Tags archives: contemporary art
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6 years ago
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Gregory Siff, "You" ink, oil, crayon on canvas 2019
After missing the December shows in Miami, I was determined to get out and see what New York had to offer at Armory Week. I had planned to attend the Art on Paper opening on Thursday, but I wasn't able to make it. So, Saturday was my day to get my art fix. I got an early start with the idea of beating the crowds and catching up with some artists and curators I haven't seen for a while.
Michael Flomen, "Full Moon Rain, Number 3," 2016
First stop was Plan B, which was one of the smaller shows- a pop up art show created by a group of gallery owners when Volta was cancelled. Sometimes you can find some really intriguing work at the smaller shows. For example, this piece by Michael Flomen ("Full Moon Rain, Number 3") caught my attention. It's quite minimal, but very creative. The Canadian born Flomen collaborates with nature using photogram's to create these unique pieces. The black pigment, cracked surface and contrast got my initial attention and required a closer look.
The other artist that caught my attention at Plan B was Jongmin Joy Kim, a NYC transplant from Korea. His expressive, colorful abstract work was fun and had a street art vibe.
Jongmin Joy Kim, untitled, 2018
Our next stop, which is usually very good in Miami was Scope. I did attend Scope in New York in 2018 and found it to be disappointing. So, I was curious to see how the show would compare to last year's show.
Upon entering, the [...]
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6 years ago
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South Florida has become a considerable pocket of art in the last 12 years. Maybe even longer. Being so close to the equator makes the southernmost region of the United States pretty hot, climatically so, but in respect to artists turning heads in the city and bringing attention to the area (particularly Miami), artists with distinct backgrounds and practices are turning up the heat, making it hotter than before by addressing pressing issues.
Discussions such as climate change, gentrification, South Florida's wildlife in the Everglades, preservation of local cultures and historical sites, or identity-politics seem to be on the artist's minds and leak well into the works.
Every blossoming artist has a unique perspective and aesthetic to offer the public. Competition between peers shouldn't be a factor in success, but instead should be acknowledged and applauded. Miami's sundry is key to the city's progress in the arts. It can be pretty hard to keep up with the talent and "who is who," but even more so trivial to find individuals who care enough to spread the spotlight onto the enormous mass of creatives.
Amid the roaring sea of Miami artists, two women producers Elysa Batista, and Maria Theresa Barbist decided to pair up as a team. The result was the birth of Rocking Chair Sessions- spontaneous interviews with a list of preordained invitees from the arts community. The meeting's format discloses both professional and personal information to the public, making it [...]
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6 years ago
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Federico Guzmán (AKA Fiko) has become an iconic figure in Western Sahara, utilizing the platform art offers as a vehicle to promote peace and social change to the Saharawi people. Guzmán treads between a soldier of solidarity and curator of cultures emphasizing on gatherings, art, and experiences that will induce an exchange of ideas and collaborations between artists and wherever his projects realize, and the local community.
For twelve years Guzmán has co-organized ARTifariti The Arts and Human Rights Encounters of Western Sahara in the African desert "as a way to explain the circumstances of the Saharawi people " creating a "weapon of visibility" to a story not globally known by many nor should be hidden from the public eye: and with projects such as ARTifariti one sees the opportunity to include foreign narratives and artists distanced by unfavorable political circumstances into the art world”.
The selected artists demonstrate couth in human rights and its relevance within the arts, but more importantly "are confronted a reality" that is life-changing from personal to professional, receiving a surreal cultural exchange with fresh perspectives and resilient power from the Sahawari people (especially from the matriarch figure whose role is to lead the community).
During 2018's visitation in the Sahara, the artists delve into intense creative processes of art-making, finally exhibiting and documenting the work(s). Collaborations are accessible on the list of act[...]
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6 years ago
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Tina La Porta opens her first solo exhibition, Side Effects in South Florida on September 29th in the FAR Gallery at FATVillage Projects. The presentation is a candid oeuvre on La Porta's encounter with mental illness and her skilled approach to creating a pharmaceutical, candy-like frenzy to the viewer's eye and psyche.
Far Gallery is a long corridor of two walls facing North and South to the main entrance, making the task for any curator or artist challenging to organize works within the space without it becoming predictable. Nonetheless, La Porta and curators Vee Carallo and Leah Brown strategized the area by assembling the wall sculptures in a non-linear format, concentrating on colors, geometric designs within the works and by the story of each prescription pill.
Although La Porta is open about her way of life and how her functionality depends on the suppression her pills provide, she also comments in Indian Summer (2003) on the comfortable accessibility people have to order any prescription online. With its deceiving romantic shades of pink and old rose, Indian Summer 2003 exudes an ill feeling to a morning-after pill, direct from India without any proper instructions or what damaging side effects one is to expect from it.
From La Porta's grueling process to crush each pill, comes the construction of a larger disk or shape resembling a small tablet filled with an array of smaller capsules sprinkled in vibrant colors and delicious enough to want to bite. The scu[...]
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6 years ago
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Milly Cardoso was born and raised in Miami, Florida and is the Director and Curator for the University of Miami Gallery in the Wynwood Art District. Prior to joining University of Miami, she worked for the Miami Art Museum (Pérez Art Museum, Miami) and the Mitchell Wolfson, Jr. Private Collection.
Milly is currently organizing an all-female group exhibition titled " Yes, I'm a Witch" to be presented at FATVillage Projects on September 24 – October 28, 2018, strongly supporting the works of local artists residing in South Florida.
I decided to chat with Milly about America's obsession with the topic, what or who determines a witch and the '' mass hysteria" ( of sorts) we still face today.
Interview with Milly Cardoso:
BB: From my understanding, it's been stated, you title the exhibitions you curate after songs? Why is that?
MC: Not for every exhibition, but yes, I’m very inspired by music. Lyrics inspire me. I hear a great lyric and think “that would make a fantastic exhibition.” I like every genre; I feel sorry for people who only listen to one form of music. They don’t know what they’re missing.
BB: What song, in particular, has most personally affected an exhibition? How so?
It’s difficult to pick a favorite, but it would have to be Clang, Boom, Steam. It’s an exhibition I curated in 2013 with male artists that focused on the state of masculinity in contemporary art. Clang, Boom, Steam is a song by Tom Waits. It’s only 52 seconds long, but it delive[...]
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6 years ago
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One of the things I used to detest so much as a child was watching the Spanish actress Charo shaking her ass and screaming out “cuchi, cuchi!" on stage. Her famous act would make my blood boil. Please, Charo, forgive me (for we are both Spanish, Latin women) but you're capitalizing on broken English and the need to be sexy all the time, and I wonder if you helped shape the brand, image for Latin women.
There is more to my personal history with Charo's legacy than growing up watching her on television: my paternal grandmother was a performer too and there was a crossing of paths between these influential Latin women. Seeing such a beautiful Latin woman depicted in Charo’s characteristic way was beyond me. I questioned this image constantly, wondering about the advantages of being famously sexy and vulnerable. As opposed to all the women in my family who were immigrants and championed higher education. They worked as professionals, speaking fluent English, and every single one of them was extraordinarily attractive.
On one hand, I saw Charo as a brilliant entrepreneur. She seized the opportunity to commoditize a stereotype and hence became a star with a net worth of twelve billion dollars. In a society where money is synonymous with power, that is a ton of power.
In contrast to Charo's sexy Latina character, Panamanian artist Sandra Eleta tapped into another Latin female stereotype by photographing housemaids, albeit, with a much different attitude depicted in her su[...]
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10 years ago
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Opened in the summer of 2013, Garis & Hahn gallery is one of the newest exhibition spaces that has popped up along the Bowery in recent memory. The gallery's most recent undertaking, a group exhibition entitled “Notes on Undoing” features the work of eleven artists and was curated by Branka Benčić. It is the first survey of contemporary Croatian art that has occurred at the the gallery and brings together eleven different artists including: Eškinja, Vlatka Horvat, Igor Grubic, Tina Gverović, Zlatko Kopljar,Dino Zrnec, Marko Tadić,Damir Ocko,Hrvoje Slovenc,Viktor Popović and Ljiljana Mihaljević.
A major theme that the show tackles is unraveling the way in which the viewer perceives the artist and the symbiotic relationship that is created when looking at work. These multiple perspectives are informed by the way in which each artist approaches the work and the conceptual projects they are engaging in. The press release for the show states, ”some show an interest in the experience of how the body or object relates to its environment.” As the title suggest, there is an element of this exhibition that is attempting undo the myth of the artist and the artistic process from various vantage points. This very sentiment is taken up in each of the pieces within the exhibition.
The work in “Notes on Undoing” is diverse and spans the conceptually gambit ranging from sculpture to performance. The exhibition takes up the two floors of the gallery's space. On the first floor there [...]
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