Robert Fontaine Galler y\, located in the heart of the Wynwood Arts District\, will showc ase new works by artist James McNabb in a solo exhibition entitled &ldquo\;Metros.&rdquo\; The opening recep tion will be held Saturday\, October 11th \; from 5 to 8 p.m. during Wynwood&rsquo\;s Second Saturday A rt Walk. The exhibit will be on view October 9th through October 28 th 2014.


James McNabb is a P hiladelphia based artist working primarily in wood. His creations of citysc ape inspired sculptures explore sociological concepts regarding transformat ions of cities and urban landscapes\, their beauty\, uniqueness\, and overd evelopment. In his sculptures\, McNabb uses scrap pieces of wood\,\, some w ith very unique and alluring characteristics\, that are contextualized to d raw new meaning out of the material and force the viewer to create his or h er own perspective of the urban landscape. McNabb blends traditional woodwo rking technique with experimental mark making using a bandsaw. This intuiti ve process\, referred to as &ldquo\;sketching with a bandsaw&rdquo\; allows the artist to generate forms rapidly\, working through new and exciting id eas 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 l imitless possibilities of the urban landscape and our human relationship to it.

DTEND:20141028 DTSTAMP:20140930T061719 DTSTART:20141009 GEO:25.7995112;-80.1990125 LOCATION:Robert Fontaine Gallery\,2349 NW 2nd Avenue \nMiami\, Florida 3312 7 SEQUENCE:0 SUMMARY:Metros\, James McNabb UID:358439 END:VEVENT BEGIN:VEVENT DTEND:20141011T200000 DTSTAMP:20140930T061719 DTSTART:20141011T170000 GEO:25.7995112;-80.1990125 LOCATION:Robert Fontaine Gallery\,2349 NW 2nd Avenue \nMiami\, Florida 3312 7 SEQUENCE:0 SUMMARY:Metros\, James McNabb UID:358440 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Upon entering Kavachnina Conte mporary\, you almost overlook a sculpture to your immediate left. Does it g et attention? Or does the viewer walk past? Neutral tones\, both futuristic and ancient. While this particular sculpture by Salvatore Zagami may not b e the feature of this exhibition\, but the paradox in its aesthetic represe nts the general atmosphere of the show as a whole: the individual works see m 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.

On the right one sees a l arge scale painting by Vasily Kafanov. Two rectangular forms dominate the c anvas at first\, the larger yellow square is immediately cut in half by vio lent strands of black\, the strokes resemble roots or lightning\, attacking the restrained mood of the abstract shapes.

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 o r parallelograms.

What really gave dimension to the dualistic pa inting 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 stor y. Who are these children? Survivors of the violence taking place behind th em? Are they a portrayal of the artist or art-tourists standing before the work? Was this a collaboration gone wrong?

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 heaven ly grace. From outside the room\, the piece is framed by the rectangular ou tline 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 seq uence of discovering how both works face each other across the long space m akes an impact.

As you walk into the space\, the delicately pain ted figures of Spanish artist Salustiano impress you forward&mdash\;light b eams from the red canvas to the left\, from which a young girl peers from h er 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.


You proceed into the backmost room of the gallery. Th ere are two circular paintings by Sandro De La Rosa acting like mirrors acr oss one another on opposite walls\, They depict a woman with wings and anot her with birds on her arms\, each utilizing earth tones and an intricate re alism. 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.


While the show maintains a collection of easily digestible beauty\, there is sti ll irony. Not just in the absurd visual of Icarus feet\, but in their clash with the style of the paintings of women with wings.

We appreci ate beauty and technical skill. It is genuine\, worthwhile\, and certainly worth money\, but maybe too naï\;ve\, or maybe incomplete without a dos e of sarcasm.

This might be a microcosm of contemporary indecisi on\, especially with the cultural decline of irony\, which nowadays comes o ff as shallow ploys at cleverness. Could beauty the more authentic\, higher path? \;

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&rd quo\; and think they can fly. Now redirect your attention to severed feet a nd their feathers&mdash\;Be warned\, all ye who enter\, this is what happen s to those who fly too close to the sun.

DTEND:20141008 DTSTAMP:20140930T061719 DTSTART:20140911 GEO:25.810196;-80.1964349 LOCATION:KAVACHNINA CONTEMPORARY\,46 NW 36 St \nMiami\, 33127 SEQUENCE:0 SUMMARY:Group Exhibition\, Angela Lergo\, Vasily Kafanov\, Salvatore Zagami \, Emil Alzamora\, Sandro de la Rosa UID:358438 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The reception for the Fall Fin e 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 op en 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. \;
< br />The art exhibition Wunderbar\, a featured element of our ticketed sign ature fundraising event\, \;Wine on Harvest Moon \;on Saturday\, Oc tober 11\, 2014\, brings together South Florida\, German-born/based and Ger man-American artists whose contemporary works show influences from the Mode rnist and "Dekorative" movements as well as from self-defined German cultur al traditions.

Curator Kim Yantis\, wishes to present this group exhibition as &ldquo\;a diverse selection of personal voices and interpret ations.&rdquo\; Each artist has been asked to write a brief statement to ac company their work where they reflect on the &ldquo\;German&rdquo\; influen ces within the scope of their practice. \;

Artist Statement: Joana Fischer
Born in Ahlen\, Germany and raised near Muenster\, Germ any\, my work developed when I was studying in the atelier of Guenter Wintg ens. Coming from a small town in Germany and now living in Miami\, almost e verything I encounter is manufactured and it is almost impossible to find s eclusion. My work generally reflects this conflict between my urban situati on and my longing for nature. The backgrounds are often broad and vague col or fields combined with intimately drawn narratives\; elements from childho od memories of Germany and secluded landscapes that I have come across in m y travels. \;

Artist Statement: Pip Brant
The Verfremdu ngseffekt (alienation effect) of German playwright\, Bertolt Brecht&rsquo\; s epic theater\, discovered in my graduate school years\, is the German thr ead throughout my work. My works don&rsquo\;t entertain\; they destroy illu sion and appeal to reason\, through contradictions or absurdity. \;

Artist Statement: Christoph Morlinghaus \;
My German upbri nging and education helps me to perceive and make sense of the sometimes st range world that surrounds me in here the States. Exactitude\, craft\, tech nique\, emotional detachment and a need to bring order into chaos are (ster eotype) German virtues that are essential for my work. The images in the sh ow are influenced by the German 'Neue Sachlichkeit' (New Objectivity) movem ent of the Weimar Republic as practiced by e.g. Albert Renger-Patzsch and A ugust Sander.

DTEND:20141121 DTSTAMP:20140930T061719 DTSTART:20141004 GEO:25.6159691;-80.3084164 LOCATION:Deering Estate at Cutler\,16701 SW 72 Avenue \nMiami\, FL 33157 SEQUENCE:0 SUMMARY:Wunderbar\, Alexander Solotzew\, Goran Tomcic\, Connie Mae Oliver\, Joana Fischer\, Bianca Pratorius\, Christoph Morlinghaus\, HENNING HAUPT\, PIP BRANT\, Babette Hershberger UID:358436 END:VEVENT BEGIN:VEVENT DTEND:20141015T210000 DTSTAMP:20140930T061719 DTSTART:20141015T190000 GEO:25.6159691;-80.3084164 LOCATION:Deering Estate at Cutler\,16701 SW 72 Avenue \nMiami\, FL 33157 SEQUENCE:0 SUMMARY:Wunderbar\, PIP BRANT\, Joana Fischer\, HENNING HAUPT\, Babette Her shberger\, Christoph Morlinghaus\, Connie Mae Oliver\, Bianca Pratorius\, A lexander Solotzew\, Goran Tomcic UID:358437 END:VEVENT END:VCALENDAR