ArtSlant - Recently added en-us 40 James McNabb - Robert Fontaine Gallery - October 9th - October 28th <p style="text-align: justify;"><strong>Robert Fontaine Gallery</strong>, located in the heart of the Wynwood Arts District, will showcase new works by artist <strong>James McNabb</strong> in a solo exhibition entitled &ldquo;<strong>Metros</strong>.&rdquo; The <strong>opening reception</strong> will be held <strong>Saturday, October 11th&nbsp;</strong> from <strong>5 to 8 p.m</strong>. during Wynwood&rsquo;s Second Saturday Art Walk. The <strong>exhibit will be on view October 9th through October 28th 2014</strong>.</p> <p style="text-align: justify;">James McNabb is a Philadelphia based artist working primarily in wood. His creations of cityscape inspired sculptures explore sociological concepts regarding transformations of cities and urban landscapes, their beauty, uniqueness, and overdevelopment. In his sculptures, McNabb uses scrap pieces of wood,, some with very unique and alluring characteristics, that are contextualized to draw new meaning out of the material and force the viewer to create his or her own perspective of the urban landscape. McNabb blends traditional woodworking technique with experimental mark making using a bandsaw. This intuitive process, referred to as &ldquo;sketching with a bandsaw&rdquo; allows the artist to generate forms rapidly, working through new and exciting ideas without preliminary design development. This approach to woodworking is an attempt to capture the fast paced, crude mark-making that is commonly found in contemporary urban art. The resulting works in &ldquo;METROS" are distorted compositions of abstracted architectural forms, exploring the limitless possibilities of the urban landscape and our human relationship to it.</p> Sun, 28 Sep 2014 18:37:21 +0000 Angela Lergo, Vasily Kafanov, Salvatore Zagami, Emil Alzamora, Sandro de la Rosa - KAVACHNINA CONTEMPORARY - September 11th - October 8th <p style="text-align: justify;">Upon entering Kavachnina Contemporary, you almost overlook a sculpture to your immediate left. Does it get attention? Or does the viewer walk past? Neutral tones, both futuristic and ancient. While this particular sculpture by Salvatore Zagami may not be the feature of this exhibition, but the paradox in its aesthetic represents the general atmosphere of the show as a whole: the individual works seem old, or behind the frontier--but their arrangement represents a rapidly shifting array of styles. It&rsquo;s just a season kick off show, without a true focus, but these works seem to collude with each other, as though to prepare for intrigue and upheaval.<br /><br />On the right one sees a large scale painting by Vasily Kafanov. Two rectangular forms dominate the canvas at first, the larger yellow square is immediately cut in half by violent strands of black, the strokes resemble roots or lightning, attacking the restrained mood of the abstract shapes.<br /><br />Organic red strokes are strewn about the painting to resemble some kind of murder in progress, and the more viewer looks at it, the more he senses that whoever painted this has a personal, deeply seeded vendetta against minimal abstraction or parallelograms.<br /><br />What really gave dimension to the dualistic painting was the unassuming presence of two child-like figures just before it&rsquo;s looming presence. They sit innocently on what looks like a piece of drift wood. They welcome the viewer without confrontation, almost like a diorama, allowing us to ruminate over the depicted relationship and story. Who are these children? Survivors of the violence taking place behind them? Are they a portrayal of the artist or art-tourists standing before the work? Was this a collaboration gone wrong?<br /><br />On the wall opposite, viewer feels as though he beholds an answer: A porcelain-looking baby by Emil Alzamora caught eternally in the glow of a spot light. But it&rsquo;s a fat baby, or a miniature sumo wrestler with his arms uplifted in heavenly grace. From outside the room, the piece is framed by the rectangular outline of the wall. It&rsquo;s not completely clear to me how this resolves the mystery of Vasily Kafanov&rsquo;s painting-installation, but the sequence of discovering how both works face each other across the long space makes an impact.<br /><br />As you walk into the space, the delicately painted figures of Spanish artist Salustiano impress you forward&mdash;light beams from the red canvas to the left, from which a young girl peers from her book. The paintings embody the personality of their painted subjects so well that it&rsquo;s as though they had been waiting in that room for you to join them in harmony of the fat baby Jesus on the wall.</p> <p style="text-align: justify;">You proceed into the backmost room of the gallery. There are two circular paintings by Sandro De La Rosa acting like mirrors across one another on opposite walls, They depict a woman with wings and another with birds on her arms, each utilizing earth tones and an intricate realism. Simply pretty and nonthreatening. On the adjacent wall between them, there are Angela Lergo&rsquo;s six winged feet aligned equidistant on an eye level shelf. The feet are skin toned, realistic, but the wings have neon highlights at their roots.</p> <p style="text-align: justify;">While the show maintains a collection of easily digestible beauty, there is still irony. Not just in the absurd visual of Icarus feet, but in their clash with the style of the paintings of women with wings.<br /><br />We appreciate beauty and technical skill. It is genuine, worthwhile, and certainly worth money, but maybe too na&iuml;ve, or maybe incomplete without a dose of sarcasm.<br /><br />This might be a microcosm of contemporary indecision, especially with the cultural decline of irony, which nowadays comes off as shallow ploys at cleverness. Could beauty the more authentic, higher path?&nbsp;<br /><br />Sometimes galleries only ask the audience &ldquo;Do you like this, or that?&rdquo; A group show can expose a multitude of amazing work and still feel residual. The residue is fine- art as a medium in the craft of the gallery. And the craft could become a bird house, and the birdhouse could become a home for people that go &ldquo;caw caw caw&rdquo; and think they can fly. Now redirect your attention to severed feet and their feathers&mdash;Be warned, all ye who enter, this is what happens to those who fly too close to the sun.</p> Fri, 26 Sep 2014 14:22:47 +0000 Alexander Solotzew, Goran Tomcic, Connie Mae Oliver, Joana Fischer, Bianca Pratorius, Christoph Morlinghaus, HENNING HAUPT, PIP BRANT, Babette Hershberger - Deering Estate at Cutler - October 4th - November 21st <p style="text-align: justify;">The reception for the Fall Fine Art Exhibit Wunderbar will be held on Wednesday, October 15, 2014 from 7:00 p.m. to 9:00 p.m. at the Deering Estate at Cutler, and is free and open to the public. Light refreshments and a cash bar will be available. The exhibit will be on display daily, 10 am to 4 pm, from October 4 &ndash; November 21, 2014 and is free with regular Estate admission.&nbsp;<br /><br />The art exhibition Wunderbar, a featured element of our ticketed signature fundraising event,&nbsp;Wine on Harvest Moon&nbsp;on Saturday, October 11, 2014, brings together South Florida, German-born/based and German-American artists whose contemporary works show influences from the Modernist and "Dekorative" movements as well as from self-defined German cultural traditions.<br /><br />Curator Kim Yantis, wishes to present this group exhibition as &ldquo;a diverse selection of personal voices and interpretations.&rdquo; Each artist has been asked to write a brief statement to accompany their work where they reflect on the &ldquo;German&rdquo; influences within the scope of their practice.&nbsp;<br /><br />Artist Statement: Joana Fischer<br />Born in Ahlen, Germany and raised near Muenster, Germany, my work developed when I was studying in the atelier of Guenter Wintgens. Coming from a small town in Germany and now living in Miami, almost everything I encounter is manufactured and it is almost impossible to find seclusion. My work generally reflects this conflict between my urban situation and my longing for nature. The backgrounds are often broad and vague color fields combined with intimately drawn narratives; elements from childhood memories of Germany and secluded landscapes that I have come across in my travels.&nbsp;<br /><br />Artist Statement: Pip Brant<br />The Verfremdungseffekt (alienation effect) of German playwright, Bertolt Brecht&rsquo;s epic theater, discovered in my graduate school years, is the German thread throughout my work. My works don&rsquo;t entertain; they destroy illusion and appeal to reason, through contradictions or absurdity.&nbsp;<br /><br />Artist Statement: Christoph Morlinghaus&nbsp;<br />My German upbringing and education helps me to perceive and make sense of the sometimes strange world that surrounds me in here the States. Exactitude, craft, technique, emotional detachment and a need to bring order into chaos are (stereotype) German virtues that are essential for my work. The images in the show are influenced by the German 'Neue Sachlichkeit' (New Objectivity) movement of the Weimar Republic as practiced by e.g. Albert Renger-Patzsch and August Sander.</p> Fri, 26 Sep 2014 14:05:48 +0000