Art Basel Miami 2021 may be over—and fun in the sun, right along with it—but we are still processing some of the standout art and fair booths that absolutely captivated us. Yes, we’ve come to associate the week long Miami affair with parties, fashion shows and brand activations, but at the core—Art Basel is all about art! Dealers, gallerists, artists, collectors and art aficionados come from all corners of the globe to get a taste of the $50 Billion+ contemporary art market. From blue-chip galleries and established artists, to new galleries and emerging young artists, Basel week in Miami represents the full breadth of the art world. For an entire week (and then some), art galleries and dealers take over the whole city, exhibiting booths at the main hall, pop-up galleries throughout the city, private estates, boutiques etc. 

This years’ offerings were quite indicative of the global arts world, with an incredibly diverse pool of POC artists, women artists of color, queer artists, and Black and Brown gallerists. As more and more artists and dealers continue to break ceilings and push for a more equitable art market, this years’ Art Basel Miami was a great push towards that...with elegant and interesting work that was brought to market to sell to the masses.

Here’s our roundup of some of our favorite works....



With her practice, Lara Schnitger pushes the expressive power of traditional crafts across various categories and materials. Schnitger plays with tension, identity, social engagement, and femininity. Techniques like dying, quilting, weaving, and sewing are reinforced by appropriated slogans that unapologetically speak to the viewer. Through sharp irony, Schnitger deliberately evokes women's stereotypes through explicit figures and images.

Schnitger was born in 1969 and is a Dutch American artist, living and working in Los Angeles and Amsterdam. Her work has been shown internationally at galleries and museums such as the High Line in New York, the Hammer Museum in Los Angeles, The Museum of Contemporary Art in Los Angeles, the New Museum in New York, the National Museum of Contemporary Art in Oslo, Magasin 3 in Stockholm and the Stedelijk Museum, among others. Her work is in the collections of Stedelijk Museum, Amsterdam; The Saatchi Gallery, London; Perez Art Museum, Miami; and the Carnegie Museum of Art, Pittsburgh.




Throughout her career, Tschäpe’s multidisciplinary body of work has encompassed painting, drawing, photography, video, and sculpture. She often incorporates themes of aquatic, plant, and human life to suggest dreamlike, abstract landscapes that blur perceptions of illusion and reality. Referencing interests in myth, morphology, and the mysteries of aquatic states, she has developed a distinctive language of abstraction in which organic forms are imbued with a remarkable quality of luminosity. These distinctive compositions convey a sensation of movement, their biomorphic shapes and gestural marks functioning as emotional signifiers of her interior thoughts.

Tschäpe’s paintings contain innumerable layers of information accrued through the meticulous application of media including watercolor, casein, colored pencil, pastel and in her most recent bodies of work, oil stick. There exists in her work a dynamic tension between the loose, luscious forms that pervade the canvas and the precise systems of markings that often overlay and unify these compositions.

Janaina Tschäpe was born in Munich, Germany in 1973 and lives and works in New York. She received her Bachelor of Fine Arts from the Hochschule für bildende Künste, Hamburg and her Masters in Fine Arts from the School of Visual Arts, New York. Tchäpe’s work is found in important public collections including Centre Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Harvard Art Museum, Cambridge, Massachusetts; Museu de Arte Moderna do Rio de Janeiro, Brazil; Moderna Museet, Stockholm, Sweden; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Solomon R. Guggenheim Museum, New York, among others. She has completed public commissions in New York City; Miami Beach, Florida; São Paulo, Brazil; and Holbæk, Denmark.




Veronica Ryan was born in Plymouth on the Caribbean island of Montserrat in 1956, but her family moved to the UK when she was an infant. She now lives between Hertfordshire in the UK and New York. Her sculpture evades easy categorization: it is non-figurative but associative, combining personal and cultural references while drawing on a wide variety of materials and techniques. Over the years Ryan has worked with tropical fruit, feathers and dust, dyeing and embroidering a wide variety of fabrics, carving marble, stitching together fruit skins, casting in plaster, bronze and clay, crocheting fishing lines and arranging found and fabricated objects on industrial storage shelving. After a number of high-profile shows in the 1980s and early 1990s, she went off the art world radar---but now she is back with a vengeance. By engaging with issues of history, identity, dislocation, and belonging, Ryan examines the psychology and semantics of perception, and experiences of place, home, memory, and loss with her meticulously handcrafted works composed of materials that reference her Afro-Caribbean heritage and upbringing in the U.K.

In June 2020, Hackney Council commissioned Ryan to create sculptures celebrating Hackney’s Windrush Generation—the first permanent public artworks to do so in the UK—which were unveiled in October 2021. Her work is in public collections including the Arts Council Collection, Contemporary Art Society, Sainsbury’s Collection, Tate Collection, The Hepworth Wakefield, and the Weltkunst Collection at the Irish Museum of Modern Art.




Cheryl Pope is an interdisciplinary visual artist that questions and responds to issues of identity as it relates to the individual and the community, specifically in regards to race, gender, class, history, power and place. Her practice emerges from the act and politics of listening. Pope's recent body of work highlights the artist’s examination of systematic social concerns, unexpected material interventions, and simultaneously introduces a novel formal language. Her work puts forth a personal intimacy, combined with the texture of the wool she uses that allows a softness to the vulnerability of her interracial figures. She wants to create works that are sensual and primal, a reminder of how our fundamental human desires connect us. Thus her figures are depicted in wool needles punched into cashmere in order to highlight this sensuality.

Pope received her BFA and MA in Design from the School of the Art Institute, Chicago, where she is now an Adjunct Professor. Pope studied under artist Nick Cave for twelve years, was a teaching artist at the Museum of Contemporary Art for seven years, and worked in multiple community based organizations throughout Chicago.




Monsieur Zohore is an Ivorian-American artist based in New York and Baltimore. His practice is invested in the consumption and digestion of culture through the merging of domestic daily labor with art production. His practice explores queer histories alongside his Ivorian-American heritage through a multi-faceted lens of humor, economics, art history, and labor.

His work ranges from performances painted with the sound of applause, to video work of him covering his body in lotion, to eight-foot-tall canvases adorned with colored paper towels. He creates most of his work using household materials—inspired by his mother, a caterer and event planner—as a way to explore the meanings of hospitality, spectacle, and performance in response to his own experiences.

Zohore received his BFA from the Cooper Union in 2015, and his MFA from the Maryland Institute College of Art in 2020. He is the Assistant Professor of Painting and Printmaking at VCU. Recently, he was the 2020 recipient of the WPA and Warhol Foundation Wherewithal Research Grant, and he has been awarded the Socrates Sculpture Park Fellowship for 2021.




Kara Joslyn’s work takes as its central theme the idea of storytelling and image-making, of capturing the ambiguity and strangeness of things. Figures emerge from black backgrounds. Others are drawn in outsized proportions. All done by hand in a precise and laborious airbrush process, Joslyn’s paintings form an atmospheric realm of images that inspire active speculation from the viewer. They are portals into another reality, almost as if one is entering a different state of being.

With an interest in illusion and optics, Joslyn hand-mixes polymer car paints (including holographic, iridescent, metallic and optical materials in addition to black and white pigments) and applies them to the canvas in a laborious process of masking and airbrushing. Light and dark are produced through subtle layers of sprayed particulate and change from color to gray scale depending on the viewer’s vantage point. Skillfully executed, these images mimic and reflect on the surface to fool the eye.

Joslyn received her BFA from California College of the Arts, San Francisco in 2008, completed post-baccalaureate studies in Painting at Columbia University, New York in 2011 and has an MFA from the University of California, San Diego (2016). Kara Joslyn was born in San Diego but now lives and works in Los Angeles.




Whitney Bedford's most recent series of paintings, Veduta, comes from the term applied to the representation of a landscape or vista that is essentially topographical, often identifiable and naturalistic, or imaginary and romanticized. These “view paintings” developed at a time when artists became increasingly interested in the immediate, natural world around them, preceding a time of industrialization and environmental degradation. Bedford reinvents this eighteenth-century practice by exploring the complexities of memory present in historical works of art. Citations of artists such as Pierre Bonnard, Paul Gauguin, and Milton Avery constitute the foundation for Bedford’s investigation of the deteriorating natural world we inhabit. She addresses the discord between imagination and reality, past and present, visual and conceptual, and oasis and desolation. Subject matter, style, and historical context are vehicles for the artist’s conscious portrayal of the environment. Bedford’s Veduta paintings invite the viewer to reconsider one’s perspective of the natural world.

Bedford was born in 1976 in Baltimore, MD and received her Bachelor of Fine Arts from the Rhode Island School of Design in Providence, RI, and her Master of Fine Arts degree from the University of California in Los Angeles, CA. Her work is included in select collections including Francois Pinault Collection, Paris, France; Hammer Museum, Los Angeles, CA; Jumex Collection, Mexico City, Mexico; Rosa and Carlos de la Cruz, Miami, FL and The Saatchi Gallery, London, United Kingdom. She is the recipient of multiple awards including the Pollock Krasner Award; UCLA Darcy Hayman Award; UCLA Hammer Museum Drawing Biennial Winner; Fulbright Graduate Fellowship, Hoschule der Kunste, Berlin, Germany; Karl-Hoffer Gesellschaft Atelier, Kunstler Werkstatt Banhoff Westend, and the Peggy Guggenheim Collection Studentship, Venice, Italy. Bedford currently lives and works in Los Angeles, CA.




Born in Pasadena, CA in 1963. Pae White lives and works in Los Angeles. The core of Pae White’s practice is based in the desire to insert the domestic in the space of art, two worlds that in her practice overlap with playful and poetic vision. Her production alludes to this constant oscillation between art and design, function and form, revealing a painterly, trompe-l’oeil quality that often confuses the real nature of their medium. Since the beginning of her career, White has explored a variety of materials and techniques, formal elements being a central focus of her artistic production.

Her Paper Tapestries Paintings are a body of work involving extensive working of Japanese paper clay on panel. Pae generates the patterns using a wide array of craft and hobbyist tools to make a variety of imprints. The material is very soft and malleable and dries on its own. Sometimes a color is introduced by having paint travel through the moist clay from the backside to the front in an unpredictable way. Other times the pieces are painted with automotive finish or coated in graphite. Since the clay is so user-friendly it allows for a large array of tools, ranging from clothes pins, batteries, candy molds, plastic forks, ends of toilet paper holders, etc., to make a variety of imprints. The variety of details is reminiscent of an embroidery or woven textile. However, with the irregularity and density of the pattern, this causes a desire in the viewer to keep searching visually; but the pattern has no hierarchy, so the searching is an ongoing quest.

Pae White’s work is in many permanent collections, including the Art Institue of Chicago; Hammer Museum, Los Angeles; Kemper Art Museum, St. Louis; Jumex Collection, Mexico City; MOCA, Los Angeles;  MoMA, New York; SFMOMA; Stedlijk Museum, Amsterdam; Tate Modern, London; The Henry Gallery, Seattle; and The National Gallery of Victoria, Melbourne.




The practice of Los Angeles-based artist Dashiell Manley has been characterized by focused, repetitive, and often times labor-intensive techniques and processes. With his Elegy series, which he began developing in 2016, Manley exudes a more emotional and psychological expression onto the canvas, allowing himself to open up his gestures and movements. With this approach, he established a singular technique—sculpting the oil paint with a palette knife—that resulted in colorful, highly-textured, abstract canvases, that at once inspires a sense of awe and meditative quietude.

Manley obtained his BFA from the California Institute of the Arts in 2007 and his MFA from UCLA in 2011. He currently has works in the permanent collections of The Hammer Museum, Los Angeles, CA; JPMorgan Chase Art Collection; Los Angeles County Museum of Art; and the Palm Springs Art Museum. He lives and works in Los Angeles, CA.




Tara Walters makes large scale paintings using oil-based paints, pure pigment, crystal-based watercolors, and saltwater from the Pacific Ocean, which give her works a slight shimmer on the canvas. Dropping into a deeply meditative state as she paints, her process is one of centering, stillness, and listening. The paintings often begin with a specific color or gesture, sometimes with a composition in mind and other times responding to forms that unexpectedly appear. A student of mediumship and esoteric traditions, psychic signs and symbols are both influences and tools. Celestial bodies, prismatic auras and other optical light effects hint at the Spirit that guides her creative process. In her new body of work, the romantic, imaginative scenes celebrate the living things that surround us – the earth, the air, the water, the animals. Walters’ monumental paintings celebrate both the mystical and the natural world; the expansive and the intimate; wonder and imagination.

Born in Washington, D.C., Tara Walters lives and works in Los Angeles. She received her MFA in 2020 from the Art Center College of Design in Pasadena, CA and her BFA in Painting from the Savannah College of Art and Design in Savannah, GA.