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Miami
 
20140813063121-one_of_the_two_walls_composing_bummer
The Wolfsonian-FIU
1001 Washington Avenue, Miami Beach, FL 33139
March 26, 2014 - August 31, 2014


Bummer: Reflections on the Varieties of Human Folly, Aesthetics, and the 1990s
by Rob Goyanes


For some reason, in the wake of men creating darkness, they also make art: Christ gets crucified, someone paints a scene of it. War with the Japanese, a handmade game called “Kill the Jap.” Stalin shaves off and effectively enslaves a solid percentage of Russian society in order to hoist industrialization upon its weary shoulders—a porcelain plate, so you can eat off his face.

Such examples are the art and design found at Bummer, a small, eccentric exhibition on view at the Wolfsonian-FIU. Adding to (and explicating on) this eccentricity is the fact that Todd Oldham, well-known fashion and interior designer and TV host, curated the installation.

Todd Oldham on Todd Time, his segment for MTV's House of Style; Courtesy of MTV

 

Oldham, who launched his first clothing line in 1989, hosted the “Todd Time” segment on MTV’s House of Style and then his own series Fashionably Loud. Known in the '90s for his kitschy mashup patterning, he’s designed lines for mega-corporate clients such as Target and La-Z-Boy, and has written almost twenty books on design. So he knows something about customized objects and pop culture even if his resume is a little short on curatorial experience. No matter: it’s a good show.

Oldham drew the contents of his installation from the museum’s permanent collection. Consisting of decorative objects, furniture, documents, and paintings, the exhibition, like the Wolfsonian’s collection, is primarily a look at the period from 1885-1945. Oldham was invited to curate the exhibition as part of the museum’s inaugural symposium titled Power of Design, for which “Complaints” was the theme.

Presented salon style, Bummer is great for its parts though lacking in its sum total. Third Reich branded cutlery sits in a display case next to the “caput applicator,” a mid-century S&M-looking device one attaches to the face for sinus suction. An equally uncomfortable and/or arousing chair designed by Frank Lloyd Wright awaits you on the platform parallel. The objects spark an initial rush of interest and consideration, but for the most part they are nothing we haven’t seen before.

The exhibition also commits a fatal flaw inherent in contemporary art, one that arguably crystallized in the '90s: it makes kitsch out of subjects that deserve more intensity, or at least perhaps a different sort of kitsching out. Also, and maybe contradictorily, the shortage of more contemporary objects (i.e. post-war if not post-9/11) doesn’t bode well for producing a “bummer,” if we’re to heed the colloquial spirit of the phrase.

To fly all these objects under the Bummer banner, too, is reflective of the cheeky, euphemistic maneuvering—the complicit, straight-up cheesy spirit of commercial optimism—of what we might call the '90s aesthetic. Put plainly, it sucks the imagination out of what’s required for thinking about the terror of industrial-scale subjugation and extermination of human beings.

Decorative plates on view at Bummer; Courtesy of The Wolfsonian- FIU

 

However, we may yet think of the exhibition another way. The Stalin plate, also the beautiful and thusly unsettling photos of interior designs by Nazi architect Paul Ludwig Troost—these sorts of objects show that in order to commit the kinds of atrocities that the 20th (and now 21st) Century are known for, it is necessary to make decoration out of the abysmal, to present the tyrant/regime/crime as normal—and not only normal, but also culturally relevant and resonant.

Also suggestive of the limits and successes of the exhibition are the internationally sourced AIDS awareness posters, which depict the humanitarian foil to this fact, the greener grass of modern aesthetic intent. But as one of the few examples of more relatable tragedy, it fails to make an impact beyond a mildly sad nostalgia.

So while Oldham doesn’t provide the tools or context for greater insight into human folly and tragedy, the objects do emit an ambient creepiness that speaks to the inaccessibility of things like Auschwitz and the Gulag.

 

Rob Goyanes

 

(Image on top: Installation view of Bummer; Courtesy of The Wolfsonian- FIU)



Posted by Rob Goyanes on 8/13 | tags: Todd Oldham furniture design violence and art traditional

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Beyond Basel: How private collectors have shaped Miami's art scene
by Allyson Parker


Miami has often attracted a particular breed of art collector, most notably, the fair-seeking seasonal variety who favors the grab-and-go style of art acquisition. Consequentially it can seem like great art is always passing through the city, but rarely finding a home. This trend has shifted as a result of a handful of resident collectors who have committed to making Miami a cultural destination by sharing their artwork and opening their doors to the general public year-round. 

The distinguishing characteristic of a private collection is that it is acquired through independent means and usually does not have any direct affiliations with an institution or municipality. Most private collections are built slowly as passion projects and are often later bequeathed to a township or museum from the collector’s estate. In the last decade, Miami, which has always been known as a real estate developers’ town, has become known for art collections financed by international business tycoons and philanthropists. Some of these business leaders have transformed warehouse spaces to display their magnificent collections; others have used museum donations as a way to bring their work to the public.

Take real estate developer Jorge M. Pérez’s most recent contribution to the Miami Art Museum. The billionaire entrepreneur supplied a $40 million donation in the form of both cash and artwork, and in exchange his name went on the public museum’s masthead. Art from the likes of Louise Nevelson and Lorna Simpson will grace the halls of this 200,000-square-foot Herzog & de Meuron building, now titled PAMM (Pérez Art Museum Miami). Additional supporters include the Knight Foundation’s Vice President of Arts, Dennis Scholl and real estate developer and Design Miami co-founder Craig Robins, who have also recently contributed collections to the museum’s growing inventory.

Simon Starling, Inverted Retrograde Theme, USA (A House of a Song Bird), 2002 Wood, iron, tree trunks, and birds, 133 x 122 x 140 inches; Collection of Pérez Art Museum Miami, Gift of Dennis and Debra Scholl; © Simon Starling / Courtesy of the artist and Casey Kaplan, New York

 

Pérez’s influence has shifted the narrative of Miami’s museum culture. In a town where many exhibitions focus on Latin-American and Cuban art, the new and improved PAMM aims to put Miami on the map as a globally focused city sensitive to the canons of art history. Public opinion remains divided, however. The sizeable donation has been wrought with controversy and speculation into the motivations of the mogul’s generosity. What sort of legacy is the entrepreneur looking to leave with the community—do his intentions have more to do with property value than cultural value?   

Other venues such as the Rubell Family Collection and the Margulies Collection at the Warehouse have been influencing the local art scene for years. Both organizations are housed in the Wynwood Arts District, with each family creating a not-for-profit extension of their financial empires. Martin Z. Margulies, who has been known to give impromptu guided tours to unsuspecting art lovers (myself included) where he offers firsthand accounts of schmoozing with some of the godfathers of modern art. The Rubells host similar docent-led art tours through their collections and both organizations collaborate with local public and charter schools like Design District’s DASH (Design and Architecture Senior High) with a curriculum of educational and special events programming. 

Rosa & Carlos de la Cruz; Courtesy of the de la Cruz Collection

 

Cuban collectors Carlos and Rosa de la Cruz have also made their collections accessible, as has Ella Fontanals-Cisneros who launched the Cisneros Fontanals Art Foundation (CIFO) in 2002. Both host international residency programs with a focus on supporting Latin American artists. These types of educational and community driven programs are often the wards of municipal tax dollars, so it’s particularly noteworthy that both of these families largely fund such programs with little recourse to public money. 

The question critics may ask is why have these exceptionally wealthy families and business moguls taken the time to buy, build, and maintain multi-million dollar—the Margulies Collection alone has an estimated net worth of $800 million—“passion projects” with no direct financial incentive in sight? 

The answer to that question may be found in Harvard Professor Joseph Nye’s famous essay “Soft Power,” which details the political influence of cultural institutions and their ability to shape public opinion. In the essay, Nye writes, "Culture shapes the environment for policymaking, but does so indirectly, through a process that is slow and can take years to manifest. It is therefore necessary for actors—individual organizations and governments alike—to create environments, physical locations and situations where culture can be exhibited as well as exchanged.”[1] For Nye, political power rests in an entity’s ability to influence its environment. The cynic might assume that perhaps for the wealthy Miami art patron and business mogul, a few hundred million is a worthy investment if it will garner the kind of political clout that will literally change the city’s landscape and infrastructure.

 

Ella Fontanals-Cisneros, President and Founder, CIFO; Courtesy of CIFO

 

In the end, however, it is the Miami resident who benefits from the power-plays of the elite. As the artifacts of fine art and high culture are assembled in permanent collections on display for the Miami community, the opportunities for a socially conscious mindset will potentially foster a stronger, more rigorous artistic community capable not only of keeping local talent duly engaged, but of attracting artists and visitors from around the world. It could certainly be viewed as a long-term power play. Then again, perhaps these generous donations and family collections are simply “thank yous” to a town that made their success possible.

 


Allyson Parker

 

[Image on top: Pérez Art Museum Miami, east façade. February 2014, Designed by Herzog & de Meuron; Photo: Armando/MannyofMiami.com; Courtesy Pérez Art Museum Miami]



Posted by Allyson Parker on 8/15 | tags: miami art collectors collector's catalogue collector's art spaces museum donations Miami art scene PAMM

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