Archive for the ‘Miami Art Scene’ Category
There are a few days left to catch the exhibit Fabiano Parisi: Empire of Light at the Diana Lowenstein Gallery in Miami. The show ends this Saturday, May 31st.
Empire of Light is a series that Parisi began in 2007 and in which he photographs abandoned buildings throughout the world – Italy, Poland, Germany Belgium and the U.S. Parisi was born in Rome in 1977. You can learn more about him on his website at http://www.fabianoparisi.com/.
There’s something fascinating, or at least to me, about abandoned buildings. I’m not sure why, but this theme recurs in my life. I recently watched (well, honestly, I only made it through the first 15 minutes) Chernobyl Diaries, a film inspired by eerie photos of Pripyat, the abandoned village found on this blog. I saw the recent James Bond flick more than once and that was filmed at the abandoned Hashima Island. A few weeks ago, I was mesmerized by Villa Epecuen, a town in Argentina that emerged from the ocean after being underwater for 25 years.
My first encounter with an abandoned location was during a kayaking trip on the Hudson River where I learned about Bannerman Castle. A few years ago an Italian photographer, Carlo Tardani, sent me a link to photos he’d taken of abandon building in Tuscany. In Freudian terms, I guess there’s a parallel to being abandoned as a child by my father and being attracted to the emptiness of abandoned locations, the longing for more, the sense of loss for something that was solid and once provided security. I wonder if people that don’t have similar psychological baggage are equally entranced?
In Parisi’s work, there’s a sense not only of abandonment, but also of destruction. There’s this sense that what was was once vibrant, breathing and full of life, but is now devoid of life and breath. However, it could be argued that this absence of life is actually more compelling because the remnants invite the viewer to write a story in their mind. My story will be different than yours. I might project something entirely different. When I look at the photo at the top of this post, I think immediately of the Kirstin Dunst film, Marie Antoinette. What do you think of?
When you view Parisi’s abandoned theater below, there are so many images that surface and superimpose themselves on it figuratively in your head. Our brains store images the way a computer files them away in File Manager, associating them with words, ideas and emotions. Parisi titles his photos, “Il mondo che non vedo,” which translates as “the world I do not see.” That accounts for the absence of life, but not for our desire to fill the void with our own associations, memories and emotions. And when you look at an image like this, it’s hard not to see the ghosts of past occupants. Although the building is empty and decrepit, there’s an impression that remains of the life that was once there.
There is the sense of loss and the mind’s desire to fill the void.
I just received the copy of the article I ghostwrote about Art Basel Miami Beach for JetSet magazine on behalf of a prominent dealer and art adviser.
This provided me the opportunity to interview Noah Horowitz, the director of the Armory Art Show and also the author of The Art of the Deal, an amazing book about the economics that drive the contemporary art world and market. In addition to Noah, I also interviewed Bob Goodman, the Miami spokesperson for the Basel organization and Frederic Snitzer, the only Miami gallerist on the Basel MB selection committee.
One person I interviewed was a particular high – Ron Warren – wait, I should actually say the “uber-famous” Ron Warren, because he’s such an art-world heavyweight and persona, from Mary Boone Gallery. I wrote an extensive research paper on Mary Boone when I was getting my art history degree. I idolized her and her gallery. I was going there when I was a teenager for gosh sake. Also interviewed are Norman Braman, one of the world’s leading art collectors and the man who helped bring Basel to Miami and Carol Damian, the chief curator for the Frost Museum of Art. Matt Bangser from Blum & Poe provided the perfect quotes and info to round out the article. It was as though he read my mind.
Up next for me is that JetSet has asked me to write a second feature on the Palm Beach art fairs and this time I’ll get the credit. I’m working on that as we speak….
This morning great news arrived in a press release from Spinello Projects announcing that the work of Argentinean-born and Miami-based artist Agustina Woodgate will appear in the Art Positions sector of this year’s Art Basel Miami Beach, which will be held December 6-9 at the Miami Beach Convention Center.
If you follow my blog and social media pages, you already know that I’m a fan of hers. I’ve tagged her a few times as an artist I think is worth watching. I like to think I’ve been around art long enough to spot talent, but it’s great to get the affirmation that I was right. It’s funny, too, because I had just posted on my Facebook page on September 2nd that I predicted great things for her. Now, I get this. I’m telling you – this young artist is amazing! (My next Miami artist-to-watch: Zach Balber).
I stumbled upon Woodgate’s work when she was doing this wonderful “poetry bombing” project where she would go into Miami thrift stores and sew tags with poetry into the clothing. I found this charming and uplifting and it made me pay attention. She’s got a palpable energy stream that emanates in everything she does. She’s dynamic. The more I learned about her, the more I liked her. Now, I follow her travels and projects via her Facebook page and she’s always doing something interesting.
Woodgate partners often with Anthony Spinello, an intelligent and uber-hip young dealer here in Miami who also blogs for ArtInfo. Since I arrived here about four years ago, I’ve watched his gallery evolve into one of Miami’s best. Having been selected for Art Basel MB confirms others have been watching him and think the same. He’s staged nice work at SCOPE over the past two years.
Art Positions provides a showcase for the work of a single emerging artist. Woodgate’s work is called “New Landscape.” This is what the release has to say about it:
Positive and negative matter from three representations of the planet Earth will be featured — each representation a proposal for a new kind of territorial exploration. Rather than nations or countries taking precedence as the visual anchor, the Earth as a whole, all at once rendered mute, but equal, becomes the primary focus. From the violent, aggressive gesture of erasing political borders and imagined national spaces, Woodgate offers a signal of hope: an optimistic realization of a world both beautiful to behold and comforting to imagine.
I think that’s what resonates most with me about Woodgate’s work. There’s a lot of “hope” in it. It’s always affirming and I’m looking forward to seeing this.
Click here to see the entire line up for this year’s Art Basel Miami Beach that was released earlier today.
Earlier today I attended the press preview for the Rashid Johnson show, “Message to Our Folks” that will open tomorrow at the Miami Art Museum. I’ll be writing some articles about this show and will delve more deeply into Johnson’s art over the next week. However, this being my blog, where I can allow some of my personality to shine through in my writing, let me just say this, “Whoa. OK. Wow.” Not only is Johnson gorgeous – and I mean a really beautiful and handsome man -but he was witty and entertaining. This is a plus for art writers who are often forced to “pull teeth” to get reticent or inherently shy artists to explain their work to us, so we can explain it to our readers.
When Johnson shared that he was, like me, enamored with Woody Allen movies, I was immediately hooked. I could tell you he’d had me at Woody, but he’d had me when I saw a mixed media sculpture that featured three duplicates of Al Green’s “Greatest Hits.” He’d had me at Al, actually. He was telling me how he’d been living in Manhattan before he moved to Brooklyn and he kept expecting to hear the Gershwin Rhapsody from the beginning of Allen’s film Manhattan. Then he was joking about artists and their “projects” and how they’re always working on a some kind of weird project. This resonated for me because I remembered when I was at Purchase College, everyone was always talking about some great project they were doing. Then after we graduated “working on this great project” became code for “unemployed.”
MAM has had some great artists recently. Jose Bedia was incredibly engaging in his style of presenting his work to we writers. He speaks about his art with great passion and gusto, using big sweeping hand gestures and he has a very animated and warm persona. I was fascinated by Rivane Neuenschwander’s intelligence and charmed by her humble manner and loveliness. Johnson had passion and humility, too, and he was funny. So, it just made for an engaging tour.
This morning, I also got to meet two Miami art and culture writers whose work I’ve been admiring for a while: Carlos Suarez de Jesus, who primarily writes for the Miami New Times and he’s also a working artist doing interesting Afro-Cuban inspired sculpture/installations, and Anne Tschida who also writes for the Times, The Miami Herald and others. They’re the two best art writers in Miami, so it was nice to finally put faces to their names.
And, as an additional quick thrill I finally got to meet Frederic Snitzer, a gallerist here in Miami that I have a great deal of admiration for because he represents some of the best Miami artists, including this young talented photographer Zach Balber, who I just think, for lack of finding a better word because I’m kinda tired, is great. I saw Snitzer speak at Locust Projects a few years ago and wrote about it, but hadn’t met him.
Definitely catch the Rashid Johnson show if you can, but note that it’s only got a short 2-month run. It’ll close on November 4, 2012.
One of the few Italian-owned galleries in South Florida is Galleria Ca’ D’oro. In addition to their Coral Gables location, they have a gallery in Rome (their original gallery). For the past few years, they’ve partnered with Miami Dade College to stage exhibits at the historic landmark Freedom Tower building, which is located across from the American Airlines arena and is one of Miami’s most beautiful buildings. In fact, attending nighttime openings there reminds me of being in Rome.
Galleria Ca’ D’oro, which is owned by Gloria Porcella , has curated wonderful exhibits since their arrival in Miami and have contributed greatly to our cultural landscape. They’re one of a handful of galleries that consistently host thoughtful exhibits and remain loyal to Italy and Italian artists (and that’s rare in Miami). They also publish intelligent, well-written exhibit catalogs. And they’re dear friends and neighbors to Il Console Generale d’Italia a Miami, Adolfo Barattolo, who is often at their openings with his wife, Federica.
Next week, on September 5, they’ll open a show called “Original Sin” at the Tower that showcases work from Camilla Ancilotto. Her paintings remind me of the Italian Renaissance in their beautiful figurative- ness and vibrant color. And that’s her intention. She alludes to Michelangelo, Bronzino and Tiziano, but combines these references with contemporary painting and mixed media techniques. Her work is exactly the type of painting I’m most passionate about personally. And, much like the mirror works done by Michelangelo Pistoletto, Ancilotto’s work integrates the viewer and relies on their participation by incorporating parallelepipeds they can touch and move. Galleria Ca’ D’Oro writes in their press release for the show, “Using lively and playful images and colors, she invites the viewer to participate both physically and thoughtfully while viewing her work.”
Unfortunately, I can’t attend the opening that night because I have to attend the press preview for Rashid Johnson at the Miami Art Museum – another artist I’m excited about – and then run back up to Boca for an afternoon client meeting. I’m disappointed because I’ll miss meeting the artist and Galleria Ca’ D’oro will be serving an aperitivo of Italian wine, the other thing I’m passionate about. Times like this make me sad I’m not closer to Miami, but, frankly, I don’t really think I’d enjoy living in that city – perhaps Coral Gables, which is very similar to Westchester County where I grew up. I like all the history and charm – and green trees and lawns, which make me happy.
However, I won’t miss the Camilla Ancilotto show. I’m right now planning when to attend and if, like me, you’re enamored with Italy and Italian art, you should be too. Galleria Ca’ D’oro doesn’t simply bring Italy’s best contemporary artists to Miami, they provide the entire Italian experience.
And, if you want to learn more about Italian post-war and contemporary art, and are near Palm Beach next week, please join curator Wendy Blazier and me at the Armory Arts Center on Tuesday, September 4th at 6:30pm. We’ll be presenting on and leading a discussion of artists Michelangelo Pistoletto, Valerio Adami, Alighiero Boetti, Maurizio Cattelan, Sandro Chia, Maurizio Vetrugno, Paola Pivi, Francesco Simeti, Lara Favaretto and curators Massimiliano Gioni and Achille Bonito Oliva.
I was thinking about this today. I miss the New York and Westchester County art scene. I miss going to stuffy gallery openings where mostly everyone wears black and beige and are craning their necks to see who is walking in the door. I miss my beautiful, quiet country church with its beautiful Chagall and Matisse windows. I miss the smell of bonfires and the golden glow on the Hudson River. South Florida is nothing like this.
Surely, I am getting old, but that’s OK. I’m glad I grew up as part of an art generation trained to analyze and dissect art in an intelligent and thoughtful manner. I’m glad I learned reverence for artists.
When I think back on my college days, I remember being mesmerized by Irving Sandler as he paced back in forth in front of a large screen showing work by Jackson Pollack or Alex Katz. (Here’s an interview with Sandler from 2008) He knew them both and when he spoke what came through was so much more than just his words – it was his enthusiasm, his respect and his own fascination with their work. He’d get so excited that this one piece of gray hair on top of his head would alternately flop up and down in the air.
Sandler’s teaching always reminded me of a story my stepfather had told me. He’d said that when Einstein taught he’d start writing on the blackboard and he’d get so excited that he’d keep writing on to the wall without hardly noticing. There aren’t any critics or writers like Irving Sandler in Miami, but if he himself were here it’s likely he’d be very encouraging of the young artists that live and work here. Perhaps if there were a Sandler here they wouldn’t be so quick to leave.
I don’t always understand the Miami art scene. I don’t understand why gallery openings here have to include DJs spinning annoying techno-pop, extra-curricular activities and belly dancers. Sometimes, with a few exceptions, it seems more like a zoo than an art scene. To me, it doesn’t often seem to be about the art or the artist.
Perhaps that’s why art hasn’t taken hold here the way it has in New York and L.A. in the sense that major collectors don’t come here to shop. We don’t have enough gallerists like Brook Dorsch or Frederic Snitzer. What Miami needs most is intelligence. Substance over style.
Sometimes, I honestly think: what the fuck am I doing here? You can take the New Yorker out of New York, but you can’t take New York out of the New Yorker.