Art Basel 2026 David Kordansky Gallery
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[邮箱已省略] [网址已省略] Los Angeles: 323.935.3030 New Y ork: 212.390.0079 Art Basel 2026 Booth S2 Messe Basel June 16 – 21, 2026
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Abraham Lincoln Walker Untitled, 1990 oil on paper 18 x 25 1/4 inches (45.7 x 64.1 cm) framed: 25 1/2 x 33 1/2 x 1 1/2 inches (65 x 85 x 3.8 cm) [金额已省略]
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Jared Buckhiester is a church (2023) is simultaneously representational and nonobjective, as if residing in the gulf between the narrative implications of the title and the enigmatic form depicted. In much the same way the surfaces of ancient artifacts are smoothed and distorted by use, weather, and time, the legibility of Buckhiester’s etched hands and booted feet suggests a vague figurative scaffolding, though what occurs inside and between remains forever locked in obscurity. The figure coheres in the drawing Counting The General Good (2023), though Buckhiester continues to play with concealment and exposure: a face hidden behind cap and chicken accompanies a seductively lifted hem. Buckhiester has been the subject of solo exhibitions at venues includ- ing David Kordansky Gallery, New Y ork (2025) and Los Angeles (2024); Dunes, Portland, ME (2023); Lighthouse Works, Fishers Island, NY (2021); and Clough-Hanson Gallery, Rhodes College, Memphis, TN (2018). His work has been included in notable group exhibitions includ- ing The Writing’s on the Wall: Language and Silence in the Visual Arts (curated by Hilton Als), Hill Art Foundation, New Y ork (2024–2025); and One Day at a Time: Manny Farber and T ermite Art, Museum of Contemporary Art, Los Angeles (2018). His work is in the collection of the Morgan Library and Museum, New Y ork. Buckhiester lives and works in New Y ork. Jared Buckhiester’s (b. 1977, Dahlonega, GA) art-making process is led by intuition. Working across sculpture, drawing, and painting, Buckhiester’s artworks function as discrete narrative installments in an ongoing story, one in which thematic and stylistic similarities echo and diverge. Recurring images and characters—disembodied hands, chickens and snakes, legs that taper into boots, and drum majors—popu- late Buckhiester’s fictive world like talismans, often in hybridized forms that dissolve into abstractions, lacunae, and provisional lines. The three works on view attest to Buckhiester’s imagistic and material range, and the fraught psychic impressions his pictures intimate. Stylistically, his hand combines the refined lines of expert draughtsmanship with an affective spirit familiar from the Golden Age of animation. The resulting artworks—equal parts sweet and sinister—resonate not as real scenes, but as fantasies, fabrications, or, in psychoanalytic terms, screen memo- ries: mundane events the mind substitutes for anxious recollections of trauma or taboo. The 2017 painting And Not Knowing a Soul In T own extends the poetic construction of its title to the pictorial subject: a body crushed by or emerging from a splintering wooden house, confabulating well-known imagery from The Wizard of Oz with actualities of neglect and decline in rural America. Similarly, the sculpture Perhaps at the end of this road
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Jenna Gribbon’s (b. 1978, Knoxville, TN) oil paintings constitute an important new entry in the long lineage of figurative art, extending its narrative possibilities to explore the act of looking. In portraits and scenes that reimagine the tradition of the nude, Gribbon makes our most recognizable psychological experiences visible, often depicting herself, and those closest to her, as subjects in autobiographical reflec- tions on selfhood and intimacy. The artwork on view belongs to a new series of monumental paintings involving projected images. In Mauve Merge (2026), a self-portrait of the artist appears superimposed on the face of her wife, the musician Mackenzie Scott (TORRES), who is Gribbon’s primary subject. The luxuriant realism of the artist’s brushwork and palette, especially in rendering flesh, facial features, and hair, accen- tuates paint as a sensory, tactile medium. In lustrous, romantic hues, one face emerges through another as if through water, while the veil- like fall of Scott’s gently lifted hair emphasizes the layered composition of light and shadow. In centering a queer relationship between women, Gribbon’s painting responds to the psychologically complex dimensions of partnership while simultaneously challenging the dynamic between viewer, subject, and artist within the art-historical canon of portraiture. The Rose Art Museum at Brandeis University in Waltham, MA will open a major solo exhibition of Jenna Gribbon’s work on August 19, 2026, a comprehensive survey of 25 years of painting. Gribbon was also the subject of a solo exhibition at Collezione Maramotti, Reggio Emilia, Italy (2022–2023). Recent group exhibitions include From Dawn Till Dusk: The Shadow in Contemporary Art, Kunstmuseum Bonn, Germany (2025); Day for Night: New American Realism, Palazzo Barberini, orga- nized by the Aïshti Foundation, Rome (2024); Making Their Mark, Shah Garg Foundation, New Y ork (2023); Living Histories: Queer Views and Old Masters, The Frick Collection, New Y ork (2022); and Paint, also known as Blood: Women, Affect and Desire in Contemporary Painting, Warsaw Museum of Modern Art, Poland (2019). Her work is in the perma- nent collections of institutions including Kunstmuseum The Hague, Netherlands; Dallas Museum of Art; Museum of Fine Arts, Boston; SFMOMA, San Francisco; New Orleans Museum of Art; Kurpfälzisches Museum, Heidelberg, Germany; Rubell Museum, Miami; and FLAG Art Foundation, New Y ork. Gribbon lives and works in New Y ork. Jenna Gribbon
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For almost thirty years, Jason Fox (b. 1964, Y onkers, NY) has painted pictures that inhabit the charged psychological spaces within American culture, as well as within the medium of painting itself. At once satiric and sincere, Fox’s images speak to the desires, projections, and asso- ciations that inform contemporary subjectivity, including the affective energies exchanged between audience and artist, for example, or how cultural figures take on symbolic meaning. In recent years, Fox has focused on hybridized portraits that meld creatures—including drag - ons, devils, and the artist’s dog—with recognizable figures like Barack Obama, Joni Mitchell, or, in this case, George Harrison. In these works, the absurdist exuberance of Dada and Pop art meet Modernism’s will to capture multiple states, volumes, and temporalities in a single image— but it’s the sense of the fan artist’s parasocial fantasy that gives Fox’s creature-characters their radiant pathos and familiarity. In the paint - ing on view, one feels the equipoise of attention paid to the human figure, whose hair shines like a grooved LP , and the equally introspec- tive dragon, whose red, elongated snout appears to emerge through Harrison’s face. Where the combined figure peers out with a melan - choly expression, their features fully overlapping, a tension remains as they both push and pull for visual primacy, as if the transformation can’t quite reach resolution. Fox was recently the subject of a solo exhibition at the Cc Foundation in Shanghai. He has also been the subject of solo exhibitions at David Kordansky Gallery, Los Angeles (2025); CANADA, New Y ork (2021); and Almine Rech Gallery, Brussels (2018). Recent group exhibitions include Drawing Biennial 2026, Drawing Room, London (2026); Blossom: The T enth Anniversary of the Long Museum, Long Museum, Shanghai (2024); The Drawing Centre Show, Le Consortium, Dijon, France (2022); Artists for New Y ork, Hauser & Wirth, New Y ork (2020); Samaritans, Galerie Eva Presenhuber, New Y ork (2019); and Animal Farm, Brant Foundation Art Study Center, Greenwich, CT (2017). His work is in the permanent collections of institutions including the Aïshti Foundation, Beirut; Colby College Museum of Art, Waterville, ME; and Hall Art Foundation, Reading, VT. Fox lives and works in Poughkeepsie, NY. Jason Fox
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Matthew Brannon 7pm Thursday Evening, Wall Street 1984, 2025–2026 silkscreen on paper with hand- painted elements, collaged Japanese Gampi paper, and aluminum 52 x 45 1/2 inches (132.1 x 115.6 cm) framed: 55 1/4 x 48 5/8 x 1 1/2 inches (140.3 x 123.5 x 3.8 cm) [金额已省略]
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Jennifer Guidi (b. 1972, Redondo Beach, CA) draws inspiration from quintessentially West Coast movements: Light and Space, process-ori- ented Minimalism, and the visionary Modernism of the American Southwest. Her work is also inspired by—and generates—meditative states of looking in which boundaries between the outside world and internally visualized spaces break down. Through a nuanced percep - tual understanding of light and color, Guidi amplifies and saturates the intangible, adding sand to paintings and casting and re-casting stones in bronze. Her free-standing geode-like sculptures, which begin as actual rocks and crystals before undergoing several stages of casting, enlarge- ment, and painting, appear to have emerged from her own canvas works, or perhaps to contain them: in the present work, Guidi’s signature radi- ating marks emerge from a fissure in the bronze, as if it holds one of her electric mandalas at its core. Each cast work uses a highly polished finish to offset and reflect the textured, rigorously applied colors of the interiors, which hide and reveal themselves in shrine-like recesses. Guidi’s bronze works are solid but vibrate with implied movement, as mysteriously tactile as they are materially substantial. The rich, undulat- ing bronze reflects the surrounding environment, building an interplay between the exterior world and the interior universe of Guidi’s refrac- tive surfaces. Guidi has been the subject of solo exhibitions at the Orange County Museum of Art, Costa Mesa, CA (2023); Château La Coste, Aix-en- Provence, France (2023); Long Museum West Bund, Shanghai (2022); Museo Villa Croce, Genoa, Italy (2017); and LAXART, Los Angeles (2014). Recent group exhibitions include House in Motion / New Perspectives, de la Cruz Collection, Miami (2023); One Day at a Time: Manny Farber and T ermite Art, Museum of Contemporary Art, Los Angeles (2018); Generations: Female Artists in Dialogue, Part I, Sammlung Goetz, Munich (2018); NO MAN’S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington, D.C. (2016) and Rubell Family Collection, Miami (2015); and The Afghan Carpet Project, Hammer Museum, Los Angeles (2015). Her work is in the permanent collections of institutions including SFMOMA, San Francisco; Dallas Museum of Art; Hammer Museum, Los Angeles; Institute of Contemporary Art, Miami; Los Angeles County Museum of Art; and Solomon R. Guggenheim Museum, New Y ork. Guidi lives and works in Los Angeles. Jennifer Guidi
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Ricky Swallow Blowing Hats, 2011 patinated bronze and oil paint 4 1/2 x 9 1/2 x 4 inches (11.4 x 24.1 x 10.2 cm) Edition of 3, with 1 AP [金额已省略]
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Odili Donald Odita Odili Donald Odita (b. 1966, Enugu, Nigeria) brings heightened aware- ness to color and space in artworks where abstraction is an optically, physically, and culturally felt phenomenon. In discrete paintings and site-specific murals, Odita’s language of geometry and color bring hard- edge abstraction into the here and now, suggesting visual corollaries to pressing questions at once personal, political, and philosophical. T o this end, Odita integrates a simultaneity of influences—including Modernist painting, commercial graphic design, cinematic framing, and African art and textiles—in compositions that balance dynamism and restraint. Central to this practice is the range of his palette, achieved by hand - mixing pigments to make hundreds of distinct colors, and the elective constraint that no two paintings contain the same hue. Through this process, color is stripped of its familiar associations to become, instead, a source of visual potency and new symbolic possibility. The monumental asymmetrical composition Infinite (2026) exemplifies this awareness of color’s energetic potential. Warm and cool triangles, polygonal planes, and splintering rays suggest the synesthesia of looking at rhythm or moving through architectures—a space of indeterminate flux empha - sized by the work’s title. Here and across Odita’s oeuvre, formal choices become arguments against simplistic binaries like positive and negative space, darkness and light, power and softness, abstraction and repre- sentation, offering, instead, a complex panoply of ever-shifting dynamics. Songs from Life, Odita’s large-scale commission for The Museum of Modern Art in New Y ork, is on view in the museum’s atrium through Spring 2027. The Nevada Art Museum in Reno will present a solo exhi- bition dedicated to the artist this summer, on view from June 20 through August 16, 2026. A mid-career survey of Odita’s work, A Survey of Context, was presented at the Abroms-Engel Institute for the Visual Arts in Birmingham, AL (2024) and traveled to the Hyde Collection in Glens Falls, NY (2025). Other solo exhibitions of Odita’s work have been presented at institutions including Contemporary Dayton, OH (2024); Boca Raton Museum of Art, FL (2024); Virginia Museum of Fine Arts, Richmond, VA (2020); Institute of Contemporary Art, Miami (2019); and Nasher Museum of Art at Duke University, Durham, NC (2015). Significant group exhibitions include Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys, Museum of Contemporary Art San Diego (2026) and Brooklyn Museum, NY (2024); and Think with the Senses – Feel with the Mind: Art in the Present T ense, 52nd Venice Biennale (2007). His work is in the permanent collections of institutions includ- ing the Baltimore Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Pérez Art Museum, Miami; Philadelphia Art Museum; SFMOMA, San Francisco; Smithsonian American Art Museum, Washington, D.C.; and The Studio Museum in Harlem, New Y ork. Odita lives and works in Philadelphia.
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Richard T uttle One Panel Produces Two Lights #3, 2021 acrylic and graphite on panel 4 x 4 inches (10.2 x 10.2 cm) framed: 9 7/8 x 9 7/8 x 1 1/2 inches (24.9 x 24.9 x 3.8 cm) [金额已省略]
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Mai-Thu Perret Cat Goddess V, 2026 glazed ceramic 48 x 15 3/8 x 15 3/4 inches (122 x 39 x 40 cm) [金额已省略]
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Current + Upcoming Exhibitions and Fairs New Y ork John Armleder Ripple: Furniture Sculpture and Painting after 1982 May 7 – June 13, 2026 An American Beauty: Grateful Dead 1965–1995 curated by Jay Blakesberg and Ricki Blakesberg June 23 – August 7, 2026 Los Angeles Evan Holloway ROYGBIV May 16 – June 20, 2026 Hilary Pecis Love Letters May 16 – June 20, 2026 T om’s Stretch July 10 – August 22, 2026 Moka Lee July 10 – August 22, 2026 [邮箱已省略] [网址已省略] Los Angeles: 323.935.3030 New Y ork: 212.390.0079