Booth B4
The Hotel Jerome, Aspen, CO
VIP Day: 29 July, 11am-6pm

Sean Kelly returns to the Aspen Art Fair. The presentation encompasses painting, sculpture, photography, and works on paper, and reflects the breadth of the gallery's program, while highlighting artists who examine portraiture, landscape, abstraction, and history. Underscoring the gallery's longstanding relationship with Aspen, the installation includes several artists who have participated in the internationally recognized programs at the Anderson Ranch Arts Center, reflecting the gallery’s enduring engagement with the region’s vibrant artistic community.

Landscape and the natural world are recurring points of departure throughout our presentation. Jose Dávila’s cut-out series challenges the conventional connotations of photography by removing the central figures. What remains is the landscape itself, inviting viewers to interpret the composition from a subjective position. Julian Charrière’s Veils series are photolithographs printed with material from chalk and coral, transforming images of coral reefs into a meditation on the beauty and vulnerability of marine environments. A work from Ana González’s Devastations series, features a partially unraveled image of the Colombian forest evoking the fragility of ecosystems shaped by the extraction of natural resources. Following receipt of the 2025 Aspen Art Fair Prize, González will return to Aspen for her forthcoming residency at Anderson Ranch this fall. Ilse D’Hollander’s painting demonstrates the remarkable sensitivity with which she distilled landscapes and emotion into restrained, luminous compositions that hover between abstraction and representation. Wu Chi-Tsung’s Cyano-collage blends Eastern and Western aesthetics with experimental photographic techniques to create abstract images that resemble mountainous terrains or seascapes.

Throughout the booth, artists reconsider the language of abstraction through distinctive conceptual and material approaches. Hugo McCloud’s abstract stamped tar painting combines unconventional industrial materials with traditional woodblock printing techniques to create a layered composition that blurs the boundaries between painting, printmaking, and relief. Sam Moyer’s glass work explores the relationship between transparency and solidity. Oscillating between painting and sculpture, the work reflects Moyer’s ongoing investigation into materials.

A number of works are inspired by personal experience, historical narratives, and cultural traditions. A drawing by Marina Abramović reflects the enduring conceptual concerns that have shaped her practice for more than five decades, offering an intimate meditation on presence, memory, and the body. Laurent Grasso’s Studies into the Past painting exists between historical record and speculative fiction, encouraging viewers to question the authority of images and the construction of history itself. In her intricate work on paper, Shahzia Sikander reimagines the visual language of Indo-Persian miniature painting, weaving together mythology, migration, and contemporary politics into richly layered compositions.

Kehinde Wiley continues his celebrated reimagining of portraiture by challenging longstanding conventions of power and representation while, Awol Erizku’s work, incorporating an image of the Mona Lisa, reconsiders one of Western art history’s most iconic images through the lens of contemporary Black culture. Incorporating a Chrome Hearts zipper, the work expands into sculpture while drawing historical references to Marcel Duchamp’s readymades and David Hammons’ use of culturally resonant found objects. Hilda Palafox’s figurative compositions explore themes of intimacy, balance, and the body through a restrained visual language rooted in austerity and stillness.

Contemporary approaches to sculpture are represented through two distinct practices. Brian Rochefort’s wall-mounted ceramic sculpture evokes volcanic landscapes through richly textured surfaces and dynamic forms. Magdiel García Almanza’s sculpture moves fluidly between abstraction and figuration while drawing upon the formal vocabularies of Cubism and modernism. His first solo exhibition with Sean Kelly is currently on view in New York.

Together, the presentation reflects the gallery’s longstanding commitment to artists whose practices expand the possibilities of their chosen mediums, while offering unique perspectives on the world around us.