Sue Hostetler 2017-11-29 11:04:24
After a “super year” of art events, including the quadfecta of the Whitney Biennial, the Venice Biennale, documenta and Skulptur Projekte Münster, I am thrilled (and frankly a bit relieved) to be wrapping it all up here at Art Basel in Miami Beach. This week is always a highlight on the art-world calendar, and this edition is the culmination and celebration of an intense and exciting year of excellence and evolution. Now in its 16th year, Art Basel in Miami Beach continues to be at the forefront of the international contemporary art world, redefining and pushing the limits with the highest quality and most progressive programming to date. Congratulations to Marc, Noah and the entire Art Basel team for continued innovation and a show that boasts 268 galleries (including 20 firsttimers) from 32 countries across North and South America, Europe, Asia, Africa and the Middle East. In every issue we produce, a thematic thread seems to organically emerge, and this fall was understandably no different. Seemingly almost every single story is infused with the various themes of political resistance, identity, protest, racism, gender equality and civil rights. Do not miss writer and sociologist Sarah Thornton’s illuminating conversation with Frank Bowling, Isaac Julien, Zoe Whitley and Pamela Joyner about the historical struggle of artists of the African diaspora and the challenges they face in the 21st century. Lindsay Pollock investigates the battle that continues to rage around public funding for the arts and the NEA, and András Szántó helps us crack the code on technological advances like virtual museums and digital transformation in the art world. Isolde Brielmaier takes us behind the curatorial mission of Prospect.4, currently taking place in New Orleans, and Diana McClure’s perspicacious survey of the year in art’s less obvious but significant philosophical and synergistic ideas reflects why creativity and art matter now more than ever. And the three curators behind the Guggenheim Museum’s hotly debated “Art and China After 1989: Theater of the World”—Alexandra Munroe, Hou Hanru and Phil Tinari— discuss the exhibition, which features experimental works created between the year of the Tiananmen Square protests (1989) and the year of the Beijing Olympics (2008). Personally, I am most looking forward to the Public sector and Philipp Kaiser’s fresh curatorial vision, as well as the newly renovated Bass Museum, and Audemars Piguet’s ambitious project with artist Lars Jan on the Miami Beach oceanfront between 20th and 21st streets. Enjoy this engaging and exhilarating week of Art Basel in Miami Beach, keeping in mind Marcel Duchamp’s iconic words: “A work of art is completed by the viewer.” SUE HOSTETLER
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