December 4 – 8, 2024
Miami Beach Convention Center

Peter Blum Gallery is pleased to be participating in Art Basel Miami Beach with a group presentation in Galleries Sector booth D19. Within the booth is a separate Kabinett Sector presentation of new monotypes by Nicholas Galanin. Exhibited artists include:

Marina Adams, Paul Fägerskiöld, Nicholas Galanin, Joyce J. Scott, Su-Mei Tse, Martha Tuttle, Rebecca Ward

Marina Adams’s abstract paintings explore pattern as a language that exceeds boundaries. Finding similarities in diverse cultural output such as American Southwest pottery, North African weavings and mosaics, and ancient Egyptian architecture, she reconceives designs as radiant arrangements of color. Her canvases feature fields of interlocking shapes, both biomorphic and geometric, that appear to flex, expand, and contract in their assigned colors. Adams has developed a dynamic and abstract painterly practice of clear and powerful formal language that centers around exploring the possibilities of shape and movement. 

Marina Adams (b. 1960, Orange, NJ) lives and works in Brooklyn and East Hampton, NY. She received an MFA from Columbia University, New York, NY. Solo exhibitions include von Bartha, Basel, Switzerland (2024) and Salon 94, New York, NY (2021). Public collections include Metropolitan Museum of Art, New York, NY and Museum of Modern Art, New York, NY. She was a recipient of the John Simon Guggenheim Memorial Foundation Fellowship (2016).

Paul Fägerskiöld explores perception and symbolism through reduced forms he finds in nature and the cosmos. His multilayered paintings create thick and shimmering sculptural surfaces of impasto that reveal underlying layers of color and linen. Fägerskiöld’s work explores the fundamental nature of painting. His approach is not to create illusions of three-dimensionality or to convey narrative content, but rather to emphasize the tactile, real nature of painting. Viewers are invited to engage with the materiality amd symbolism in his paintings.

Paul Fägerskiöld (b. 1982, Stockholm, Sweden) lives and works in Stockholm, Sweden. He was educated at the Academy of Fine Arts in Vienna and the Royal Institute of Art, Stockholm. Solo museum exhibitions include: Kunstmuseum Thun, Thun, Switzerland, (2021); Borås Art Museum, Borås, Sweden (2019). Public collections include Malmö Konstmuseum, Malmö, Sweden; and Public Art Agency, Stockholm, Sweden.

Examining the complexities of contemporary Indigenous identity, culture, and representation, Nicholas Galanin works from his experience as a Lingít and Unangax artist. Embedding incisive observation and reflection into his oftentimes provocative work, he aims to redress the widespread misappropriation of Indigenous visual culture, the impact of colonialism, as well as collective amnesia. Galanin reclaims narrative and creative agency, while demonstrating contemporary Indigenous art as a continually evolving practice. Speaking through multiple visual, sonic, and tactile languages, his concepts determine his processes, which include sculpture, installation, photography, video, performance, and textile-based work. This contemporary practice builds upon an Indigenous artistic continuum while celebrating the culture and its people; Galanin contributes urgent criticality and vision through resonant and multifaceted works.

Nicholas Galanin (b. 1979, Sheet’ka [Sitka], Alaska) lives and works with his partner Merritt Johnson and their children in Sheet’ka (Sitka), Alaska. He earned a BFA at London Guildhall University (2003), an MFA at Massey University, Palmerston North, New Zealand (2007). Solo institutional exhibitions include Baltimore Museum of Art (2024-25); SITE Santa Fe (2023); and New York Public Art Fund (2023). Galanin will participate in Public Art Abu Dhabi (2024-25) and the Boston Triennial (2025), he is currently participating in the Toronto Biennial (2024). Public collections include Museum of Modern Art, New York, NY; Whitney Museum of American Art, New York, NY; and Los Angeles County Museum of Art, Los Angeles, CA.

Joyce J. Scott delves into the extremes of human nature by conflating humor and horror as well as beauty and brutality. Scott’s primarily figurative sculptures infuse a deep sense of humanity into complex societal and political issues. Incorporating her trademark free-form and off-loom glass bead weaving with that of blown glass and found objects, she comments on matters of racism, sexism, violence, cultural stereotypes as well as themes of spiritual healing. She says, “I am very interested in raising issues…I skirt the borders between comedy, pathos, delight, and horror. I believe in messing with stereotypes, prodding the viewer to reassess, inciting people to look and then carry something home – even if it’s subliminal – that might make a change in them.” The visual richness of Scott’s objects starkly contrasts with the weight of the subject matter that they explore. Embedding cultural critique within the pleasurable experience of viewing a pristinely crafted object, her work mines history to better understand the present moment.

Joyce J. Scott (b. 1948, Baltimore, MD) lives and works in Baltimore, Maryland. She received a BFA from the Maryland Institute College of Art and an MFA from Instituto Allende in San Miguel de Allende, Mexico. Selected solo museum exhibitions include The Baltimore Museum of Art (2024); Seattle Art Museum (2024 – 2025); and Grounds for Sculpture (2018), Trenton, NJ. Public collections include Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Houston, TX; National Museum of American Art, Smithsonian Institution, Washington, DC. Scott was named a MacArthur fellow in 2016.

Su-Mei Tse's multidisciplinary work contemplates existence, notions of time, and rhythm. She expresses life questions by capturing fleeting moments of memories and feelings through various media including photography, sculpture, film, and installation. Impressions in everyday existence, whether they be a passing thought, transitory state, or a visual or auditory experience, are lyrically translated in her work. Tse was initially trained as a classical cellist before completing visual arts studies. This leads her to reflect on the nature of music and self, while the perception of visual and auditory elements remain central to her work. The artist’s practice is not solely seen and heard, but it is felt. Similarly responding to her background of Chinese and British descent, Tse offers contemplations of cultural variance stemming from her own relationship between East and West.

Su-Mei Tse (b. 1973, Luxembourg) lives and works in Luxembourg and Berlin. She received her MFA from Ecole Nationale Superieure des Beaux-Arts, Paris (2000). Selected solo museum exhibitions include: Taipei Fine Arts Museum (2019); Yuz Museum, Shanghai (2018); and Mudam Luxembourg (2018). She participated in the Biennale of Sydney (2018). Tse was awarded the Fondation Prince Pierre de Monaco Prize (2009); Edward Steichen Award (2005); and the Venice Biennale Golden Lion for best national presentation (2003). Public collections include MUDAM - Musée d’Art Moderne Grand-Duc Jean, Luxembourg; New Museum of Contemporary Art, New York, NY; and the Centre National d’Art Contemporain, Paris, France.

Martha Tuttle’s practice embeds natural elements in the forms of her paintings. The compositions emphasize materiality, employing physical processes such as dyeing, weaving, and sewing that permeate each of the works that are colored with naturally derived substances. Passages of translucent stretched silk are dyed with plant matter and iron while others are painted with stone pigments, creating pools of subtle elemental colors. Visually, the marks on the silk begin to suggest the cracking of a geological topography. Appearing to emerge and recede behind these sections, visible stretchers create compositional balance rather than solely serving as support. Together with the found minerals, the compositions resonate with the larger geological questionings concerning how relationships can be established with the geologic.

Martha Tuttle (b. 1989, Santa Fe, NM) lives and works in Bozeman, MT and she received an MFA from Yale School of Art, New Haven, CT. Solo exhibitions include Moody Center for the Arts, Houston (2024) and Storm King Arts Center, New York (2020-21). Tuttle participated in a Rauschenberg Residency, Captiva (2019) and received a Josef Albers Foundation Fellowship (2014). Selected public collections include The Museum of Modern Art, New York, NY; Museum of Fine Arts, Houston, TX; and The National Gallery of Art, Washington, DC.

Rebecca Ward continues to investigate painting’s multifaceted relationships with object, craft, and dimensionality through deconstructed and sewn canvases. Emphasizing materiality and process, a distinct visual language and formal ambiguity permeates the artist’s works. Ward converges cut planes of painted and dyed canvas at machine-sewn seams that both physically combine and divide the compositions along a perpendicular axis. Creating exuberant environments of grassy greens, silky violets, or variegated maroons, foreground and background are accentuated by lighter washes or raw canvas contrasting with saturated tones.

Rebecca Ward (b. 1984, Waco, TX) currently lives and works in Brooklyn, NY. She received a BA at the University of Texas, Austin, TX and an MFA at the School of the Visual Arts, New York, NY. Selected solo exhibitions include SITE Santa Fe (2022); and FLAG Art Foundation, New York, NY (2015). Public collections include the Dallas Museum of Art, Dallas, TX.

Kabinett sector
Presentation within Galleries sector booth D19

The Kabinett sector offers a platform to present curated installations that range from solo presentations to thematic group exhibitions and historical showcases, installed in a dedicated area of the booth, but separated from the booth's other artworks by architectural delineation. The aim is to amplify diversity and new perspectives.  

Nicholas Galanin
Post-colonial Fever Dreams and Memories of Vision

Post-colonial Fever Dreams and Memories of Vision is a series of new monoprints drawn from Nicholas Galanin’s relationship to Land and Lingít culture. His images are created from memory, story, experience, teachings, and research; they are depictions of motion and form, becoming, transforming, and lingering. As the title suggests, these prints gesture toward the overlaps between feeling and knowing, remembering and forgetting, what can be seen (and what cannot) under the continuing pressure of settler-colonial frameworks. Each image is unique, fixed only for a single imprint; trailing motions in ink evidence the artist’s hand tracing out memories and visions. Post-colonial Fever Dreams and Memories of Vision is a meditation on the persistence of Indigenous connection to Land, embedded in every layer of consciousness.