digital space as a secondary, completely malleable reality.

Sam Samore provides a photograph from his concurrent exhibition with Team, which takes as its subject French actress Juliette Dol. These works consist of two images, apparently sequenced frames apart, separated by a black line. Referencing the filmic trope of the split-screen, the works continue the artist’s long-standing interrogation of the relationship between cinema and photography, while also serving to explore the space between fetish and love, between obsession and the narratives it spawns.

Brand-new paintings by Stanley Whitney employ the artist’s signature format of roughly gridded squares separated by canvas-wide bands. His virtuosic sense of color and rigid adherence to a single form allow him to create highly intuitive works that are utterly deceptive in their apparent simplicity. 








« YEARBOOK Ryan McGinley Art | 46 | Basel | Art Unlimited »
Split Net
Ryan McGinley
60 x 40 inches; 152 x 102 cm
edition of three
Drinking Bird
Tabor Robak
HD video, real-time 3D
30 minutes