We are excited to have produced work for several of our artists who are exhibiting at Art Basel Miami Beach! The fair is open to the public from Thursday, December 1, until Saturday, December 3, at the Miami Beach Convention Center.

Below is a partial list of our clients who have work up at the fair.

Dread Scott

Dread Scott’s installation at the fair features four dye-sublimation prints we produced at Griffin Editions. Exhibiting with Cristin Tierney Gallery at booth N13, the fair’s selection showcases Dread’s earlier work made between 1985 and 2000.

From Cristin Tierney Gallery:
Shown together, the five works can be read as a study of violence: they examine who can exercise it without fear of repercussion, and the privilege inherent in that ability. The issues explored by Scott in his early years have not disappeared; they remain urgent and unsolved, with many artists (including Scott) continuing to tackle these themes in the present. This presentation of works from the ‘80s and ‘90s illuminates how Scott helped to lay the foundation for the contemporary art landscape we see today.

All images courtesy of the artist and Cristin Tierney Gallery.

Alanna Fields

Alanna Fields’ exhibition at the fair with Kohn Gallery showcases an innovative dye-sublimation piece. “Dorothy Dandridge Eyes (Leigh Angelique 1971)” is composed of four separate dye-sublimation panels, three of which are mounted above the surface of the main image with tinted plexiglass, in a mahogany frame. The piece, which draws heavily upon the work of Carrie Mae Weems, “bring[s] this image from the past forward into our consciousness” through the use of isolated frames and three-dimensional layering.

From Alanna Fields and Kohn Gallery:

Deeply influenced by Carrie Mae Weems’ Slow Fade to Black II, Dorothy Dandridge Eyes (Leigh Angelique, 1971) rejects the dissolving memory and historical erasure of Black cultural icons. Pointing to the harsh tension between hypervisibility and invisibility, Dorothy Dandridge Eyes is a testament to Fields’ commitment to Black queer memory-making and preservation. Sourced from the Faulkner Morgan Archive and reimagined as a mixed-media collage, is a photograph of Leigh Angelique of the House of Sweet Evening Breeze, at a 1971 ball in Lexington, Kentucky. Historically, ballroom culture has largely been credited and introduced into mainstream consciousness from northeastern hubs, particularly New York City. However, Ballroom and Drag culture have roots stretching far into the midwest, debunking historical narratives that Black queer people's visibility and reimagining of gender was limited by geography. Highlighted in this work is Angelique's embodiment of audacious femininity through refined aesthetics and an inescapable gaze that reverberates from the surface. The repetition of isolated frames and layered sculptural elements bring this image from the past, forward into our consciousness bringing Black queer visibility into focus.

All images courtesy of the artist and Kohn Gallery.

John Edmonds

John Edmonds’ exhibition at the fair showcases work we produced using our laser-exposed (LE) silver gelatin printing method, by which a digital image is exposed to a fiber-based silver gelatin paper and developed in traditional black and white chemistry, combining modern digital photography with the unrivaled richness of silver gelatin printing. John’s images look spectacular, and we are so proud to have produced them!

John Edmonds, *One*, 2022
Laser-exposed silver gelatin print
71” x 48” x 2” / 180.3 x 121.9 x 5.1 cm

Installation view of John Edmonds’ work at Art Basel Miami Beach 2022, booth N13.

You can see John’s work at booth N13 at the art fair.

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Art Basel Miami Beach 2022

Dread Scott

Alanna Fields

John Edmonds