BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Lou Anne Colodny's latest work in photography and video

\n

Artist Lou Anne Colodny\, aka Louie “THE SMASHER” Sams dons the gloves an d enters the boxing ring to explore the world of “sweet secrets” - which is a name used in the trade to denote female fisticuffs. She becomes a virtua l fighter\, placing her likeness on “other people’s bodies\,” in an attempt to understand and empathize with women who enter the “Squared Circle” of b oxing. Not unlike a Cindy Sherman or a George Plimpton\, Colodny exposes us to
the foreign world of fema le boxers via her art.

Colodny\, who abhors violence - seems drawn to it. Her interest in boxing b egan when a physical trainer taught her some basic boxing techniques. Amaze d by the empowerment derived from hitting a defenseless punching bag\, coup led with her background in dance and interest in societal pressures on the individual\, Colodny conceived this exhibition. Female boxing challenges ma ny notions about femininity\, power\, aggression\, shame\, and desire. It h as always been frowned upon by society…as being shady\, sleazy\, and an unl ady-like endeavor. Researching the subject\, Colodny discovered that many w oman take to boxing to gain a sense of “power” or “ freedom” to express an aggressive nature. The female fighter often becomes at one with her body\, confident\, able to protect herself\, boost her self esteem and gain the re spect others.

Study aft er study shows that parents and teachers often stifle aggression in young g irls and encourage it in boys. Girls grow up under the “tyranny of the nice and kind” and are instructed to be obedient\, to sublimate their anger\, t o be peacemakers\, to not take stands and to remain passive. Often these me ssages by society soon become internalized. Psychologists have noted that a ggression turned inward by young girls often turns to acts of “meanness”\, to anorexia\, self-injuring\, and depression. Almost all the female boxers uncovered in Colodny’s research either had male family members involved in the sport who they wanted to emulate or were in some ways “broken” and had an internalized need to assert power and dominance to receive recognition a nd gain self-respect. Boxing gave them that.

Colodny’s doppelganger\, Louie “THE SMASHER” Sams has had very little formal boxing training. “THE SMASHER” studied training vid eos on the web and woman’s bouts on YOU TUBE. For this exhibit\, she traine d with her coach\, Clarence Brussard. Other source materials came from the Woman’s Boxing Archive Network (WBAN) and various fight magazines and publi cations. Quotes from the noted book on female boxing\, WITHOUT APOLOGY\, wr itten by Leah Hager Cohen reverberate through the space from the video port raying the training techniques used by “THE SMASHER”.

This exhibition is made possible through the generous support of Adalberto Delg ado at 6th Street Container\, the many female boxers who unknowingly donate d their bodies\, likenesses and boxing endeavors to this project\, trainer Clarence Brussard and Mike Colodny (husband and confident).

DTEND:20130510 DTSTAMP:20140901T210947 DTSTART:20130419 GEO:25.7680408;-80.2041722 LOCATION:6th Street Container\,1155 (rear) 6th street \nMiami\, Florida 331 30 SEQUENCE:0 SUMMARY:Lou Anne Colodny's Sweet Secrets (other people's bodies)\, lou anne colodny UID:269144 END:VEVENT BEGIN:VEVENT DTEND:20130419T220000 DTSTAMP:20140901T210947 DTSTART:20130419T190000 GEO:25.7680408;-80.2041722 LOCATION:6th Street Container\,1155 (rear) 6th street \nMiami\, Florida 331 30 SEQUENCE:0 SUMMARY:Lou Anne Colodny's Sweet Secrets (other people's bodies)\, lou anne colodny UID:269145 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ADAMAR FINE ARTS BRNGS TO MIAM I A HISTORIC EXHIBITION OF OVER 30 WORKS OF LEGENDARY CONTEMPORARY ARTIST A LEX KATZ

We are proud to host an important exhibition of orign al works and screenprints by the ledgendary contemporay artist\, Alex Katz. Alex Katz (born Brooklyn\, New York\, 1927) is one of the most important a nd respected living American artists with a career that spans over six deca des. "Face to Face" brings together original paintings and prints from seve ral decades of the over 60 years of the artist's career.

Katz' s bold paintings are defined by their flatness of color and form\, their de ceptively simple use of line and their cool but seductive emotional detachm ent. Using categories\, such as\, portraiture\, land and seascape\, figure studies and flowers\, many of Katz's works picture an everyday America in t imes of leisure and recreation. A recurring subject is Katz's wife and muse Ada\, whose iconic image has appeared in his work since the 1950s.
< br /> Influenced as much by style\, film\, poetry and music as by art histo ry\, Katz works in the tradition of European and American artists like Edua rd Manet\, Henri Matisse and Edward Hopper. He began exhibiting in the 1950 s\, when Abstract Expressionism was the dominant movement in American art l ed by figures such as Jackson Pollock\, Mark Rothko and Willem de Kooning. Katz admired these artists but rather than follow in their wake\, he instea d developed a contemporary figurative language combining the enlarged scale of American abstract painting with the bright colors and graphic style of advertising billboards. An influential precursor to Pop Art in the 1960s\, Katz has famously said\, 'I wanted to make paintings you could hang up in T imes Square'.

\n

Alex Katz has exhibited widely all over the world. His work has been the subject of many major sol o exhibitions and is included in the permanent collections of over 100 impo rtant museums worldwide\, including The Museum of Modern Art The Metropolit an Museum of Art\, and the Whitney Museum of American Art in new York\; The Smithsonian Institute\, Washington\, D.C.\; Carnegie Museum of Art\, Pitts burgh\; The Art Institute\, Chicago\; The Tate Gallery\, London\; the Centr e Georges Pompidou\, Paris\; Museo Nacional Centro de Arte Reina Sofia\, Ma drid\; Metropolitan Museum of Art\, Tokyo\, and the Nationalgalerie\, Berli n\, to name a few.

DTEND:20130506 DTSTAMP:20140901T210947 DTSTART:20130309 GEO:25.8143749;-80.190795 LOCATION:Adamar Fine Arts\,4141 NE 2nd Ave. Suite 107 \nMiami\, 33137 SEQUENCE:0 SUMMARY:Face to Face\, Alex Katz UID:263560 END:VEVENT BEGIN:VEVENT DTEND:20130309T213000 DTSTAMP:20140901T210947 DTSTART:20130309T183000 GEO:25.8143749;-80.190795 LOCATION:Adamar Fine Arts\,4141 NE 2nd Ave. Suite 107 \nMiami\, 33137 SEQUENCE:0 SUMMARY:Face to Face\, Alex Katz UID:263562 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alejandra Von Hartz Gallery is honored to announce Alejandro Corujeira’ s first solo show with the galler y. Corujeira’ s Miami exhibition will include thirteen paintings\, most acr ylic on canvas\, and nine small format works\, a suite in progress\,each ac rylic and color pencil on wood. Corujeira paintings are characterized by el liptical forms\, sinuous lines that navigate the surface\, and layers of tr ansparency that invite closer inspection and meditation.

\n

The works in the suite\, entitled “Pouring Light”\, con tinue to develop certain forms associated with the organic world\, placing him within a strain of the abstract tradition where one recognizes affiniti es with Minimalism. Corujeira\, in a conversation with noted scholar\, Kevi n Power\, remarks “… I interpret my painting as a way of being in this worl d\, a way of establishing mechanisms to comprehend reality\, rather than pa inting as a carrier of ideas.”

\n

By red ucing to a minimum those formal elements that could interfere in the recept ion of light\, these recent works approach more abstract\, more conceptuall y complex questions while at the same time showing a greater simplicity of resolution.

\n

The title of the exhibiti on ‘Pouring Light’ evokes the act of liquefying color used by Corujeira whe n he paints\; holding a recipient of water in his hands\, he pours a bit of it into another recipient with the colored tint\, with the intention of cr eating a more transparent tone\, pierced by the light and transforming the painting into a luminous and active object to the eyes of the beholder.
He frequently incorporates graphite and colored pencil in his paintings\ , layering pale blues\, greens and earth tones that seem to pulse with life .

\n

A past resident of the Josef and An nie Albers Foundation\, Corujeira has work in the collections of Museo Naci onal Centro de Arte Reina Sofia\, Madrid and the Institut Valenciá d’Art Mo dern\, Valencia\, which held a solo exhibition of his work in
2006.\n

Born in Buenos Aires in 1961\, Corujei ra moved to Madrid in 1991 and has exhibited widely both in Spain and inter nationally. A winner of numerous awards\, Corujeira has also had a number o f significant solo exhibitions\, including a large installation at Espacio Uno\, Museo Nacional Centro de Arte Reina Sofia\, Madrid\, in 2002. His wor k is found in many notable public collections\, including the Jack S. Blant on Museum of Art\, Texas\; Museo de Arte Contemporáneo de Panamá\; Museo de Arte Contemporáneo de Caracas Sofía Imber\, Caracas\; IVAM\, Valencia\; MN CARS\, Madrid\; Museo Municipal de Madrid\, Madrid\; Ministerio de Relacion es Exteriores de España\, Madrid\; Academia Española de Historia\, Arqueolo gía y Bellas Artes\, Rome\, among others.

\n

He lives and works in Madrid.

\n

Al ejandra von Hartz Gallery opened in 2002\, coinciding with the first editio n of Art Basel Miami Beach\; and was a pioneer in establishing itself in\, what is today\, the internationally known Wynwood Arts District. Its missio n is to promote and explore contemporary\, non-objective\, constructive and conceptual art by emerging and established artists of growing local and in ternational reputation. With a focus on Latin American art\, and Geometric Abstraction\, the gallery has always explored the ever expanding interconne ctedness and creative dialogues of globalized contemporary art\, while esta blishing connections with the city of Miami and its growing artistic scene. To this end\, we: explore relationships between Modernism and Contemporary Art\; promote emerging artists\, in both traditional and experimental exhi bitions\; promote established artists in their creative endeavor to produce new bodies of work\; participate in art fairs worldwide\, strike strategic alliances with other like minded galleries\, and serve as trusted consulta nts and advisers\, to numerous collectors\, museums\, and other institution s.

DTEND:20130531 DTSTAMP:20140901T210947 DTSTART:20130404 GEO:25.8021714;-80.1910295 LOCATION:Alejandra Von Hartz Gallery\,2630 NW 2nd Avenue \nMiami\, 33137 SEQUENCE:0 SUMMARY:Pouring Light\, Alejandro Corujeira UID:271261 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jane Manus shares a vision to create new and dynamic spaces with abstract\, yet solid form. The exhibitio n at the Armory art Center will feature six of her large-scale works placed \, as they are meant to be seen\, in the outdoor sculpture garden. Though c oncrete and heavy in themselves\, Manus's sculptures are artfully connected planes of line and geometric shape\, joined as to invoke a complex\, shift ing array of transparent spaces and paradoxically unsubstantial solid forms . Her work actively engages her audience\, as the shapes and spaces form an d reform as the viewer moves closer to them\, further away and around them. While seemingly at odds with their setting\, Manus's sculptures are meant to be seen in the ever changing conditions of nature. her work forms a rela tionship with the play of shadow and the passage of time.

DTEND:20130426 DTSTAMP:20140901T210947 DTSTART:20121201 GEO:26.6987365;-80.061843 LOCATION:Armory Art Center WPB\,1700 Parker Avenue \nWest Palm Beach\, 3340 1 SEQUENCE:0 SUMMARY:GEOMETRY OF SPACE\, Jane Manus UID:247845 END:VEVENT BEGIN:VEVENT DTEND:20121130T200000 DTSTAMP:20140901T210947 DTSTART:20121130T180000 GEO:26.6987365;-80.061843 LOCATION:Armory Art Center WPB\,1700 Parker Avenue \nWest Palm Beach\, 3340 1 SEQUENCE:0 SUMMARY:GEOMETRY OF SPACE\, Jane Manus UID:247846 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of work in all m edia by local students in K-12. Exhibition organziaed by the Armory Art Cen ter.

DTEND:20130509 DTSTAMP:20140901T210947 DTSTART:20130426 GEO:26.6987365;-80.061843 LOCATION:Armory Art Center WPB\,1700 Parker Avenue \nWest Palm Beach\, 3340 1 SEQUENCE:0 SUMMARY:K-12 Palm Beach County School District Art Show UID:271252 END:VEVENT BEGIN:VEVENT DTEND:20130425T200000 DTSTAMP:20140901T210947 DTSTART:20130425T180000 GEO:26.6987365;-80.061843 LOCATION:Armory Art Center WPB\,1700 Parker Avenue \nWest Palm Beach\, 3340 1 SEQUENCE:0 SUMMARY:K-12 Palm Beach County School District Art Show UID:271253 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Multiplicity is defined as the quality or state of being multiple or various. The artists in this exhibition do not work with the quantitative notion of the word but rather examine the multiple uses of materials and their transformative quality to take on a range of meanings and functions. Whether they are found objects\, recycled trash or simple materials utilized in daily life\, the artists ch allenge\, re-use and re-invent them in the creation of sculptural pieces\, paintings\, installations and photographs that reveal their aesthetic quali ties and reference the personal context in which they were made.

DTEND:20130526 DTSTAMP:20140901T210947 DTSTART:20130323 GEO:25.790084;-80.13682 LOCATION:Art Center / South Florida\,800 Lincoln Road \nMiami Beach\, FL 33 139 SEQUENCE:0 SUMMARY:Multiplicity\, Eugenia Calvo\, Babette Herschberger\, Regina Jestro w\, Laz Ojalde (LMNOQ)\, KERRY PHILLIPS\, Frances Trombly\, Gerbi Tsesarska ia\, Michelle Weinberg UID:267566 END:VEVENT BEGIN:VEVENT DTEND:20130327T200000 DTSTAMP:20140901T210947 DTSTART:20130327T180000 GEO:25.790084;-80.13682 LOCATION:Art Center / South Florida\,800 Lincoln Road \nMiami Beach\, FL 33 139 SEQUENCE:0 SUMMARY:Multiplicity\, Eugenia Calvo\, Babette Herschberger\, Regina Jestro w\, Laz Ojalde (LMNOQ)\, KERRY PHILLIPS\, Frances Trombly\, Gerbi Tsesarska ia\, Michelle Weinberg UID:267567 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition of some 200 wor ks by 135 artists is an intimate\, often whimsical side of some of the grea test artists of recent times\, each offering a singular vision of adornment . The exceptional and little-known works of wearable sculpture will reward viewers with new insights into the creative wellsprings of such artistic gi ants as Georges Braque\, Max Ernst\, Lucio Fontana\, Louise Nevelson\, Anth ony Caro\, Yoko Ono\, and Anish Kapoor.

\n

French Venet first became fascinated with artist-made jewelry when her-t hen-beau sculptor Bernar Venet rolled a thin piece of silver around her fin ger to form a wedding ring. Since then\, she has acquired jewels made by he r husband’s confreres\, a group that has included Arman\, César\, Mimmo Rot ella\, and Villéglé\, and she has commissioned pieces by Kader Attia\, John Chamberlain\, Wim Delvoye\, Orlan\, and Frank Stella. “I’m careful to ask only those artists whom I think will find the request challenging and fun\, ” says Venet. “It’s important they recognize that the jewel should be seen as an extension of their art-making.”

\n

While many of these wearable sculptures are crafted out of precious materi als\, what makes them so compelling is the beauty and candor of the artisti c expression. Often conceived for a lover or a cherished family member or f riend\, a number of these pieces reveal a surprising tenderness or whimsy. The wearable sculptures will be presented in three groupings—the Early Mast ers\, Representational\, and Abstraction—with sections devoted to the human figure\, nature\, Popsubjects\, words\, geometry\, and new technologies an d materials.

DTEND:20130721 DTSTAMP:20140901T210947 DTSTART:20130315 GEO:25.7970616;-80.1310608 LOCATION:Bass Museum of Art\,2100 Collins Avenue \nMiami Beach\, FL 33139 SEQUENCE:0 SUMMARY:From Picasso to Koons: The Artist as Jeweler \, Georges Braque\, Ma x Ernst\, Lucio Fontana\, Louise Nevelson\, Anthony Caro\, Yoko Ono\, Anish Kapoor\, Jeff Koons UID:266341 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eve Sussman | Rufus Co rporation is a presentation of the video artist's recent projects.  \;This exhibition will present two major video installations\, includi ng an entirely new exploration of her noted film \;The \;Ra pe of the Sabine Women. A feature-length video-musical\, \;The \;Rape of the Sabine Women \;is a contemporary re interpretation of the eponymous Roman legend in a domestic 1960s setting\, which Sussman \;has transformed into a five-part video installation. Al so on view will be her 89 Seconds at Alcá\;zar\, a f ilm based on the Diego Velazquez's enigmatic Las Meninas\, 1656. In this work\, Sussman uses film to elucidate the circumstances of t he exact moment that the painting aims to portray\, a moment that has becom e immortalized in one of the most important paintings in art history.

DTEND:20131103 DTSTAMP:20140901T210947 DTSTART:20130412 GEO:25.7970616;-80.1310608 LOCATION:Bass Museum of Art\,2100 Collins Avenue \nMiami Beach\, FL 33139 SEQUENCE:0 SUMMARY:Rufus Corporation\, Eve Sussman UID:270362 END:VEVENT BEGIN:VEVENT DTEND:20130411T220000 DTSTAMP:20140901T210947 DTSTART:20130411T190000 GEO:25.7970616;-80.1310608 LOCATION:Bass Museum of Art\,2100 Collins Avenue \nMiami Beach\, FL 33139 SEQUENCE:0 SUMMARY:Rufus Corporation\, Eve Sussman UID:270363 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BFI presents T. Elliot Mans a
To celebrate the wonderful news that Miami based artist T. Elli ot Mansa was accepted into the prestigious Yale painting MFA program\, the BFI #BigFutureInitiative is hosting an exhibition of his newest work.

Please note\, this is a fundraising exhibition: All profits from e very sale of Mansa's Artwork will go directly to help fund Mansa's expenses while at YALE. We want Mansa to thrive!

\n

Mansa\, born in Miami\, is a product of Miami-Dade's magnet programs. H ome was a very different place than school. At home in the early 80's he wa tched as his stepfather grappled with crack addiction. In school Mansa bega n to navigate the dichotomy of these two worlds. He began to use Art as a p lace to question these contradictions around him. Though he graduated from the esteemed New World School of the Arts\, Mansa still had to avoid the ev er-present temptations of gangs and drugs. Despite watching a number of his friends dabble in the drug trade\, some even falling to gun violence along the way\, the temptation to follow in this illicit life path for Mansa was real.

After battling depression following the death of his mo ther\, Mansa again looked to painting. He explored auto-biographical tropes in his Mother/Son series. Logically\, Mansa began to explore his relations hip with his father in his work. It seemed painting was becoming his saving grace. Looking at his own life Mansa saw that through Art he had been able to accomplish more than his peers around him\; namely\, he had managed to graduate college and avoid the label of felon\, two things his siblings had been unable to achieve.

As Mansa questioned the relationship s between Sons and Fathers and ideas behind the worship of 'the hustler' in hip-hop's urban culture\, he was able to draw closer to his brothers and f ather. This was a fleeting joy. Unfortunately on Easter Sunday\, Mansa woul d lose his father to cancer as well. Mansa received his notice of acceptanc e to Yale the night before his father's funeral.

T. Eliott Man sa will be exhibiting recent portraits that bridge the gaps between sociolo gical and autobiographical narratives\, mixed with elements from the mythol ogies of the West African Yoruba cosmology. The figures painted in acrylic\ , often of family and friends\, emerge in rich details from graphite washes . These young men\, brothers\, uncles and father(s) of the artist\, are all convicted felons. The paintings portray the subjects\, often African-Ameri can men\, both in urban settings and as African deities\, or Orishas\, usin g the metaphor of possession to examine the role of hero-worship in Mansa's subjects' socialization.

DTEND:20130508 DTSTAMP:20140901T210947 DTSTART:20130426 GEO:25.784554;-80.192054 LOCATION:BFI\,100 NE 11th St. \nMiami\, FL 33132 SEQUENCE:0 SUMMARY:Solo Show\, T. Elliot Mansa UID:275230 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Carol Jazzar is pleased to pre sent Reigning Men\, a solo exhibit by Miami artist David Rohn. This will be Rohn's fourth exhibition at the gallery.

Miami-based artist Da vid Rohn will present a series of 12 self-portraits of male types distilled from performance. The soldier\, the country guy and the money manager\, am ong other identifiable types\, are explored in the context of traditional ' male' markers such as power and dominance. For Rohn\, "facial expression an d body language are arguably more basic\, more telling\, than spoken langua ge." He maintains that the expanded definition of femininity that began in 1960s and '70s is incomplete until an equivalent of what we consider mascul ine has also taken place. Some of his characterizations reveal less apparen t aspects of male-ness\, such as vulnerability and weakness\, as they are e xhibited in varied social and professional roles.

Rohn has inha bited many roles\, some subtle\, some exaggerated\, many offering sly comme ntaries on art world characters. Most recently\, he received "calls" from a nd conversed with viewers at Scope-NY during the Armory week and Scope-Miam i during ArtBasel/Miami Beach in December 2012 as Walt Whitman\, inhabiting a wood crate with fish-eye lenses revealing an elaborate 19th century stil l-life interior. An interest in mise-en-scéne and period costume has been a focus for Rohn\, in his installations\, performances\, videos and still ph otographs exhibited previously at the gallery and elsewhere. "Using still p hotography to capture a moment of performance reveals what can be masked - and lost - in moving images. This continues to challenge me as much as the prospect of bringing to life invented characters\, which are always an acut e response to social and personal experiences."

DTEND:20130505 DTSTAMP:20140901T210947 DTSTART:20130322 GEO:25.8584257;-80.1997967 LOCATION:carol jazzar contemporary art\,158 NW 91 st. \nMiami\, FL 33150 SEQUENCE:0 SUMMARY:REIGNING MEN\, David Rohn UID:267568 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Selections from the I VAM Collection is characterized by massive sculptures and fea tures over a thousand pieces of different materials such as aluminum\, zinc \, and wood. His work is based on how cities can suggest different meanings depending on the spectator. Spread out across the gallery floor\, the inst allations consist of sculptures that have been deconstructed in order to re semble a city seen from above. This interactive exhibit is Miquel’s first e xhibit in South Florida.

\n

\n

Miquel Navarro was born in Valencia and graduated from the San Carlos School of F ine Art in Valencia. He started his career in 1972 as a painter and has sin ce worked exclusively in sculpture. Miquel has received many awards such as the Alfonso Roig Prize\, the National Prize from the Association of Art Cr itics and the Academician of the Real Academia de BBAA de San Fernando. The work of Miquel Navarro  is characterized by his unmistakable representatio ns of cities or “clusters” and constitute a prototype he uses for his sculp tural installations when grouping together small pieces\, configured as div erse urban buildings\, ranging from houses to factories\, from ornamental t o representational. Their structure is based on what is clearly an imaginar y urbanism\, a key aspect of Navarro’s works\, now part of the IVAM’s perma nent collection thanks to the generous donation of 515 pieces. This collect ion of works reflects his different stages allowing viewers to appreciate h is creative style.

DTEND:20130512 DTSTAMP:20140901T210947 DTSTART:20130408 GEO:25.7840899;-80.194342 LOCATION:CIFO (Cisneros Fontanals Art Foundation)\,1018 North Miami Avenue \nMiami\, FL 33136 SEQUENCE:0 SUMMARY:City Metaphors\, Miguel Navarro UID:267569 END:VEVENT BEGIN:VEVENT DTEND:20130408T210000 DTSTAMP:20140901T210947 DTSTART:20130408T190000 GEO:25.7840899;-80.194342 LOCATION:CIFO (Cisneros Fontanals Art Foundation)\,1018 North Miami Avenue \nMiami\, FL 33136 SEQUENCE:0 SUMMARY:City Metaphors\, Miguel Navarro UID:267570 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Castillo Gallery is proud to present Far From Apple Hill\, new photography by Francie Bishop Good for the artist's second solo show with the gallery.

\n

 

\n

Far From Apple Hill reveals far as a relative term. To experience Bi shop Good's large-scale\, digital photographs is to fall between antipodes- - cut through the center of the Earth on the straightest path between diame trical opposites-- slip from memory to lived experience. The artist compres ses place and time like folding a map\, making visible an expired wind in t he shape of trees or the passion in muscle memory.

\n

You can't go home again\, cautions Thomas Wolf. Bishop Good r eaches impossibly toward her distant past in Apple Hill\, Pennsylvania from her present South Florida\, itself a transient region shaped by pirates\, political refugees\, and seasonal tourists. The resulting images draw from these varied locations\; familiar bodies and strangers\; specific cultures and diasporas\; reconstruction and autopoiesis. Bishop Good's photographs a re monuments to Walter Benjamin's notion of memory not as "an instrument fo r exploring the past\, but rather a medium."

\n

Bishop Good depicts the place and time of the other\, who\, as in f olklore\, is also a familiar. Bishop Good sets upon the world with a keen vision\, filtering the darkness of time and place-- moment and memory -- sign and signifier so that the vulnerability of early childhood\, the bo som of a landscape\, or the trauma of a torn umbrella is yours\, and you can recognize it\, suddenly\, as clear as a photograph. Bishop Good's work resonates exponentially at the roots of collective memory. Far From Apple Hill is inspired and troubled by memory in hyperreality\, both p ainfully removed and staggeringly intimate.

\n

 

\n

Francie Bishop Good lives an d works in Fort Lauderdale\, Florida. Recent museum acquisitions include th e Wadsworth Atheneum Museum of Art\, Hartford\, Connecticut\; The Patricia &\; Philip Frost Art Museum\, Florida International University\, Miami\, Florida\; and Fort Lauderdale Museum of Art\, Fort Lauderdale\, Florida. T he artist's solo show at the Hollywood Art &\; Culture Center\, Florida\ , opens November 2013.

DTEND:20130504 DTSTAMP:20140901T210947 DTSTART:20130411 GEO:25.7902946;-80.1323063 LOCATION:David Castillo\,420 Lincoln Road \nMiami Beach\, Florida 33139 SEQUENCE:0 SUMMARY:Far From Apple Hill\, Francie Bishop Good UID:268560 END:VEVENT BEGIN:VEVENT DTEND:20130411T220000 DTSTAMP:20140901T210947 DTSTART:20130411T180000 GEO:25.7902946;-80.1323063 LOCATION:David Castillo\,420 Lincoln Road \nMiami Beach\, Florida 33139 SEQUENCE:0 SUMMARY:Far From Apple Hill\, Francie Bishop Good UID:270361 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This year we gave considerable thought to the different ways we could re-imagine our space. The walls and open space of the first floor\, with its massive volume\, became the perfe ct setting for monumental installations. The second floor was transformed i nto an indoor sculpture garden that brings to mind a public park. And on th e third floor\, perhaps the most intimate space\, we installed a selection of works that through nature explore themes of fragility and temporality.
ABOUT THE COLLECTION:
The de la Cruz Col lection Contemporary Art Space is privately funded by Miami-based collector s Rosa and Carlos de la Cruz. The primary purpose of this museum is to exhi bit their collection and provide education in the visual arts. Since its in ception in 2009\, the de la Cruz Collection has organized multiple exhibiti ons\, provided artist residencies and collaborated with other institutions. Their educational programs include lectures\, artist-led workshops and dai ly docent-led tours.

\n

In 2009\, the d e la Cruz Collection initiated scholarship and travel programs dedicated to enrich the education of our local art students. The purpose of these progr ams is to create awareness and academic discipline through travel and finan cial support for both high school and college level students.

\n

 

DTEND:20131012 DTSTAMP:20140901T210947 DTSTART:20121204 GEO:25.8141263;-80.1949974 LOCATION:de la Cruz Collection\,23 NE 41ST STREET \nMiami\, Florida 33137 SEQUENCE:0 SUMMARY:FROM THE COLLECTION: 2012 EXHIBITION UID:252876 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The de la Cruz Collection is p leased to announce the opening of an installation in our project room of a piece by Chilean-born artist\, architect and filmmaker Alfredo Jaar.

Notes on
Alfredo Jaar's Terra non Descoperta\, 1991\n

Three lightboxes with color transparen cies sit on the floor. They show a beautiful sea in three parts. A text by Christopher Columbus is overlaid on the images\, describing his obsession w ith finding gold.

\n

The spectator is se duced by these images and approach the work. The light boxes are placed som e 20 inches from the wall where fifteen gold-framed mirrors hang horizontal ly facing the light boxes.

\n

Suddenly\, a reflection appears on the mirrors. They show us images that are inset on the other side of the light boxes\, the side facing the wall. They are gol d miners from Serra Pelada\, in the Brazilian Amazon. But the mirrors also reflect us. We find ourselves together with the miners in the space of the mirror.

\n

"Jaar's repositioning of the viewer recalls Sartre's notion of the Other as outlined in Being and Nothin gness\; Sartre understood that our desire to define an Other stems from the need to objectify that which we fear or fail to understand. Jaar's install ation refutes this selfish privilege. His mirrors show us that while an oce an may stand between the Other and ourselves\, the Third World is actually just around the corner. Seeing ourselves reflected alongside the Other\, an y us-versus-them dichotomy crumbles. In other words\, we have seen the Othe r\, and it is us." - Steven Jenkins

DTEND:20130511 DTSTAMP:20140901T210947 DTSTART:20130309 GEO:25.8141263;-80.1949974 LOCATION:de la Cruz Collection\,23 NE 41ST STREET \nMiami\, Florida 33137 SEQUENCE:0 SUMMARY:Terra non Descoperta\, Alfredo Jaar UID:263768 END:VEVENT BEGIN:VEVENT DTEND:20130309T220000 DTSTAMP:20140901T210947 DTSTART:20130309T190000 GEO:25.8141263;-80.1949974 LOCATION:de la Cruz Collection\,23 NE 41ST STREET \nMiami\, Florida 33137 SEQUENCE:0 SUMMARY:Terra non Descoperta\, Alfredo Jaar UID:263769 END:VEVENT BEGIN:VEVENT DESCRIPTION:

View special access\, interior and exterior photographic images from Charles Deering’s former Spanish\, h istoric properties\, Palau Maricel de Tierra and Castillo Tamarit. Exhibit will be on display March 15 - April 26\, 2013.

DTEND:20130426 DTSTAMP:20140901T210947 DTSTART:20130315 GEO:25.6159691;-80.3084164 LOCATION:Deering Estate at Cutler\,16701 SW 72 Avenue \nMiami\, FL 33157 SEQUENCE:0 SUMMARY:Between Sea and Sky: Dreams of a Visionary (Entre el Mar y Cielo: S ueño de un Visionario )\, Patricia Gonzalez-Osorio UID:267553 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Diana Lowenstein Gallery is pleased to present two new exhibitions from April 13th through May 31s t.  A reception will take place at the gallery during the Wynwood Gallery W alk on Saturday\, April 13th\, from 7 to 10pm.

\n

The Empire of Light is an ongoing project developed by Fabiano Pa risi beginning in 2007\, focusing on the aesthetics and mysterious beauty o f abandoned locations\, still having a soul\, a meaning as vectors of layer ing sensations and images that make them live\, independent of our memory a nd our experience\, creating a strange atmosphere of expectation\, borderin g the surreal.

\n


The aim is not to expose their dereliction\, but rather to render the grandeur and magnifi cence of these spaces\, which are now forgotten and on the path to extincti on\, and thus seem to belong to a parallel world. The artist was struck by shapes\, lines and volumes when arranging his shots\, but was mainly guided by light. Photographs are marked by a rigorous quality\, with a magic and symbolic contrast of light and shadow: light shining on the grand architect ures of a decaying empire\, with broad areas of shadow and deep black hues\ , as if to evoke bygone history and offer glimpses of a new one. The photog raphs were taken around the world: in the United States\, Poland\, Belgium\ , Germany\, UK and Italy. Yet\, they do not constitute a kind of map of neg lect: for what matters is not so much the when and where\, as the loss of t he coordinates of these places that border on the surreal\, altering the pe rception and sense of time\, which seems to have frozen.

\n

 

\n

Fabiano Parisi was born in 1977 in Rome\, where he lives and works. After his Psychology d egree\, he chose to make photography his career. His photographic research aims the lens at sites that are abandoned and marginal\, at the aesthetic o f these architectural structures deprived of a human presence\, frozen in t he past but still capable of telling a story.

\n

Parisi partecipated in the 54th Venice Biennale\, Italian Pavilion and in the last Fotografia Festival Internazionale di Roma in 2012 at the Macro Museum. In 2012 he was selected at the Young Master Art Prize in Lond on\, and at the Arte Laguna Prize 2012 he won a special prize. In 2010 he w as the winner of the Celeste Prize International for photography in New Yor k. He has had several solo shows\, some of the most recent of which were he ld at the FotoLeggendo photography festival in Rome in 2011 and at the Muse o di Roma in Trastevere in 2010.

\n

 

DTEND:20130531 DTSTAMP:20140901T210947 DTSTART:20130413 GEO:25.7965765;-80.194785 LOCATION:Diana Lowenstein Fine Arts\,2043 N. Miami Avenue \nMiami \, 33127 SEQUENCE:0 SUMMARY:The Empire of Light\, Fabiano Parisi UID:270187 END:VEVENT END:VCALENDAR