I’d call Sarah Braman’s show at Mitchell-Innes & Nash a breakthrough were it not for her slow and steady ascent.
MIAMI BEACH — Amid all the predictable fare in Art Basel Miami Beach’s Public sector, installed in Collins Park alongside the Bass Museum of Art — your Ernesto Neto hammock contraption, your Justin Matherly concrete-and-walker figure, your shiny bronze Elmgreen & Dragset provocation, your Georg Baselitz primitivist giant — is a set of bravura works by women artists.
Tired of all the chatter about Nada being the next big thing, I decided to see if this year’s display would be everything the PR and press promised it would be.
Honestly, it was. Even if the solo artist booths in Richelieu hall were generally a little dull and pedantic, the Napoleon hall was filled with a diverse range of work from galleries that obviously loved what they do.
I found the painting at Nada particularly strong and it was nice to see a love of color in so many that ranged from large-ish-scale abstractions to small intimate pieces with rich surfaces. The tread for most of these paintings is that they tended to be done in a gestural mode of representation veering towards the abstract, but I can live with that.