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Art Basel Miami Beach 2022

For the 2022 edition of Art Basel Miami Beach, Petzel is pleased to present works by artists integral to the program, with established histories to the gallery, and new to its roster. Artists on view will include Walead Beshty, Ross Bleckner, Cosima von Bonin, Joe Bradley, Simon Denny, Thomas Eggerer, Georg Herold, Charline von Heyl, Martin Kippenberger, Sean Landers, James Little, Allan McCollum, Malcolm Morley, Sarah Morris, Jorge Pardo, Joyce Pensato, Seth Price, Stephen Prina, Pieter Schoolwerth, Hiroki Tsukuda, Nicola Tyson, Samson Young, and Heimo Zobernig.

The works available here will be on view at Petzel’s stand at Art Basel Miami Beach in Booth B17.

Art Basel Miami Beach 2022 -  - Viewing Room - Petzel Gallery

Petzel is especially thrilled to debut the presentation of recent work by James Little – the gallery’s first public display of his work since announcing representation – alongside a painting by Malcolm Morley, whose Estate will now also work with the gallery. Malcolm Morely’s Ring of Fire (2009) employs unnatural colors and photojournalistic realism to dramatize the decisive moment of a motorcyclist’s impressive stunt. Morely elevates Motocross imagery to the realm of mythological epics, in which heroes brave danger and death. On the other hand, following James Little’s recent Whitney Biennial participation, in which he contributed hard-edged shards of black geometry sculpted onto canvases, Petzel’s booth displays his painting Gallagher’s Hit (2020) that similarly examples his rigorous knowledge of color theory and painterly technique.

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Malcolm Morley, Ring of Fire

Malcolm Morley

Ring of Fire

2009

Oil and string on linen with separate oil on linen

88 x 81.5 inches

223.5 x 207 cm

Art Basel Miami Beach 2022 -  - Viewing Room - Petzel Gallery

Other highlights include Joyce Pensato’s It’s Batman… (2012), which is part of a larger body of work that appropriates Batman imagery and sets itself apart by being one of the first paintings in which the artist incorporated color. Zobernig’s emblematic text-based paintings, which explore concepts like “infrastructure” in the context of art, similarly mark an important shift in his practice. Cosima von Bonin’s eccentric octopus is reminiscent of her anthropomorphic sea creatures that populated the most recent Venice Biennale. While Jorge Pardo mines the suggestive ambiguities of his three-dimensional objects, straddling the aesthetic and functional, in a new set of lamp, table, and chairs.

Charline von Heyl, Would Day Hour

Charline von Heyl

Would Day Hour

2018

Acrylic on linen

50 x 60 inches

127 x 152.4 cm

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Stephen Prina, Push Comes to Love: Ivory, 1999

Stephen Prina

Push Comes to Love: Ivory, 1999

PUSH COMES TO LOVE, Untitled, 1999–2018

Photo screenprint with acrylic, acrylic enamel on canvas, one can of black enamel spray paint

59 3/8 x 47 5/8 inches

150.8 x 121 cm

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Joe Bradley, Cameo

Joe Bradley

Cameo

2022

Oil on canvas

64 1/4 x 70 1/4 inches

163.2 x 178.4 cm

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Simon Denny, Metaverse Landscape 5: Decentraland Parcel -132, -47

Simon Denny

Metaverse Landscape 5: Decentraland Parcel -132, -47

2022

UV print and oil on canvas, wood, MDF, plexiglass, ETH paper wallet, dynamic ERC-721 NFT

50.2 x 48.2 inches

127.4 x 122.4 cm

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Pieter Schoolwerth, Danny Siq D Switch (Rigged #30)

Pieter Schoolwerth

Danny Siq D Switch (Rigged #30)

2022

Oil, acrylic, inkjet on canvas

76 x 72 inches

193 x 182.9 cm

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Seth Price, Interior Life / Hot Dog With Mustard

Seth Price

Interior Life / Hot Dog With Mustard

2015

Screen printing and pigmented acrylic polymer on wood in leather artist’s frame

52 x 43 inches

132.1 x 109.2 cm

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Sarah Morris, Black Pines [Sumiyoshi]

Sarah Morris

Black Pines [Sumiyoshi]

2022

Household gloss paint on canvas

48 x 48 inches

122 x 122 cm

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Walead Beshty, Asymmetrical Inverted RA4 Contact Print / Processor Stall (CYM: Los Angeles, California, January 29, 2018; Fujicolor Crystal Archive Super Type C, Em. No. 159-016 / Fujicolor Crystal Archive Super Type II, Em. No. 859809B217; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225 RA4 Color Processor, Ser. No. 00092174; 02818)

Walead Beshty

Asymmetrical Inverted RA4 Contact Print / Processor Stall (CYM: Los Angeles, California, January 29, 2018; Fujicolor Crystal Archive Super Type C, Em. No. 159-016 / Fujicolor Crystal Archive Super Type II, Em. No. 859809B217; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225 RA4 Color Processor, Ser. No. 00092174; 02818)

2018

Color photographic paper

49 1/8 x 59 1/2 inches

124.8 x 151.1 cm

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Allan McCollum, The Dog From Pompei

Allan McCollum

The Dog From Pompei

1990/91

Polymer-modified Hydrocal

21 x 21 x 21 inches

53.3 x 53.3 x 53.3 cm

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Allan McCollum, Inner Conditions

Allan McCollum

Inner Conditions

1973

Canvas, glitter, sand, silicone adhesive, acrylic paint

44 x 89 inches

111.8 x 226.1 cm

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Thomas Eggerer, The Privilege of the Roof

Thomas Eggerer

The Privilege of the Roof

2004

Acrylic on canvas

48 x 92 inches

121.9 x 233.7 cm

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Samson Young, Flocking path study (song song song in reverse)

Samson Young

Flocking path study (song song song in reverse)

2022

Pastel and colored pencil on paper

42 x 51 inches

106.5 x 130 cm

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Art Basel Miami Beach 2022 -  - Viewing Room - Petzel Gallery