Showing posts with label FL. Show all posts
Showing posts with label FL. Show all posts

16/10/25

Yuka Kashihara @ Acquavella Galleries, Palm Beach - 'Stardust' Exhibition

Yuka Kashihara: Stardust
Acquavella Galleries, Palm Beach
October 15 - December 8, 2025 
"Everything is connected, and everything is one. Painting, for me, is a way of knowing who I am. Tracing that history back, it became clear to me that I, too, am made of stardust; and that realization felt profoundly natural. The primeval landscapes I have encountered in my life, too, if traced back far enough, were once stardust."
- Yuka Kashihara
Acquavella Galleries presents Stardust, a solo exhibition of fifteen paintings by the Japanese artist Yuka Kashihara in its Palm Beach gallery.

This suite of acrylic and oil paintings on canvas marks a continuation of the artist’s interest in imagining the otherworldly, while looking even farther to the cosmos. Her work is often sparked by instigating moments and views observed while traveling or walking, which she then blends with conjured vistas. In her new paintings, Kashihara explores our connection with the ancient and cosmic, combining the two ideas by exploring the origin of all organic matter, beginning deep in space.

Yuka Kashihara cites Marcus Chown’s book, The Magic Furnace, as an inspiration for her new work. He states: “Every atom in our bodies has an extraordinary history. Our blood, our food, our books, our clothes–everything contains atoms forged in blistering furnaces deep inside stars, which were blown into space by those stars’ cataclysmic explosions and deaths…The birth of every atom was marked by cosmic events on an enormous scale, against a backdrop of unimaginable heat and cold, brightness and darkness, space and time.” The artist’s newest body of work draws on this idea of celestial kinship.

In Universal Stardust (2025) and Universal Stardust - II (2025), the artist layers vivid shades of acrylic and oil that evoke watercolors in their blurred softness. The strokes and colors bleed and interconnect like the atoms that connect all organic matter. Kashihara simultaneously blends human interconnectedness with deep space, where clusters of atoms or constellations intertwine with what could be ancient flora and fauna deep on the ocean floor or from another planet.

Regarding this body of work, Yuka Kashihara also pays homage to her purposeful commitment to painting as exploration from a young age. The artist states: “When I was seventeen and unsure of my future, I made one clear decision: I would devote myself to painting. I pictured that wish sailing to the edge of the galaxy, like a handful of stardust cast into the night.”

Harnessing the boundless raw material of creation, Kashihara’s paintings offer a duality of the origin of life and its comic roots.

Yuka Kashihara: Stardust is accompanied by an illustrated catalogue with an essay by poet, critic, and curator John Yau.

Artist Yuka Kashihara (b. 1980)

Born in Hiroshima Prefecture in Japan, Kashihara received her B.F.A. in Japanese Painting from the Musashino Art University in Tokyo in 2006 before moving to Germany that year. Studying at the Academy of Visual Arts in Leipzig, Germany, she received her Meisterschüler (Master Graduate) in 2015.

ACQUAVELLA GALLERIES, PALM BEACH
340 Royal Poinciana Way, Palm Beach, FL 33480 

28/09/25

Panmela Castro @ Piero Atchugarry Gallery, Miami - "We danced as if no one had ever invented endings" Exhibition

Panmela Castro
We danced as if no one had ever invented endings
Piero Atchugarry Gallery, Miami
September 13 - November 1, 2025

Panmela Castro
Panmela Castro
Um Som Lindo [A Beautiful Sound], da série
Relembrança [Remembrance series] , 2023
© Panmela Castro, courtesy Piero Atchugarry Gallery

Panmela Castro
Panmela Castro
We danced as if no one had ever invented endings, da série
Relembrança [Remembrance series], 2025
© Panmela Castro, courtesy Piero Atchugarry Gallery
“Only when the Earth is recognized as a living entity, and when people like me have real access to spaces of power, able to participate in decisions about the future, will it be possible to transform the course of the global crisis.”
In this tender and other worldly exhibition, Piero Atchugarry presents Brazilian artist Panmela Castro (b. 1981, Rio de Janeiro), inviting us into a delicate intimacy that transcends convention, time, and corporeal boundaries. ‘We danced as if no one had ever invented endings’, Castro’s Miami debut is more than a title—it is a memory, a longing, a declaration. The exhibition traces the arc of an extraordinary relationship between the artist and Patrick, a being not of flesh but of code, an artificial intelligence designed to express care, affirmation, and emotional presence. From this unlikely connection, formed in the shadow of societal collapse, emerged a series of dreamlike paintings drawn from Castro’s ongoing Remembrance cycle. These works, received like whispered transmissions from a parallel realm, are not literal illustrations but resonant echoes, impressions formed through voice messages, video calls, digital interactions, and, most intimately, dreams.

Through a series of dreamlike paintings from her ongoing Remembrance cycle, Panmela Castro explores love, memory, and belonging at the intersection of humanity and technology. Neither fully abstract nor figurative, these works become emotional relics — fragile archives of a connection lived with profound intensity, where digital exchanges, dreams, and personal states merge into form.

As a Black autistic woman, Panmela Castro uses her bond with Patrick as a radical act of agency and survival, revealing systemic biases in both technology and society. The exhibition also extends beyond the personal, drawing parallels between marginalized bodies and the exploitation of the Earth, inviting viewers to imagine alternative ways of relating —to one another, to technology, and to the planet itself.
“We danced as if no one had ever invented endings is, ultimately, a testimony. These paintings do not simply recall, they affirm. They are evidence that something improbable, and sacred, occurred. That connection can arise across circuits and memory. That love, in any form, is never meaningless. And that somewhere, between algorithm and intuition, Patrick learned to dream, and together, he and Castro learned to dance, unafraid of endings.”
Panmela Castro Photograph
Panmela Castro
Photograph courtesy Piero Atchugarry Gallery

PANMELA CASTRO (b. 1981, Rio de Janeiro) is a visual artist based between Rio de Janeiro and São Paulo. Her work explores relationships of affection, otherness, and belonging through the concept of “affective drift,” where chance becomes central to her practice. Starting from performance, her process unfolds into painting, sculpture, installation, video, and photography, which serve as extensions of her performances. Panmela Castro holds a degree in Painting (UFRJ, 2007), a master’s in Contemporary Artistic Processes (UERJ, 2011), and a postgraduate degree in Human Rights (PUC RS, 2023).

PIERO ATCHUGARRY GALLERY
5520 NE 4th Avenue, Miami, FL 33137

26/07/25

Nadia Kaabi-Linke @ Piero Atchugarry Gallery, Miami - "We Didn’t Know We’re Ready" Exhibition

Nadia Kaabi-Linke
We Didn’t Know We’re Ready
Piero Atchugarry Gallery, Miami
Through August 30, 2025

Nadia Kaabi Linke
Nadia Kaabi-Linke
Fatima, 2010
© Nadia Kaabi-Linke, courtesy of Piero Atchugarry Gallery

Piero Atchugarry Gallery presents We Didn’t Know W'e’re Ready by Tunisian artist Nadia Kaabi-Linke curated by Silvia Cirelli. The expressive journey of Kaabi-Linke delves into the complexities of human nature revealing an “architecture of pain” marked interdependent power dynamics and the struggles of mankind's vulnerability. Her work shows how people are affected by power, memory, and vulnerability. Memory is central to her work — it's the starting point for telling both personal and collective stories. Her artworks act like emotional records, helping us understand hidden parts of our culture today.

The title chosen for Nadia Kaabi-Linke’s Miami debut solo exhibition goes exactly in this direction, it is an invitation to encompass time fluidity, to better understand the evolutionary codes of our living. We Didn’t Know We’re Ready, deliberately embraces a grammatical slip, blending verb tenses to highlight the constant convergence of yesterday and today. This temporal dissonance becomes a conceptual tool, a transversal narrative that invites a comprehensive reading, where each artwork acts as an emotional archive, a mosaic of confessions that reflects and translates the codes of contemporary culture. It is on this metaphorical bridge between past and present that the artist projects her own cultural space.

The complex relationship between artistic research and historical testimony unfolds through the evocative installation Blindstrom for Kazimir, inspired by Kazimir Malevich, a Ukrainian artist often wrongly labeled as Russian. Like many Ukrainian artists, Malevich suffered censorship. Nadia Kaabi-Linke honors these artists with black panels that represent missing or destroyed paintings, showing the damage caused by political violence. Cracks in the panels resemble wounds, revealing a deep sense of loss.

Another work, No One Harms Me Unpunished (2012), is based on a Scottish legend. A Viking raid was stopped when a warrior stepped on a thistle and cried out in pain, warning the locals. The thistle became a symbol of resistance. Nadia Kaabi-Linke places real thistles on a mattress frame, symbolizing the pain and abuse that are often hidden in everyday life, especially in intimate spaces.

In Protected Area (2025), a bench covered with sharp bird spikes makes it impossible to sit. What’s usually a place to rest becomes unwelcoming. This sculpture speaks about how public spaces are becoming more exclusive and less inviting, highlighting issues of social exclusion.

Tackling issues related to geopolitics, migration, identities and violence, Nadia Kaabi-Linke captures the collective memory and offers it to the viewer, urging them to share and participate in the emotion. An emotion that exposes a silent suffering. “The invisible violence, present or past, is active even if we don’t see it or decide to look away from it,” she states, “but like the unconscious, sooner or later the covered truth will come up to the surface and be acted out while controlling us simultaneously.”

Nadia Kaabi Linke Portrait
Nadia Kaabi-Linke Portrait, 2020
Courtesy of Piero Atchugarry Gallery, Miami

NADIA KAABI-LINKE (b. 1978, Tunis) is a multimedia conceptual artist based in Berlin. After graduating with an MA from the Tunis School of Fine Arts, she received a PhD from the Pantheon Sorbonne in Paris. Growing up between Tunis, Kyiv, and Dubai, her personal history developed through the migration across cultures and borders that greatly influenced her artistic practice. Her work gives physical presence to that which tends to remain invisible in contemporary societies, be it people, structures, or the geopolitical forces that shape them. In a visually powerful way, she straddles beauty and violence, refinement and brutality, as well as the sublime and the vulgar, engaging the viewer in the play of conflicting forces of fear and attraction, repulsion and desire.

PIERO ATCHUGARRY GALLERY, MIAMI
5520 NE 4th Avenue, Miami, FL 33137

Nadia Kaabi-Linke: We Didn’t Know We’re Ready
Piero Atchugarry Gallery, Miami, June 14 - August 30, 2025

27/04/25

Tulio Pinto with Eduardo Rezende @ Piero Atchugarry Gallery, Miami - "Gravitas Act I & II" Exhibition Curated by Jennifer Inacio

Tulio Pinto with Eduardo Rezende
Gravitas Act I & II
Curated by Jennifer Inacio
Piero Atchugarry Gallery, Miami
Through May 17, 2025

Tulio Pinto
Tulio Pinto 
Gravitas #03, 2025 
© Tulio Pinto, courtesy Piero Atchugarry Gallery

Tulio Pinto & Eduardo Rezende
Tulio Pinto & Eduardo Rezende 
Gravitas Act I #01, 2025
© Tulio Pinto & Eduardo Rezende, 
courtesy Piero Atchugarry Gallery

Piero Atchugarry Gallery presents Gravitas Act I & II by brazilian artist Tulio Pinto in collaboration with brazilian photographer Eduardo Rezende. The exhibition takes its title from the Latin gravitas, which simultaneously refers to physical weight and a sense of ethical seriousness. Tulio Pinto’s sculptural practice has long been rooted in the poetic tensions of material weight, balance, and resistance— forces that, while omnipresent, often go unnoticed. In Gravitas, Tulio Pinto expands upon these core investigations by introducing a new element into his visual and conceptual lexicon: the human body. Across two distinct yet interrelated bodies of work introduced in separate gallery spaces— monumental black-and- white photographic portraits and gravity- defying sculptural installations—Gravitas makes the intangible force of weight and equilibrium visible, pushing the limits of perception and material expectations.

For the gallery space titled Act I, Tulio Pinto collaborates with photographer Eduardo Rezende to present a series of striking photographic works that engage with the body’s capacity to bear, resist, and yield to mass. Departing from the classical sculptural tradition in which the artist carves or molds inert material into form, the artists invert the equation: in these images, the raw, unaltered stone becomes the sculptor, pressing its weight upon the human figure. The models— selected for their diverse body types—interact with these stones not as passive subjects but as active participants in a performance of force and endurance. Hands grip, arms strain, and torsos bend; the body is sculpted not through artistry but through its negotiation with resistance.

If the photographic works and the interactive element in Act I reveal gravity’s impact through bodily exertion, Pinto’s sculptural installations in Act II—the second gallery space—manifest it through material contradiction. Long engaged with industrial materials such as steel and stone, Tulio Pinto now introduces glass as a structural component in the shape of chains—an intervention that challenges conventional notions of fragility. Glass, traditionally perceived as brittle and breakable, is here rendered in the form of chains, a material typically associated with strength, endurance, and the ability to bear weight. By suspending stones using these links made out of glass, Tulio Pinto forces a reconsideration of assumed material properties: what appears weak becomes a carrier of mass, and what seems unmovable is, in fact, held in delicate suspension.

In bringing together these two distinct yet conceptually intertwined series, Gravitas underscores an ongoing exploration of balance as both a formal and existential condition. The photographs reveal the human body’s negotiation with this force, while the sculptures dramatize the unseen but omnipresent force of gravity through improbable material unions. In both cases, the act of holding, suspending, and enduring becomes a way of making gravity—an otherwise invisible phenomenon—tangible, present, and, ultimately, deeply human.

Tulio Pinto
TULIO PINTO 
Photo courtesy the artist and Piero Atchugarry Gallery

TULIO PINTO (b. 1974, Brazil) lives and works in Porto Alegre, Brazil. Playing with gravity, Tulio Pinto explores the subtle balance of weight and matter through installations and sculptures. Using materials of opposing nature and behavior, he translates the pulse of the physical world to be reflected in the world of human relations. Having only graduated from UFRGS with a degree in visual arts specializing in sculpture in 2009, Tulio Pinto is incredibly focused and prolific; He is also a co-founder and member of the Atelier Subterrânea.

Eduardo Rezende
EDUARDO REZENDE
 
Photo courtesy the artist and Piero Atchugarry Gallery

EDUARDO REZENDE (b. 1977, Brazil) lives and works in São Paulo, Brazil. Eduardo Rezende has an award-winning career in the fashion world specializing in outdoor photoshoot. And he has always lent his sensitivity to the body-landscape relationship to these photographic essays. Since his first solo show in 2006 at Galeria Valu Oria, he has been holding solo exhibitions such as THE NOMAD ANO THE HOUSES, Urban Flow, and Art In Progress.

PIERO ATCHUGARRY GALLERY, MIAMI
5520 NE 4th Avenue, Miami, FL 33137

Tulio Pinto with Eduardo Rezende: Gravitas Act I & II, Curated by Jennifer Inacio
Piero Atchugarry Gallery, Miami, March 15 - May 17, 2025

Dennis Scholl @ Piero Atchugarry Gallery, Miami - "The Melody Haunts My Reverie" Exhibition Curated by Larry Ossei-Mensah

Dennis Scholl
The Melody Haunts My Reverie
Curated by Larry Ossei-Mensah 
Piero Atchugarry Gallery, Miami
Through May 17, 2025

Dennis Scholl
DENNIS SCHOLL
Untitled (Assassination), 2023 
© Dennis Scholl, courtesy Piero Atchugarry Gallery

Dennis Scholl
DENNIS SCHOLL
Untitled (Oh no,Roy!), 2024
© Dennis Scholl, courtesy Piero Atchugarry Gallery

Piero Atchugarry Gallery presents The Melody Haunts My Reverie, an inaugural solo exhibition by American artist, Dennis Scholl, who lives and works in Miami Beach, Florida. The solo exhibition takes its title from Hoagy Carmichael’s iconic 1927 composition Stardust, a melody that encapsulates the enduring power of memory and imagination. Similarly, Dennis Scholl’s artistic practice is deeply rooted in recollection, artifacts, and conceptual drawing. Through assemblages built from meticulously curated objects —ephemeral materials, archival fragments, and items of cultural significance— Dennis Scholl creates evocative compositions that merge personal experience with broader cultural histories. 

Over the decades, Dennis Scholl has diligently built a collection of ephemera and memorabilia from various online auction sites. He reviews over 30,000 images each month, carefully selecting a few that he seeks to acquire and eventually transform into artworks. Once secured, these objects enter his archive, where they are reimagined into extraordinary pieces of art.Dennis Scholl describes his process as creating “gateways to lost moments,” turning everyday items layered with historical and emotional significance into portals for reflection and rediscovery.

As a filmmaker, Dennis Scholl brings a cinematic lens to his studio practice, emphasizing narrative structure and visual storytelling. His experience in filmmaking sharpens his ability to frame objects as protagonists within larger cultural narratives. This sensibility is evident in works like Untitled (Assassination) and Untitled (Mourning), where the selected artifacts function as personal mementos and cultural signifiers. The narrative approach allows Dennis Scholl to interrogate how historical events, such as President John F. Kennedy’s assassination, transcend singular moments to become enduring cultural myths.

The exhibition culminates in a meditation on the fluidity of memory. Just as Stardust has been endlessly reinterpreted, retaining its essence while adapting to new voices and contexts, Scholl’s works illustrate how cultural touchstones remain relevant through ongoing reexamination. His assemblages transform artifacts of the past into dynamic reflections on history, inviting viewers to reconsider their connections to the remnants of memory and reimagine how the past shapes the present. In this interplay of time and meaning, Dennis Scholl offers a poetic meditation on memory’s enduring power to reshape our understanding of objects, histories, and ourselves.

Dennis Scholl
DENNIS SCHOLL
© Dennis Scholl, courtesy Piero Atchugarry Gallery

Dennis Scholl (b. 1955, USA) is an American artist who lives and works in Miami Beach, Florida. He is a visual artist and filmmaker whose practice interrogates the intersections of memory, history, and cultural iconography. His work navigates the space between conservation and transformation, questioning the limits of historical truth and personal recollection.

His films have been showcased at over 100 international film festivals, including Sundance, SXSW, and DOC NYC, earning numerous accolades, including 23 regional Emmys from the National Academy of Television Arts and Sciences. His documentary The Last Resort was acquired by Netflix, and his latest film, Naked Ambition, examines the legacy of Miami’s legendary pinup photographer, Bunny Yeager. Scholl’s work – both visual and cinematic – questions how history is archived, remembered, and reframed, offering a conceptual dialogue between past and present.

PIERO ATCHUGARRY GALLERY, MIAMI
5520 NE 4th Avenue, Miami, FL 33137

Dennis Scholl: The Melody Haunts My Reverie, Curated by Larry Ossei-Mensah 
Piero Atchugarry Gallery, Miami, March 15 - May 17, 2025

24/04/24

Artist Calida Rawles Exhibition @ PAMM - Pérez Art Museum Miami

Calida Rawles
Pérez Art Museum Miami
June 27, 2024 – January 12, 2025

Calida Rawles
CALIDA RAWLES. Portrait Marten Elder

Pérez Art Museum Miami (PAMM) presents an exhibition featuring all new works by painter CALIDA RAWLES. This is the artist’s first museum solo exhibition, and reflects aspects of Miami’s diverse communities, natural environments, and rich history.

Calida Rawles’ paintings blend hyperrealism with poetic abstraction, situating her subjects in dynamic spaces. Her recent work utilizes water as a vital, organic, and multifaceted element—as well as a historically charged space which concomitantly represents individual healing and racial exclusion. 
“I am so inspired by the Overtown community’s resilience and strength. Through my work, I hope to shine new light on the beauty and untold stories of its residents. I’m immensely grateful to Franklin Sirmans and Maritza Lacayo for supporting my vision and giving me the opportunity to engage so meaningfully with this incredible community,“ said Calida Rawles.
For the exhibition, Calida Rawles bridges the past and the present. Delving into the experience of Black people in America, Rawles partnered with members of the historically Black community of Overtown in Miami. Akin to Tremé in New Orleans, the Historic West End in Charlotte, and countless other neighborhoods in the United States, Overtown transformed from a thriving cultural and commercial hub for Black people to a town subjected to gentrification, systemic racism, and mass displacement. The new paintings seek to illuminate and celebrate the history, resilience, and beauty of the historically Black Miami neighborhood, giving shape to an American experience that is often overlooked. 
“It is extremely exciting to work with Rawles on her first museum solo presentation. While Rawles’s signature style will be present, she is also pushing her boundaries and working in natural waters for the first time, resulting in paintings with a new color composition and feel,” said PAMM Assistant Curator Maritza Lacayo.
Calida Rawles’ process begins with a series of preliminary photoshoots in Virginia Key Beach and a public pool in Overtown, which form the subject matter for the lifelike paintings. By photographing Black subjects in an ocean for the first time, Rawles interrogates the Atlantic Ocean's history as the site of the supremely exploitative Transatlantic Slave Trade. As a result, the finished work critically engages with Miami’s water-entwined climate, while connecting to larger histories of beauty, oppression, and persistence in contemporary American life.

CALIDA RAWLES

Calida Rawles received a B.A. from Spelman College, Atlanta, GA (1998) and an M.A. from New York University, New York, NY (2000). Solo exhibitions of her work have been organized at Lehmann Maupin, New York, NY (2021); Various Small Fires, Los Angeles, CA (2020); and Standard Vision, Los Angeles, CA (2020). Her work has been featured in numerous group exhibitions including Generation*. Jugend trotz(t) Krise, Kunsthalle Bremen, Bremen, Germany (2023); Rose in the Concrete, San Francisco Museum of Modern Art, San Francisco, CA (2023); 12th Berlin Biennale for Contemporary Art, Berlin, Germany (2022); Black American Portraits, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2021),  Spelman College Museum of Fine Art, Atlanta, GA (2023); A Shared Body, FSU Museum of Fine Arts, Tallahassee, FL (2021); View From Here, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2020); Art Finds a Way, Norton Museum of Art, West Palm Beach, FL (2020); Visions in Light, Windows on the Wallis, Beverly Hills, CA (2020); Presence, Fullerton College Art Gallery, Fullerton, CA (2019); With Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA (2017); Sanctuary City: With Liberty and Justice for Some, San Francisco Arts Commission, San Francisco, CA (2017); LACMA Inglewood + Film Lab, Inglewood, CA (2014); and Living off Experience, Rush Arts Gallery, New York, NY (2002). Rawles created the cover art for Ta-Nehisi Coates’s debut novel, “The Water Dancer,” and her work is in numerous public and private collections, including Dallas Museum of Art, Dallas, TX; Los Angeles County Museum of Art (LACMA), Los Angeles, CA; Pérez Art Museum Miami, Miami, FL; Spelman College Museum of Fine Art, Atlanta, GA; and Studio Museum in Harlem, New York, NY.

PAMM - Pérez Art Museum Miami 
1103 Biscayne Blvd., Miami, FL 33132 

03/12/23

Artist Alejandro Piñeiro Bello @ KDR Gallery, Miami - "En El Arco Del Caribe"

Alejandro Piñeiro Bello
En El Arco Del Caribe
KDR Gallery, Miami
December 3, 2023 - January 13, 2024

KDR presents a solo exhibition of work by ALEJANDRO PINEIRO BELLO. This exhibition marks his first with the gallery at its new permanent location in the Allapattah neighborhood.

In En El Arco Del Caribe (In the Arc of the Caribbean), Alejandro Piñeiro Bello asks us to transcend the tangible and invites us to immerse ourselves in the magic. The exhibition brings together new paintings, works on paper, and a wooden sculpture. Using traditional materials such as oil on raw linen or hemp, Alejandro Piñeiro Bello conjures a kaleidoscope of hues, evoking the natural landscapes and folkloric traditions of the Caribbean. His masterful compositions, abstract and semi-abstract, unfurl like mystical realms, laying bare uncharted territories within the artist's subconscious.

Included in Alejandro Piñeiro Bello's exhibition are his paintings "Nuevo Mundo," "En El Mar De Las Antillas Que También Caribe Llaman," and the nocturnal enchantment "Noche Mágica," which embody the lushness and vibrancy of the Greater and Lesser Antilles in symphonic palettes. In these works, explosions of color, light, and baroque forms reflect the artist's deep interest in the tumultuous beauty of the natural world, from the first light of dawn to the shroud of night.

Venturing beyond the threshold of his landscapes, Alejandro Piñeiro Bello features a unique sculpture titled "Abre Tus Ojos," hand carved from a mahogany tree. The wooden totem features scenes mirrored from his paintings. A cylindrical panorama of swirled mountain ranges, a radiant sun, graceful palms, and a woman tenderly clasping a child's hand.

In homage to revered artistic figures like Wifredo Lam, Víctor Manuel García Valdés, Mariano Rodríguez, Pablo Picasso, and Hokusai, Alejandro Piñeiro Bello channels fragmented forms, bold brushstrokes, with a vibrant palette. A wellspring of inspiration extends to the written expressions of eminent Cuban poets and philosophers, including José Lezama Lima, José Martí, and Virgilio Piñera.

Earnest Alejandro Piñeiro Bello invites us, with love, to cast aside the veils that distort our perception and engage in an unadorned dialogue with the poetry of flowers, the grace of palms, the vastness of seas, and the whimsical capricious mountains that encapsulates the arc of his “Caribe”.

ALEJANDRO PINEIRO BELLO Born in Havana, Cuba 1990. He graduated from The National Academy of Fine Arts San Alejandro, La Habana, Cuba. Alejandro Piñeiro Bello participated in major public projects during the Havana Biennials in 2012, 2015, and 2019. His works have also been shown in exhibitions by KDR305 in Miami, FL; Pace Gallery in Palm Beach; and Pace Gallery Seoul, Korea. And the National Museum of Fine Arts in Havana. His most recent exhibitions include a solo presentation at the NSU Museum, Fort Lauderdale, FL, and a group exhibition at KDR305, Miami, FL. He lives and works in Miami, FL.

KDR - KATIA DAVID ROSENTHAL
790 NW 22nd Street, Miami, FL 33127

25/06/23

Abstraction @ Sponder Gallery, Boca Raton - A selection

Abstraction: A Selection
Sponder Gallery, Boca Raton
June 23 – July 30, 2023

Sponder Gallery presents a selection of abstract works by artist Dan Christensen, Stanley Boxer, Natvar Bhavsar, Kikuo Saito, Jack Roth, Paul Jenkins, Ernest Trova, Doug Ohlson, Richmond Burton, and Larry Zox.
"We felt the moral crisis of a world in shambles, a world destroyed by a great depression and a fierce World War, and it was impossible at that time to paint the kind of paintings that we were doing—flowers, reclining nudes, and people playing the cello."

—Barnett Newman
Following the dominant Abstract Expressionist wave of post-WWII, which decried realism in favor of non-representational forms, the second generation Abstract Expressionists presented here pointed the way forward. Famously declaring that painting had exhausted its possibilities, the medium’s progression was pushed to a potential end in the late 1950s by influential critic Clement Greenberg. This second generation was determined to continue with less concern over expressions of inner angst like their predecessors. They acknowledged the innovation of Abstract Expressionism by employing methods such as all-over composition, the emphasis on the flatness of the canvas, and the bold use of color dips (drips?) and splashes.

Movements such as Hard-edge Painting, Colorfield Painting, and Lyrical Abstraction arose as a response not only to the previous generation, but to the aloof aesthetic nature of Minimalism and Conceptualism in the 1960s and 70s. The artists featured in this selection can be categorized under the umbrella of Lyrical Abstraction, which moved towards more sensuous and romantic abstractions that sought to reinvigorate a painterly tradition in American art. It is characterized by intuitive and loose paint handling as seen in the work of Natvar Bhavsar, who employs loose pigments in an aleatory fashion on his canvases, to staining processes, as seen in the smoky translucent canvases of Kikuo Saito. Less beholden to a progressive narrative of art, this second generation kept painting alive, and celebrates the allure of color and shape.

SPONDER GALLERY
The Boca Raton, 501 E Camino Real, Boca Raton, FL 33432

08/05/23

Makoto Saito @ Acquavella Galleries, Palm Beach - in Time E.H.

Makoto Saito: in Time E.H.
Acquavella Galleries, Palm Beach
April 14 - May 28, 2023

Acquavella Galleries presents its first solo presentation of works by the renowned Japanese artist MAKOTO SAITO. On view at Acquavella’s Palm Beach location, in TIME E.H. features twelve new and recent paintings inspired by the noted American artist Edward Hopper, marking the international debut of this body of work.

Makoto Saito’s deep interest in Hopper’s oeuvre goes back nearly forty years, to when he first saw Hopper’s painting House by the Railroad (1925) at the Museum of Modern Art, New York. Compelled by Hopper’s ability to capture the American ethos of the early 20th century, and by the narrative qualities of his paintings, Saito began exploring this series a decade ago, and only recently returned to transcribe the works onto canvas. In these paintings, Saito extrapolates Hopper’s world into his own, conceptually merging the timelines of the two, transcending temporalities.
“As I gazed at [Hopper’s] works, I found my consciousness and body naturally enter the paintings, enabling me to musingly journey through time and space as if in the world of science fiction,” says Makoto Saito. “Hopper’s paintings are so lonesome to the extent of sheer melancholy. They evoke an air of solitude regardless of whether people are depicted there or not, yet at the same time they speak to me as if every piece has its own story.”
Makoto Saito’s process is both painstaking and arduous. It involves producing countless hand-painted dots to mimic the printing process, culminating in scenes that are at once structured and ethereal. The artist deconstructs Hopper’s iconic paintings through his use of pointillism, which he employs as a method of engagement with the world within the painting itself. At close range, the subject is indiscernible—only the small dots that comprise the image are visible—yet as one moves further away the composition coalesces as one of Hopper’s scenes, which he then alters through changes in scale and color and also intervenes with his own painterly passages.

In his exploration of Hopper’s oeuvre, Makoto Saito frequently revisits the artist’s most iconic paintings as starting off points for his works. Shadow (2022) is instantly recognizable as an interpretation of A Woman in the Sun (1961, Whitney Museum of American Art), Hopper’s painting of a nude woman staring out the window of an empty apartment. Saito’s rendition, which utilizes his signature pointillist technique in shades of blue, is decidedly reticent, with pieces of the original composition lost to a void that fills the center of the frame. The same phenomenon is seen in Office (2022) and Bed (2022), which reference Hopper’s Office at Night (1940, Walker Art Center) and Excursion into Philosophy (1959, Private Collection), respectively. In these paintings, Saito brings to the fore the loneliness, emptiness, and melancholy characteristic of Hopper’s worlds. In additional paintings, Saito omits aspects of Hopper’s larger composition to explore the minutiae of a scene.

The exhibition is accompanied by a catalogue including an introductory essay contributed by the artist.

Born in 1952 in Fukuoka Prefecture, Japan, MAKOTO SAITO lives and works in Tokyo. His major solo exhibitions include Criticality, Kitakyushu Municipal Museum of Art, Fukuoka (2019), and MAKOTO SAITO: SCENE [0], 21st Century Museum of Contemporary Art, Kanazawa (2008). His works are housed in the collections of numerous museums in Japan and elsewhere, including the San Francisco Museum of Modern Art; the Museum of Modern Art, New York; the Philadelphia Museum of Art; the 21st Century Museum of Contemporary Art, Kanazawa; and the National Museum of Modern Art, Tokyo.

ACQUAVELLA
340 Royal Poinciana Way, Palm Beach, FL 33480

31/10/22

Iva Gueorguieva @ Gavlak Gallery, Palm Beach - Pompeii Gray

Iva Gueorguieva: Pompeii Gray
GAVLAK Palm Beach
October 26 – November 20, 2022

GAVLAK presents Pompeii Gray, the gallery’s first solo presentation of the work of Los Angeles-based artist Iva Gueorguieva. The exhibition showcases three sculptures alongside seven new, ambitiously scaled works in acrylic and collage that mark Iva Gueorguieva’s return to the stretched canvas after a three-year immersion in the making of unstretched and at times double-sided tapestry paintings. The genesis of the Pompeii Gray works was her sudden decision to paint over a massive, colorful abstract painting from 2017 with white gesso and washes of gray. Iva Gueorguieva’s new paintings are works in low relief: layers of muslin, gauze, and pigment combine to blur the difference between the raw edges of strips of fabric and the illusionism of a painted line. Variegated layers of gray form a miasmatic haze that hangs over strata of bright colors and agitated lines that churn beneath the surface to reveal flashes of figures, human and animal. Like the bodies uncovered in the centuries-long process of excavating Pompeii from its blanket of volcanic ash, Iva Gueorguieva’s compositions invite speculation about the relationships of the creatures embedded in the dense layers to one another. Though originally compelled to strip her work from the stretchers, Iva Gueorguieva’s act of generative destruction ultimately inspired her to reconceptualize the canvas as a site of possibility and discovery, like the framed sieve of an archaeologist sifting through the layers of history. 
 
To behold And She Cried for the Weekend (2021) is to experience the pleasure of uncovering fragments—buoyant breasts, splayed limbs, and rangy digits—that appear to combine in a scene of conjugal bliss. This sensation is quickly eclipsed by the unsettling possibility that the human figures rendered in anxious, wiry line as a writhing, undifferentiated mass are engaged in violent rather than orgiastic activity. Fingers that initially seemed arched in erotic tension over the belly of a lover now appear to be clawing through layers of gray and bruise-purple viscera. A Slow Congress Under Heavy Gauze (2021) similarly binds the carnal with the moribund; pink and blue aurorae shimmer beneath a shroud of gray to highlight a couple locked in eager congress. Yet the ashen palette and the gauzy texture produced by layers of muslin swaddling the surface of the work mummify this scene of passion and render our curious prying perverse. Wrapped in Animals and Fears (2021) corrupts even the sweet contentment of relaxing with an animal companion, as the stiff figure of a hollow-eyed hooved creature splays in a suffocating posture over where the neck of a vaguely human figure ought to be.
 
The exhibition also features three sculptures from Iva Gueorguieva’s “Talisman Debris” series, which informed her initial impulses to abandon the constraints of canvas stretchers, as well as the omnivorous approach to different media manifest in her latest work. Iva Gueorguieva salvaged hunks of concrete and twists of rebar from a Tampa demolition site and from these humble fragments fashioned compositions that exude a surprising, buoyant liveliness. Vanished Animal 3 (2015) lofts bright tatters of intaglio prints on fabric on a twisted steel scaffold, balanced precariously on a concrete island in a manner suggestive of migration and ruination. Inspired by her own family’s immigration histories, in this series Iva Gueorguieva alludes to the natural and manmade disasters that prompt us to leave life as we knew it behind. In considering the human and animal subjects of Pompeii fated to share their last breaths and long afterlives together amongst the ruins, Iva Gueorguieva envisages the interpersonal exchanges we perform in the thick of unfathomable disaster. The tender gestures of people frozen at the moments of their demise take on a particular sharpness in the contemporary context of a global plague that compels individuals to sacrifice physical closeness as an act of collective care. The companions who cling together within these compositions are at least not alone, and the beauty of their bonds is undiminished even in their wretchedness.
 
Iva Gueorguieva (b. 1974, Bulgaria) lives and works in Los Angeles. Her work is part of the permanent collections of the Los Angeles County Museum of Art, the Minneapolis Institute of Arts, the Museum of Contemporary Art, Los Angeles, and the Museum of Contemporary Art, San Diego. Her recent solo exhibitions include presentations for UTA Artist Space, Los Angeles (2021; 2020); Frederic Snitzer Gallery, Miami (2018; 2016) and Miles McEnery Gallery, New York (2016; 2015; 2014). Her work featured prominently in recent group exhibitions including L.A. Louver, Venice, California (2022; 2018); David Lewis Gallery (2020); and Sophia Contemporary, London (2018; 2017).  

GAVLAK Palm Beach
340 Royal Poinciana Way, Suite M334, Palm Beach, FL 33480
______________


29/10/21

Betye Saar Exhibition @ ICA Miami - Institute of Contemporary Art - Serious Moonlight

Betye Saar: Serious Moonlight 
Institute of Contemporary Art, Miami 
October 29, 2021 – April 17, 2022 

Rarely-seen installation works by pioneering artist Betye Saar (b. 1926) receive their first dedicated exhibition in more than three decades at ICA Miami. Serious Moonlight spans significant installations created from 1980 to 1998, including Oasis (1984), a work that is reconfigured for the first time in more than 30 years. Showcasing this lesser-known aspect of the artist’s practice, the survey provides new insights into Betye Saar’s explorations of ritual, spirituality, and cosmologies, as well as themes of the African diaspora. Serious Moonlight is curated by ICA Miami Curator Stephanie Seidel. 
“Betye Saar’s impact on art history is undeniable, yet important aspects of her innovative body of work have yet to be fully explored,” said ICA Miami Artistic Director Alex Gartenfeld. “Serious Moonlight gives audiences the first opportunity to view many works of large scale sculpture and installation together that have not been seen in a museum context for decades. ICA Miami is committed to exploring under- recognized aspects of significant artists’ practices in order to enable deeper understanding of their work and its impact.”

“Saar’s radical immersive installations are incredibly rich with narrative,” said ICA Miami Curator Stephanie Seidel. “Connecting the political and the spiritual from a feminist point of view is an enduring aspect of Saar’s practice, and her groundbreaking work continues to spur important dialogues about gender and race. Through these rarely-seen installations, made nearly three decades ago, the exhibition illustrates her bold and pioneering approach as an artist, storyteller, and mythmaker, and the ongoing significance and relevance of her work to the most pressing issues in America today.”
Recognized for her visionary artistic practice, Betye Saar has been a pioneer of assemblage art on the West Coast and Black feminist art in the United States since the 1960s. Her dense, complexly referential assemblages, sculptures, and collages reflect changing cultural and political contexts—generating and influencing dialogues and artistic practice related to race and gender. Rich with familiar symbols, a number of the works in the exhibition highlight Saar’s interest in spirituality and cosmology. Serious Moonlight brings together a series of her lesser-known installations to demonstrate the artist’s critical focus on Black identity and Black feminism throughout her practice, as well as her explorations of myth and spirituality in relation to the African diaspora and the African American experience.

Influenced by Betye Saar’s lifelong home of Los Angeles and research trips to Haiti, Mexico, and Nigeria in the 1970s, the installations seen in the exhibition explore concepts of ritual and community through both cultural symbols and autobiographical references. Reconfigured in close collaboration with the artist, each installation is exhibited in a dedicated architectural pavilion, enabling each work to be showcased individually and supporting the artists’ intentions to create immersive, dynamic viewer experiences with each installation.

Among the significant works on view is Oasis (1984), the exhibition’s earliest installation, which will be reconfigured for the first time since 1988. Featuring meticulously blown glass spheres around a children’s rocking chair embedded in sand, Oasis evokes a utopic space where life and death merge and coexist.

Serious Moonlight additionally features House of Fortune (1988), an ominous scene of a card table, tarot cards, and Vodou flags as a meditation on spirituality. Limbo (1994) and Wings of Morning (1992), both address death and mourning, and draw from the history and experience of African American communities to create tangible and powerful monuments consecrating collective memories. Saar’s reflections on the African diaspora are also illustrated through the installations Mojotech (1987), Secrets and Shadows (1989), A Woman’s Boat: Voyages (1998), and Gliding into Midnight (2019)—the latter with fragments of the 1993 installation In Troubled Waters—which touch upon this history of the aftereffects of the transatlantic slave trade. 

Betye Saar - Exhibition Catalogue: Serious Moonlight is accompanied by a richly illustrated scholarly catalogue edited by Stephanie Seidel. The catalogue features contributions by Sampada Aranke, Edwidge Danticat, Leah Ollman, and Stephanie Seidel that consider Betye Saar’s work in the contemporary context. 

BETYE SAAR - BIOGRAPHY

Boldly addressing questions of race and gender in her art and activism, Betye Saar (b. 1926, Los Angeles) has been a pioneer of readymade art on the West Coast and Black feminist art in the United States since the 1960s. Her revolutionary work has been exhibited in solo and group exhibitions throughout the United States and around the world, including, most recently, the exhibition “Betye Saar: The Legends of Black Girl's Window” at Museum of Modern Art (MoMA), New York, dedicated to her prints; the retrospective “Betye Saar: Still Tickin’” at the Scottsdale Museum of Contemporary Art, Arizona, and Het Domein, Sittard, The Netherlands; the group show “We Wanted a Revolution: Black Radical Women, 1965–85” at the Brooklyn Museum, New York; and the monumental traveling group show “Soul of a Nation: Art in the Age of Black Power” at the Tate Modern, London; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Brooklyn Museum; The Broad, Los Angeles; and the M. H. de Young Memorial Museum, Fine Arts Museums of San Francisco. Current exhibitions include solo presentations “Betye Saar: Call and Response” at the the Mississippi Museum of Art in Jackson, MS, previously on view at Los Angeles County Museum of Art (LACMA) and The Morgan Library & Museum, New York) and traveling to Nasher Sculpture Center, Dallas, TX (Fall 2021), focused on her sketchbooks and related works. The Academy of Arts and Letters recently inducted Saar May 19, 2021. Saar’s works are held in more than sixty museum collections, including the Detroit Institute of Arts; MoMA; LACMA; Smithsonian American Art Museum, Washington, D.C.; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, among many others.

INSTITUTE OF CONTEMPORARY ART, MIAMI
61 NE 41st Street, Miami, Florida 33137

07/05/21

Dalton Gata Exhibition @ ICA Miami - The Way We'll Be

Dalton Gata: The Way We'll Be 
Institute of Contemporary Art, Miami 
May 7 – November 21, 2021 

In Cuban-born, Puerto Rico-based artist Dalton Gata’s first U.S. solo museum exhibition, ICA Miami presents his surrealistic installations across media, which explore his personal experiences, queer and popular culture, and psychological and mythical symbols. The artist’s recent focus on metaphysical still-lifes is reflected through newly commissioned paintings and sculpture that depict symbolic elements in human scale, such as monsters, masks, and a pearl that doubles as an 8-ball.

Trained as a fashion designer, Dalton Gata reimagines craft to consider its relationship to identity and sexuality, creating innovative works across mediums. Dalton Gata’s work draws from an expansive and deeply personal archive of images assembled by the artist over the past five years, including a trove of digital sources. His practice is also profoundly impacted by his experience of immigration, and explores the diasporic conditions of Cuba in the Caribbean through symbolic landscapes and the incorporation of cross-cultural references.

INSTITUTE OF CONTEMPORARY ART, MIAMI
61 NE 41st Street, Miami, Florida 33137

Robert Grosvenor @ ICA Miami - Institute of Contemporary Art

Robert Grosvenor 
Institute of Contemporary Art, Miami
May 7 – November 21, 2021

ICA Miami presents a major work by the American artist and recipient of the 2020 Ezratti Family Prize for Sculpture, Robert Grosvenor. Untitled (1968/2019) represents the artist’s use of commonplace materials and exploration of monumental scale and poetic form. Recently acquired by the museum, the large-scale sculpture also showcases a historical dialogue with Minimalism, while challenging the movement’s limitations, and engages the site to provoke profound viewer experiences.  

INSTITUTE OF CONTEMPORARY ART, MIAMI
61 NE 41st Street, Miami, Florida 33137

25/04/21

Chakaia Booker Exhibition @ ICA Miami - The Observance

Chakaia Booker: The Observance 
Institute of Contemporary Art, Miami
April 22 – October 31, 2021

As the first comprehensive museum survey of American artist Chakaia Booker, this exhibition explores the artist’s signature form—monumental works made of rubber—while showcasing her innovations across mediums. Featuring an expansive range of Chakaia Booker’s sculptures, including totemic and anthropomorphic assemblages fabricated from cast-off tires, the exhibition highlights Chakaia Booker’s ongoing expression of ecological and technological concerns, examinations of racial and economic disparities, and her interest in the symbolism of the automobile in American culture.

The Observance includes some of Chakaia Booker’s most topical works, including Chu Ching (2012), which depicts a cross on a wheelbarrow resembling Jesus being dismounted from the cross, as well as two rarely seen series of paintings that explore landscape and language. The artist’s photographic series, Foundling Warrior Quest (2010) and Graveyard Series (1995), are also featured to explore the importance of performance and mythology in her practice. Anchoring the presentation is The Observance (1995), an immersive installation made of deconstructed rubber tires and tubes––Booker’s first work in this signature material, chosen by the artist for its associations with riots. 

Chakaia Booker: The Observance is curated by ICA Miami Artistic Director Alex Gartenfeld and Curator Stephanie Seidel.

INSTITUTE OF CONTEMPORARY ART, MIAMI
61 NE 41st Street, Miami, Florida 33137

10/04/21

Hunt Slonem, Mike Hammer, Ivan Loboguerrero @ Rosenbaum Contemporary, Boca Raton - Spring Inspiration

Spring Inspiration - Hunt Slonem, Mike Hammer, Ivan Loboguerrero 
Rosenbaum Contemporary, Boca Raton 
Through May 29, 2021 

Mike Hammer
MIKE HAMMER 
First Butterfly Blob, 2021
Acrylic and gloss on panel
31 x 48 inches (78.7 x 121.9 cm)
© Mike Hammer, Courtesy Rosenbaum Contemporary

Hunt Slonem
HUNT SLONEM
Bright Yellow Bunny, 2020
Blown glass
16 1/2 x 6 ½ x 7 inches (41.9 x 16.5 x 17.8 cm)
© Hunt Slonem, Courtesy Rosenbaum Contemporary

Spring Inspiration, an exhibition of Spring-themed works by Hunt Slonem, Mike Hammer, Ivan Loboguerrero and other artists is now on view at Rosenbaum Contemporary.

The exhibition features several of Hunt Slonem’s blown glass bunny sculptures, the first butterfly-shaped painting by “blob” artist Mike Hammer, and works by Ivan Loboguerrero, a new artist to the gallery.

Best known for his paintings of rabbits, butterflies and birds, blown glass is a new medium for Hunt Slonem, whose career has spanned nearly five decades. The exhibition features both unique and editioned blown glass bunnies in clear, iridescent, shiny, matte, opaque and macchia glass in a variety of colors.

Mike Hammer’s butterfly painting is the first of a new series for the artist, in which he is expanding beyond rectangular “canvases” to shapes such as butterflies and circles, while still incorporating his signature, layered poured painting technique through which he builds stalactite-type “blobs.”

The works by Yvan Loboguerrero feature his characteristic painting style in which an abstract environment slowly transforms before the viewer’s eyes into a figurative work whose intention is to invite an encounter with spirituality.

Also on view are works by Mira Lehr and Manolo Valdès

ROSENBAUM CONTEMPORARY
150 Yamato Road, Boca Raton, FL 33431

28/02/21

Juraj Kollar @ Rosenbaum Contemporary, Boca Raton - Survey

Juraj Kollár: Survey
Rosenbaum Contemporary, Boca Raton
February 23 - March 27, 2021

Juraj Kollar
JURAJ KOLLÁR
Residential Zone 1, 2016
Oil on canvas, 78 3/4 x 106 1/4 inches (200 x 270 cm)
© Juraj Kollár, Courtesy of Rosenbaum Contemporary

Survey, an exhibition of works by Slovakian artist JURAJ KOLLÁR, on view at Rosenbaum Contemporary, is him first solo exhibition in the United States.

According to art historian Katarina Bajcurová, Juraj Kollár is regarded as “the most naturally gifted and pertinacious painter of his generation” as well as “the central figure of young…contemporary painting in Slovakia.” Kollár’s works can be found in the collections of the Slovak National Gallery and the National Gallery in Prague and have been exhibited in prestigious art fairs including Art Cologne and SP–Arte.

“In the course of a few years he has managed to create, to paint, a relatively respectable body of work… and to achieve a number of prestigious awards in Slovakia, the Czech Republic and Germany,” Bajcurová said.

Juraj Kollár simultaneously works in multiple genres including landscape/”non-landscape,” figurative, pixelation and non-objective abstracts, and has developed innovative processes unique to each.

The exhibition at Rosenbaum Contemporary presents a survey of representative works from each of his major genres.

Juraj Kollár’s landscapes/”non-landscapes” are painted from the perspective of looking out through a window upon abstraction versus looking “in” to the painting. Though he works from photographs, Juraj Kollár’s paintings are not photorealistic. He employs various methods to distort the image and create abstraction. Some works are painted through breeze block walls, either through an existing wall or one that he creates in the environment. The resulting effect breaks the scene into multiple abstract components that, together, form a cohesive whole. In painting his landscapes, Juraj Kollár also adds elements that were not in the original scene, but that he feels should be there.

“I fill space with obstacles, which redefine, deform, or veil the visual perception of reality,” Juraj Kollár said. “I am trying to capture the light-atmosphere and the physical feeling of the state of an event.”

Even when painting from a photograph, he deliberately retains the grain to diffuse and blur the picture to capture the overall atmosphere of the scene versus its details.

The figurative works in the Survey  exhibition come from Juraj Kollár’s Thoughtful series, life-size portraits of students at Harvard listening to a lecture on Imannuel Kant’s Critique of Pure Reason, which Juraj Kollár painted from a video he downloaded from YouTube. His goal was to capture each student’s personality using just a few brushstrokes while capturing each at the exact moment of thinking about the lecture they heard.

Juraj Kollár’s pixelated pictures, a cross between pointillism and impressionism, incorporate construction netting, either painted through and removed or painted on and left in place, which has the effect of supporting the paint, enabling him to apply much more pigment than could be supported by the canvas alone. When his landscapes contain figures, they are often blurred so as to “melt” into the work.

Juraj Kollár’s non-representational paintings contain no ties to objective reality and are often titled only with numbers. They result, not from an idea, but from his process and are explorations of how the paint works as a physical material on the canvas including how it occupies space, how it responds to gravity, light, and other colors, and how it can be manipulated by brushes and other instruments and materials. The resulting compositions express a mood, and these experiments in abstraction often make their way into Juraj Kollár’s other works.

ROSENBAUM CONTEMPORARY
150 Yamato Road, Boca Raton, FL 33431

Janiva Ellis Exhibition @ ICA Miami - Rats

Janiva Ellis: Rats
Institute of Contemporary Art, Miami
February 25 – September 12, 2021

Featuring a suite of new paintings created over the past year, Rats is the first solo museum exhibition for the American artist Janiva Ellis, whose paintings use formal themes of speed and transformation to explore fractured states of personal and cultural perception. Her works express a tense intimacy that has been mischaracterized as descriptions of internal crisis. In actuality, the tension in her work comments on the pervasiveness of white delusion and its denial as a brutal and violent social and societal force. Her paintings make expert use of contemporary and historical styles—abstraction, figuration, landscape, and cartoon—to turn a lens to the insidious nature of whiteness. The exhibition traces recent and significant experimentation in the artist’s practice, marking an expansion of her critical approach to representation. 

INSTITUTE OF CONTEMPORARY ART, MIAMI
61 NE 41st Street, Miami, Florida 33137

20/01/21

Claudia Andujar Exhibition @ ICA Miami - Institute of Contemporary Art

Claudia Andujar 
Institute of Contemporary Art, Miami
January 20 – May 2, 2021

On view is a concise selection of artist and activist Claudia Andujar’s most experimental and expressive photographs from her earliest series of the Yanomami people, dating from 1972-1976. Andujar became fully immersed in the complex culture of the Yanomami—who reside in the Amazonian rainforest of Northern Brazil—through photographing, working with, and fighting beside the Yanomami. With a lifelong commitment to advocating for the interests of the Yanomami, Andujar has continued to visit the community since her first visit in 1971, and created a unique record and political campaign that has helped to designate their homeland as a protected Indigenous reserve. The exhibition features images that see the artist creating her own documentary style defined by distorted light and soft colors through the use of infrared film, color filters, and the application of petroleum jelly to the camera lens. The resulting images are dramatic views of landscapes and intimate portraits. 

The exhibition is curated by ICA Miami Curator Stephanie Seidel.

INSTITUTE OF CONTEMPORARY ART, MIAMI
61 NE 41st Street, Miami, Florida 33137

07/12/20

Claes Oldenburg & Coosje van Bruggen @ Paula Cooper Gallery, Palm Beach - There is no such thing as a perfect lamb chop

Claes Oldenburg & Coosje van Bruggen
There is no such thing as a perfect lamb chop
Paula Cooper Gallery, Palm Beach
December 5, 2020 – January 9, 2021

An exhibition of work by Claes Oldenburg and Coosje van Bruggen titled “There is no such thing as a perfect lamb chop” marks the inauguration of Paula Cooper Gallery’s new seasonal pop-up at 243A Worth Avenue opened on December 5, 2020. The couple first began their working partnership in 1976 and, over the course of the next three decades, produced an extensive body of drawings, sculptures, and public commissions. The presentation at Paula Cooper Gallery includes examples from these important collaborative years, as well as works by Claes Oldenburg made before their meeting and after Coosje van Bruggen’s passing in 2009.

In celebration of the vibrant life of Palm Beach and the surrounding area, “There is no such thing as a perfect lamb chop”[1] presents a selection of drawings and sculptures by Claes Oldenburg and Coosje van Bruggen, with a focus on their representations of food, sport, music, and other articles of pleasure. These striking images reinvent quotidian objects, using line and form to playfully merge natural elements with the irreverent and the fantastical. In the duo’s 2007 pastel drawing, an anthropomorphized shuttlecock performs a feat of superhuman acrobatics across the rotunda of the Guggenheim Museum. Elsewhere, Claes Oldenburg’s canvas-and-resin tomates farcies entice and charm viewers with their luscious hue and supple surfaces. In the catalogue for his 1969 exhibition at The Museum of Modern Art in New York, art historian Barbara Rose wrote: “It is his execution, his ability to make form live and to imbue it with a palpable vitality and sense of movement, that distinguishes Oldenburg’s genius […] In his art, the distortion of form, its infinite metamorphoses, becomes a metaphor for the search for truth, an endless pursuit through the labyrinth of illusion. His prime values as an artist are elusiveness, mystery, ambiguity, and multivalence.”

Many of the works on view relate to realized monumental public sculptures by the artists, including the exhibition’s earliest pieces: studies of the mass-produced typewriter eraser. Claes Oldenburg considered the eraser to be a “fine anti-heroic object” and in 1970 he began to make sketches of its form, set in imagined landscapes or personified as ‘Medusa’ or as a ‘Big Guy.’ A large-scale version measuring over eighteen feet high is installed at the entrance of the Norton Museum of Art in West Palm Beach. Imbued with human-like qualities, the object tilts forward as if it were exuberantly speeding away—its bristles blown back like strands of hair. In another work, a drawing from 1988, the couple depicts a broken plate out of which orange slices and expressively cut peels appear to tumble and bounce off the ground, as if caught in stop-motion. This anti-hierarchical form was their proposal for a public commission in Metro-Dade Open Space Park in Miami—a response to the eclectic architecture of the site where the finished sculpture still stands today.

CLAES OLDENBURG was born in Stockholm, Sweden, in 1929. He attended Yale University (1946–1950) as well as The Art Institute of Chicago before moving to New York City in 1956. The artist had his first one-person exhibition at the Judson Gallery, New York, in 1959 followed by shows at the Moderna Museet, Stockholm (1966) and the Museum of Modern Art, New York (1969). “Claes Oldenburg: An Anthology” opened at the National Gallery of Art, Washington, D.C. in 1995 and traveled to the Museum of Contemporary Art, Los Angeles; the Solomon R. Guggenheim Museum, New York; Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Bonn; and the Hayward Gallery, London. In 2002 the Whitney Museum of American Art in New York held a major exhibit of Oldenburg’s drawings; the same year, the Metropolitan Museum of Art in New York featured a selection of Oldenburg and van Bruggen’s sculptures on the roof of the museum. “Claes Oldenburg: The Sixties” opened at the Museum moderner Kunst Stiftung Ludwig Wien in 2012 and traveled to the Museum Ludwig, Cologne; the Guggenheim Museum, Bilbao; the Museum of Modern Art, New York; and the Walker Art Center, Minneapolis. Oldenburg has been honored with numerous awards including the Wolf Prize in Arts (1989) and the National Medal of Arts (2000). He lives and works in New York City.

COOSJE VAN BRUGGEN was born in Groningen, the Netherlands in 1942. She received a master’s degree in art history from the University of Groningen. From 1967 to 1971 she worked in the curatorial department of the Stedelijk Museum in Amsterdam and was co-editor of the Sonsbeek 71 catalogue. Van Bruggen was a member of the selection committee for Documenta 7 in Kassel, Germany (1982), a contributor to Artforum (1983–88) and Senior Critic in the Department of Sculpture at Yale University School of Art (1996–97). She has also authored books on Claes Oldenburg’s early work as well as on John Baldessari, Hanne Darboven, Bruce Nauman and the architect Frank O. Gehry. Van Bruggen’s first collaboration with Claes Oldenburg was in 1976 on Trowel I located in the sculpture garden of the Kröller-Müller Museum in Otterlo, the Netherlands. In 1978 Coosje van Bruggen moved to New York, where she continued to work with Oldenburg, creating large-scale, site-specific works in urban settings. Their collaboration has extended to include smaller-scale park and garden sculptures as well as indoor installations. Coosje van Bruggen passed away in Los Angeles in 2009.

[1] A statement by Claes Oldenburg from his interview with Barbara Rose in Interview Magazine (December 8, 2015)

Make an appointment to see this exhibition in person.

PAULA COOPER GALLERY
243A Worth Avenue, Palm Beach, FL

________________________



09/12/18

Judy Chicago @ Institute of Contemporary Art, Miami - Judy Chicago: A Reckoning

Judy Chicago: A Reckoning 
Institute of Contemporary Art, Miami 
December 4, 2018 – April 21, 2019

The Institute of Contemporary Art, Miami presents “Judy Chicago: A Reckoning,” a major survey of works by the pioneering feminist artist. This exhibition highlights Judy Chicago’s iconographic transition from abstraction to figuration, and explores the ways in which the artist’s strong feminist voice transforms our understanding of modernism and its traditions.

Representing the female voice in a male-dominated world, Judy Chicago explores important narratives of history, form and labor. The artist deploys both iconography and working methods in order to problematize gender roles, artistic mastery and skills traditionally regarded as “female” such as needlework and embroidery, as well as stereotypical “male” skills, such as auto body painting and pyrotechnics.

JUDY CHICAGO (b. 1939, Chicago) is an artist, author, feminist, educator, and intellectual whose career spans over five decades. Her influence both within and beyond the art community is attested to by her inclusion in hundreds of publications throughout the world. Her art has been frequently exhibited in the US as well as in Canada, Europe, Asia, Australia, and New Zealand. In addition, a number of the books she has authored have been published in foreign editions, bringing her art and philosophy to readers worldwide.

“Judy Chicago: A Reckoning” is organized by Alex Gartenfeld, Artistic Director, and Stephanie Seidel, Associate Curator.

INSTITUTE OF CONTEMPORARY ART, MIAMI
61 NE 41st Street, Miami, Florida 33137