ART BASEL MIAMI BEACH

Galerie Max Hetzler is delighted to present works by Giulia Andreani, Louise Bonnet, Glenn Brown, André Butzer, Jeremy Demester, Ida Ekblad, Barry Flanagan, Günther Förg, Walton Ford, Katharina Grosse, Hans Hartung, Friedrich Kunath, Liz Larner, Paul McCarthy, Beatriz Milhazes, Albert Oehlen, Richard Prince, Bridget Riley, Tursic & Mille, Rinus Van de Velde, Edmund de Waal and Grace Weaver.

Please click here to discover our virtual booth.

‘I like the fact there is an above and an under with water that shows different parts of something. It hides, distorts shapes, changes them. The fact we are bags of skin with water inside them, makes the barrier of skin so small and fragile.’ 

Louise Bonnet, 2021

‘I make lots of work that is stuck halfway between painting and sculpture […]. I like things to be between different states, and if they question the medium, that’s all good.’

Glenn Brown, 2021

‘Perhaps I’m trying to make the paintings look like my impulse to paint them. There’s a hounding drive in me to restructure unending input and turn it into visuals. Oil on canvas becomes a way not to understand, but to grasp, snatch or re-ignite a feeling of thin upon thick, rain on concrete buildings, drizzle over fluorescent light.’

Ida Ekblad, 2022

‘A series of paintings might begin with the discovery of an almost forgotten book. A firsthand account, however brief, will fuel the fantastic. If all goes well, a panther magically escapes and melts into the landscape. She is out there somewhere; I stay in my studio and try to find her.’

Walton Ford, 2020

‘For an artist so interested in form and material, working so close to the “earth” must be enlivening. The result is our reward: a body of work that transmits a profound joy in material and color, and sculpture that privileges form but conveys sentiment.’

Jenelle Porter, 2016

‘Describing Paul McCarthy’s work as a “spiral” emphasizes the dynamic, and the speed of it. It also highlights the work’s automatic drive – it moves form itself, and carries everything on the way. Such a reading needs to be balanced by its counterpart: reading the work as a transmutation.’

Donatien Grau, 2017

'I want to make beautiful paintings. But I don’t make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn’t work. I expect my paintings to be strong and surprising. When I see a painting that knocks me off my feet, I say “How could he do that? How did he dare?” That’s beauty.’

Albert Oehlen, 2019

‘How do you paint the nude, the figure today? The answer is don't try to get away from the past but instead take from it everything you have ever seen and experienced and loved and paint today and then tomorrow and then paint the day after that.’

Richard Prince, 2013

‘I take one piece of clay after another and make one vessel after another. It’s meditative, it’s contemplative, it’s a kind of music. It’s a kind of stealing of the world. One breath after another…’

Edmund de Waal, 2023

‘Such pictures enchant us – both by their complexity and directness. Essentially, they are allegories of the now. We empathize with their characters, because we can recognize ourselves in them. Their moods and temperaments are ours, too, and tracing them is just one of the many charms of Grace Weaver’s paintings, which unify so many opposites in exciting harmony.’

Amely Deiss, 2019