ArtSlant - Current exhibits http://www.artslant.com/mia/Events/show en-us 40 Ruben Ubiera, Claudio Ethos - 101/exhibit - September 7th, 2012 - November 26th, 2012 <p>"On September 7, 2012, Juxtapoz will be a co-sponsor of a new exhibition opening in Miami at <a href="http://www.101exhibit.com/splash" target="_blank">101/Exhibit</a>, Urban Narrative, featuring new works by former Juxtapoz featured artist Claudio Ethos and Dominican-born artist, Ruben Ubiera.</p> <p><br /> From the Gallery: </p> <p>The acclaimed Sao Paulo-based street surrealist, Claudio Ethos and Miami New Times vote for Best Street Artist of 2012, Ruben Ubiera, will present a dual exhibition, entitled “Urban Narrative“ at 101/Exhibit preceeding Wynwood’s 2nd Saturday’s Art Walk on Friday September 7th.</p> <p> </p> Mon, 08 Oct 2012 03:32:29 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Tony Caltabiano - Abba Fine Art - September 8th, 2012 - October 10th, 2012 Sun, 16 Sep 2012 23:43:20 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list DEBRA HOLT - Abba Fine Art - September 8th, 2012 - November 15th, 2012 <p style="text-align: justify;">Debra Holt's recent installation, <em>"An Unborn Child Leaves a Shadow on the Soul" </em>is on view at Abba Fine Art from September 8th through November 15th, 2012. <br /> <br /> Holt's installation engages viewers to enter and experience symbols of pre-birth life and death. The exhibition includes depictions of a uterus with an embryo, fetal developments, a child's world of dolls, antique furniture, including a crib with a newborn child, collectibles, photography, poetry, sound and a comment box for participants remarks. Holt's installation incorporates a variety of media inspired by the use of space and found objects in the works of installation artists Edward Kienholz and Joseph Cornell.<br /> <br /> Upon entering the room, viewers look into a pink rose-framed mirror hanging on the back wall. Below the mirror, a child's handwritten crayon message reads, "What have we done?" <br /> <br /> Further on in the exhibit, an antique framed photograph of a dimly lit doll with a weathered, cracked face casts a large shadow that suggests "although we may try to objectify the fetus to rationalize destroying it, an unborn child still leaves a shadow on the soul." One begins to wonder: If our bodies and souls are a result of this miraculous creation, do we have "the right to choose"? Do the unborn have a "fundamental individual right to life which cannot be infringed." Is <em>all</em> life sacred?<br /> <br /> Debra Holt, a native South Florida artist, was born in West Palm Beach and presently lives and works in Miami, Florida. She graduated with a Bachelor of Fine Arts degree from Florida International University and a Masters of Fine Arts from Pratt Institute, NY. As a multimedia artist, she employs freedom of expression to create artwork without boundaries to explore conceptual ideas with the flexibility of media and content. The artist uses various media, including photography, painting, sculpture, video, sound, and installations to convey the concept she wishes to explore. Holt's extensive travel experiences in the United States and abroad have influenced the rich development of her unique and creative artistic expressions. <br /> <br /> Debra Holt's works have been included in solo and group gallery and museum exhibitions in New York, Chicago, Los Angeles and Miami. She is currently represented by Abba Fine Art located in the Miami Wynwood Art District. The curators of Photo Miami 2009 selected Debra Holt, along with noted artists Kalup Linzy, Zefrey Throwell, and Carrie Mae Weems, as featured artist for Special Projects. Debra Holt presented a large-scale video installation <em>"Living Water"</em> for Special Projects during Art Basel Miami. Her solo <em>"Pulse of Nature"</em> was presented at Photo LA 2011, and she has been included in other art fairs including Scope NY, Scope Miami and Next Art Fair.</p> Mon, 15 Oct 2012 02:30:48 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Caryne Havican Mender - ACND Gallery of Art - September 15th, 2012 - November 3rd, 2012 <p>Caryne Havican Mender originates from the Detroit area holding a BFA from the College of Creative Studies, School of Art &amp; Design, a MALS from the University of Detroit, a K-12 Art Education Certification from Aquinas College and most recently a MFA from the Miami International University School of Art &amp; Design. Now living in Miami, Mender has participated in art shows in both Michigan and Miami including the Bouzon Gallery, Solo Art Miami Inaugural Art show, and Miami International University Thesis Art Show. Mender synergizes artifacts pulled from the urban landscape.  These discarded man-made objects found in abandoned houses, junkyards, antique shops, and flea markets transform into a collection of works that reflect a renewed sense of beauty.</p> <p><a href="http://www.havicanwilliamsgallerystudio.com/" rel="nofollow"><strong>Photos Courtesy of Havican Williams Gallery/Studio</strong></a></p> Fri, 14 Sep 2012 14:33:21 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Ana Tiscornia - Alejandra Von Hartz Gallery - September 20th, 2012 - November 24th, 2012 <p style="text-align: justify;">For a long time Ana Tiscornia’ work has focused on memory and social oblivion: “It is my silent charge against forgetting”. This is complicated because forgetfulness and silence are alike, both mark the place where what has been avoided stirs. Silence makes possible that which is sayable; forgetfulness, repetition.</p> <p style="text-align: justify;">In her recent works, Tiscornia has been making discrete objects, sculptures, and collages that result from the manipulation and intervention of common tools, pieces of furniture, cardboard letters, sheet rock, insulation, and other familiar materials. These constructions and visual rearrangements of everyday objects appear both obscure and familiar. They draw upon the paradoxical bond between architecture – a language of construction par excellence – with that of destruction and dislocation.</p> <p style="text-align: justify;">“In rearranging the various materials I seek a potential poetics – a kind of cartography of social oblivion – that is simultaneously exposing but also recovering scattered fragments of the utopian project. Somehow I am trying not to reconstruct but to organize them in a new project. Although specific political circumstances and catastrophes prompt me to make these pieces, these works look to a shared global moment and do not literally correspond to any one particular incident or place. They rather scrutinize how can mediums be pushed beyond their traditional associations, and still protect from erosion complex and nuanced social meanings. “</p> <p style="text-align: justify;">For her first solo show at Alejandra von Hartz Gallery, Tiscornia will also present a newly developed group of large paintings, and cardboard pieces that resulted from a previous series of collages which she started overlapping cut outs of digital drawings of renderings of houses in disarray. From her perspective, ideas and technical solutions are inseparable, so the pieces in the exhibition, in different media, aim to stand by themselves while being part of an installation that allows various dialogues.</p> <p style="text-align: justify;">Ana Tiscornia was born in Uruguay in 1951 where she studied architecture at the Universidad de la República. Since 1991 resides in New York. She is a Emeritus Professor at SUNY College at Old Westbury. Her work, extensively shown, includes the most recent solo projects at Point of Contact Gallery, Syracuse; Volta 2011 New York represented by Alejandra Von Hartz Gallery; Galería El Paseo, Uruguay; ARCO 09 in Madrid; On Location at Allegra Ravizza in Milan; and Noticias Breves at Centro Cultural Recoleta, Buenos Aires. Additionally, Tiscornia has participated in group shows such as Esa Vara. Modernity and emplacement, Museum of Contemporary Art and Design, Costa Rica; Microwave 8, Josee Bienvenu Gallery, New York; The Disappeared, University of Wyoming Art Museum. The artist represented Uruguay in the II and IX Bienal de La Habana, Cuba, and the III Bienal de Lima, Perú. She has been a recipient of the New York Foundation for the Arts Fellowship, and the Pollock-Krasner Foundation Grant. Tiscornia is the author of the book, Vicissitudes of the Visual Imaginary: Between Utopia and Fragmented Identity, published by White Wine Press with Distrito Cuatro. Recently, she curated La Guerra que no hemos visto, which debuted in 2009 at the Museo de Arte Moderno de Bogota and traveled to Museo de Antioquia in Medellin, El Museo de la Tertulia in Cali, and Frost Museum in Miami.</p> <p></p> <div id="footer"> <div id="footer-text"></div> </div> Mon, 08 Oct 2012 03:34:27 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Juan Pablo Garza - Alejandra Von Hartz Gallery - September 20th, 2012 - November 4th, 2012 <p style="text-align: justify;">The determining factor of JPG’s practice is the exploration of photography as a technical resource and a language unto itself.</p> <p style="text-align: justify;">From this central idea springs his interest in revision and the dialogue between the photographic image and other mediums of representation; together with an investigation of the possible transformation of the quotidian spaces into expressive matter. He conceives the creative process as an instrument of research and knowledge, where intuitive intelligence and the intellectual exercise of constant questioning, induces the formulation of doubts, vital to the beginnings of new possibilities and directions.</p> <p style="text-align: justify;">By taking the image as a container of ideas and a vehicle of information (not as a mere fact anchored in formal precepts), he is able to manipulate the scenes as well as to complete construction of images, all of which results in the exploration of other mediums, questioning the limits of each and every one of them.</p> <p style="text-align: justify;">“My images represent objects, but these objects have been modified both formally and conceptually, giving them the possibility to project themselves beyond their functionality and structure. In this realm of ideas, one intuits a certain poetic character, which is more attributable to the object, itself; or because of its being<br /> selected, than to the photograph. However, and in spite of the fact that I want the photograph to act only as a register and container of the idea (image-idea), I cannot but help to think of photography’s capacity to<br /> transform: in this flattening out of information, or that photography makes an indissoluble unit of all of the elements.”</p> <p style="text-align: justify;">As part of an expanding investigative process, and in his first individual exhibition at Alejandra von Hartz Gallery, JPG will present a project in which he continues to explore photography through photography, itself.</p> <p style="text-align: justify;">This is accomplished through constructed images that exist as independent entities expressing an idea; not the mere registers or memories of a “reality”. The reality is the photograph, itself.</p> <p style="text-align: justify;">Light, as a vehicle of ideas, as information, as a catalyst, as a subject, will be the object of study and reflection, thereby becoming the essential element that ties photography with the material. The exhibition refers back to the basics of photography, exploring the idea of reproduction, the tools that create the possibility of registration, photo sensible materials, the picturesque representation of light, amongst others.</p> <p style="text-align: justify;">Juan Pablo Garza was born in Maracaibo, Estado Zulia, Venezuela, 1980.</p> <p style="text-align: justify;">Studied photography in the Escuela Julio Vengoechea, 1998, Venezuela, Maracaibo; and in Miami Dade<br /> College together with the artist Teresa Dihel, 2002, USA</p> <p style="text-align: justify;">Has participated in various workshops, amongst others: Taller de Aproximación a la Fotografía Contemporánea given by Nelson Garrido, 2005, Maracaibo, Venezuela.</p> <p style="text-align: justify;">Has enjoyed numerous individual shows in Venezuela and in collectives in countries such as Venezuela, Colombia, Holland, Canada, Spain and the United States.</p> <p style="text-align: justify;">Amongst prizes and distinctions received, one must note: Scholarship by Fundación Cisneros / Colección Patricia Phelps de Cisneros to participate in the residential program of the Skowhegan School of Painting and Sculpture, 2012; First prize, XII Salón SuperCable Jóvenes con FIA, Centro Cultural Corp Banca, 2010, Caracas, Venezuela; and First Prize 6th Salón Regional de Jóvenes Artistas, Museo de Arte Contemporáneo del Zulia, 2010, Maracaibo, Venezuela.</p> <p style="text-align: justify;">Currently Juan Pablo Garza continues with his personal development as an artist, teaches, is the editor of Photography for the magazine, Gopher Illustrated, and co-directs AL BORDE, a space for contemporary art, which has received a grant from the Fundación Cisneros/Colección Patricia Phelps de Cisneros within its program to support cultural organizations.</p> Mon, 24 Sep 2012 06:25:43 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Juan Pablo Garza - Alejandra Von Hartz Gallery - September 20th, 2012 - November 24th, 2012 <p style="text-align: justify;">The determining factor of JPG’s practice is the exploration of photography as a technical resource and a language unto itself.</p> <p style="text-align: justify;">From this central idea springs his interest in revision and the dialogue between the photographic image and other mediums of representation; together with an investigation of the possible transformation of the quotidian spaces into expressive matter. He conceives the creative process as an instrument of research and knowledge, where intuitive intelligence and the intellectual exercise of constant questioning, induces the formulation of doubts, vital to the beginnings of new possibilities and directions.</p> <p style="text-align: justify;">By taking the image as a container of ideas and a vehicle of information (not as a mere fact anchored in formal precepts), he is able to manipulate the scenes as well as to complete construction of images, all of which results in the exploration of other mediums, questioning the limits of each and every one of them.</p> <p style="text-align: justify;">“My images represent objects, but these objects have been modified both formally and conceptually, giving them the possibility to project themselves beyond their functionality and structure. In this realm of ideas, one intuits a certain poetic character, which is more attributable to the object, itself; or because of its being selected, than to the photograph. However, and in spite of the fact that I want the photograph to act only as a register and container of the idea (image-idea), I cannot but help to think of photography’s capacity to transform: in this flattening out of information, or that photography makes an indissoluble unit of all of the elements.”</p> <p style="text-align: justify;">As part of an expanding investigative process, and in his first individual exhibition at Alejandra von Hartz Gallery, JPG will present a project in which he continues to explore photography through photography, itself.</p> <p style="text-align: justify;">This is accomplished through constructed images that exist as independent entities expressing an idea; not the mere registers or memories of a “reality”. The reality is the photograph, itself.</p> <p style="text-align: justify;">Light, as a vehicle of ideas, as information, as a catalyst, as a subject, will be the object of study and reflection, thereby becoming the essential element that ties photography with the material. The exhibition refers back to the basics of photography, exploring the idea of reproduction, the tools that create the possibility of registration, photo sensible materials, the picturesque representation of light, amongst others.</p> <p style="text-align: justify;">Juan Pablo Garza was born in Maracaibo, Estado Zulia, Venezuela, 1980.</p> <p style="text-align: justify;">Studied photography in the Escuela Julio Vengoechea, 1998, Venezuela, Maracaibo; and in Miami Dade<br /> College together with the artist Teresa Dihel, 2002, USA</p> <p style="text-align: justify;">Has participated in various workshops, amongst others: Taller de Aproximación a la Fotografía Contemporánea given by Nelson Garrido, 2005, Maracaibo, Venezuela.</p> <p style="text-align: justify;">Has enjoyed numerous individual shows in Venezuela and in collectives in countries such as Venezuela, Colombia, Holland, Canada, Spain and the United States.</p> <p style="text-align: justify;">Amongst prizes and distinctions received, one must note: Scholarship by Fundación Cisneros / Colección Patricia Phelps de Cisneros to participate in the residential program of the Skowhegan School of Painting and Sculpture, 2012; First prize, XII Salón SuperCable Jóvenes con FIA, Centro Cultural Corp Banca, 2010, Caracas, Venezuela; and First Prize 6th Salón Regional de Jóvenes Artistas, Museo de Arte Contemporáneo del Zulia, 2010, Maracaibo, Venezuela.</p> <p style="text-align: justify;">Currently Juan Pablo Garza continues with his personal development as an artist, teaches, is the editor of Photography for the magazine, Gopher Illustrated, and co-directs AL BORDE, a space for contemporary art, which has received a grant from the Fundación Cisneros/Colección Patricia Phelps de Cisneros within its program to support cultural organizations.</p> <p></p> Mon, 19 Nov 2012 03:25:07 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list - Armory Art Center WPB - September 15th, 2012 - October 13th, 2012 <p>An exhibition of artwork by the Palm Beach County Art Teacher's Association Members. Exhibition organized by the Palm Beach County Art Teachers Association. Armory exhibitions are free and open to the public.</p> Sun, 19 Aug 2012 14:59:25 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Adriana Carvalho - Art Center / South Florida - September 29th, 2012 - November 11th, 2012 <p style="text-align: justify;"><em></em></p> <p><b><i>101 Dresses</i></b><b>, </b>a solo exhibition of works by <b>Adriana Carvalho</b>, will take the viewer on her evolutionary voyage through her years as a resident artist at the ArtCenter/South Florida. The exhibition will showcase the process and creative thinking behind her obsession with the iconic metal dress sculptures that appear to have mutated and spawned like humanistic creatures. Carvalho’s work evokes humor, empathy, loss and sexuality. The opening reception, which is free and open to the public, will be held on <b>October 3, 2012</b>, at <b>6:00 pm</b> at <b>ArtCenter/South Florida’s Richard Shack Gallery</b> located at <b>800 Lincoln Road at Meridian Avenue in Miami Beach</b>. <i>101 Dresses</i> will be on view through November 11, 2012. For more information, please call 305.674.8278 or visit the website at <a href="http://www.artcentersf.org/">www.artcentersf.org</a>.</p> <p> </p> <p>Carvalho’s dedication in balancing between her strong sense of the aesthetic and impeccable technical skills is apparent throughout her line of work, which ranges from 3-dimensional sculptures made of common hardware materials to artworks where she crushes the 3D pieces into flat pieces that she refers to as “Road-Kill”. The exhibition will include her life-size homage to Frida Kahlo that depicts all of her physical and mental struggles as well as other curious artworks made entirely of recycled materials. Carvalho explains, “Once I see materials being thrown away, I must have it. I know eventually I will use it in some way.” One can see her pack-rat way of life by visiting her studio. At first glance, it seems chaotic, but delving deeper one can see organized chaos as she cleverly transforms everyday thrown away items into iconic dress sculptures that run the gamut—from food can tin top dresses to adorning metal dresses on stuffed animals. There is an innocence that prevails, even in artworks that depict internal struggles. There is a series of life-size dress sculptures have poetry inscribed as well as pieces with metal spikes piercing through the genital and heart areas. “I project myself into each artwork. I feel they are my voice,” explains Carvalho.</p> <p> </p> <p>Adriana Carvalho is originally from a small town Brazil. She earned her BA in Sao Paulo and then moved to Chicago, where she lived for 8 years. Influenced by artists such as Julio Gonzales and David Smith, Carvalho studied welding and focused on 3D welded artworks—her first foray into working with metal. Her diverse artwork would eventually include assemblage and later printmaking, of which she created a unique printing technique using her metal works as templates. In her native Brazil, she established an art foundation dedicated to teaching under privileged children the importance of art and craftsmanship. In Miami, she is part owner of Pink Bastard Art Forum, an organization that showcases other artists. She exhibits with established galleries and museums, art foundations and international art fairs.  She will be exhibiting in Guatemala City in September and in October at the Art Live Fair.</p> Sun, 16 Sep 2012 13:37:03 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Adriana Carvalho - Art Center / South Florida - Project 924 - September 29th, 2012 - November 11th, 2012 <p><b><i>101 Dresses</i>, </b>a solo exhibition of works by <b>Adriana Carvalho</b>, will take the viewer on her evolutionary voyage through her years as a resident artist at the ArtCenter/South Florida. The exhibition will showcase the process and creative thinking behind her obsession with the iconic metal dress sculptures that appear to have mutated and spawned like humanistic creatures. Carvalho’s work evokes humor, empathy, loss and sexuality. The opening reception, which is free and open to the public, will be held on <b>October 3, 2012</b>, at <b>6:00 pm</b> at <b>ArtCenter/South Florida’s Richard Shack Gallery</b> located at <b>800 Lincoln Road at Meridian Avenue in Miami Beach</b>. <i>101 Dresses</i> will be on view through November 11, 2012. For more information, please call 305.674.8278 or visit the website at <a href="http://www.artcentersf.org" rel="nofollow">www.artcentersf.org</a>.</p> Sat, 22 Dec 2012 14:57:36 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Bassmi, Michele Concepcion, Florian Depenthal - ArtSpace / Virginia Miller Galleries - October 5th, 2012 - January 6th, 2013 <p style="text-align: justify;">Artspace/Virginia Miller galeries is delighted to present an exhibition of intriguing works that also celebrate the joy of color and forms in space. We hope that you will find the same inspiration and emotional satisfaction that we get from these extraordinary paintings. <br /> <br /> According to Bassmi, his paintings “are created to serve as windows to an inner passage where viewers can find their own undiscovered dimensions. When viewed in a meditative sense, they convey the poetry of cre­ation; they help us experience the one-ness of life and a peaceful state of being.” For me, that statement could apply to all the works in this show.</p> <p style="text-align: justify;">Three mid-career artists with distinctive visions of abstract paintings will be featured in “<i>Color, Form, Space</i>,” opening from 6-10 p.m. Friday, Oct. 5th at ArtSpace/Virginia Miller Galleries in Coral Gables. <br /> <br /> The background of the artists is as varied as their works: <i>Bassmi</i>, who paints under the single name Bassmi, is from Egypt and now lives in this country; <i>Michelle Concepción</i> is from Puerto Rico and lives in Germany; and <i>Florian Depenthal</i> is German and divides his time between Europe and this country. <br /> <br /> “The unifying principles of the exhibition are that all three artists are superb colorists who work in a non-gestural manner,” said gallery owner and director Virginia Miller. “Rather than a literal view, they are concerned with the emotional effect.” In the words of Constantin Brancusi: “Abstract (art) is the most realistic, because what is real is not the exterior but the idea, the essence of things.”</p> <p style="text-align: justify;">As stated by critic <i>Peter Frank</i>, “The hundred-year history of abstract art is a history of distilling the ineffable. Whether motivated by intellectual argument or spiritual quest, the abstractionists in our midst have chosen not to depend on the recognizable world as a subject, although it remains available to them, and us, as a visual or conceptual armature; rather, it is the world inside their heads, and ours, they choose to elaborate.”<br /> <a href="http://www.virginiamiller.com/artists/bassmi/"><i><br /> </i></a><i>Bassmi</i> has held solo exhibitions in galleries in Cairo, New York, and Paris as well as the Burroughs-Chapin Museum in Myrtle Beach, South Carolina; the Pensacola Museum of Art; the Ormond Beach Memorial Museum; and the Hardin Art Center in Gadsden, Alabama, among numerous other venues.</p> <p style="text-align: justify;">According to art critic John Mendelsohn, Bassmi’s paintings “speak in a language that we intuitively recognize—the movement of water, the massing of clouds, the delicacy of light in mist...the luminosity of translucent color alerts us to the essentially non-physical nature of what Bassmi is pointing to... the far shore of experience, where delight is the most natural thing in the world.”</p> <p style="text-align: justify;"><i>Michelle Concepción</i> has exhibited widely in Europe, the U.S. and the Caribbean, with solo exhibitions in Frankfurt, Barcelona and at ArtSpace/Virginia Miller Galleries. In his essay for her most recent one-person show at the gallery, Peter Frank summarized her work with an observation that might apply to all the paintings in this exhibition:<br /> <br /> “Michelle Concepción follows in the footsteps of Kandinsky, Malevich, Mondrian, and a host of nonobjective painters who in their various ways have explored and conveyed what was at once deep inside them and all around them, visually inchoate but profoundly immediate in experience. When this auratic force emerges and coalesces, we tend to find the mundane world in such formulations. But even as we do, those formulations act upon us and within us. Concepción’s is an art not of things, but of their ghosts.”</p> <p style="text-align: justify;">Paintings of <i>Florian Depenthal</i> have been exhibited in numerous prestigious venues in his native Germany as well as in this country and are included in such important permanent collections as those of H.P. Schwerfel-Sammlung, Paris; Stone Container Corporation, Grant Thornton Collection, and Lake Point Tower Collection in Chicago. <br /> <br /> Critic Janet Batet found that his “dazzling canvases”... “are loaded with powerful expression. Each emphatic stroke ...evidences a trace of mood, the vivid feeling invading the canvas before being tempered by reason.” His new work softens the edges of his subject matter as well as his somewhat flamboyant palette.</p> Sun, 04 Nov 2012 23:25:03 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list John Cage - Bass Museum of Art - September 5th, 2012 - October 28th, 2012 <p style="text-align: justify;">The Bass Museum of Art is celebrating the centennial of John Cage’s birth with an exhibition of his performance Variations VII, 1966, on DVD. Cage, who was born on September 5, 1912, popularized the use of chance and indeterminate elements in music,visual arts and dance. Along with institutions across the globe, the Bass Museum’s presentation will honor Cage’s immeasurable legacy on contemporary art.</p> <p style="text-align: justify;">Working in several formats, Cage popularized a style based on his interests in chance, experimental music and Eastern philosophy. He is perhaps best known for his piano composition 4’33” in which the performer remains silent for the entire length of the performance, allowing the ambient background noises to become part of the performance itself.</p> <p style="text-align: justify;">Variations VII is a performance that aptly illustrates Cage’s reliance on chance and indeterminate actions in a musical performance. Taking place in 1966 as a part of 9 Evenings: Theatre &amp; Engineering in New York City, Cage’s performance featured live noise from distinct locations around the city via telephone as well as sounds from household appliances and other similar objects. Cage’s performance also utilizes specialized electronic equipment that triggers noises based on the real-time movements of performers and members of the audience.</p> <p style="text-align: justify;">Variations VII will be on view at the Bass Museum of Art from August 22 to October 28, 2012. The Bass Museum will be celebrating Cage’s centennial throughout the year with various events.</p> <p style="text-align: justify;">– Curated by Bryan Granger, Knight Curatorial Fellow (2012-2013)</p> Thu, 06 Sep 2012 21:38:20 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Group Show - Bass Museum of Art - September 9th, 2012 - November 4th, 2012 <p style="text-align: justify;">The concept of nature has acquired a new relevance in the hyper-technological age, leading many artists to reflect on artificial environments, where one is unable to trust what is real and what is not. A significant number of artists today challenge the gap between traditional perceptions of “nature” and “culture.” In many cases, they introduce new understandings of the sublime that replace its Romantic and the related sense of awe with a diverse range of critical, political and poetic approaches.</p> <p style="text-align: justify;">UNNATURAL will present scientific, romantic, conceptual, poetic, sensual and ecological conceptions of nature through a variety of strategies that reflect advances in technology in the twenty-first century. The works in the exhibition question conventional means and methods of representing the natural world and metaphorically embody both the paradoxical longing to fuse with nature and the threat embedded in such fusion. The works in UNNATURAL thus reflect a cultivated, synthetic, manipulated nature, which includes allusions to science as manifestations of a reality oscillating between the real and imaginary.</p> <p style="text-align: justify;">The artists selected for UNNATURAL come from diverse cultural backgrounds and work in a wide range of media including video, photography, sculpture and installation. These artists seem to be stretching the limits of time and place, while collecting and assembling imagery from different sources to create a new, artificial form of nature. The majority of the artists in this show are Israeli-born which charges the exhibition with a political accent that relates to nature, territories and landscape in critical ways. In the contemporary Israeli context it is impossible to disassociate the landscape from its political resonances and from the multiple narratives that surround it. Landscape imagery and representations of nature in contemporary Israeli art today are rarely naive, and certainly not romantic. They are scorched by the fire of conflict and marked by the fervor of internal controversy.</p> <p style="text-align: justify;">UNNATURAL represents the far-fetched fusion of reality, fantasy and simulation. At the same time, it reflects the freedom of the imagination and the wonders of simulation technology, which make the inconceivable conceivable. It reveals how the unmediated sense of awe and wonder provoked by nature has been replaced by the work of art, which enables us to marvel at the act of representation and to re-imagine nature, while celebrating the wonders of the human imagination.</p> <p style="text-align: justify;">The location of this project in Miami Beach—a subtropical, botanically lush barrier island that was built on a filled coral reef,  where even the beach sand was artificially imported—further strengthens the tangible relationship between the “natural” and the “unnatural”.</p> <p style="text-align: justify;">Participating artists:<br /> Boaz Aharonovitch | Einat Arif-Galanti | Aziz + Cucher | Céleste Boursier-Mougenot and Ariane Michel | Blane De St. Croix | Rose-Lynn Fisher | Ori Gersht | Meirav Heiman and Yossi Ben Shoshan | Hilja Keading | Freddy Shachar Kislev | Sigalit Landau | Dana Levy | Tobias Madison | Richard Mosse | Gilad Ratman | Samantha Salzinger | Tomer Sapir | Yehudit Sasportas | Michal Shamir | Uri Shapira | Jennifer Steinkamp | Gal Weinstein | Wendy Wischer | Guy Zagursky</p> <p style="text-align: justify;"><strong>About the curator</strong><br /> Tami Katz-Freiman is an art historian, curator and critic, based in Miami. Until recently, she served as the Chief Curator of the Haifa Museum of Art (2005-2010). She has curated numerous group and solo exhibitions in prominent museums in Israel and the US, where she lived and worked between 1994 and 1999.  Her most notable project in collaboration with the Bass Museum was Desert Cliché: Israel Now—Local Images, a traveling exhibition co-curated with Amy Cappellazzo that debuted at the Bass Museum of Art on April 1997. Between 2008-2010 she was teaching at the Art History Department at Tel Aviv University and at the International Curatorial Studies Program of the Kalisher Art School in Tel Aviv. She has published extensively in books, catalogues and magazines devoted to contemporary art. Her most recent exhibition Critical Mass: Contemporary Art from India (co-curated with Rotem Ruff) is currently shown at the Herta and Paul Amir new building of the Tel Aviv Museum of Art.</p> Sun, 02 Sep 2012 11:50:42 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Janine Antoni, Michele Oka Doner, Rimma Gervolina & Variety Gerlovin, Ana Mendieta, Annee Olofsson, Peter Voulkos - Bass Museum of Art - September 14th, 2012 - October 14th, 2012 <p style="text-align: justify;"><strong>bass museum of art selections from the collection in conversation with works by janine antoni, michele oka doner, rimma gerlovina &amp; valeriy gerlovin, ana mendieta, anneè olofsson, manny prieres and peter voulkos</strong></p> <p style="text-align: justify;"><strong>adoration and opulence</strong><br /> Throughout the so-called Middle Ages, meaning the 11 – 14th centuries, the appearance and iconography of Christian art in western Europe continued to be heavily influenced by the Byzantine artistic traditions of the eastern or Greek Orthodox church. Around the year 1300, however, painters in central Italy, led by Giotto (1266/67 – 1337) and later Masaccio (1401 – 1428), began to develop a visual vocabulary that was more harmonious with the humanistic ideals of the Greek and Roman literature which had survived from antiquity (thanks primarily to Arab scholars in Spain), and with the equally humanistic aesthetics of modern poets and authors, from Dante and Petrarch to Pico della Mirandola. Affecting depictions of the Virgin Mary and, especially, of the Madonna with her holy Child, Jesus Christ, became at least as popular as representations of the Crucifixion – of Christ dying on the cross in atonement for the sins of all mankind. During the heyday of the so-called Renaissance, the 15th – 17th centuries, painters from Botticelli (1444 – 1510) to Rubens (1577 – 1640) created works, often for public exhibition, which glorified both the humanity of Mary, the adoring mother of an infant, as well as her divinity as the Queen of Heaven, therefore an object of worship in her own right. The bass museum of art’s collection comprises numerous examples of these and related subjects, some of which are displayed in this gallery along with contemporary works of art by Janine Antoni, Ana Mendieta and Anneè Olofsson, which directly or indirectly refer to the madonna, mother earth or the subject of maternity.</p> <p style="text-align: justify;">The subtext of the present installation is the opulent manner in which artists of the Renaissance portrayed the sacred personages of the Holy Family and the socially superior entourage of a royal court. Looking around the gallery, it is apparent that the palette of Renaissance artists – whether in paint, enamels, or textiles – was conspicuous for its abundance of crimson red and lustrous blue: both were expensive pigments, the former being extracted only from the bodies and scaly shells of female kermes (an insect harvested on evergreen oaks), while the most coveted blue was ultramarine, made from the semi-precious stone, lapis lazuli, which for thousands of years had been mined in the remote river valleys of northeastern Afghanistan. The use of these intense colors immediately signaled to a viewer, whether rich or poor, that an artwork had been created at great expense and therefore was a token of the prestige – wealth and power – of the person who had commissioned it, of the person who had purchased it, or of both. The artwork in the bass collection which far and away would have been the costliest, at the moment of its completion, is the gigantic Flemish tapestry depicting the prelude to a joust, <strong>the tournament</strong> (1979.129). In terms of both material and labor, the price of such an object would have been unrivalled by that of any European painting until Peter Paul Rubens achieved international celebrity, in the late 1620s, and thus was able to charge unprecedented, astronomical amounts for major works such as <strong>the holy family with saint anne </strong>(1963.009), likewise on view in this gallery.</p> <p>-Roger Ward, PhD<br /> Adjunct Curator of Collections</p> Mon, 01 Oct 2012 10:07:21 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Dale Chihuly, Dan Dailey, Michael Glancy, Harvey Littleton, Concetta Mason, William Morris, Jay Musler, Toots Zynsky, Harvey K. Littleton - Boca Museum of Art - March 27th, 2012 - October 14th, 2012 <p style="text-align: justify;">This survey of contemporary studio glass will celebrate the fiftieth anniversary in 2012 of the Studio Glass Movement in America.  Studio glass describes one-of-a-kind fine art glass pieces made in individual studios rather than glass factories. This movement started in the early 1960s, when Harvey Littleton – today considered the father of the studio glass movement - built his own glass-making furnaces in a freestanding studio. <em>Glass Act</em> will showcase art glass representative of the full breadth of this defining period in contemporary glassmaking. This exhibition demonstrates the different ways in which glass is used as a medium for contemporary art. The display focuses on unique objects that explore ideas by the leading glass artists today including Dale Chihuly, Dan Dailey, Michael Glancy, Harvey Littleton, Concetta Mason, William Morris, Jay Musler, Toots Zynsky and others. Organized in conjunction with Habatat Galleries, West Palm Beach.</p> Sun, 01 Apr 2012 23:29:48 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list Group Show - Boca Museum of Art - July 18th, 2012 - October 7th, 2012 <p style="text-align: justify;">Bring along your lucky putter July 19 through October 14  into a fully-playable miniature golf course. Designed by artists from across the United States, <em>Big Art: Miniature Golf</em> is a unique exhibition that explores the fusion between art, design and play.</p> <p style="text-align: justify;">Visitors will see – and play on – a diverse selection of artist-created miniature golf holes (clubs provided), ranging from an orbit around the Sun and into a black hole, playing inside an enormous golf hole cup, a surrealist pinball hole where other players can operate the paddles, to the world’s smallest version of the world’s largest miniature golf course.</p> <p style="text-align: justify;">Each hole offers a one-of-a-kind experience for all visitors, be they golf lovers, art lovers, or both. <em>Big Art: Miniature Golf</em> promises a singular survey of some of the most whimsical and playful American artists working today.</p> Wed, 03 Apr 2013 15:11:28 +0000 http://www.artslant.com/mia/Events/list http://www.artslant.com/mia/Events/list