Nan Goldin’s “The Ballad of Sexual Dependency” gets first U.K. show at Gagosian. https://ift.tt/LCchuMg

Gagosian will open an exhibition of 126 photographs from Nan Goldin’s “The Ballad of Sexual Dependency” at its Davies Street gallery in London on January 13th, 2026. The presentation will mark the first time the complete series has been shown in the United Kingdom. It also aligns with the 40th anniversary of the photobook’s publication.

Now 72, Goldin is an American photographer known for documenting the queer community during the AIDS crisis with raw, diaristic images that capture nightlife and the complexities of relationships. Her work is celebrated for shifting photography toward more personal and candid forms of expression.

Goldin worked on “The Ballad of Sexual Dependency” from 1973 to 1986. The photographs examine relationships and gender through images taken of Goldin’s personal life. The work has come to define the downtown New York community in which it was made, as well as evoking the realities of addiction and the challenges of LGBTQ+ life at the time.

“I don’t select people in order to photograph them; I photograph directly from my life,” Goldin said in a press statement. “These pictures come out of relationships, not observation. They are an invitation to my world, but now they have become a record of the generation that was lost.”

Goldin first developed this project as a slideshow of images, playing along with a soundtrack. This artwork was first presented in New York nightclubs before being published as a book by Aperture in 1986. It is currently in its 23rd printing.

The Gagosian exhibition will open during a period of significant international focus on Goldin’s work. A major retrospective devoted to her moving-image work, “This Will Not End Well,” is currently on view at Pirelli HangarBicocca in Milan through February 15, 2026, before traveling to the Grand Palais in Paris from March 18 to June 21, 2026. Goldin’s Stendhal Syndrome (2024) installation is on view at the Vancouver Art Gallery through April 12, 2026.

from Artsy News https://ift.tt/NGlmO8u

Stacey Gillian Abe Reclaims Indigo Blue in Tender Paintings of Women https://ift.tt/mybjgh3

The loss of a family member can have a remarkable impact on the life of an artist. A case in point: Stacey Gillian Abe was deeply inspired by her late grandmother. In Namirimu (2025), the artist depicts her own experiences of grief and loneliness: A figure sleeps against a pale background, almost empty except for some ghostly strands of wild grass. But most of all, it is her beloved grandmother’s “comfort and warmth” that Abe wanted to capture in these paintings. “Although she didn’t walk much, her presence was invaluable,” Abe said. “She was a sociable and kind woman. If you were new to the area, you would assume she was the chairlady of the local council. People came to see her every day just to spend time with her.”

Abe was born in the West Nile region of Uganda and graduated from Kyambogo University in 2014. She has since worked across painting and photography while showing at galleries including Lévy Gorvy Dayan and Jeffrey Deitch. Her peaceful and sumptuous paintings are now on view at a new show at Unit in London called “Garden of Blue Whispers.” Portrait of My Grandmother 1 (2025), for example, shows the family matriarch gazing powerfully, one hand softly clutching golden material that hangs over her shoulder. In The Garden 1 (2024), a nude figure with cloven hooves lounges across a silky expanse of fabric. Dry Season 2 (2025) depicts a woman’s face close up. With fine foliage growing over her features, she turns to the viewer with eyes drowsily half closed. In this, Abe’s second show in London with Unit, the artist continues her practice of depicting women with indigo-blue skin, while widening her interest to the nature that she grew up with.

Portrait of My Grandmother 1, 2025
Stacey Gillian Abe
Unit

The Garden 1, 2024
Stacey Gillian Abe
Unit

The paintings are intended to summon Abe’s memories of the seasonal changes in her home village. As strong winds and rain activate the parched land, they bring new scents and sounds, from grasshopper rhythms to the smell of damp earth. “The scent of soil when the first rains of the wet season hit the ground; the process of gathering white ants from termite mounds after a long night of rain; and those extremely cold nights following an extended dry season are just a few examples of the small pleasures of life,” says the artist, who is now based in Kampala, Uganda. “I am certain that I will never be able to find or experience these things in the city.”

Birth of Vanessa (2025), for instance, contrasts a bare and sand-colored landscape with a few flowers that burst through the earth around her central figure, while Dry Season 1 (2025) depicts a few intricate green threads beginning to grow from an otherwise featureless ground. Across the paintings, her figures are nude or dressed in delicate summer clothes, suggestive of a heated atmosphere as they lie in open natural space.

Elsewhere in her paintings, there are subtle moments capturing the deep connection between human and animal lives in her village. For example, in The Garden 3 (2025), the figure’s hooves and furry lower legs meet with fleshy thighs. This surreal aspect of the body is intended to evoke her memory of seeing cow hoofprints in wet soil.

The Garden 3, 2025
Stacey Gillian Abe
Unit

The Farmer's Daughter 3, 2025
Stacey Gillian Abe
Unit

Throughout her practice, Abe’s figures are depicted with their skin an indigo blue, an ongoing motif following a 2020 photo self-portrait series titled “Indigogo.” In this series, the artist painted herself head-to-toe in the color, a response to the historical link between the valuable dye and the slave trade. “My curiosity was sparked by the discovery of indigo dye and its importance as one of the currencies used to buy and sell Black slaves,” she said. In her paintings, her subjects’ skin is rich and deep, this historically loaded color tapping into the artist’s desire to liberate the Black body. In works such as The Garden 2 (2023), the women she depicts seem utterly at peace, serene, and almost asleep in their natural surroundings.

The artist avoids controlling the exact shade of her subjects’ bodies, which imbues them with individuality. “It is a hue that lies in the middle of the color spectrum, and I’ve not nailed a layering technique to achieve the indigo you see at the end of each finished painting. The skin tone of each subject feels distinct to them.” She also integrates hand-embroidery into her work, a technique passed down through three generations. Termite Mound (2025), for example, includes delicate embroidered gold leaves and pink flowers that seem to glow from the surface. They wrap around the shoulders of her protagonist, a delicate addition to the painting that connects the natural with the ethereal.

Flowers in Sepia, 2025
Stacey Gillian Abe
Unit

By directly depicting her grandmother, summoning the environment that surrounded her, and including techniques passed down, Abe creates a tender image of the experiences that have shaped her. “Writing this love letter to my grandma and honoring her as a matriarch in my family just makes me miss her more,” she says. “But even in that emptiness, I can cling to the countless memories I have of her.”

from Artsy News https://ift.tt/B4UgAbJ

Nnena Kalu wins Turner Prize 2025. https://ift.tt/bWVApif

Nnena Kalu, known for her rhythmic and boldly colored abstract work, has won the 2025 Turner Prize, the top award for contemporary artists in the United Kingdom. The news was announced on December 9th during a ceremony at the Bradford Grammar School in England. Kalu is the first neurodivergent artist to win the prize.

“This is a major, major moment for a lot of people,” Charlotte Hollinshead, Kalu’s artistic facilitator, said in an acceptance speech. “It’s seismic. It’s broken a very stubborn glass ceiling.…Nnena’s career reflects the long, often very frustrating journey we’ve been on together…to challenge people’s preconceptions about differently-abled artists.”

The London-based artist will receive £25,000 ($33,000). The jury recognized Kalu’s work from two 2024 exhibitions: Drawing 21 (2021), a work on paper featured in “Conversations,” a group show at Liverpool’s Walker Art Gallery; and Hanging Sculpture 1 to 10. Barcelona, an installation that was featured in Manifesta 15 in Barcelona.

Born in Glasgow in 1966, Kalu is celebrated for her vivid, tactile approach to sculpture and drawing. She works with repurposed materials—VHS tape, fabric, rope, and paper—to build cocoon-like forms through repeated wrapping and binding gestures. Her layered works on paper bear similarly energetic marks.

A longtime resident artist at ActionSpace (a London-based studio for disabled artists), Kalu has recently gained wider recognition. Kalu has mounted plenty of solo exhibitions in recent years, including “Creations of Care” at Norway’s Kunsthall Stavanger in 2025 and an eponymous show at London’s Arcadia Missa in 2024, to name a couple.

The other artists shortlisted for the 2025 Turner Prize were Rene Matić, Mohammed Sami, and Zadie Xa. Those artists will each receive £10,000 ($13,500). The Turner Prize exhibition, featuring all four artists, will remain on view at Bradford’s Cartwright Hall Art Gallery through February 22, 2026.

The Turner Prize was founded in 1984, named after J.M.W. Turner. Last year, Jasleen Kaur won the prize, with shortlisted artists including Pio Abad, Claudette Johnson, and Delaine Le Bas. Notable past winners include Lubaina Himid in 2017, Steve McQueen in 1999, and Anish Kapoor in 1991.

from Artsy News https://ift.tt/vn9H1q4

Inside My Collection: Michael Sherman https://ift.tt/DrgjMSG

Michael Sherman collects the way he produces films: with an artist-first, public-facing ethos. He champions emerging voices and helps a large audience see their work.

The film producer co-founded Bow & Arrow Entertainment in 2014, devoted to artist-driven narrative and documentary work. This year, he produced two films by young filmmakers: Horsegirls and A Photographic Memory. In 2019, he produced American artist Rashid Johnson’s debut feature film, Native Son.

Sherman began buying art in 2006 and has built an eclectic, lived-with collection in his Los Angeles home; his collection started with a Banksy print and a Noah Davis painting. Today, it spans artists such as Devin N. Morris and Joyce J. Scott; upstairs, his six-year-old daughter’s room doubles as its own micro-gallery populated with works by Katherine Bradford, Grace Metzler, and Thornton Dial, among others.

“I love when you support an artist because you love their work: You’re able to tell somebody about it and give them background and story—it makes other people gravitate toward that work,” Sherman told Artsy.

Part of his collecting story intertwines with his longtime friend, the chef-restaurateur Vinny Dotolo. The pair founded Spaghetti Western, a shared collection created to champion artists they love and make the work public. Its first major outing, “Where the Real Lies,” appeared at the Ogunquit Museum of American Art in Maine earlier this year, featuring work by Sasha Gordon, Louis Fratino, and Dominique Fung.

Sherman’s collecting is also deeply connected to institutions. After a galvanizing encounter with Kerry James Marshall’s 2017 MOCA show, Sherman funded $25,000 in buses for students. “I really think that young people should see this show,” Sherman told Artsy. “It was life-changing for me. It literally introduced me into the museum world.” He was also a member of the Hammer Museum’s board and a trustee of the Baltimore Museum of Art (BMA). “I feel like everybody should be in a museum, and every young person should be able to walk into a museum and see an example of themselves and know that anything is possible,” Sherman said.

This summer, we caught up with Sherman to discuss his collection, his relationship with artists, and why he believes it’s his responsibility as a collector to share his art with the public.

Maxwell Rabb: Let’s start at the beginning of your collecting journey. What was the first piece of art you acquired?

Michael Sherman: In 2006, Banksy had a show in Los Angeles. There was this giant pink elephant, and it was one of the coolest things I’d ever seen.

I was already into Banksy, and I didn’t have much money to collect, so I was buying street art prints. When I went to the show, I ended up getting a Banksy and was super stoked.

Then, I ended up meeting Noah Davis through Chris and Beth Gibbs, who owned this store called Union. They had this [Davis] piece up, and I thought, “That’s amazing.” They sent me over to the Underground Museum [a now-defunct art gallery co-founded by Davis]. I ended up getting this Davis piece called Mary Jane. It was the first time I bought a painting.

M.R.: Where did your collecting journey go from there?

M.S.: Somebody told me, “You should go to Art Basel Miami Beach.” So, I flew down there, and I knew nothing.

I walked around this fair, thinking that you could just buy stuff. I had no idea how art fairs worked, so I’d say to galleries, “Oh, this is cool. Can I buy it?” and they’d say, “Who are you?” I’d say, “I’m trying to find stuff for my walls.” They’d say, “There’s a list.” I said, “Can I get on the list?.... Put me at the bottom.”

I got back to L.A., and I met Wes Lang through a friend of mine. I went to his studio, fell in love with his work, and bought a bunch of it.

Then, Lang said, “You should meet my friend Eddie Martinez.” When I met Eddie, he said, “You should meet my girlfriend, Sam Moyer,” and I met Sam….That was my entrance to art.

M.R.: From there, how would you describe your approach as you began the collection?

M.S.: I started my collection organically. I’d meet an artist and be like, “I really like your work. I’d like to buy one for my house.” Then, I went to the LAXART fair with Vinny in 2013, and that was the first time I went with somebody to see art.

We bought a work by Nathaniel Mellors. I then started buying from galleries, works by Sarah Crowner and Garth Weiser. By 2015, I had to get a storage unit. That was the moment I realized I might be an art collector.

M.R.: You’ve built a career as a film producer and worked on Native Son, Rashid Johnson’s first feature film. How did you first meet Rashid, and how did your involvement with Native Son come together from that first conversation to the finished film?

M.S.: My business partner got a call that Rashid Johnson wanted to make a movie. So, we had breakfast and got on well. One of my favorite stories is I’m sitting with Rashid at this diner by his house, and I asked, “Who’s going to write it?” He tells me [playwright and screenwriter] Suzan-Lori Parks. I thought, “Whoa! This guy is serious.”

That’s when I knew Rashid really was a true media savant. His mixed-media works are among my favorites, and he’s a natural storyteller. We went to his show at David Kordansky. It was such a beautiful show, and we left the next day to film Native Son.

M.R.: You have the titular Native Son piece in your home. Can you say how the work came about and what it means to you?

M.S.: We started shooting Native Son, and I had been talking to an artist about making a piece for this big, giant wall in our house. Rashid came over, and he was like, “Give me that wall!”

He made me the 7-by-10-foot mammoth brass piece that literally took eight guys to install. They had to reinforce my wall.

It’s a very personal piece. The book Native Son is in it. He was kind enough to be thoughtful and make a piece like that for my house.

M.R.: Are there other works in your L.A. home that you’re excited about right now?

M.S.: American artist Luis Flores. Luis and I have become really good friends. I’ve supported his practice, and I helped give a work of his to the Hammer Museum. I have this piece of him fighting himself. I normally put it on our guest bed because it makes me laugh. When people walk in, it looks like they’re fighting on the bed. My wife berates me about it.

Another special piece is by Doreen Garner, from her solo show at JTT (one of my favorite galleries, Rest in Peace). It’s a gramophone with silicone and hair. I put the headphones on and started listening to it. It was the recording of Sandra Bland [a Black woman who was murdered in custody days after being arrested at a traffic stop], called From the Larynx, Sandra. I walked out of there and I couldn’t stop crying.

I remember thinking to myself, “This can’t not go somewhere.” I called her back and told her, “If you don’t place it in a museum, I’ll buy it and gift it to a museum.” That’s the power of art. A piece like that should never be left behind.

M.R.: Tell us about the works in your daughter’s room.

M.S.: My daughter’s room has works by Grace Weaver, Katherine Bradford, Kylie Manning, mosie romney, Thornton Dial, Shinique Smith, and Hangama Amiri. It’s a lot of women for her to look up to and respect. It’s this beautifully textured, colorful room to get lost in as a young lady. She’s told me to take a couple down. I won’t name names, but we moved a couple out.

M.R.: Is there a work that you were thrilled to walk away with?

M.S.: Robert Colescott’s The Philosopher at the Bathers’ Pool from 1984. I had been trying for two years at auction and kept losing because it would go over my number.

M.R.: Has your experience in film shaped how you look at and collect art?

M.S.: Making movies influenced my art collecting. I had worked for [music producer] Babyface for a few years, and I became obsessed with American Idol. I sat in the second row and watched Kelly Clarkson win.

American Idol showed you that a great singer is a great singer—it doesn’t matter who they are, what they look like…people respond to greatness. When I started collecting art, I curated my collection to support first-time filmmakers and underrepresented voices. I still make documentaries even if I can’t make money, because I have to help people get their stories out.

M.R.: Tell me about you and Vinny Dotolo. How did you start collecting together?

M.S.: Vinny is one of my favorite people on earth, and he comes from the same place I do—he’s a true patron of the arts.

One day, I was offered a Christine Forrer piece I couldn’t afford. On the phone, I said it would be cool to set up a group where everyone puts up, and we collect out of love, share the works, and see them travel. Vinny said, “I’ll do that with you.”

Because Vinny is a restaurateur and he’s Italian, and because Westerns are my favorite, I said we should call it Spaghetti Western, and that’s how it stuck.

Honestly, we’re crazy and got a little obsessed. The pandemic really sped us up. At one point, I made a list and said, “Holy shit, dude, we’ve got to chill—we have 114 artists in our collection.” It’s a collection with so many beautiful people and stories in it, and there’s no one I’d rather do it with than Vinny. Our wives make fun of us and call us “art bros.”

M.R.: Before we wrap, who’s the most recent artist you’ve discovered?

M.S.: A few weeks ago, I was talking with Gaëtane Verna (director of the Wexner Center for the Arts), and I said I hadn’t seen many new artists that wowed me. She said, “You might like Brenda Draney.”

She introduced me to Brenda, and every painting she shows me, I love. That’s the best part of collecting. I’m working on acquiring a painting, and I love the work.

She’s telling a beautiful story about her upbringing, her life, and what it’s like being Indigenous in Canada.

from Artsy News https://ift.tt/v67PnjO

8 Must-See Artworks by M.F. Husain at His New Qatari Museum https://ift.tt/Zrm1fgU

The Lawh Wa Qalam: M.F. Husain Museum opened its doors on November 28th in Qatar, making it the first museum dedicated solely to post-independence Indian modernist Maqbool Fida Husain. Featuring over 150 works and personal objects spanning the life and career of the pioneering artist, the museum’s galleries trace Husain’s lifelong engagement with Indian culture and folklore—an engagement often met with controversy—as he shaped the visual language of 20th-century modernism with his signature Cubist approach.

Born in 1915 in Pandharpur, Maharashtra, India, to India’s Muslim minority, Husain had an early interest in art. By 17, he was sleeping on pavements in Bombay (now Mumbai), searching for a job. This led to the start of his artistic career painting cinema banners across the city, where he honed techniques of speed and working on large-scale surfaces. Over the next seven decades, his practice expanded across painting, drawing, film, tapestry, and installation work, addressing the central question: What is the visual language of India?

His later years were spent far from India. He faced legal and political pressure due to several paintings depicting Hindu deities in the nude, creating an uproar from India’s far-right; Husain lived in self-imposed exile beginning in 2006. By the late 2000s, he was spending his time between London and Qatar, creating artwork that referenced connections between Indian civilization and the Arab world. He passed away in London in 2011, leaving behind an expansive, cross-continental body of work that continues to build momentum. In 2025, Untitled (Gram Yatra) (1954) sold for $13.75 million at Christie’s—setting a new auction record for modern Indian art.

The new Doha museum, built around a design derived from Husain’s own sketch, gathers this narrative arc under one roof in the country where he became a citizen late in life.

“He lived through world wars, independence movements, and profound political change,” said Noof Mohammed, curator of Lawh Wa Qalam: M.F. Husain Museum. “We hope visitors see how inseparable his life was from his art.”

Below, we highlight 8 remarkable works in the new Doha museum.

Untitled (Doll’s Wedding) (1950)

One of M.F. Husain’s earliest works emerged at a pivotal moment, both in his personal journey—as he joined the national avant-garde through the Progressive Artists’ Group—and in the life of a newly independent India.

Founded in the aftermath of the 1947 partition, the Progressive Artists’ Group wanted to develop a distinctly Indian modernism by synthesizing Western artistic movements with local visual traditions. As India grappled with the lasting effects of British colonialism and sought to reclaim control over its narrative, the group captured this broader effort to rebuild a unified national identity.

The painting is inspired by the Indian childhood custom of staging mock weddings between dolls, a subject that, for Husain, evoked the “authenticity” of early sensory experience.

This work reaches back to an earlier chapter of his life when he earned a living designing children’s toys—which shaped his visual approach throughout his career.

Quit India Movement (1985)

Throughout the 1980s, Husain’s work continued to draw from postcolonialism, producing a series of works chronicling India’s struggle against British colonial rule. By this point in his career, Husain had developed his style of sharp contours, flattened geometry, and modernist reduction.

The iconic painting centers on the historic events of 1942, when Gandhi’s call for mass civil disobedience ignited the Quit India Movement. Husain placed the date prominently at the top, accompanied by striding, faceless colonial figures rendered in stark outline. Below them, a seated ascetic raises his hand in a gesture of resistance. The compressed composition and limited color palette heighten the sense of urgency. It was a turning point in his work from willful nostalgia to chronicling the political and social turning points that shaped his world.

Elephant (1992)

In the 1990s, M.F. Husain came under renewed scrutiny when earlier paintings of nude Hindu deities resurfaced in a magazine, drawing massive criticism from Hindu far-right nationalist groups.

His cut-out, two-dimensional work became a recurring part of his practice, somewhere between the media of sculpture and drawing. Though lesser known, these pieces show his enduring preoccupation with Indian cultural symbolism. The elephant—long revered in Hinduism as a representation of wisdom—serves here as an emblematic figure. The piece is evidence of Husain’s personal search for an essential Indian visual language through its iconography.

Mother Teresa (1998)

Husain first painted the humanitarian nun in 1980, shortly after she received the Nobel Peace Prize and the Bharat Ratna, India’s highest award for civilians. He returned to her as a subject for over a decade as a symbol of motherhood. This theme played a significant role in his work, particularly as he came to terms with his own loss of his mother as an infant.

Husain recalled: “Can anyone make up for the loss of a mother? I don’t even have a picture of her. She refused to get herself photographed…Sadly I have nothing which remotely resembles or reminds me of my mother. She is just a name to me, not even a memory.”

This absence informed his decision to portray mothers without facial features. The Mother Teresa (1998) triptych stretches across a green-painted wall in the museum, with the three canvases tightly aligned so the figures—an emaciated man and three sari-clad figures symbolizing Mother Teresa—cross the borders. He portrays Mother Teresa as mournful and fragmented. A modernist figurative abstraction, the work shows her figure disjointed, sunken into deep crimson reds hued in heavy black, with more focus on her form and posture than individual identity; her limbs are elongated and figure cloaked in heavy drapery. Husain was so in awe of Mother Teresa’s work and presence that he noted he could not depict her in realist form. Husain’s interest in women extended into his later work in film as well; his 2000 film Gaja Gamini, starring his muse Madhuri Dixit, a Bollywood star, was conceived as a tribute to womanhood.

Humanism (2003)

In the 2000s, Husain’s identity as a Muslim artist became increasingly politicized and his work was increasingly scrutinized. By the early 2000s, far-right Hindu nationalist groups had escalated their attacks—disrupting exhibitions, launching legal challenges, and even attacking his home and artwork. This hostility he faced sharpened the direction of his work as he increasingly moved towards themes that emphasized the possibility of unity across backgrounds.

Humanism, one work in the 10-part “Theorama” series, was completed just before Husain’s exile. It was one of his largest projects, commissioned by Mumbai’s Hinduja Foundation to celebrate global faiths and identities. Two paintings from the series were later exhibited at the United Nations headquarters, and the project’s message was subsequently embraced by British Prime Minister Tony Blair in a pledge for peace in the new millennium.

Framed around 10 religions and philosophies, the series focuses on the ancient Indian belief that all spiritual paths lead to a universal truth and shared human values. A reclining figure stretches across the canvas, surrounded by script, symbols, and torn blocks of handmade paper.

Yemen (2008)

This piece, as part of Husain’s Arab civilization series, was created two years after he left India for his self-imposed exile, marking a notable shift in his practice from India to the Muslim world.

By 2008, still in exile, Husain was still famous in the art world, known for his curious signature look of Hermès suits and bare feet. In 2005, Forbes profiled him, labeling him “The Picasso of India.” During this period, he divided his time between London and Dubai, but legal pressures followed him abroad. Indian courts continued to pursue obscenity cases related to earlier works, and in 2007, a lower court ordered the seizure of his Mumbai properties—a decision later stayed by the Supreme Court.

For Husain, the idea of “home” started to shift with more distance and challenges from his home country. Yemen became one of the works that signaled an expansion of his artistic focus beyond India toward new geographies shaped by exile. The acrylic painting brings together minarets, camel caravans, bridges, motorcycles, market stalls, and rooftop figures. A plane crosses the sky, while a white dove appears near the lower edge.

This work became one of Husain’s defining late paintings because, even in exile, the childhood wonder that shaped his early practice remained present—now directed toward a new frontier. Lesser known is Husain’s Yemeni heritage, and this painting reflects a return to those ancestral roots at a time when his future and connection in India had grown uncertain.

Arab Astronomy (2008)

Husain made this work to bring together two cultural worlds central to his life: India, where he developed his visual language, and the Arab world, where he spent his final years. Though he had long drawn on Indian traditions, his later work increasingly turned toward subjects rooted in Islamic intellectual history. In this piece, Husain focuses on Abu Maʿshar, the 9th-century Persian astrologer whose writings circulated across India, the Middle East, North Africa, and Europe, shaping astronomical study for centuries.

Rather than separating these influences, Husain folds them together. An archetypal figure of a prophet stands within a field of mountains, stars, and personified celestial bodies, while the bold contours and flattened forms echo the style he refined in his early canvases. The saturated blues, reds, and yellows recall the palette he often employed for Indian themes, while the celestial motifs gesture toward the medieval Islamic world.

The piece can also be seen as an inflection point in his work, a moment when he began to understand these traditions as intertwined—shifting from works shaped by displacement to opting for an optimistic portrayal of the two worlds he held close.

Seero fi al Ardh (2019)

The final major work of M.F. Husain was a kinetic installation commissioned by Her Highness Sheikha Moza bint Nasser for the Qatar Foundation. The multi-sensory installation took shape around the time he accepted Qatari citizenship, which, under Indian law prohibiting dual nationality, automatically resulted in the loss of his Indian citizenship. Though Husain passed away before the installation was finished, it was completed posthumously through the sketches and designs he had left behind.

“The entire ensemble is like a performance of dancing horses in crystal glass,” the artist said of the work, a nod to his lifelong connection to the motif of the horse, which coursed through his work for decades. Five life-sized Murano crystal glass horses rotate on a motorized carousel illuminated by beaming strobe lights. They are joined by five vintage automobiles in a metaphor for the journey between the natural to the mechanical. Their movements are synchronized with music Husain selected to evoke horsemanship and strength. Suspended from the ceiling is a bronze figure of Abbas ibn Firnas, the 9th-century C.E. father of aviation, an ode to the scientific advancements of the Islamic world.

Given Husain was working on the project at around 94 years old, it is likely that he was confronting his own questions of mortality and legacy. In that light, the phrase inscribed on the pavilion, “Lawh Wa Qalam” or “The Tablet and The Pen,” takes on a new resonance. Traditionally tied to the divine written word, this phrase here is used to claim authorship of his final chapter, as though finding his space in an increasingly technological-forward world. Even with these fears, shown in the cars overtaking the horses he had loved, his optimism carries through. In the context of his last years, the work reveals an artist coming to terms with his fate, while continuing to animate his inner world through faith, unity, and a collective imagination.

from Artsy News https://ift.tt/Nz9Ziny

What Sold at Art Basel Miami Beach 2025 https://ift.tt/CZktdJp

Art Basel Miami Beach’s 23rd edition came to a close on Sunday, December 7th, hosting 283 galleries at the Miami Beach Convention Center. From the outset of the fair’s VIP day on Tuesday, December 3rd, a sturdy pace of deal-making was consistent across the fair’s run.

“Miami was fun this year!” Marc Glimcher, CEO of Pace Gallery, said in a statement, hailing this year’s fair as a “great wrap-up to a fall where we truly saw the market turn around.”

Indeed, galleries were quick to report a raft of transactions on VIP day, with a $5.5 million Gerhard Richter painting at David Zwirner’s booth leading the ticket. The next day, Lévy Gorvy Dayan placed Andy Warhol’s Muhammad Ali (1977), with a listing price of $18 million. That transaction was the most expensive reported at the fair overall, and many dealers echoed Glimcher’s observation that the market is experiencing a renewed bout of momentum this season.

“Art Basel Miami Beach has been a triumphant finale after a historic year for our team and our artists,” Eric Gleason and Nicholas Olney, co-founders of Olney Gleason, said in a joint statement. The gallerists noted that the fair “confirmed the market return we started feeling during the October fairs in Europe.”

The last major art fair of the year and the anchor in a week of glitzy parties, brand activations, and nearly 20 satellite fairs taking place in town, Art Basel Miami Beach is closely watched as much for its associated spectacles as for its sales. Perhaps the most talked-about item of the week came from inside Art Basel at its new digital art section Zero10, where the faces of figures including Elon Musk and Jeff Bezos were grafted onto a pack of robot dogs. The installation by Beeple, Regular Animals (2025), drew crowds and cameras across the week as the robot dogs intermittently entered “poop mode,” indicated by their LED screens, tipping backward and ejecting printed images.

Every edition of the works (priced at $100,000 apiece) sold at the fair, providing an apt illustration of the sentiment at the fair overall: that much of the buzz around the aisles was translating into hard business.

“I am thrilled by the energy, ambition, and creativity that reverberated within and beyond our halls,” said the fair’s director, Bridget Finn, in a statement.

Here, we round up the key sales reported by galleries at Art Basel Miami Beach 2025.

Leading sales at Art Basel Miami Beach 2025

In addition to the $5.5 million Gerhard Richter reported on the fair’s VIP day, David Zwirner’s sales included:

• A painting by Alice Neel for $3.3 million.
• Josef Albers’s Homage to the Square (1955) for $2.5 million and Homage to the Square (1964) for $2.2 million.
• A painting by Dana Schutz for $1.2 million.
• A work by Ruth Asawa for $1.2 million.
• A photograph by William Eggleston for $500,000.
• A painting by Oscar Murillo for $350,000.
• A work on paper by Robert Rauschenberg for $300,000.
• A drawing by Elizabeth Peyton for $240,000.
• A sculpture by Dana Schutz for $240,000.
• A painting by Josh Smith for $180,000.
• A work on paper by Gerhard Richter for $120,000.
• A work on paper by Marlene Dumas for $120,000.
• A work by Lisa Yuskavage for $120,000.
• Photographs by Wolfgang Tillmans for $115,000 each.
• Two Nate Lowman paintings for $200,000 and $100,000, respectively.
• New prints by Raymond Pettibon for $50,000 each.

Hauser & Wirth reported major sales led by George Condo’s Untitled (Taxi Painting) (2011) for $3.99 million. Other reported sales included:

• Louise Bourgeois’s Persistent Antagonism (1946–48) and Mr. Follett: Nursery-Man (1944) for $3.2 million and $2.5 million, respectively.
• Ed Clark’s Paris Series (1990) for $1.2 million.
• Henry Taylor’s Every Brotha Has a Record (2020) for $1.2 million.
• Rashid Johnson’s Standing Broken Soul “Nowhere Man” (2025) for $1 million.
• Pat Steir’s Painted Rain #5 (2022–2023) for $800,000.
• Günther Förg’s Untitled (2008) for $795,000.
• Keith Tyson’s Still Life Emerging From Random Noise (2022) for $350,000.
• Qiu Xiaofei’s The Ecstasy of Blood and the Cosmos (2025) for $300,000.
• Annie Leibovitz’s Driving Series, 1970–1984 (2019) for $275,000.
• Lee Bul’s Perdu CCXXIII (2025) for $260,000.
• Nairy Baghramian’s S’éloignant (2023) for €250,000 ($291,297).
• María Berrío’s On Which We Sharpen Hopes (2025) for $250,000.
• Catherine Goodman’s Winged I (2024) for $250,000.
• Angel Otero’s Sonámbula (Sleepwalker) (2025) for $250,000.
• William Kentridge’s Paper Procession VI (2023) for $250,000.
• Jenny Holzer’s Selection from Truisms: The unattainable… (2019) for $225,000.
• Firelei Báez’s Let Love Be Your Guide (2025) for $195,000.
• Nicole Eisenman’s Beautiful Sun (2025) for $150,000.
• Three editions of Cindy Sherman’s Untitled #685 (2025), for $150,000 each.

The Ecstasy of Blood and the Cosmos, 2025
Qiu Xiaofei
Hauser & Wirth

Eyeless Creature Turns Out to Be All Eyes, 2025
Ilana Savdie
White Cube

Almine Rech reported notable sales led by a Pablo Picasso painting for a price in the range of $2.8 million–$3 million. Other reported sales included:

• A work by James Turrell for a price in the range of $900,000–$1,000,000.
• A painting by Larry Poons for a price in the range of $275,000–$300,000.
• A painting by Joe Andoe for a price in the range of $110,000–$120,000.
• A painting by Emily Mason for a price in the range of $110,000–$120,000.
• A painting by Vaughn Spann for a price in the range of $75,000–$80,000.

White Cube’s reported sales were led by Willem de Kooning’s Untitled Woman (1978) for $2.85 million. Other sales included:

• Damien Hirst’s When the Heart Speaks (2005) for $2.5 million.
• Tracey Emin’s To Much Force (2025) for £1.2 million ($1.6 million).
• Andreas Gursky’s Harry Styles (2025) for €1.2 million ($1.4 million).
• Richard Hunt’s Half Circle Runner (1979) for $1 million.
• Cai Guo-Qiang’s Study for Uffizi: A Bouquet of Flowers No. 4 (2018) for $750,000.
• Antony Gormley’s CONCENTRATE (2025) for £500,000 ($666,017).
• Raymond Pettibon’s No Title (Fluff. Cayll me…) (2018) for $420,000.
• Katharina Grosse’s Untitled (2018) for €315,000 ($367,034).
• Ilana Savdie’s Eyeless Creature Turns Out to Be All Eyes (2025) for $170,000.
• Sarah Morris’s Bank of China (2025) for $155,000.
• Christine Ay Tjoe’s Yesterday’s Leftover Blood (2025) for $200,000.

Incident, 2022
Tony Cragg
Thaddaeus Ropac

Open Forms, 2024
George Condo
Sprüth Magers

Thaddaeus Ropac led its reported sales with Alex Katz’s Orange Hat 2 (1973) for $2.5 million. Other sales included:

• Katz’s Wildflowers 1 (2010) for $1.5 million.
• Georg Baselitz’s Selbstportrait 1953, 18.V.97 (1997) for €1 million ($1.16 million).
• Robert Longo’s Untitled (Formula One Car Crash) (2025) for $750,000, Study of Big Tube (2025) for $225,000, and Study of Bull Elephant (2025) for $120,000.
• Antony Gormley’s LOITER (2025) for £450,000 ($599,415) and Meme 1 (2009) for £175,000 ($233,106).
• Tony Cragg’s Incident (2023) for €425,000 ($495,107) and Justine (2025) for €300,000 ($349,487).
• Martha Jungwirth’s 7. Oktober I (2023) for €340,000 ($396,085) and Hier die ersehnten Maße meines Juwels (2025) for €75,000 ($87,371).
• Jordan Casteel’s Subway Bouquet (2025) for $330,000.
• Megan Rooney’s Lake Road (2025) for £250,000 ($333,008).
• Joan Snyder’s Modern Times (2006) for $150,000 and Small Vanishing Theatre (1975) for $80,000.
• Zadie Xa’s Labyrinth (2025) for £65,000 ($86,582).

Sprüth Magers’s reported sales were led by George Condo’s Divided Single Portrait (2025) for $1.8 million. Other reported sales included:

• Condo’s Open Forms (2024) for $1.2 million.
• Craig Kauffman’s No. 1 (1963) for $450,000.
• Anne Imhof’s Pink Cloud (2025) for €250,000 ($291,239).
• Rosemarie Trockel’s Gogol (2011) for €250,000 ($291,239).
• Lucy Dodd’s Becoming Butterfly (2025) for €180,000 ($209,692).
• Sterling Ruby’s GOLD PLUTONIA (2022) for $85,000.
• Gala Porras-Kim’s San Vitale, Ravenna, marble floor reconstruction (2025) for $80,000.
• Thea Djordjadze’s Untitled (2025) for €65,000 ($75,722).
• Sylvie Fleury’s Bye Bye Dark Circles (Perfect Almond) (2023) for €55,000 ($64,072).
• Karen Kilimnik’s cat burglars club meeting (1977) for $20,000.

P.P.O.W reported the sale of Martin Wong’s Tai Ping Tien Kuo (Tai Ping Kuo) (1982) for $1.6 million.

Golden Game (Small) 4, 2025
Leo Villareal
Pace Gallery

Pace Gallery’s sales were led by Sam Gilliam’s Heroines, Beyoncé, Serena and Althea (2020) for $1.1 million. Other reported sales included:

• Loie Hollowell’s Cadmium red brain on mauve background above blue water (2025) for $450,000.
• Lynda Benglis’s Fanfaronade (1979) for $400,000.
• Emily Kame Kngwarrey’s Yam Dreaming (1995) for $350,000.
• Elmgreen & Dragset’s Sunshine (2025) for $320,000.
• Marina Perez Simão’s Untitled / Sem Título (2025) for $220,000.
• Paulina Olowska’s Petunia and Teddy (2025) for $195,000.
• Robert Nava’s Lightning Spirit Luna (2025) for $185,000.
• Li Songsong’s Authenticity (2025) for $150,000.
• Alicja Kwade’s In-Between (2025) for a price in the range of $110,000–$130,000.
• Louise Nevelson’s America IV (1964) for $125,000, Untitled (1980) for $125,000, and Untitled (1980) for $110,000.
• Three works from Leo Villareal’s “Golden Game (Medium)” series for $125,000 each.
• Friedrich Kunath’s One Day It Will All Make Sense (LA) (2024–2025) for $115,000.
• Alejandro Piñeiro Bello’s Sol Descendiente (2025) for $110,000.

Notable blue-chip sales at Art Basel Miami Beach 2025

Lehmann Maupin’s sales were led by Do Ho Suh’s sculpture Some/One (2014), which was sold for $1 million. Other reported sales include:

• Liza Lou’s two glass-beaded canvas works, Hyperbaton (2025) and The Valley (2024), sold for a combined total of $525,000–$575,000.
• Two paintings by McArthur Binion from the “DNA: Study” series for a total of $500,000.
• Erwin Wurm’s Question (Substitutes) (2025) for €180,000 ($209,925).
• Alex Prager’s Hidden Hills (Echoes) sold for $55,000.
• A new work by Anna Park sold for $25,000–$35,000.

Xavier Hufkens reported a suite of strong sales led by a $650,000 George Condo sculpture. Other reported sales include:

• A painting by Nicolas Party for $615,000.
• A painting by Charline von Heyl for $475,000.
• A sculpture by Mark Manders for €240,000 ($279,565).
• A sculpture by Antony Gormley for £225,000 ($299,613).
• A painting by Tracey Emin for £105,000 ($139,819).
• A sculpture by Lynda Benglis for $110,000.

Ladies and Gentlemen (Alphanso Panell), 1975
Andy Warhol
MARUANI MERCIER GALLERY

Andy Warhol, Two Elvis, 1964, 1975
Richard Pettibone
Mitterrand

Maruani Mercier Gallery’s reported sales were led by Andy Warhol’s Ladies and Gentlemen (Alphanso Panell) (1975) for a price in the range of $700,000–$800,000. Other reported sales included:

• Francesco Clemente’s Love (Ed. 2/9) (2019) for a price in the range of $90,000–$100,000.
• Jaclyn Conley’s Spring (2025) for a price in the range of $75,000–$80,000 and Winter trees (2025) for a price in the range of $60,000–$80,000.
• Von Wolfe’s Bound by Steam and Silence (2025) for a price in the range of $75,000–$80,000.
• Kasper Sonne’s 7 Years (2025) for a price in the range of $50,000–$60,000.
• Samuel de Saboia’s Returning to myself (2025) for a price in the range of $15,000–$25,000.

Mitterrand’s sales were led by “a group” of Richard Pettibone paintings for a total of $800,000. Other reported sales include:

• Keith Haring’s Untitled (1981), ink on paper, for $600,000.
• Agustín Cárdenas’s Couple Antillais (1957–72) for $550,000.
• Tom Wesselmann’s Study for Bedroom Painting #25 (1967) for $250,000.

Walmart and Other "Big Box" Stores, Augusta, ME II, 2006
Yvonne Jacquette
Karma

Karma’s sales were led by Reggie Burrows Hodges’s Labor: Sound Bath (2022) for $750,000. Other reported sales include:

• Cady Noland’s Institutional Field Door (1991) for $375,000.
• Yvonne Jacquette’s Walmart and Other “Big Box” Stores, Augusta, ME II (2006) for $200,000 and Connecticut, Night Aerial (1984) for $60,000.
• Kathleen Ryan’s Bad Orange (Crush) (2025) for $175,000.
• Jeremy Frey’s Continuum (2025) and Urchin (2025) for $160,000 and $70,000, respectively.
• Marley Freeman’s the night must move its deepest darkness (2024) for $50,000.
• Sanaa Gateja’s Tributaries (2024) for $45,000.

David Kordansky Gallery’s sales were led by Rashid Johnson’s God Painting “I Dream A Lot” (2025) for $750,000. Other reported sales included:

• Shara Hughes’s Good Choreo (2025) for a price in the range of $450,000–$500,000.
• Huma Bhabha’s Stars (2024) for a price in the range of $330,000–$380,000.
• Hilary Pecis’s Kitchen Counter (2025) for a price in the range of $250,000.
• Three works by Lucy Bull—12:50, 2:44, and 2:40 (all 2025)—for prices in the range of $100,000–$145,000 each.
• Sayre Gomez’s COSTCO (2025) for $110,000.

God Painting “I Dream A Lot”, 2025
Rashid Johnson
David Kordansky Gallery

Good Choreo, 2025
Shara Hughes
David Kordansky Gallery

Lisson Gallery’s sales were led by Anish Kapoor’s Untitled (2015) for £500,000. Other sales reported by the gallery included:

• Hiroshi Sugimoto’s Opticks 625 (2024) and Opticks 646 (2025) for $250,000 apiece.
• Pedro Reyes’s Nonami (2025) for $180,000.
• Jack Pierson’s THIS PERFECT MOMENT (2025) for $175,000 and TE AMO (2025) for $125,000.

More six-figure sales at Art Basel Miami Beach 2025

Dreams Deferred: Leaves of Grass, 2025
Paul Anthony Smith
Timothy Taylor

Timothy Taylor’s reported sales were led by an Agnes Martin painting for $550,000. Other sales included:

• A large painting by Eddie Martinez for $245,000, as well as two small paintings by the artist for $25,000 each, and six small sculptures for a total of $24,000.
• Two paintings by Hilary Pecis for $180,000 each.
• A painting by Marina Adams for $165,000.
• A work by Annie Morris for £115,000 ($153,134).
• A painting by Paul Anthony Smith for $95,000.
• Two paintings by Hayal Pozanti for $75,000 and $60,000 apiece.
• A painting by Chris Martin for $42,000.
• A work by Paul Jenkins for $21,000.

Tina Kim Gallery’s sales were led by a painting by Ha Chong-hyun for $390,000. The gallery also sold two paintings by the artist for $250,000 each. Other sales included:

• A work by Park Seo-Bo for $250,000.
• Two paintings by Kim Tschang-Yeul for $330,000, as well as an additional painting by the artist for $100,000.
• A painting by Pacita Abad for $250,000.
• Two paintings by Kibong Rhee for $130,000 and $120,000 apiece.
• A tapestry by Lee ShinJa for $60,000.
• A sculpture by Suki Seokyeong Kang for $20,000.

Carribean Shore, 1959
Yvonne Thomas
Berry Campbell Gallery

Berry Campbell Gallery’s reported sales were led by Yvonne Thomas’s Caribbean Shore (1959) for $375,000. Other sales reported by the gallery included:

• Perle Fine’s Aftermath of a Sweeping Storm (1958) for $300,000.
• Mary Abbott’s Hill Dancers (1948) for $275,000.
• Helen Frankenthaler’s Against the Rules (1983) for $195,000.
• Mercedes Matter’s Untitled (Still Life) (ca. 1978) and Untitled (Tabletop Still Life) (ca. 1955) for $175,000 and $150,000, respectively.

Locks Gallery’s sales were led by a painting by Jennifer Bartlett for a price in the range of $300,000–$350,000, followed by a diptych by the artist for a price in the range of $200,000–$225,000. Three paintings by Jane Irish were also sold, with each priced between $40,000 and $45,000.

Nara Roesler’s sales were led by Tomie Ohtake’s Untitled (1982) for $240,000, followed by Sheila Hicks’s Uirapuru (2025) for $220,000 and Heinz Mack’s Untitled (Chromatic Constellation) (2020) for €220,000 ($256,359). Additional placements included:

• Jose Dávila’s The fact of constantly returning to the same point or situation (2024) for $85,000.
• Asuka Anastacia Ogawa’s Untitled (2025) for $60,000.
• André Griffo’s The seller of miniature characters #11 (2025) for $54,000.
• Works by Carlito Carvalhosa, José Patrício, and Marco A. Castillo each sold for $50,000.
• Karin Lambrecht’s Murmur, Whisper the Sea (2025) sold for $36,000.
• Four porcelain-and-brass sculptures from Mônica Ventura’s “Passarinhas” series (2025) each sold for $5,000.

Yellow Wall, 2025
Sarah Crowner
Galerie Nordenhake

Galerie Nordenhake’s reported sales were led by Sarah Crowner’s Yellow Wall (2025) for $275,000. Other reported sales include:

• Elena Damiani’s Variations V, VI and VIII, of Poem I Stanza (2025) for $120,000.
• Spencer Finch’s Study for Goldberg Variations 21, 30, 29 (2021) for $79,000.
• Patricia Treib’s Volutions II for $50,000.
• Stanley Whitney’s Untitled (2022) for $50,000.
• Naufus Ramírez-Figueroa’s Esquisuchil Branch (2025) for $37,000.
• John Zurier’s November (C. F. Hill) (2023) for $26,000.
• Frida Orupabo’s point of no return (2024) for $22,000.
• Ryan Mrozowski’s Untitled (Bird) (2025) for $19,000.

Jessica Silverman’s sales were led with multiple works by Woody De Othello, including a sculpture for $275,000, a wall work for $25,000, and a ceramic work for $22,000. Other sales reported by the gallery included:

• Four paintings by Guimi You for $20,000–$88,000 each.
• A painting by Hayal Pozanti for $75,000.
• A work by Lava Thomas for $75,000.
• Two ceramic wall works by Rebecca Manson for $65,000 each.
• Two paintings by Clare Rojas for $60,000 each.
• A work by Beverly Fishman for $60,000.
• Two paintings by Julie Buffalohead for $56,000 and $48,000 each.
• A work by GaHee Park for $55,000.
• A work by Masako Miki for $55,000.
• A work on paper by Rupy C. Tut for $48,000.
• A work by Andrea Bowers for $48,000.
• Two paintings by Atsushi Kaga for $45,000 and $30,000 each.
• A work by David Huffman for $40,000.
• A work by Rebecca Ness for $30,000.
• A work on paper by Andrea Carlson for $30,000.
• A work by Chelsea Ryoko Wong for $22,000.

inner knowing, 2025
Woody De Othello
Jessica Silverman

Self Optimization, 2025
Genesis Belanger
Perrotin

Perrotin’s reported sales were led by four works by Lee Bae for prices between $60,000 and $200,000 each. Additional placements included two works by Genesis Belanger andOli Epp, each in the $30,000–$60,000 range, along with works by Vivian Greven, Nikki Maloof, GaHee Park, and Xiyao Wang in the $30,000–$60,000 range. Three works by Izumi Kato also sold for prices between $30,000 and $60,000 each.

Goodman Gallery’s reported sales were led by a work on paper by William Kentridge for $240,000. Other works included a sculpture by Hank Willis Thomas for $175,000 and another work on paper by Kentridge for $120,000.

Mai 36 Galerie’s sales were led by H.R. Giger’s Tachistisches Kleisterbild (1963) for $225,000. The gallery also sold Giger’s Birth Machine Baby (1998) for $125,000. The gallery sold five additional works by the artist for prices ranging from $24,000 to $50,000 each.

Tachistisches Kleisterbild, 1963
H. R. Giger
Mai 36 Galerie

Rele reported the sale of Harmonia Rosales’s Perseverance On Turbulent Waters (2025) for $200,000.

Templon’s sales were led by an unspecified number of works by Kehinde Wiley and Omar Ba, each priced in the $100,000–$300,000 range. The gallery also sold an unspecified number of works by Will Cotton priced between $22,000 and $200,000 each, and an unspecified number of works by Chiharu Shiota for $20,000 each.

Proyectos Monclova—one of Artsy’s best booths—reported strong sales led by two works by Gabriel de la Mora, each priced between $200,000 and $300,000. The gallery also sold four works by Eduardo Terrazas for $80,000–$100,000 each and four works by Hilda Palafox for $30,000–$45,000 each. Additionally, three works by Andrés Pereira Paz were sold for $15,000–$20,000 apiece.

11,084, from the series "In-Between What I Reflect and What I See", 2024
Gabriel de la Mora
Proyectos Monclova Gallery

Perseverance On Turbulent Waters , 2025
Harmonia Rosales
Rele

Olney Gleason’s reported sales were led by Marcia Marcus’s Ruine (1981) for $150,000. Other reported sales included:

• Four works on paper by Tony Lewis for prices between $15,000 and $60,000 each.
• Robert Indiana’s Eat (1962) for $135,000.
• Bosco Sodi’s Untitled (2025) for $125,000.
• Two wall panels, Stories from Flowers (2025) and Mid-October (2025), by Diana Al-Hadid, for $110,000 each.
• Robert Motherwell’s {Untitled (Open Grey on Ochre)} (1974) for $100,000.
• Alexis Ralaivao’s Le Triangle (2025) for $80,000.
• Cynthia Daignault’s Details (America) (2025) for $42,000.
• Sonia Gechtoff’s Night Sea Cape May (1984) for $38,000.
• Artsy Vanguard 2026 artist Emil Sands’s The Edge of Lake Peter (2025) for $24,000.
• Pablo Bronstein’s Exhibition Quality Mantle Clock displaying Indian and Greenwich times, celebrating the Triumph of Indian Steel in the style of a Regency Political Cartoon (2025) for £22,000.
• Max Ernst’s Chéri Bibi (1973) for $20,000.
• Daniel Gordon’s Color Light Study (Bowl With Glasses and Fork) (2025) for $10,000.

Alisan Fine Arts’s sales were led by Walasse Ting’s Allure of Fiery Red (ca. 1990s) for a price “inthe range of” $125,000. The gallery also sold two sculptures by Ming Fay for $16,000 and $45,000, respectively.

Summons, 2024
Tony Lewis
Olney Gleason

Pearl Lam Galleries reported sales of Alimi Adewale, Michal Korman, and Su Xiaobai, with prices ranging from $45,000 to $120,000.

kó—another of Artsy’s best booths—reported sales of five works by Nike Davies-Okundaye, which each ranged in price from $30,000 to $120,000.

Casey Kaplan’s sales were led by a work by Amanda Williams for $120,000 and an Igshaan Adams work for $110,000. The gallery also sold works by Caroline Kent, Judith Eisler, Jordan Casteel, Kevin Beasley, Sydney Cain, and Kaveri Raina, each for prices ranging from $24,000 to $80,000.

More five-figure sales at Art Basel Miami Beach 2025

Heat of the Wind , 2025
Jordan Nassar
Anat Ebgi

Michael Kohn Gallery’s sales were led by a Nir Hod painting for $98,000. A work by Lita Albuquerque also sold for $90,000, with two additional works by the artist placed for $36,000 each. The gallery also sold an Alicia Adamerovich work for $7,500.

Catharine Clark Gallery—one of Artsy’s best booths—led sales with a $75,000 watercolor from its solo presentation of Masami Teraoka. The gallery also sold additional watercolors at $68,000 and $45,000 apiece, a lithograph, and a cherry block woodcut for $9,000 each, and two prints each in the $3,800–$9,000 range. Other sales included four works for $3,800 each, two works each priced between $1,800 and $2,500, and three drawings each ranging in price from $3,500 to $9,000.

Anat Ebgi’s reported sales were led by Jordan Nassar’s Heat of the Wind (2025), a hand-embroidered cotton work, for $72,000. Other sales reported by the gallery include:

• Jenny Morgan’s Our Ritual (2025) for $65,000.
• Marc Dennis’s That Night After Supper (2025) for $65,000.
• Caleb Hahne Quintana’s A River Dividing Presence and Absence (2025) for $33,000.
• Sigrid Sandström’s Ashen Light (2025) and Ravel IV (2025) for $30,000 and $25,000, respectively.
• Erin Wright’s Kiss (2025) for $22,000.

In the radiance of stars , 2025
Manyaku Mashilo
Southern Guild

El Apartamento’s reported sales were led by two large hand-cut paper works by Ariamna Contino for $55,000 each. Other reported sales include:

• Two large diptychs by Miki Leal for $55,000 each, three large works by the artist for $30,000 each, a mid-sized work for $20,000, and a small work for $6,500.
• One mid-sized hand-cut paper work by Ariamna Contino for $25,000 and five small hand-cut paper works by the artist for $16,000 each.
• Two works by Diana Fonseca for $24,000 each.
• A large wood sculpture by Orestes Hernandez for $23,000.
• Seven works by Roberto Diago for undisclosed prices.

Wentrup’s reported sales were led by Gregor Hildebrandt’s Streisand Kasten (2025) for $55,000. Other sales include:

• Sophie von Hellermann’s Midsummer Night’s Dream (2025) for $55,000.
• Magnus Plessen’s Untitled (2025) for $49,000.
• Anastasia Samoylova’s Reflection in Black Thunderbird (2024) for $13,000.

Southern Guild’s reported sales were led by Roméo Mivekannin’s The Lacemaker (1669–1671), after Johannes Vermeer (2025) for $54,000. Other reported sales include:

• Zanele Muholi’s Somnyama IV, Oslo (2015) for $42,000.
• Artsy Vanguard 2026 artist Manyaku Mashilo’s In the radiance of stars (2025) for $36,000.
• Amine El Gotaibi’s From the Desert (2025) for $28,000.
• Ambrose Rhapsody Murray’s Cross roads (2024) for $25,000.
• Ayotunde Ojo’s (Untitled) Sensory overload (2025) for $22,000.
• Usha Seejarim’s Just a Yoni (2025) for $14,000 and The Nesting Body (2025) for $9,000.

Acceptance of Self, 1954
Cossette Zeno
Richard Saltoun

AIDS Series/Father and Son, 1990
Masami Teraoka
Catharine Clark Gallery

Yve YANG’s reported sales were led by a silk embroidery by Wang Ye (2025) for a price in the range of $30,000–$50,000.

RYAN LEE—one of Artsy’s best booths from the fair—sold two works on paper by Emma Amos for $35,000–$45,000.

​​Luis De Jesus Los Angeles sold three works by Hugo Crosthwaite: Mujer Toma Culebra (Woman Grabs Snake) (2024) for $40,000, Tijuacolor (2024) for $40,000, and Frutas (Fruit) (2025) for $40,000.

Richard Saltoun reported the sales of five works by Cossette Zeno for $8,000–$20,000 each.

Piero Atchugarry Gallery’s solo booth of works by Eva Olivetti yielded sales of works by the artist, including:

• SOLEDAD (1980) for $10,000.
• LA MAESTRA (ca. 1968) for $10,000.
• PAISAJE 20 (ca. 1970) for $10,000.
• CIUDAD VIEJA (ca. 1973) for a price in the range of $15,000.

from Artsy News https://ift.tt/hGHgcRq