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William Cannings Run inflated metal and paint 28 x 33 x 19 inches ARTDISTRICTS No. 16 l February – March 2012 WWW.ARTDISTRICTS.COM FLORIDA Contents Director / Publisher José E. López

16 Beyond the Landscape Editor The Paintings of Diego Torres Raisa Clavijo and Ania Toledo / By Raisa Clavijo Contributing Writers 20 Through One Collector’s Eyes Jenifer Mangione Vogt Margery Gordon A Conversation with Martin Veron Ennis Margulies Ashley Knight By Jenifer Mangione Vogt Raisa Clavijo

16 24 Kathy Kissik: Putting Art in Copy Editor Perspective Gregg Lasky By Margery Gordon Translator 24 Diana Scholtz Israel 28 An Interview with Vicente Dopico-Lerner Consulting Art Director Eddy López By Raisa Clavijo Graphic Designer 38 ARTEAMERICAS 2012 / By Ashley Knight Hugo Kerckhoffs 40 Herbert Mehler: Curved Photography Raymond Hernández - Mariano Costa-Peuser By Veron Ennis Jeff Hernández - Vicente Dopico

42 Vincench vs. Vincench Senior Account Executive 28 A Dissident Dialogue from Cuba María Nápoles By Margery Gordon Marketing Coordinators Raymond Hernández 46 Dirty Pink 305 Silvia Medina A Conversation with Claire Breukel ARTDISTRICTS is published bimonthly, By Raisa Clavijo (6 issues per year)

Subscribe online at www.artdistricts.com 60 Social Shots Contact us: [email protected] 62 Art & Museum Guide - Florida Published by: W Media LLC P.O. Box 960008 Miami, Fl. 33296 786 274 3236

W Media LLC, is not responsible for and does not necessarily share the opinions expressed by its contributors, nor does it assume any responsibility for unsolicited materials or contents of advertisements. No portion of ARTDISTRICTS may be used or reproduced in any form without the express written permission of the publisher. All rights reserved. Cover page: Diego Torres, Keep away, 2011, oil W Media LLC publications include: on canvas, 43” x 47”. Courtesy of ARTPULSE the artist and Diamont Art Projects. / www.artpulsemagazine.com ARTDISTRICTS www.diamontartprojects.com www.artdistricts.com WYNWOOD, The Art Magazine Ania Toledo, Untitled, 2011, oil on canvas, 57 ½” x 45” All images are courtesy of the artists and Diamont Art Projects. Beyond the Landscape The Paintings of Diego Torres and Ania Toledo By Raisa Clavijo

The island’s natural beauty has fascinated Cuban painters Romañach and Domingo Ramos, approached this genre since the 19th century. Since then, many artists, both native without freeing themselves from the tethers of academic art, and foreign, have perpetuated the geography and vegeta- but they were still able to achieve works of singular beauty. tion of the island on their canvases. Esteban Chartrand, a However, it was Tomás Sánchez toward the end of the follower of the Barbizon school, stands out in the second 1970s and beginning of the 1980s who finally managed to half of the 19th century; he, along with his brother Philippe, apprehend the Cuban countryside, while avoiding all mim- left behind idyllic scenes of the Cuban countryside, nostal- icry and leaving his own indelible imprint. He reclaimed a gic and full of light. Another landscape lover was Valentín genre that appeared to have been exhausted in the national Sanz Carta, who left to posterity flashes of intense and lush visual arts, and he did it at a moment when contemporary nature. Other artists, such as Armando Menocal, Leopoldo art on the island was betting on post-modernity. Sánchez,

16 ARTDISTRICTS l www.artdistricts.com on the other hand, gambled on continuing the tradition and human vestiges. They refer back to an evocative state, to a nos- revolutionizing landscape art, leaving an aesthetic legacy talgia for the forgotten mountains or jungle. They comment on that would influence many of the artists who came after lost and perhaps irretrievable idyllic scenery,” 2 a pact between him. It is precisely, thanks to his legacy, that in the decade of man and nature, an ancient and perhaps eternal pact that few the 1990s, landscapes once again gained a place in Cuban remember. The human figures that we occasionally find in her art. The return to this genre on the part of some artists trans- work are of herself. It is she who gets lost in the woods, who lated into a return to the craft, to the practice of painting, merges with the rainforest, who seeks in nature the opportu- after some turbulent and controversial years in the 1980s nity to escape, the door that finally saves her. when conceptual art prevailed. Within contemporary Cuban For his part, Diego Torres, born in Havana in 1970, ap- arts scenery, landscape art began to overcome its status as a proaches landscapes in a very different way. He is not inter- minor genre and to rise as an autonomous practice. ested in a realistic reproduction of a specific scene, although Many have followed the legacy of Tomás Sánchez, but very he confesses that his work is influenced by American pop few have managed to save themselves from falling prey to mim- and photorealism. Torres prefers to capture and synthesize icry or to the ease of copying formulae that they feel will guar- the essential details, those that help him piece together a antee commercial success. Among those authentic landscape story. For this painter, landscapes are a pretext for leaving painters worthy of mention are Ania Toledo and Diego Torres. behind a commentary that goes way beyond the sensual rep- Ania Toledo, born in Cabaiguan, Cuba, in 1957, reclaims the resentation of a natural scene. His works contain hidden value of bucolic and traditional landscapes, providing us with a handful of unique and unrepeatable scenes that capture the natural beauty of her homeland and of Costa Rica. The landscapes of Ania are not exact repli- cas of nature; rather, they carry the imprint of her glance and her imagination. Tomás Sánchez has commented about the oeuvre of Toledo: “The landscapes of this artist do not always represent specific locations. It may be that the place does not exist as such; in- stead, it is a reconstruction based on images stored in her excellent visual memory.”1 We are not standing before nature copied from reality in the manner of the Barbizon school or the Hudson River school; however, Ania is undoubtedly a follower, being influenced by that masterly manner of representing textures and lights. We stand before landscapes born of desire, of the yearning of the artist to find herself and secretly lose herself in them. Toledo gives us infinitely green rainforests, full of lush vegetation in which she re-creates details with the obsession of a botanical expert; waterfalls that fall re- soundingly in the mist; and dawns next to peaceful riverbeds, at the precise hour when the countryside frees itself from the early morning fog. Her works are full of enigmas to be deciphered, and that is precisely what seduces the observer. Toledo approaches the landscape from a philosophical perspective and from an evocative position that transcends mere ecological commentary to delve into the psy- chological. Art critic David Mateo wrote an essay about the oeuvre of this artist, saying, “An ecological dimension also acquires significance through her images. They suggest a virginal state in which there are barely any Ania Toledo, Untitled, 2011, oil on canvas, 45” x 57 ½”

february - march 2012 17 Diego Torres, Transportation, 2011, oil on canvas, 39” x 59”

Diego Torres, Ninety, 2011, oil on canvas, 32” x 47”

18 ARTDISTRICTS l www.artdistricts.com meanings that point to the sociological and the anthropo- The work of these extraordinary landscape artists is on logical,3 and which interpret the sentiments of island inhab- display through March 2012 at Jorge M. Sori Fine Art as itants who visualize emigration as the only possible way out part of an exhibition organized by Diamont Art Projects. of an existence trapped in inertia. Diego Torres touches on the theme of the diaspora in a Jorge M. Sori is located at 2970 Ponce de Leon Blvd. brilliant way, with both a subtlety and semantic strength that far exceed the rather obvious approach that some of his Coral Gables, FL, 33134. contemporaries have used when addressing this theme. In For more information about these artists, visit his pieces, the landscape, the spaces and the objects contain www.jorgesorifineart.com; T. 305 567 3151/ a symbolism that points to a latent tension, to a desire to Diamont Art Projects escape. The anguish of the individual trapped on an island www.diamontartprojects.com surrounded by water, the desire to shout, to go beyond the [email protected] boundaries of the prohibited, are translated into silence, into the stillness of empty spaces, into the pain of missing those T. 786 662 9938. who left before. Torres obliges the observer to participate Notes in the work; he makes us stop at the frame of a window, or 1. Catalogue Dos visiones del paisaje. Jorge M. Sori Fine Arts. Febru- before a chain-link fence invariably leading to the sea on ary 3-29, 2012. which a sign proclaims “Keep away.” He makes us feel that 2. See Mateo David. “Un paisaje para la fuga.” Opus Habana. No. 39, Feb/Jul. 2010. by water” and being unable to choose a less dramatic path. 3. See Ortega Piter. “La ínsula y el telos.” Exhibition catalogue Los pies en In Torres’ world, the objects functions as possible instru- la tierra y el grito en el cielo. Museo de Arte Colonial, Havana, 2008. 4. Piñera, Virgilio. La isla en peso / The Whole Island. Translated by ments for a voyage at once desired and feared; and always at Mark Weiss. Exeter: Shearsman Books, 2010. the end the sea, the sea as destiny, escape and hope. Raisa Clavijo is a curator and art critic. She is the editor of ART- PULSE and ARTDISTRICTS magazines.

Diego Torres, Rain, 2011, oil on canvas, 39” x 59”

february - march 2012 19 Through One Collector’s Eyes A Conversation with Martin Margulies Martin Z. Margulies is part of a cadre of elite collectors that have built public art institutions around their private collections, thereby institutionalizing their personal passion and imbuing it with significance within the global context of the art world. Despite the accolades for The Margulies Collection at the Warehouse, Margulies doesn’t rest on laurels. He’s still an active, adamant collector and key art-world player. Here, he shares thoughts with ARTDISTRICTS about collecting, his responsibility towards the art world and artists, and his thoughts on some current art-world hot topics.

By Jenifer Mangione Vogt

Jenifer Mangione Vogt - When did you start collecting and why? extend I would be a collector. So, this woman would call me and Do you recall some of the first works you purchased? send me photos, or I would meet her in New York and we would Martin Margulies - I started collecting approximately 30 go around to galleries and she would introduce me to the dealers. years ago, and why I collected I really don’t know, but some- So, I guess you would say that she was a mentor. how there was an inner calling that perhaps art interested me more than business. I felt—the more I got into it—that J.M.V. - How was The Margulies Collection built, and how it would be a way of expanding myself. Some of the first long did it take you to put it together? works I purchased were prints. I took a very safe road and M.M. - If you want to go with the temporal, I guess you met a print dealer at that time that had a very good reputa- can say after 15-20 years I realized it was a serious activity, tion named Wally Reiss. I went to him and I said, ‘Look. I’m a and that’s when I turned to photography, or thereabouts, real-estate developer in Miami and I really don’t know what and purchased the warehouse. I’m doing, but I’m very eager to learn.’ And he said, ‘Well, you can’t really go wrong—if you decide that this isn’t for J.M.V. - Well, it’s an ongoing collection. I mean, you’re still you—the best thing for you to do is get prints by Picasso, collecting, correct? Miró and Chagall.’ And that’s what I did. M.M. - Very much so.

J.M.V. - Where were you at that point in your life? Were J.M.V. - Do you have the works catalogued? How many works you established? are there? M.M. - I wasn’t really established the way I wanted to be. I was M.M. - It’s probably somewhere around 4,000 works. We’ve making a respectable living and I was in my 30s. catalogued everything. We have a record of everything. My curator handles all that. We also did a book of sculptures and paint- J.M.V. - What came next? How did you acquire your ex- ings and listed every artist. We did not do a book on photography pertise in collecting? or videos yet, but we are having an exhibit in Barcelona of 160 M.M. - After the prints, I realized that was not going to be photographers, which will be shown next month. enough for me because I started going to galleries, museums and going to auctions and the whole spectrum, and I realized that J.M.V. - So you will lend work out for special exhibitions? prints were no longer of interest to me. So, I started collecting M.M. - Most definitely. We’re just receiving one of our de sculptures, and that led to paintings and that eventually led to Koonings back from the MOMA show. We’re lending a cou- photography—over years. This didn’t just happen. It occurred ple of works out for a show of Frank Stella’s early works at during the process of educating myself and learning more and the L&M Gallery in New York City. more about the different mediums. So, it became very paramount in my life, and it took on a life of its own. J.M.V. - It’s been said that collectors open their own art spaces because they lack faith in the museum system? Is J.M.V. - Did you have a mentor? that the reason you opened The Margulies Collection? M.M. - Well, my instincts really kicked in, but there was an art M.M. - Absolutely not. The reason I opened the collection was adviser I met at an auction, and she said she’d be happy to show that I started collecting photographs and I didn’t have enough me around and introduce me to dealers and help me discover room in my house, so I opened up one building of, roughly, work because—understand—I was working and I didn’t have 16,000 square feet just to hang my photographs. But there full time to devote to being a collector. Nor did I realize to what was absolutely no thought of any type of museum situation.

20 ARTDISTRICTS l www.artdistricts.com we both do that. We move walls. We put up new walls. I love the idea of altering the space. Every year we change exhibits.

J.M.V. - What do you feel is, if any, your responsibility to the institution itself, to the artists whose work you house in your collection, the public, and the art world in general? Does the responsibility ever feel like a burden? M.M. - I don’t feel at all that it’s a burden. It’s an absolute, enjoyable pleasure. My responsibility really lies with my staff and the artists. We show a lot of young artists, and many people have said, ‘We saw that artist at your exhibition and we purchased work because of that.’ In my travels they tell me that. The artists themselves are very happy to be in the collection. My responsibility is to the institution, which is now 45,000 square feet because we expanded. My responsibility is to the artists and the art world, and I feel that’s what we’re there for. We have a forum to show the work, and the work is well-provided for in the future—when I’m no longer in this world.

J.M.V. - You’ve achieved what many would consider the penultimate for a collector. Do you continue to collect? If so, is there a strategy behind your buying decisions, or is it more emotion-driven? M.M. - Well, it can be both. It must be emotional. It must be — we’re not saying what degree of emotion—but about a real love of the work and the excitement of acquisition. But the most important criteria are that the work fit the collection. I may see a beautiful Rousseau and say, ‘Wow, isn’t this terrific!’ But I wouldn’t get it if it doesn’t fit into the theme Art collector Martin Z. Margulies. and the overall rhythm of the collection, but that’s a broad range because it’s a pretty encyclopedic collection—very wide range. We have video, photography, installation work, sculp- J.M.V. - What were the focus of those photographs? Were they ture and paintings. That covers a very wide spectrum. done by contemporary photographers? M.M. - In the beginning, the photographs were by estab- J.M.V. - Are you constantly collecting, constantly on the look- lished names like Andreas Gursky, but I went beyond that. I out? Or, rather, do you go at certain times to certain fairs or was interested in their references, and it took me way back to dealers? the early 1900s. So, I collected a significant body of work of M.M. - I’m always collecting. I just got back from New early 1900s photographers, such as Lewis Hine, and a little York the other day. I go around to galleries. I pull out adver- further on in the ‘30s, Walker Evans and Helen Levit—all of tisements in the magazines if I’m interested in a particular ad. these photographers who were from the Photo League, and it We communicate with the gallery and ask them to send us became a very fine learning experience for me. imagery. I’m out there all the time.

J.M.V. - By sharing your personal collection with the J.M.V. - Your permanent collection contains work by many public you’ve institutionalized it, and that always means significant, established artists. How do you feel, though, about at least some bureaucracy. How involved are you in dai- emerging artists, particularly here in Miami? Who are you keep- ly operations? How involved do you feel you need to be? ing an eye on? Who is inspiring you and why? M.M. - Well, I have a tremendous curator named Katherine M.M. - Well, for instance, when I was in New York I just Hinds, and she has a staff and they run the day-to-day opera- purchased a piece from—I would call him a young artist, at tions. I only do two things: I buy the work and I hang the least young to me. His name is David Ellis, and it’s a joint work. I place it. And that’s what I do. I don’t need to be there work with Roberto Langhe. Locally, I just purchased a work because if it’s a choice of her and me, I leave, because she re- about a month ago by an artist named Mauricio Gonzales. ally runs the show, and whatever she says I do. Antonia Wright a performance artist—we have a great video of her and Ruben Millares. A sculptor that we have in our J.M.V. - So you like to be personally involved in how the collection is Ralph Provisero. We don’t particularly look to work is hung? get younger artists. We just look at work, and if the artists M.M. - Yes, I must do that. That’s a very pleasurable thing, and are younger it’s wonderful.

february - march 2012 21 J.M.V. - So does that mean that you don’t work with just one they’ll list a quilt show in Palm Beach somewhere, and when particular dealer or adviser? you call you get a computer, you don’t even get a human be- M.M. - You know, when you’re dealing with one dealer, ing. So, it’s a pretty sad state of affairs. A newspaper should you’re dealing with that dealer’s personality and his choice be promoting the artistic community. The other thing is that of what is good work. When I go up to New York, which is in some of the institutions the leadership are not art people. every month, I go to maybe 50 to 60 galleries, and if I find They’re people that want to celebrate themselves, and it’s very two or three works that I would consider— not necessarily much reflected in the institutions. buy—I feel that I’ve had a wonderful time. J.M.V. - Which Miami galleries do you frequent and purchase J.M.V. - So, your decisions are really being guided by your from? own eye and your own judgment—you’re really going and M.M. - I’ve done some purchasing from a seminal gallery in looking at everything? Wynwood, Brook Dorsch. I’ve bought a video, some sculptures M.M. - That’s correct. from him and, generally speaking, he shows very fresh and in- novative shows. But, I have a difficult schedule at times, so I don’t J.M.V. - Why did you choose Miami? I mean, you could’ve necessarily go to the openings. I go afterwards. My important opened your collection anywhere in the world. Why here and, galleries are up in New York. I go there every month. But I do now that it’s been over 10 years, was it the right place? have local artists in my collection. M.M. - Well, I live here and my job is here—my real job, which is real-estate development, and my four children have J.M.V. - The Margulies collection also houses a fairly large grown up here. So, Miami, while it’s not that exciting for me amount of large-scale permanent installations. Are there any culturally, is a wonderful place to live. challenges with that? Were these commissioned works? M.M. - They were not commissioned. I don’t commission J.M.V. - Do you feel it’s gotten more exciting culturally in the works. There aren’t a lot of challenges because we have the space. last 10 years with the advent of Basel and all the satellite fairs? M.M. - Art Basel has been a great influence on the com- J.M.V. - Did you build the space with that in mind? munity but, don’t forget, I live here year-round, and Art Basel M.M. - No, we bought the space. It was a big warehouse with is only four days. high ceilings, and we broke through and bought another building and then we added onto that building. We just have big, big wide J.M.V. - Where do you think the most vibrant communities for open areas, and some areas are divided with walls, but many contemporary art are right now, other than New York? of those walls are movable. So we really don’t worry too much M.M. - I don’t say I’d like to live there but, obviously, there about the physicality of an installation. We can handle it. are terrific cultural and artistic gallery and museum expansions in Los Angeles. Also, second to that, there’s a lot of generosity J.M.V. - You showed a great deal of faith in the museum among collectors in Seattle and Dallas. But Los Angeles is way system in 2010 when you pledged an unrestricted $5 million ahead of the curve in terms of second to New York. bequest to The Metropolitan Museum of Art, which you chose over an institution solely focused on the type of art you collect. J.M.V. - What lacks in Miami museums, art galleries and artists However, just this week the Met announced the appointment of compared to those of Los Angeles or Dallas? What do you think Tate Modern chief curator Sheena Wagstaff to head its modern is an obstacle to the artistic development of Miami? and contemporary art department. Did you know they planned M.M. - Well, that’s a difficult question to answer because changes to this area of the collection? if you ask 10 people you’ll get 10 different answers probably M.M. - Why I gave it to the Met is because we were walk- but, in my opinion, first and foremost you have some very, ing around Central Park near the museum, and I saw school very creditable local artists in Miami, and a lot of them seem busses out front and I saw old and young people sitting on the to go elsewhere because they don’t seem to make headway steps and I thought to myself, ‘This is more than a museum. here. I think, to me, one of the most glaring deficiencies is The This is the history of the world.’ You’ve got Egyptian—I was Miami Herald. The Arts section is usually loaded with night- just in there this weekend and I saw a brilliant African show clubs and movies, and that’s really not an Arts section. Sun- and a brilliant Oceanic show and, of course, I saw the Arab day they make a very peripheral attempt to show the culture lands show. To see the people teeming around that museum in the community. The arts writers are part-time or freelance, was just so touching, to see these little kids going into the and I find there’s a serious lack of art coverage in this com- museum. If you really can’t afford it you can get in free. So I munity, and there certainly are some terrific artists, but they said to myself, ‘This is the type of institution that has univer- don’t really get a forum. The galleries are just sort of hanging sal appeal. It’s not just contemporary. It’s not just historic. It’s on—many of them just open up—and it’s a very unusual situ- everything. It’s a history of the world.’ So why wouldn’t I do ation for such a community. Here you have some very formi- something for them? As far as my knowing something, when dable private/public collections, and they’re formidable, and I did proffer the gift I met the curator and the director—my they’re not even listed in the Herald on a weekly basis, but entrée was through the photography department. I called the

22 ARTDISTRICTS l www.artdistricts.com curator, and he said, ‘I think I’m still sleeping and dreaming.’ one, whether it’s Smith, Jones or Perez. The people on that They said that they were thinking of acquiring the Whitney board are people that don’t know the art world. They think Museum building. They were in preliminary discussions with this is a good thing, and I personally disagree with them. them, but they hadn’t yet formulated their plan. So when I made the decision I didn’t really know anything about it, but J.M.V. - In December, during Miami Art Week, Deloitte they let me know they were thinking about it. In any event, hosted an ‘Art & Finance’ conference where a presenter it’s going to be a tough pull because you just don’t build a unveiled plans for a multilateral trading facility where great collection overnight. shares of high-value artwork (that would remain in a maximum-security warehouse in Luxembourg) would J.M.V. - You do quite a bit to benefit Lotus House, an be sold to investors. The man spoke of ‘democratizing’ organization that helps homeless women, which was art buying, making it accessible to everyone, not just the founded by your wife. Can you tell me more about this? wealthy. What do you think of this? M.M. - My wife is Joan of Arc. She takes care of 110 women M.M. - Well, first of all, what that does is it takes the art and children that are homeless, bipolar, mentally and physically out of art. Second of all, real collectors want work to hang in abused, HIV. She visits the prisons when people are getting re- their house. They don’t want it to be in a vault. This is strictly leased because these women have nowhere to go and no money. a vehicle for people to speculate and make money. I think So she goes in the street. Unfortunately, she’s operating at full anybody that buys into this is not an art person. They’re re- capacity. She just told me this morning that there are people cry- ally a business person or a gambler, and I think, to me, it’s so ing to get into her shelter because she has a holistic approach outrageously unconscionable. I mean what’s he going to do, to bringing respectability to these people, to dignifying their life. buy young artists and say, ‘Hey, their stock may go up?’ He She has such a high success rate because she takes these woman omits the creativity and general joy that a person gets from and children in for one year. Most of these shelters are 60 or 90 owning or looking at or buying art. That’s my attitude. days. You can’t help a woman permanently in 60 or 90 days. She has job training. She has cooking classes. She has poetry reading, J.M.V. - What are your thoughts on the emerging markets for creative writing and a photography program. She has a volunteer art: China, India, South America and the Middle East? Do you doctor. And on top of that she’s got to raise money so she can think Western art is experiencing a decline? keep her work going. She was a very successful attorney, trans- M.M. - As far as I’m concerned it’s not over. I’m very hap- actional lawyer and real-estate developer. She gave it all up five py with the work I own. You know I have two collections. years ago just to get into the homeless shelter. She bought derelict One collection is the warehouse and the other collection is buildings and put in new floors, bathrooms, furniture, bedding, in my private home. I have a huge installation by Ernesto everything. She gave these people a life. It’s a very inspiring, ex- Neto from Brazil—30 feet around—hanging in the ware- hilarating experience, and I know I couldn’t do that. So what I house. Ernesto is an international artist. I don’t say, ‘I’ve got can do is do my best to support her financially. Every penny the Ernesto. He’s from Brazil.’ I say, ‘I have a wonderful work Warehouse takes in from the $10 admission charge—for adults by Ernesto.’ I have a wonderful work by Vik Muniz. I really only, children get in free—goes to Lotus House. don’t think of where they’re from. I’m interested in art, not markets. Good art is good art. J.M.V. - You vocalized your opposition to the use of public money to construct the new Miami Art Museum. Now, the mu- J.M.V. - Finally, you’re a very well-known man, particu- seum is mired in controversy over its renaming as the ‘Jorge M. larly in art circles. However, I’m curious. If you were seated Perez Art Museum of Miami – Dade County,’ as a requisite of on a plane next to someone who knew nothing about you, his $35 million donation. What are your thoughts about this? but struck up a conversation, what would be the first things M.M. - Well, I haven’t spoken out much on it because I you would reveal about yourself? What is it important to haven’t been a big advocate of the museum because most you that people know about you? of the money came from the government, which is the tax- M.M. - Well, it depends who I’m sitting next to. If I’m payers—with no collection and no endowment. And if the sitting next to a pretty girl, I’d say, ‘I’m the best thing you private sector wanted a museum so bad they should’ve ever saw,’ and then she goes on and keeps reading her put up the money, donations, before this thing happened, book (laughs). Actually, to me, while I have a wonderful, which really pulverized the art community. So that’s why fulfilled life and business and art collection, I think my I opposed it to begin with. My attitude is build 10 muse- first thought is of my four children. If the other person has ums, but private money is really what makes it go, and you children, you have the basis of a conversation where you never see these private museums naming after a person. talk about your children and that person talks about his What happened are two things: They took an institutional or her children. But I don’t really talk much on the plane, identity and made it into a patron-for-sale identity. That’s or anywhere, because as I told you at the beginning of our number one. I think it was a big mistake. And two, be- conversation: I’m hard of hearing (laughs). cause Mr. Perez is Hispanic, they made it into a Hispanic thing, and it really isn’t. They shouldn’t name it after any- Jenifer Mangione Vogt is an art writer based in Boca Raton, FL.

february - march 2012 23 FEATURED ARTIST Kathy Kissik: Putting Art in Perspective By Margery Gordon

Kathy Kissik approaches her work from all angles. She She titled her latest solo show at Boston’s Alpha Gallery photographs scenes from slightly skewed perspectives in “Qualia,” a term for distinct perceptions of the same stimuli, light shifting with the passage of time, layers fragments of coined by philosophers who have pondered this paradoxical these images, then builds out the surfaces with contrasting phenomenon. “An object itself doesn’t have a quality,” Kissik textures and found objects for a multifaceted effect. “I’m reasons. “It’s the viewer that gives it that quality.” She fuses trying to give the viewer the feeling of the real experi- these raw, subjective sensations in striking collages that tran- ence,” explains Kissik, who revisits sites at different hours scend the limitations of a single image, static position or indi- on multiple days, over months and even years, to capture vidual impression. On the heels of the Alpha exhibition run- transitory shadows and details. “It’s kind of Cubism and ning February 4 to 29, she displays “A Modern Viewpoint” Impressionism together.” from March 3 to 25 at the Elaine Fleck Gallery in Toronto.

Kathy Kissik, Confabulation, 2011, mixed media, 44” x 54” x 4”

24 ARTDISTRICTS l www.artdistricts.com OPEN CALL WINNER

Tower Bridge, 2011, mixed media, 24” x 48”

Raised on a farm in Rhode Island, Kissik was introduced to in a Canadian national park have a timeless, contemplative Miami at the first Art Basel Miami Beach as a featured artist of quality reflected in titles such as Hibernating, Essence and the Medici Society affiliated with her alma mater, the School of As Above So Is Below. They mark a departure from the ur- the Museum of Fine Arts (SMFA) in Boston. “I liked the way ban streetscapes and architectural exteriors that have figured people approach art down here,” she observes. “There’s more of predominantly in her work throughout the years, but share a a zest for life. It’s the opposite of Puritanism.” The self-described muted palette and romantic air with studies of manmade mar- “recovering Catholic” has found a freer spirituality since moving vels such as the Eiffel Tower, Venetian canals and London’s to her adopted home in 2005, when she was awarded a residency Tower Bridge. She subversively inverted the latter’s paired at the ArtCenter/South Florida, where she continues to work in a anchors so the suspended extensions that slope landward on large studio tucked into a corner upstairs. either side merge into a central sling that sags precariously. Even before moving here, Kissik had traveled south to scout She has returned annually to shoot the same London hubs, talent for the SMFA. “They’ve always had their eye on Miami such as Regent Street and Piccadilly Circus, compressing sub- because of all the magnet high schools,” she says. She still acts as tle changes in recent streetscapes activated by streaks of red an emissary, encouraging local aspiring artists and reviewing the paint that she says represent the trademark buses, mailboxes portfolios of applicants. “It feeds me, because they’re so optimis- and sirens that punctuate the capital’s characteristic grayness. tic.” Kissik affirms the possibility of making a living as a full-time For her 2002 exhibition “Taken By the Sky,” Kissik trans- artist while also advocating intellectual inquiry. “I tell them, ‘Art- ported an image of St. Michael from Westminster Abbey to the ists are the antennas of the world.’” An avid reader, Kissik advises Oscar Wilde House in Dublin, where she strung repeated pho- students that literature can expose them to ideas beyond their tographs of the carved Archangel. In Kissik’s visual lexicon, the years “that take their work to a more mature place.” fishing line symbolizes “the theory that the soul is the thread Kissik took her academic undergraduate courses at Tufts Uni- that ties through the body,” while the light filtering through the versity through a dual-degree program with SMFA, where she negative exposures casts positive shadows of the incorporeal also completed her master of fine arts, then enrolled in a post- protector as “a reminder that we don’t see everything.” graduate program at the University of New South Wales. For the Now they dangle from the ceiling of her South Beach stu- next decade, she split her time between Sydney and Boston, main- dio, also hung with a row of shadowboxes from a side project taining studios in both cities but finding it hard to integrate her in progress called Pages of the Discarded, illuminating un- creative output from distant locales into a cohesive body of work. sent letters from sometime patients at a state mental hospi- Residencies in London, Dublin and Calgary have all pro- tal. Since stumbling across a trove of these poignant notes, vided her inspiration for mixed-media works that depict his- Kissik has been empathetically interpreting their messages in torical landmarks, religious icons and natural formations. assemblages—which also include albums of multiple letters Her photographs of the pristine lakes and majestic mountain by single patients bound with altered old book covers—that ranges surrounding Alberta’s prestigious Banff Centre nestled illustrate and intersperse passages with other remains of our

february - march 2012 25 FEATURED ARTIST

Better Living Through Chemicals, 2010, mixed media, 38” x 96” x 4”

Factory B, 2010, mixed media, 22” x 28”

26 ARTDISTRICTS l www.artdistricts.com OPEN CALL WINNER throwaway culture. What started as a spontaneous exercise that almost every factory she surveyed produces compo- to warm up her artistic muscles for her primary photographic nents that could be used in a dirty bomb. Despite such dark compositions has become an ambitious mission to multiply undertones and the ironic series title Better Living Through these “cells” until they line the entire circumference of her Chemicals, she insists, “I never feel like I’m making a social workspace and, eventually, a gallery. commentary.” Rather, Kissik views the inevitable vicissitudes While salvaging these interpersonal testimonies, she has of her inanimate subjects in an organic context: “I tend to been revealing another hidden world in decline: Ameri- find beauty in decay—like the cycles of life. When one thing can manufacturing. She likens factories to decommissioned dies, another begins. It’s very Zen.” “castles,” monuments of an earlier era. The turrets of these fortresses rise amid mazes of chutes and ladders spliced into Kathy Kissik’s studio is located at ArtCenter/SouthFlorida. 810 crowded frames that play on the influential Bauhaus princi- Lincoln Road. Studio # 200. Miami Beach, FL, 33139. ples of industrial design. This series also transitions from her Phone: 786 282 9107 traditional medium-format black-and-white film, sometimes sepia-toned and hand-tinted, to color digital images, overlaid www.alphagallery.com / www.elainefleckgallery.com with tactile elements that echo each factory’s output or a re- www.artcentersf.org lated theme, from torn bits of cardboard to the rulers and meters affixed to Standards and Measures. Margery Gordon is a freelance arts journalist who works for But gaining access to manufacturing complexes in New ARTnews, Art + Auction, ArtInfo.com, and the official Art Ba- England and Plant City in Central Florida has not been easy. sel Miami Beach Magazine, among other publications. She is “I’m always asked to leave,” says Kissik, who has discovered a professor at Barry University in Miami.

Toxin (From “Pages of the Discarded” series), mixed media, found objects, trash, 16” x 20”

february - march 2012 27 An Interview with Vicente Dopico-Lerner Vicente Dopico-Lerner is a multidisciplinary artist with a long-standing career and a solid body of work in which abstract expressionism, surrealism and neofiguration go hand in hand. In this interview he tells us about his life, his work, his upcoming projects and he describes the initial years of the Miami art movement. By Raisa Clavijo

Raisa Clavijo - You arrived in the United States at the begin- of an artist. The artists of my generation broke with acquired ning of the 1960s and were one of the first artists to graduate canons and established their own artistic language. from Miami Dade College. Tell me about those years. What I graduated in 1976 with a Masters in Science degree from opportunities did artists have back then? St. Thomas University, which at that time was known as Bis- Vicente Dopico-Lerner - I arrived in the United States in 1964 cayne College. and started studying art in 1967 at MDC, which at that time was called Miami Dade Junior College. It was the only college where R.C. - You mentioned that at the Art Student League you you could study the first two years of any career. There was also studied with Mario Cooper, Rodolfo Abularach and Robert the University of Miami, which was cost prohibitive. At the time, Motherwell. Relate your experiences during this period. I considered the art department at MDC to be better than its V.D.L. - The Art Student League in New York was a point of counterpart at UM. It was made up of great professors, includ- reference in the arts at that time, an atelier school that gathered ing the sculptor Duane Hanson, who later on became one of the together artists such as Louise Nevelson, Lee Bontecou, Jackson most prominent figures in the American hyperrealist movement. Pollock, Cy Twombly and others. It was possible to participate For the first time fiberglass was being used as material for in a workshop directed by Robert Motherwell or other promi- sculpture. It was a time when hyperrealism, abstract expres- nent artists. It was a school where you could work freely in ac- sionism and many other tendencies converged, and these cordance with your own developmental needs, without academic nourished us young artists in a Miami devoid of the winds of pressure or strict programs. It signified a transcendental change change that blew in the world of art and in society in general. in my career since I was able to form part of the climate of ar- These were the times of the counterculture, the hippie move- tistic renovation prevalent in New York at that time. I was espe- ment and the beginning of the Vietnam war. The Miami Cuban cially influenced by the watercolor workshops of Mario Cooper, community was still in its infancy. Miami was not even half of a Mexican-American who was the president of the American what it is today. As there were very few galleries and very few Watercolor Society. Later on he became the illustrator of NASA’s buyers, we had to find a way to put food on the table somehow project Neptune launches. His style was very classic and did not and paint in our spare time. Exhibition spaces were scarce, and interest me very much, but his workshops made me a ‘watercolor Miami Dade College was an indispensable meeting place. addict’ and prompted me to seek a new language using resources afforded me by watercolors. A major part of my work during R.C. - Tell me a little more about your training as an artist? that period was watercolor on paper. Given that my workspace V.D.L. - As I mentioned earlier, my training began at MDC. at home was very limited, I did most of my work at ASLNY. I started out studying architecture, but then I enrolled in a drawing class and decided to change my major to fine arts. I R.C. - You also studied with Duane Hanson at Miami graduated two years later. Dade College. Recount an anecdote about that period. At that time, the only state art school where MDC gradu- V.D.L. - I was able to take a few classes with Duane at Miami ates could continue their studies was Florida Atlantic Univer- Dade College. He was a difficult character, and when he did not sity. I spent a very rewarding year there. It was a very good like what you were doing, he would destroy it. He could be very school of painting and design, very conducive to involving sharp one minute and very affable the next. On one occasion he oneself with the artistic movements of the time. Although I simulated a motorcycle accident at a railroad crossing. The police was never prone to following patterns of style, I won first were called and they fell for it, because the piece was so real. Later prize in painting in my class that year with a piece that I still Duane moved to New York, where he worked until his death. have. I save a lot of works that mark milestones in my career. Although I derived great benefit from these two institutions, I R.C. - In your oeuvre abstract expressionism, neofigura- think that self-teaching, nourished by academics but without tion and surrealism go hand in hand. What influences do following the rules too closely, is the ideal path for the oeuvre you recognize as being essential in your work?

28 ARTDISTRICTS l www.artdistricts.com Vicente Dopico, Equino y Mar, 1999, mixed media on canvas, 72” x 72”

V.D.L. - I like the fact that all of these tendencies appear in my work; I don’t want to feel pigeonholed. We painters are tied to visual memory—we are constantly subjected to different influences. In today’s culture we are constantly bombarded by images that we invariably draw from. At the beginning of my career, German expressionism, the oeuvre of Munch and Kirchner influenced me strongly. However, I also recall that at a very young age I copied Picasso’s Blue Nude. Initially we are always influenced by the great masters, but then we discover our own language in which we may incorporate different artistic tendencies. My work is obviously influenced by the tormented images of Bacon, (I vis- ited his show at the Guggenheim several times in the 1970s), and also by the work of Roberto Matta from the 1980s.

R.C. - Tell me about the different stages you have undergone as an artist. How did you evolve to the work you do today? V.D.L. - We find our way through practice and experience. We go through different stages, and I would say that I’m still going through them. I believe that I am once again at a point of self- discovery and development. We artists are influenced by the experiences that mark our lives and consciously or unconsciously we reproduce them in our work. Therefore, I suppose, in some way the work of all creators is autobiographical. In order to arrive at the work I do today, I have lived in different places and countries. I have suffered victories and setbacks, and I have incorporated these into my work. My style has been born of that mixture of influences—always dreaming of a better and truer oeuvre.

R.C. - Art is currently dominated by the market. What are your opinion and your experience in this respect? The Mystic and the Red Tarpon, 2006, watercolor on paper, 22» x 30»

february - march 2012 29 Glory and Madness, 2004 – 2005, oil on canvas, 55” x 68”

V.D.L. - Both art and artists are going through difficult times. V.D.L. - I see them as beautiful and very real because they Today artistic trends are determined by a market that, in com- don’t hide behind masks; they are like the present day, at once plicity with some critics and curators, fabricates an artist who disturbing but beautiful. This is a period in humanity when in turn fabricates a product that we call a ‘work of art’ and that the values of morality and justice are bought. Look at what has speculative value. How can we identify an artistic trend when happened with the oil spill in the Gulf of Mexico, with the sometimes there are no aesthetic common denominators that al- ecological disaster caused by BP? Nothing. Silence was pur- low us to distinguish good art from shoddy art, the daring from chased. What do you expect me to paint? the cliché? Nowadays the ‹success› of an artist depends more on These constants, which appear involuntarily in my work, are his ability to market his work than his talent. directly related to what I live each day. In 2000 I had a show at the Museo de Arte Moderno in the Dominican Republic that I R.C. - The disturbing figures that have appeared in your intentionally called, ‘Hacia el Fin del Milenio’ [‘Toward the End work over the last few decades have become a constant. of the Millenium’] I then presented that same exhibition in Ha- What do these figures represent? vana in 2001, at the Convento de San Francisco de Asís, where I

30 ARTDISTRICTS l www.artdistricts.com entitled it ‹Aguardando que escapen los demonios› [‹Waiting for at the Zulug Gallery in Mexico City in which I participated. the Demons to Escape›]. All of those ‹horrific› beings were there, Cándido Gerón was the Dominican Ambassador in Mexico at attempting to exorcize our own demons. They reflect my own the time. We had previously discussed developing a book that character; I am neither very optimistic nor happy. would compile all of the phases of my work. Cándido then began writing the book that we later called La subversión de R.C. - Your oeuvre has been recognized within and outside la imagen [The Subversion of the Image]. The book was devel- of the United States. Tell me about the prizes you have been oped thanks to the input of various Dominican collectors and awarded throughout your career. the assistance of Editorial Tele 3 and its owner Vinicio Hernán- V.D.L. - I have not received very many—I am not out to dez, also a collector of my work. It finally came out in 2006 capture prizes. That requires the investment of a great deal and consists of 283 pages and more than 200 illustrations. The of time. You need a good photo archive, documentation of book assembles a portion of my work on paper, my work on all your shows, etc. I wasn’t born for order or planning. I am canvas and the least well known, my work in ceramics. I believe like my work, abrupt. Nevertheless, in 1976, I was awarded it contains almost all of the stages of my work through 2006. the famous Cintas Fellowship, which recognizes Cubans who live and work off the island. R.C. - You are now working on another book that will compile all of your work on paper. How is that process R.C. - You were one of the founders of the Bird Road Art coming along? District, an area that has been rehabilitated along with other V.D.L. - It is still at an embryonic stage. I don’t want to art districts in the city. What were the first years of the Bird leave my work on paper, my drawings and watercolors un- Road Art Connection like? documented. They are chiefly small-format pieces, which I V.D.L. - Around 1996, I had my studio in one of the ware- have developed over the years. I seldom show them. It is still houses on S.W. 40th Street. Rafael Consuegra, Guy Hazziza very premature to talk about this new book, although it is an and I came up with the idea of the Bird Road Art Connection. idea that I will not allow to die. We wanted to create a group in which the area studios/workshops could participate. The idea was to create an area for al- R.C. - Your oeuvre is generally very well received by col- ternative exhibitions in spaces that functioned as workshops. lectors—your exhibitions are usually successful from a sales Many other artists from the area joined the project, and it standpoint. Where can your work be found? became a reality at the end of 1996. The aim was to connect V.D.L. - I know very few of my collectors because I sell chiefly the public with the work of the artist directly in his studio/ through dealers and galleries. If memory serves me correctly, I workshop. Another objective, of course, was to sell our work have work at the Museo de Arte Moderno in Santo Domingo; at without intermediaries. We also invited outside artists to ex- the Fundación Miguel Hernández in Orihuela [Spain]; at Casa de hibit their work in our spaces without deriving any economic las Américas [Cuba]; at the Museo de las Americas in Denver; at benefit; we were merely trying to provide a wider panorama the Cornell Museum; at the Institute for International Studies in of local art. Because of its proximity to Bird Road, the group New York (this was the institution that granted the Cintas Fel- was christened the Bird Road Art Connection. The quality lowship); and also in various private collections. of all the studios was very good. The first opening was not well attended, but starting with the second it was a success. It R.C. - Where have you exhibited recently? What projects was so successful that even [Miami] Mayor Alex Penelas ac- do you have planned? knowledged us, and, much to our surprise, The Miami Herald V.D.L. - In May 2010, I exhibited 20 large-format pieces at reviewed us in glowing articles published on Sunday, January Puerto Rico’s Museo de las Américas. The exhibition was very 26, 1997, in both their English and Spanish editions. well received, and the museum staff was very efficient and It was a wonderful collective effort; we did everything using amiable. At the end of 2010, I had a very successful exhibition our own resources. However, little by little the original group at the Wentworth Gallery in Schaumburg, IL coordinated by was disbanded. Some members moved to other areas; others M.A.C. Art Group, a Miami Wynwood Art District gallery left the state, and that is how activities ceased. Now there is that represents me here and always has my most recent work another group that has revived and retaken the idea with a on display. On February 18 of this year, I will once again ex- name similar to the original. This makes me very happy, and I hibit with the Wentworth Gallery but in their space in Atlanta. give them my full support. Recently, my work was shown at Barrio Workshop Art Space, an alternative art space along with the artists Yovani Bauta, R.C. - In 2006 you published a book that compiled a major Carlos Díaz, Frank Chinea and Ramon Lago. The exhibition portion of your work. The book was edited by the renowned was curated by Willy Castellanos and Adriana Herrera and critic and scholar of Caribbean art, Cándido Gerón. Tell me was entitled ‹After Neo Expressionism.› It received extensive about the process of producing the book. local media coverage. The exposition was very well received V.D.L. - It was almost like giving birth. The idea arose based by the public. I feel very satisfied participating in good proj- on the show, ‘Doce pintores latinoamericanos con motivo de la ects with accomplished creators. independencia nacional dominicana’ [Twelve Latin American Painters Commemorating Dominican National Independence], For more information visit www.dopicolerner.com

february - march 2012 31

, C L eve LAN d Y , New York, 1943, Co NT e SSA G ALL er o N , New York, Pe NN S TATI o C k AT Farewell o F Servicemen , C L , Farewell ed T A LF red eIS e NSTA

Naples International Pavilion The 2nd annual Art Naples is a dynamic event in beautiful Naples, FL USA Southwest Florida featuring international contemporary art +1 239 949 5411 dealers presenting paintings, sculpture, photography, design, www.artfairnaples.com fine art glass, video and installations.

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Rafael Barrios, Malabarismo Lineal, 2011 2/3, Grey, 72 x 98 x 11 cm

Asis, Barrios, Botto, Cruz Diez, Cavalieri, Gego, Herrera, Medina, Mendoza, Negret, Ramirez Villamizar, Ramirez, Soto, Vasarelli, Ventoso

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[email protected] | www.ArtNouveauMiami.com Art Wynwood | International Contemporary Art Fair debuting Presidents Day Weekend 2012 - will commence with a highly anticipated Opening Night VIP Preview on February 16, 2012 and will run through Monday, February 20, 2012. Art Wynwood will showcase a compelling array of cutting-edge, contemporary and modern artwork by both emerging and established artists from more than 50 galleries.

Art Wynwood will feature paintings, photography, sculpture, art video and new media, conceptual art and urban street art by 500 artists from 13 countries: Argentina, Austria, Canada, China, France, Germany, Ireland, Mexico, Spain, the Netherlands, Venezuela, United Kingdom and the United States. Art Wynwood will further distinguish the Wynwood Arts District as a leading cultural destination for acquiring contemporary art.

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NMIAMI arteaméricas 2012 arteaméricas, the premier Latin American art fair in the United States, returns to the Miami Beach Convention Center from March 2 to 5. On the occasion of its 10th anniversary, ARTDISTRICTS interviewed its founders, Leslie Pantín and Emilio Calleja, about the future of arteaméricas and the projects we can expect to see this year.

By Ashley Knight

Ashley Knight - Ten years ago, when the art fair boom began, A.K. - I am aware that this year the fair hosts Argentina you were visionaries in launching one in Miami that would as its Invited Country. How many galleries come from Ar- serve as a catalyst for promoting Latin American art in the gentina? Which other countries are expected to participate United States. What motivated you to create this fair? What on this occasion? concept did you develop with arteaméricas? Emilio Calleja - Argentina is the Invited Country, and we Leslie Pantín - As long-term Miami residents and as own- have been working with the ‘Fundación Exportar› to bring ers and operators of arteaméricas, we wanted to create a close to 20 galleries from Argentina, including the iconic fair focused on the art of Latin America. We thought that Galeria Rubbers Internacional, who has a distinguished re- Miami Beach was the perfect venue for this event since we cord in Buenos Aires. We have galleries coming from Colom- are considered the gateway to Latin America and many oth- bia, Dominican Republic, Peru, Panama, Bolivia, Mexico, er diverse communities that represent all countries of the Venezuela and of course from the United States. Americas. The art from Latin America has emerged as an important factor in the world of art. A.K. - In all art fairs, commercial interest prevails over the educational and the didactic. Nevertheless, arteaméricas en- A.K. - Who comprises the Selection Committee this year? riches the traditional fair model with the inclusion of curato- What are the criteria to select participating galleries? rial projects. What curated exhibitions will we see this year? L.P. - As in past years, arteaméricas has set up a Selection E.C. - One of the fascinating curated projects at arteaméricas Committee comprised of Felix Angel, Director of the Cultural 2012 will be the booth curated by Adriana Herrera that exhibits Program of the Interamerican Development Bank, and Leonor the work of Cuban photographer Willy Castellanos. His photos Amarante, an acknowledged curator and critic from Brazil. In document the intriguing and heart-wrenching process in Cuba of addition, Carol Damian, Director of the Frost Museum, has the people who build rafts out of the most basic materials in or- been on the committee since the fair’s first year. All three care- der to make the perilous journey to freedom. Their ingenuity and fully evaluate every gallery and their artists in order to continue dedication are evident in these dramatic photos, which will be to raise the quality of the fair. Quality is the first criteria the codified in a book that will be published later this year by Aluna selection committee looks at when approving galleries. We try Art Foundation. Ms. Herrera, who is a well-known critic, curator to have a representation of most countries of the Americas and and lecturer in the South Florida art community, organizes this also the different mediums of art, including paintings, draw- project with her critical eye and her historic perspective. It will ings, sculptures, videos, conceptual, modern, etc. arteaméricas be one of the highlights of the new section of the fair that is titled has always been known for showcasing the whole spectrum FotoAmericas. Not to be missed! For Fotoamericas, the new sec- of art from Latin America, including modern masters such as tion at the fair, we have invited galleries that represent photog- Carlos Cruz-Diez to emerging artists. raphers to exhibit at arteaméricas, no matter the nationality of the artist. In addition to the curatorial projects, we are bringing A.K. - What opportunities does arteaméricas offer to its back Salon arteaméricas, organized by Marijean Miyar, which participating galleries and artists? will host a series of conversations and feature videos in a theater- L.P. - arteaméricas offers a first-class venue at the Miami style seating arrangement furnished by Poltrona Frau. We also Beach Convention Center, with Art Basel Miami Beach being have a new addition this year, the Dranoff Piano Duo, which will the only other fair based there. The South Florida community perform an homage of Venezuelan music to Carlos Cruz-Diez, offers the artists and galleries a knowledgeable and affluent who will also be making a presentation at the Salon arteaméricas. market to sell their work. As businessmen, we are always looking at the business side and business challenges that the galler- A.K. - Sure, I am aware that arteaméricas is organizing an ies have. We have sponsors, like American Airlines and FedEx, homage to Carlos Cruz-Diez, a pioneer of optic and kinetic art to make it affordable for the galleries and artists to travel to in Latin America. Can you tell me more about this project? Miami and ship their artworks. E.C. - Carlos Cruz-Diez has been chosen by Art in Public Plac-

38 ARTDISTRICTS l www.artdistricts.com arteaméricas Vice President Emilio Calleja and Leslie Pantín, President. Image courtesy of arteaméricas. es to do a monumental work of art in the main entrance plaza of A.K. - Taking into consideration sales levels experienced the new Miami Marlins Stadium. We thought that arteaméricas by Latin American art in November auctions at Christie’s should highlight this project by honoring Cruz-Diez at the fair, and Sotheby’s and the increasing of exhibitions focused on one month before the new stadium opens to the public. Latin American artists during the last year throughout the U.S., do you think that Latin American art is a good invest- A.K. - Are you working on a program to increase the atten- ment at the present time? dance of collectors, both private and institutional, to the fair? E.C. - The art from Latin America continues to do well at L.P. - We have programs with South Florida museums and auctions around the world. We see that Latin American artists cultural institutions to involve their members by inviting them are exhibiting in venues like the Venice Biennale, where the to special events during arteaméricas. Additionally, we have an United States was represented by Allora and Calzadilla, and advisory committee of over 100 collectors who not only advise in the Museum of Modern Art (MOMA) in New York, which us on how to improve the fair, but attend and invite guests to is now exhibiting Diego Rivera’s murals. arteaméricas each year. L.P. - Museums around the world, like the Tate Modern in London, have acquired art from Latin America. In the past A.K. - How do you visualize the future of art fairs? Do you years with the great recession affecting everyone we have seen foresee a continuation of the boom that we have witnessed that the art from Latin America has maintained its prices and, in recent years? in most cases, increased them. Art is not only a good invest- E.C. - Art fairs around the world, in Latin America, and espe- ment, but, most of all, you get to enjoy it every day. cially in Miami are multiplying over the years, with many new ones coming into the scene and some disappearing. I think that arteaméricas 2012. Miami Beach Convention Center. 1901 good quality art fairs will last. We have worked very hard for Convention Center Dr. Hall A. March 3-5, 2012. arteaméricas to be a stand-alone fair each March, giving the art www.arteamericas.com collectors and the public a chance to rest from other art fairs.

february - march 2012 39 Panoramic view of “Curved: Herbert Mehler Sculptures” at The Armory Art Center in West Palm Beach. All images are courtesy of Galerie Lausberg. Toronto - Dusseldorf - Miami. HERBERT MEHLER: CURVED Kavex Series on Display at the Armory Art Center in West Palm Beach By Veron Ennis

Masting the grounds of the Morris and Rose Kraft Sculpture ning of the steel, coupled with the curvature of the overall Gardens, the unswayable steel sculptures of artist Herbert form, creates a biomorphic illusion, as if the piece itself could Mehler challenge the relationship between the visual and breathe. However, that flexibility is truly an illusion, as the physical realities of form. The Armory Art Center as well as sculptures are made from quite inflexible, heavy Corten steel. Galerie Lausberg of Toronto, Dusseldorf and Miami, have The combination of architectural structure and organic partnered to present “CURVED,” an exhibition of Mehler’s form creates a contemporary dialogue within the piece itself, large-scale steel sculptures from his series, Kavex. as well as with its surrounding environment. In this case, on When introduced to Mehler’s Kavex series, the mathemati- the grounds of the Armory, each piece, singular and distinct, cal language of nature is immediately detected. “Kavex,” the speaks to the linear rhythm of the adjacent palm trees. The combination of the German words for “concave” and “con- rusted tones of the patinated steel are pronounced against the vex,” defines the organic treatment of the stereometric folds, lush green backdrop of the landscaping, and as the sun ad- repeated around a central axis, to create each piece. The fan- vances throughout the day, the shadows cast by each fold in

40 ARTDISTRICTS l www.artdistricts.com the steel rotate around the form, suggesting a slow and steady spinning motion. The Kavex series is shown not only in natural environments, but also in dialogue with urban architecture, exhibiting this year in two cities in Germany, Erfurt and Lahr. Utilizing a stereometric approach reminiscent of the work of Naum Gabo in the early 20th century, Mehler’s technical precision and mathematical application is masterful. “Rus- sian Constructivism shows me a spiritual order, the pursuit of a general structure and the autonomy of form,” Mehler says. “From this starting point, I create forms that lie somewhere between abstraction and figuration.” He is influenced by the drawings of Ernst Haeckel and his “Art Forms in Nature” of the 19th century, as well as by the photographs of Karl Bloss- feldt of the early 20th century. “Curved: Herbert Mehler Sculptures” is on view thru April Simultaneously, Mehler is creating another series, titled 6, 2012 at The Armory Art Center. 1700 Parker Avenue. APSIDA, which further explores organic forms, “increas(ing) West Palm Beach, Florida, 33401. the difference between it and its surrounding architecture,” Hours: Monday - Friday: 10 am – 4 pm says Mehler. Also, three gold-gilded sculptures were released Saturday: 10 am – 2 pm. Phone: 561 832 1776. recently. Mehler explains that each of the three forms was carefully selected to depict a ceremonial or festive situation or For more information about Herbert Mehler’s sculptures occasion, like a wedding or religious holiday. contact Galerie Lausberg. Phone: + 1 416 516 4440 / Referencing the numerous structures found in microor- www.galerie-lausberg.com ganisms and macroorganisms, the carefully calculated and [email protected] skillfully constructed sculptures portray the complexities and delicacies of nature through the firm hand of man. Mehler’s Veron Ennis is an artist and art critic based in Sanibel, FL. She steel sculptures are sophisticated, succeeding in communicat- is also the director of UNIT A Contemporary Art Space in down- ing complicated and grand equations with singular forms. town Fort Myers.

Herbert Mehler, WV 765, 2010, Corten steel, 32.67” x 59” x 32.67.”

february - march 2012 41 Vincench vs. Vincench By Margery Gordon

Jose Angel Vincench, Dissident (Serbia): Compromise or Fiction of the Painting Series, 2009-2010, acrylic on canvas, 48” x 48” All images are courtesy of ArtSpace/Virginia Miller Galleries, Coral Gables (Miami), Florida.

42 ARTDISTRICTS l www.artdistricts.com “Vincench vs Vincench: A Dissident Dialogue from Cuba”, Installation view: Exile, 2011, Kraft Paper and Twine, 17” x 60” / Destierro, 2011, Kraft Paper and Twine, 19 ½” x 100” x 5 ½” / Reconciliation Tree, 2011, Incised Cedar and Steel, 50 ½” x 38 3/8” x 38 5/8”

Jose Angel Vincench’s first solo show in the United States is Militant connotations coexist with more benign mean- a contradiction in terms—literally. Beneath a surface concern ings, such as the secondary English synonym of “noncon- with the semantics of dissent, the paintings and sculptures formist,” which could apply to a wider range of misfits who installed at ArtSpace Virginia Miller Galleries defy simple rebel against expectations and skirt societal norms, includ- definitions. Outlining charged epithets atop abstract compo- ing some who find acceptance in the art world. Expressions sitions, he creates canvases that are at once bold and ethereal, of individuality aren’t often well-received, not just by Com- direct and elusive. munist regimes that demand uniformity, but even in a coun- A series of large square paintings, executed between 2009 try like the United States that, at least nominally, elevates and 2010 but never before exhibited, is subtitled Compromiso personal determinism to a national ideal. o Ficcion de la Pintura—which translates as “Commitment or While challenging authority takes courage, defining one’s Fiction of the Painting”—questioning the intentions and per- identity by what one denounces can be just another con- ceptions of an intermittently offensive and defensive posture. straint. Vincench limns this negative space by placing let- By transcribing the dictionary entries for “dissident” in 15 dif- ters upon a base of abstraction, applying a white wash, and ferent dialects, the Havana-based artist raises doubts about then removing the capitals so that only their contours re- whether any culture truly comprehends what that classifica- main uncovered. A sort of stencil in reverse, this process of tion signifies or labels transgressors fairly. Whether the word is imposing linear order on chaotic foundations, yet exposing wielded as a weapon or a curse, ascribed or claimed with fear an irrepressible interior, becomes itself a revealing metaphor. or with pride, its ramifications can be all too real. Tantalizing traces of the original colors often peer through With this multilingual approach, Vincench, who has been the pure topcoat, rendering the terminology transparent and exhibiting his work throughout the Caribbean, South America encouraging viewers to visually and conceptually see through and Europe for two decades, expands the debate about dissent such stereotypes. The ghostly echoes could evoke a lingering from its damning implications in his home country to encom- resilience, an inherited heroism or a tentative détente. pass the latest wave of protests sweeping the globe. From the This precarious balance also applies to formal considerations. ongoing agitation of the Occupy movement to the transforma- Although tethered to a denotative context, the arrangements of tive violence of the Arab Spring, the political permutations span letters take on the quality of concrete poetry. The partially ob- a continuum, from peaceful resistance to deadly confrontation. scured preliminary paintings are exquisitely executed in an im-

february - march 2012 43 Dissident (Swedish): Compromise or Fiction of the Painting Series, 2009-2010, acrylic on canvas, 48” x 48”

Dissident (English): Compromise or Fiction of the Painting Series, 2009-2010, acrylic on canvas, 48” x 48”

44 ARTDISTRICTS l www.artdistricts.com pressive range of abstract expressionist styles that include: vigor- to the rule that restricted emigrants to taking only one bag ous, broad swaths of bright hues in the Serbian tongue; vibrant with them when leaving Cuba. In an ironic gesture toward rivulets running through the smaller Swedish type; and dreamy exporting patriotism, Vincench had a set of canvas tote bags marbling of the paler Polish pattern. Jackson Pollock-esque deli- printed with blue-and-white stripes extending from the white cate trails appear appropriately calligraphic for the Chinese char- star set in a red triangle on the initials E and D to bear alle- acters, while a denser spattering of splotchy droplets somehow giance to the Cuban flag. seems better suited to the French flair. The Cyrillic alphabet is Black Cordura nylon, most commonly used in luggage, is a stark exception in the trademark Russian solid red, a shade stitched into five carry-ons that, together, dispatch “exile,” but that also stands out among the crosshatched brushstrokes of a separately, cease to make sense. The tough fabric is also tailored complementary canvas in Spanish hanging alongside. into a duffel shaped like Cuba’s natural borders, complete with The same Spanish message is shrunk to diminutive dimen- cylindrical companion case to represent the offshore territory sions and draped in black paint, befitting the series title Cuba Isle of Youth. Another clever version in clear plastic is packed y La Noche. The name is inspired by a line from revolutionary with Cuban soil, a wistful memento of lost ground. This earthy poet José Martí, the quintessential dissident and iconic exile token is but a futile attempt to stay connected to one’s origins of 19th-century Cuba: “Two fatherlands I have, Cuba and the after release into the Cuban diaspora. night.” The dark overtones impart a mysterious aura to 100 Despite the sardonic tone that dominates Vincench’s internal unique variations arranged in a tight grid. dialogue, he does sound a hopeful note with a submission to That constellation of disidentes contrasts with another Florida International University’s 25th-annual Festival of the grouping of 20 slightly larger explorations of “exilio” stamped Trees in Coral Gables. Displayed in the gallery, the artist’s sea- out of white paint. A neutral English definition—“somebody sonal Reconciliation Tree comprises a star-tipped pyramid of living outside own country”—alternates with a Spanish list cedar bars inscribed on either side with the Spanish and English that references expatriation, deportation and banishment. The definitions of reconciliation. Fanning out from a central spoke latter, which takes the form of “destierro,” raises the harsh- like directional arrows on a signpost, this tree is a testament to est associations with enforced removal to a distant, solitary the holiday spirit of fraternal forgiveness, suggesting the pos- place—a reminder that donning the mantle of the exile can sig- sibility of forging new pathways toward future unity. nal acceptance of an eternal curse. Both exile and destierro are spelled out in petite paper “Vincench vs Vincench: A Dissident Dialogue from Cuba” shopping bags custom-fabricated to form block letters. The is on display at ArtSpace Virginia Miller Galleries until fragile capitals hang below harsh spotlights that cast long February 27, 2012. 169 Madeira Avenue. Coral Gables, shadows like haunting memories. These are among several Florida, 33134. Phone 305 444 4493 editions, molded last year in different materials, which allude www.virginiamiller.com

Destierro, 2011, Cuban flag as canvas shopping bags shaped into letters of D. E. S. T. I. E. R. R. O., 19 ½” x 100” x 5 ½”, Ed. 5, and a painting of the installation.

february - march 2012 45 DIRTY PINK 305 A Conversation with Claire Breukel

Dirty Pink 305 is an independent project that documents the evolution of the visual arts in Miami over the past decade from the perspective of its protagonists: the artists. ARTDISTRICTS spoke about this project with its creator, Claire Breukel. By Raisa Clavijo

Raisa Clavijo - What does Dirty Pink 305 consist of? whether they be museums, foundations, major collections, bi- Where did the idea come from? What are your objectives? ennials, art fairs, etc., while disregarding what is really impor- Claire Breukel - The first phase of Dirty Pink are video in- tant: the art and the artists. This does not only diminish the terviews with artists to get their perspective on what has hap- importance of the artist, but it also affects his work because pened with contemporary art in Miami —a perspective which he must sacrifice a great deal of time that would otherwise be I feel has to date been largely undervalued. This aims to gain spent on creative endeavors in order to focus on ‘flirting’ with insight into and contextualize artistic practice. These inter- the institutional, networking, not missing participation in the views are uploaded on www.dirtypink305.com, a basic web- next fair, the next biennial, etc. We are witnessing an art scene site thats allows everyone to access its content. Furthermore, dominated by the power of institutions, and these, in turn, cre- the videos are transcribed to text so that all the people, places ate spheres of influence that marginalize artists. and things an artist refers to can be referenced. This informa- C.B. - Absolutely, and this is a phenomenon despite the fact tion will provide the basis for a future publication that aims that there is so much going on behind the scenes that has been at addressing the evolution of artistic practice in Miami— created by, and motivated by, artists. This is not to say that commissioning contributions by artists, curators and writers. curators and institutions do not play an important role in the The idea for Dirty Pink 305 was born out of frustration. As function of the art world, however it becomes autocratic when a curator working outside of the conventional museum and institutions become the go-to place to define and talk about the commercial gallery structure I felt that so much artistsic tal- arts as if representing an entire community. Many institutions ent was being overlooked, and that artists who did get op- and private collections in Miami do this (and are called on to portunities were being used to fulfil programmatic objectives do this by external commercial driving forces). In fact, I cannot that were supplemental to the main program. In addition, by count how may times I have heard the line, ‘Oh it was me who being on the periphery of organization and collections whose discovered that artist.’ This is not only deeply condescending to primary focus is to prove they are on par with the same art- artists who have worked consistently hard to develop a career, ists as their international visitors, local artists were not being it also instills a system of hierarchy that places the artist as com- afforded the opportunities for professional development and placent and affords the organizations/collection or museum the growth. As a result, these art spaces are the go-to place where power to ‘make or break’ an artist’s career. This is stifling and visitors read about and hear the voice of Miami artists. This is not conducive to growth. When visitors come to Miami for a mediated and filtered space. This a common phenomenon in the art fair/s the nature of the art experience predetermined by the arts through the world, but I felt like the neglect of artistic a ‘calendar of events’ that, aside for a handful of studio visits, presence is particularly pronounced in Miami, which has be- places the organization and the collections as the go-to places. come largely commercially orientated and can therefore easily Therefore, IF these spaces show Miami artists, they are second- cut out the artist. The objective is for Dirty Pink 305 to pro- ary to a ‘big name’ internationally recognized artist to attract vide a space where artists can converse without the presence foreign visitors. In fact, many Miami institutions have ‘local’ of the rest of the art world. The project aims to be a resource programming to allow for Miami artists to show their work by making this voice available within a public forum—and in the project room. But, what about the main room on an in- will grow and evolve as needed. ternational playing field? I am not trying to bash organization and collections—there is a lot of pressure to perform, but it is R.C. - According to Dirty Pink 305’s website, when people important to also provide real platforms for artists. from abroad discuss about art in Miami, they seldom mention the artists. They speak of private collections, Art Basel Miami R.C. - Your initiative in documenting art in Miami from the Beach, museums, but almost always ignore the artists. I agree perspective of the artist is groundbreaking. There have been very with you and I think that this is widespread in a contemporary few prior efforts in this regard independent of museums and in- art scene that focuses on validating the voice of institutions, stitutions. Tell me about this project’s antecedents.

46 ARTDISTRICTS l www.artdistricts.com C.B. - Dirty Pink 305 is going to be a slow and steady process and will initially rely on grants to get up and running and aims to find a paradigm to become self-sustaining. There have been initiatives in the past that have attempted to document Miami but have been done by motivated indi- viduals who, it appears, have found the task thankless in a climate where Miami investment doesnt yet see the benefit of this kind of documentation. And therefore their initiatives are often not long-term. Julie Davidow and Paul Clemence created the first truly comprehensive Miami Contemporary Artists book—what a fantastic start! Wet Heat Project is making artist films for all to view online. These two intitia- tives are invaluable and have been labors of love. Another fantastic initiative is the Vasari Project that collects all co- lateral from all the art events and activities that have happened over the past years—an amazing resource that people are only know now beginning to recognize as vital. Dirty Pink 305 has partnered with Vasari Project and will look to engage other such projects to pool resources and find a strategy to create a useful and continually relevant platform for artists to be heard and for history to be documented in a way that is accesible and relevant.

R.C. - I have seen the list of artists who have to date participated in Dirty Pink 305. Most of them are represented by four galleries: Snitzer, David Castillo, Spinello and Dorsch. What are the requirements for participating in Dirty Pink 305? Is there an age limit? Can any artist residing in Miami participate? Is there a selection process? C.B. - The list of artists is random according to who we bumped in the first two months of the project. This Claire Breukel, director of Dirty Pink 305. Photo: Michael Blaser. is a fundamental start. There is definitely NO AGE RE- STRICTION. In fact it is vital to include a diversity of R.C. - In December, The Art Newspaper published an arti- voices. There is also NO SELECTION process. Phase one cle that was criticized by local artists and galleries alike. The has been created and phase two is in edit phase to start article said that apart from Art Basel Week, Miami’s cultural the project. As our resources are slight, our next step is life was virtually non-existent, and that 10 years after the to apply for funding to build a platform where artists can arrival of ABMB, the Miami art scene has barely gotten off self-contribute. A second goal is to create an open blog the ground. What is your opinion in this regard? that invites artists to contribute, however, we want to be C.B. - These kinds of articles are important to contextualize able to provide honorariums for this. Miami in relation to outside perception, whether we feel this perception is right or wrong. It is interesting to note, however, R.C. - You have built a career as an international curator that the article interviewed collectors, galleries, museum di- and art critic. You came to Miami seven years ago. Why did rectors, Christie’s auction house representative and only one you choose Miami? artist, Robert Thiele—but this was in relation to the space he C.B. - I was lucky and didn’t realize how much so at the runs. I would assume, and by no fault of the author, that as time. The first three months I was here I didn’t gel with it—but an outsider they found it difficult to know which artist to in- then I started to see that there was so much more to Miami’s terview. Which artist is empowered with an authorial voice? art ‘scene.’ Art Basel was, of course, a whirlwind experience. I This is the condition of Miami that spaces speak on behalf of was interning at the Rubell Collection so was at the epicenter artists. Consequently, I believe that Miami artists have been of the ‘scene.’ Then I began working as a full-time curator/ denied the opportunity to grow—having the art world come director and witnessed the more ‘experimental’ artists bump- to Miami has created an art community that is prone to looking up against the art fair and commercial phenomenon with ing inward to be self-analytical. Galleries, museums and col- interesting results. Before I knew it seven years had passed, lections are all focused on what will we look like in front of and I left Miami for two years to travel for work—but found the crowds that come. If artists had the incentive to get ‘out myself returning. There is something about the duality of arts there’ and have an increased exchange I believe Miami would existence here that is unpredictable and refreshing. become a place to foster major international players.

february - march 2012 47 R.C. - Do you believe that the artistic community, which tives such as the South Florida Consortium and individual has been created here over the past 10 years, would vanish if grants have stood their ground, and the Knight Foundation ABMB were to relocate to another city? has started to make an impact. I hope these increase. New C.B. - I had this conversation a few days ago, in fact, look- initiatives such as LegalArt have sprung up and will hopefully ing in to the fear-filled eyes of an art fair attendee. No I fill a void of cross-continental dialogue. This will take a little don’t. I think if Art Basel had to go another fair or initiative time to get traction and show results, but there is monumen- would take its place. Miami has proven it has the capacity tal talent in the city, and support continues to grow. to be an ideal host—both in terms of its geography and the nature of the city and its art organizations and collections. R.C. - How long will the interview process and book pub- There may be a momentary quieting of overseas collectors, lication take? When will we be able to see the final result of but I believe something would take its place—and who this project? knows, with the experience of hosting ABMB, Miami’s art C.B. - The interview process will be set up to continually fair coordinators and city representatives may even bargain collect information and become an archive of information for something that is more engaging for the Miami com- through time. Editing is minimal, so some of the videos are munity and productive for its infrastructure. Also, we need long, which is fine as it’s about capturing ideas—like an on- to remember that ABMB came to Miami with a lot of hard line time capsule of sorts. At the moment we are applying for work by local art professionals. They made it happen and funding to create a publication. As the project is new there can do it many times over. is a sense of urgency, but our approach is to be methodi- cal and raise money to do something that has content and R.C. - In your opinion, do the government and private institu- will be lasting. Not only this, collaboration is key. So finding tions provide enough support to Miami artists? What do you ways in which to engage with partners in a manner that is think should be done to support and promote local artists? supportive and productive, whether it be contributing blog C.B. - There has been a recent, very late realization that in items, sharing footage, providing information for the publi- order for Miami’s art community to develop there needs to cation. This takes time, and we are applying for foundation be the support of its artists to develop their careers and get to support to get the publication rolling. the next level. Miami has largely been running with a singular objective for a long time—ABMB—and has as a result not For more information about this project visit given its resources to artistic development. However, initia- http://dirtypink305.com

48 ARTDISTRICTS l www.artdistricts.com

NnamdiNnamdi OkonkwoOkonkwo

Celebration

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SACASAS Fine Arts 2910 Ponce de Leon Blvd. Coral Gables, FL 33134 Tel (305) 447-1740 www.sacasas.com Email: [email protected]

Lady Plays the Blues 48 x 36” Acrylic on Canvas

JEF.HERNANDEZ [email protected]

MARY SULLIVAN VOYTEX

RAYMOND HERNANDEZ 239 634 9409 maryvoytex.com 863 234 1225 RAYMONDHERNANDEZ.COM socialshots FORT MYERS VERO BEACH

Artist Matt Lackey at Howl Gallery. Barbara Krupp, Martha Johnson, Allan Teger, and Richard Bondareff at Gallery 14. Photo R. Hernandez.

MIAMI ART FAIRs WEEK Photos © Gary Mercer

101 exhibit director Sloan Schaffer at Scope Miami

Ideobox director Tanya Brillem- Marvin Rosenbaum and Lara Rosenbaum at bourg, at Art Miami Art Miami

Pan American Art Projects director Janda Wetherington at Art Miami.

Nercys and Ramon Cernuda, directors of Cernuda Arte at Art Miami

Georgina Chumaceiro and Elizabeth Hazin at Art Nouveau booth. Art Miami.

60 ARTDISTRICTS l www.artdistricts.com socialshots MIAMI ART FAIRs WEEK Photos © Gary Mercer CORAL GABLES

Art collector Juan Carlos Aragon, Jose Luis Diaz, Daniel Fiorda, director of Lelia Howard Rosenbaum and Armand Bolling director of Diamont Art Projects and artist Diego Tor- Mordoch Gallery, at Scope Miami res at Jorge M. Sori Fine Art.

COCONUT GROVE BIRD ROAD ART DISTRICT (BRAD)

Diego Uribe, Cristina Chacón and Nicolás Leiva, at Cristina Chacón Gallery. Raul Blanco from I-digital Lab, artist Lorena Prado and Yeni Blanco from Aperture Studios. WYNWOOD ART DISTRICT

Margarita Castro, Rita Zaia and Alejandro Zaia at Hardcore Art Contemporary Space. Rochi Llaneza, Margarita Castro, Andreína Fuentes at Hardcore Art Contemporary Space. MIAMI DESIGN DISTRICT

Jane Seymour and William Braemer, director of Art Fu- Cristina and Mark T. Smith, Zadok Gallery director. sion Gallery

february - march 2012 61 ARTGUIDE l FLORIDA AVENTURA - FORT LAUDERDALE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

Rosenbaum Contemporary Phone 386 506 4475 4 608 Banyan Trail, 33431 www.smponline.org T 561 994 9180 F 561 994 5652 DEERFIELD BEACH www.rosenbaumcontemporary.com Mon-Sat 10 am - 5 pm Vignari Gallery P.O. Box 1264, 33443 4 Rosenbaum Fine Art 150 Yamato Rd., 33431 DELAND

1 Steve Newman African American Museum of 468 East Boca Raton Rd., 33432 the Arts 325 South Clara Ave., 32721 Sundook Fine Art Galleries 8903 W. Glades Rd., 33434 Gold Leaf Gallery & Framing 3 101 N Woodland Blvd., 32720 University Galleries - Florida Atlantic University Museum of Florida Art 777 Glades Rd., 33431 600 N. Woodland Blvd., 32720

1 Zita Waters Bell Antiques DELRAY BEACH 21803 Arriba Real, 33433 2 Boca Raton Museum of Art – BOKEELIA The Artists’ Guild 512 E Atlantic Ave., 33483 4 3 Koucky Gallery and Gardens 5971 Baypoint Rd., 33922 Metro Art Gallery 2 38 E. Atlantic Ave., 33444 BONITA SPRINGS AVENTURA Morikami Museum and Shaw Gallery Japanese Gardens Fineartgasm.com 3 Boca Raton Museum of Art 8200 Health Center Blvd., 34135 4000 Morikami Park Rd., 33446 3615 NE 207th St., 33180 501 Plaza Real, 33432 T 561 495 0233 T 561 392 2500 BRADENTON www.morikami.org Friedland Art Inc. F 561 391 6410 Tue-Sun 10 am - 5 pm 2875 NE 191 Street, 33180 www.bocamuseum.org Village of The Arts Wed-Fri 10 am -5 pm, Sat-Sun 1015 12th Ave. West, 34205 EUSTIS Gallart 12-5pm 20633 Biscayne Blvd., 33180 CLEARWATER Lake Eustis Museum of Art T 305 932 6166 4 Children Science Emporium 200 B. East Orange Ave., 32726 F 305 937 2125 300 South Military Trail, 33486 The Plainsmen Gallery www.gallart.com 2450 Sunset Point Rd., 33765 Mon-Sat 11-8, Sun 12-6 Elaine Baker Gallery FORT LAUDERDALE 608 Banyan Trail, 33431 COCONUT GROVE Sher Gallery see Miami – Coconut Grove 1 Gallery 721 3585 NE 207th St., 33180 EXOR Galleries 721 Progresso Dr., 33304 291 Via Naranjas, 33432 CORAL GABLES BAL HARBOUR see Miami – Coral Gables Galèrie Jenner / Artspace see Miami – Bal Harbour Fine Art Group Publishing Sailboat Bend Artist Lofts 818 W. Camino Real, 33486 DANIA 1310 S.W. Second Court, BELLEAIR BLUFFS Loft 307, 33312 Griffin Gallery Ancient Art Patou Fine Art Art at the Plaza 608 Banyan Trail, 33431 1855 Griffin Rd., 33004 The Hamilton Gallery 100 N. Indian Rocks Rd., 33770 615 East Las Olas Boulevard, International Fine Arts Rosenbaum Fine Art 33301 BOCA RATON PO Box 140, 33429 1855 Griffin Rd., 33004 Las Olas Fine Art Addison Gallery 2 Karen Lynne Gallery DAVIE 701 East Las Olas Boulevard, 345 Plaza Real, 33432 101 Plaza Real, 33431 33301 Broward Community College 1 Boca Raton Children’s Kevin Mc Pherrin Int. Gallery 3501 SW Davie Rd., 33314 Lipworth Fine Art Museum 4851 North Dixie Hwy., 33431 3100 NE 47th Court, 33308 498 Crawford Blvd., 33432 DAYTONA BEACH Nathan D. Rosen Museum 1 Museum of Art Fort 2 Boca Raton Historical Society Gallery Museum of Arts & Sciences Lauderdale – Nova Town Hall 71 North Federal Hwy., 9801 Donna Klein Blvd., 33428 352 S. Nova Rd., 32114 Southeastern University 33432 One E. Las Olas Blvd., 33301 3 Pavo Real Southeast Museum of www.moaflnsu.org 6000 Glades Rd., 33431 Photography 1200 W. International Speedway Native Visions Gallery Blvd., 32114 807 East Las Olas Blvd.,33301

62 ARTDISTRICTS l www.artdistricts.com fort LAUDERDALE — FoRT MYERS FLORIDA l ARTGUIDE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

4 Pocock Fine Art & Antiques Nothard GALLERY WALK 1ST FRIDAY 3 1200 East Las Olas Blvd., 33301 724 NE 3rd Ave., 33304

Sailboat Bend The Siegal Gallery 1310 S.W. Second Court, 33312 509 NE 3rd Ave., 33304

FORT LAUDERDALE – FAT VILLAGE Denaro 6 505 NE 3rd Ave., 33304 12 1 Alfred Phillips’ Art Studio 8 11 7 113 NW 5th St., 33301 Soccoccio Art 9 440 NE 3rd Ave., 33304 5 10 Andrews Living Arts 4 23 NW 5th St., 33301 Ly-Siefker Art Gallery 2 436 NE 3rd Ave., 33304 Art Wear 521 NW 1st Ave., 33301 The Girls Club Art Gallery 117 NE 2nd Ave., 33304 Downtown Studio 545 NW 1st Ave., 33301 IWAN space the Bubble warehouse/gallery Francisco Sheuat Art Studio 810 NE 4th Ave., 33304 Hours: Mon-Fri 11 am- 4:30 pm 8 In One Instant 115 NW 5th St., 33301 Saturday by Appointment. 1526 Jackson Street, 33901 FORT MYERS MoJo Hands Julio Green Art Studio Folk Art Blues Outsider Art and IMAGINARIUM 115 NW 5th St., 33301 Blues Photography. Lennie Hands on Museum and Aquarium Jones and George Mitchell 2000 Cranford Ave, 33916 Rachel Henriques’ Studio Dr. Kyra Belan 506 NW 1st Ave., 33301 The Young Artists Awards 9 Leoma Lovegrove Gallery in features the Art of Cancer Kids the Franklin Shops The Art of Alex Reception: February 3, 2012 2200 First St. 33901 500 NW 1st Ave., 33301 February 3 – 27, 2012 Florida Landscapes by 10 Mad Hatter Gallery in the The Puppet Network Mary-Louise Biasotti Hooper - Franklin Shops 500 NW 1st Ave., 33301 Sarasota Florida 2200 First St., 33901 Hand-made Paper Collages by Women’s Theatre Project Michelle Rothaker 6 Sidney & Berne Davis Art 505 NW 1st Ave., 33301 Whimsical Mixed Media Center Collages by Lisa Freidus 2301 First Street, 33901 World and Eye Arts Center Belan, Isis of Florida, mixed media. Reception: March 2, 2012 Phone 239 333 1933 Courtesy Arts for ACT Gallery. 17B NW 5th St., 33301 March 2 – 30, 2012 www.sbdac.com Mon-Fri 10 am - 5pm FORT LAUDERDALE – FLAGLER 1 Arts for ACT Gallery Alliance for the Arts 3RD AVENUE 2265 First St., 33901 10091 McGregor Blvd, 33919 7 Space 39 Phone (239) 337-5050 / (239) 39 Patio de Leon, 33901 Archer Gold Gallery 939-2553 2 Art League of Fort Myers 805 NE 4th Ave., 33304 www.artsforactgallery.com 1451 Monroe Street, 33902 Southwest Florida Museum of History GALLERY WALK 4TH SATURDAY 3 Art of the Olympians 2031 Jackson St., 33901 1300 Hendry St., 33901 Syzygy Gallery Art at the Oasis 224 First Street, 33901 2995 Frierson St, 33901 The Art Galleries of Florida Gulf 1 Bob Rauschenberg Gallery Coast University 8099 College Parkway SW, 33919 10501 Fgcu Blvd. South, 33965

12 Coloring the World Gallery 1422 Dean St., 33901 ARTDISTRICTS 4 daas Gallery FLORIDA 1542 Broadway Street, Downtown, 33901 Phone 239 939 1194 WWW.ARTDISTRICTS.COM www.daasgallery.com Artist reception every 1st. Friday ADVERTISE HERE Edison & Ford Winter Estates 2350 Mc Gregor Blvd. 33901 [email protected]

5 786-274-3236 2 3 4 5 HOWL Gallery 1 1514 Broadway #101, 33901

february - march 2012 63 ARTGUIDE l FLORIDA FORT MYERS — MELBOURNE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

HOLLY HILL 2 Archeo Gallery 1208 Duval St., 33040 Wunderly Galleries 3 325 Sixth St., 32117 3 Gallery on Greene 606 Greene St., 33040 HOLLYWOOD 4 Gingerbread Square Gallery Spanda Art Gallery 1207 Duval St., 33040 8 4441 Hollywood Blvd., 33021 5 Glass Reunions HOMESTEAD 825 Duval St., 33040

The Children’s Gallery 6 Guild Hall Gallery 7 51 North Krome Avenue, 33030 614 Duval St., 33040

7 6 JACKSONVILLE Haitian Art Company 1100 Truman Ave., 33040 Brown Museum Jamali Fine Art 312 West 8th St., 32223 8 Harrison Gallery 5 825 White St., 33040 Cummer Museum of Art & Gardens 9 KW Light Gallery 829 Riverside Ave., 32204 1203 Duval St., 33040

Dawson Gallery KISSIMMEE 4444 Hendricks Ave., 32207 9 Gallery One Artists 2 4 1 Fogle Fine Art & Accessories 101 E. Dakin Ave., 34741 3312 Beach Blvd., 32207 LAKE WORTH 111 Orange Avenue 34950 Julington Creek Gallery Open Monday-Friday 115 Bartram Oaks Walk, 32259 Art Link International Hours: Loft:10am-3pm, 809 Lucerne Ave., 33460 Underground 1-3pm. Museum of Contemporary Art 2nd Wed./Month Open House, 333 North Laura St., 32202 Margot Stein Gallery 5-8 Phone 904 366 6911 512 Lucerne Ave., 33460 Find Art Bank on Facebook. www.mocajacksonville.org Museum of Contemporary Art Art Mundo Center R. Roberts Gallery 601 Lake Ave., 33460 111 Orange Ave., 34950 3606 St. Johns Ave., 32205 LAKELAND Marcus Jansen, Spotlight on Education, 2008, oil enamel collage Avenue A Gallery Stellers Gallery of San Marco on canvas 60x72” © 2012 Marcus 223 Avenue A, 34950 1409 Atlantic Blvd., 32207 Polk Museum of Art Jansen. Artists Rights Society (ARS), 800 East Palmetto St., 33801 New York. VG Bild-Kunst, Bonn. GAINESVILLE Vaughn Cochran Courtesy: Unit A, Fort Myers Fl. 11702 Beach Blvd., 32246 LUTZ Limited low edition print, 15” x 20” Harn Museum of Art – University of Florida JACKSONVILLE BEACH The Image Forum Gallery 11 UNIT A – CONTEMPORARY SW 34th St. and Hull Rd., 32611 19135 Golden Cacoon Place, ART SPACE T 352 392 9826 Eclectic Galleries 33558 1922 Evans Avenue UNIT A, www.harn.ufl.edu 2405 3rd St. South, 32250 33901 MARCO ISLAND Director: 239 849 7772 Lost Art J. Johnson Gallery www.unitaspace.com 2441 Northwest 43rd St., 32606 177 4th Ave. North, 32250 Artists Colony at the Esplanade www.marcusjansen.com 740-760 North Collier Blvd, Largest space dedicated to HALLANDALE JUPITER 34145 contemporary art in Fort Myers, permanent collection of Marcus ARTMEDIA LLC Elite Art of Africa Botero Gallery Jansen originals on display. Open 1130 c East Hallandale Beach 601 W Indiantown Rd., 33458 1089 N. Collier Blvd., 34145 by appointments. Blvd, 33009 Grand Opening Hibel Museum of Art MELBOURNE Friday, March 2nd, 2012, 6-10 HIALEAH 5353 Parkside Drive, 33458 Brevard Art Museum FORT PIERCE Santiesteban Print Schmidt Profile International Galleries 1463 Highland Ave., 32935 2387 W 80 St. Suite C-7, 33016 of Fine A.E. Backus Museum and T 786 444 0475 50 S. US 1, 33477 Cuba! Gallery of Fine Art Gallery www.santiestebanprintschmidt. 1900 S. Harbor City Boulevard, 500 North Indian River Drive, 34950 com / tallergrabado@ KEY WEST Suite 124-A santiestebanprintschmidt.com (Inside the coral, Spanish-style Art Bank 1 Alan S. Maltz Gallery building corner U.S. 1 and New 40 Studios under One Roof 1210 Duval St., 33040 Haven Avenue), 32901

64 ARTDISTRICTS l www.artdistricts.com MELBOURNE - MIAMI BIRD ROAD FLORIDA l ARTGUIDE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

Fifth Ave. Gallery Durban Segnini Gallery Miami Art Museum 305-968-5554 1470 Highland Ave., 32935 3072 SW 38 Ave., 33146 101 West Flagler St. , 33130 Email: [email protected] T 305 375 3000 www.estebanblanco.com LoPressionism Gallery Farside Gallery www.miamiartmuseum.org Esteban Blanco - Work in 1002 E. New Haven Ave., 32901 1305 SW 87th Ave., 33174 Tue-Fri 10-5, Sat-Sun 12-5 Process Reception Saturday Feb. 18 MIAMI Flager Arts Space Miami Children’s Museum Feb. 18 – 29, 2012 172 West Flager Street, 33130 980 MacArthur Causeway, 33132 Alonso Mateo Alicia H. Torres Studio Opening March 17, 2012 Miami Iron Side. Frost Art Museum New Era Fine Art Bird Road Art Walk Openings 3rd Mimo Historic District 10975 SW 17th., St., 33199 801 Brickell Key Blvd., 33131 Saturdays, Feb. 18 & March 17. 7610 NE 4th Court, 33138 T 305 348 2890 Other times by appointment Piazza Art Studios #117 www.thefrost.fiu.edu Oxenberg Fine Art www.aliciahtorres.co 2730 SW 3rd Ave., 33129 3 Akuara Teatro Workshop Theater Avellaneda Alonso Art Piazza Art Studios 4599 SW 75 Avenue, 33155 200 SW 30 Rd., 33129 Miami Iron Side Mimo Historic District 2 Allison Gallery Amat Art Gallery 7610 NE 4th Court, 33138 7211 SW 48 St., 33155 2300 SW 57 Ave., 33155 Spirit del Art Anne-French Fine Arts 900 South Miami Ave., 33130 9334 NW 50th Doral Circle S., 33178 THIVO Studio Ceramics/Nerikomi Technique Antique & Contemporary Miami Iron Side Posters Mimo Historic District 6970 SW 124 St., 33156 7610 NE 4th Court, 33138 Héctor Catá, Doña Alicia, 60” x 36”. Piazza Art Studios #115 Courtesy of Leal’s Gallery & Frames Beaux Arts Gallery www.thivo.com 2451 Brickell Ave., 33129 Leal’s Gallery & Frames Torna and Prado Fine Art Bettcher Gallery-Miami 5143 SW 8th St. 33144 Collection 5582 NE 4th Ct., 33137 T. 786 337 1628 6015 SW 49th St., 33155 www.lealsgalleryandframes.com Pablo Hernandez. Courtesy Aperture Art Studios. Carol Jazzar Contemporary Art Kcho, Roberto Fabelo, Pedro Vizcaya Museum & Gardens 158 NW 91st St., 33150 Pablo Oliva, Carlos Quintana, 3251 South Miami Ave., 33129 Hector Molné, Manuel Mendive, 1 Aperture Studios CIFO (Cisneros Fontanals Art Vicente Rodríguez Bonachea, MIAMI – BAL HARBOUR Full Service Reproduction House Foundation ) Héctor Catá, Eudaldo Crespo, Reproduction / Art Space 1018 North Miami Ave., 33136 Orestes Gaulhiac, Vicente Opera Gallery 7360 SW 41st St., 33155 Dopico, among others. 9700 Collins Ave., 33154 Phone 305 424 7524 [email protected] GALLERY WALK 3RD SATURDAY MIAMI - BIRD ROAD ART DISTRICT [email protected] www.aperturesite.com 15 3rd Door Art Project Become a fan on Facebook: 4485 SW 75 Ave, 33155 http://www.facebook.com/pa 8 1 6 3 25 ges/Aperture-Studios 19 7 9 Abuela Art Gallery/Juan Bird Road Art Walk Openings - 13 19 14 12 10 Abuela 3rd Saturdays Feb. 18 & March 21 13 20 12 4421 SW 75th Ave, 33155 17, 2012 15 4 19 31 All about Pablo 8 Enjoy the modern, fresh 7 and vibrant art from Pablo 1 Hernandez with his modern 15 18 24 technique of 3D paint and 27 23 3 16 acrylic on canvas 6 28 Art by Navedo

11 7225 SW 48 Street, 33155

29 28 25 Artworks Associate II 9 30 10 4180 SW 74 Ct., 33155 5 5 22 1 4 26 26 Bohemio Fine Art 11 2 2 Esteban Blanco, Carousel. Courtesy 4839 SW 75 Ave, 33155 17 Accent Alternative Art Space.

29 Bouzon Art Gallery 1 Accent Alternative Art Space 7253 SW 48 Street, 33155 4841 SW 75th Ave, 33155 Phone 305 968 3776 /

february - march 2012 65 ARTGUIDE l FLORIDA miami BIRD ROAD FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

GALLERY WALK 1ST SATURDAY

4 2 José Grillo, Hombre Tiempo, 2011, 3 1 acrylic on canvas, 40” X 72.” Courtesy Onate Fine Art.

7 7 Onate Fine Art 9 5 6 8 MANO, Untitled. Courtesy of MANO 4385 SW 72nd Ave, 33155 Fine Art Project Space. Phone 305 667 6942 www.onatefineart.com Group Show 12 MANO Fine Art Project Space 16 Pablo Lazo Studio 4225 SW 75 Ave., 2nd Floor 4587 SW 75th Ave, 33155 8 Cesar Art Studio Miami, FL 33155 4377 SW 75 Ave, 33155 Phone: 305.467.6819/ Perez Art Gallery 305.467.0066 7432 SW 42nd Street, 33155 19 Chavarriaga Fine Art Studio [email protected] 4229 SW 75th Ave, 33155 Tue - Fri 11 am – 6 pm 17 Rafael Consuegra / Caudart Sat & Sun. by appointment Gallery & Studio 4 Ediciones Malgon People You May Know... 4866 SW 75th Ave, 33155 4229 SW 75th Avenue An exhibition inspired by social [email protected] Suite F, 33155 media featuring works on paper www.rafaelconsuegra.com Leonor Murciano, Jardín del Amor, Cuban Series, oil on canvas, 30” x 40.” by MANO. 3 Erik Speyer Studio Opening Reception: Sat. Feb. 18, 18 Ray Azcuy Art Studio 4182 SW 74th Court, 2nd Floor, 7-10 pm 4418 SW 74th Ave, 33155 33155 11 Leonor Murciano Fine Arts On view through March 2012. Gallery Bird Road Art Walk receptions 20 Rofle R. Studio 4 Esteban Blanco Art Studio 7259 SW 48th St. 33155 Sat., Feb 18 & March 17, 7-10 4229 SW 75th Avenue 4843 SW 75th Ave, 33155 Phone: 305 668 5556 / Cell: 305 pm Suite E, 33155 498 4328 6 Frame & Framing, Inc Hours: Tues-Fri 11am -5pm / Sat 13 Miami Art Club 21 Romero-Hidalgo Artists’ 7352-C SW 41st Street, 33155 11am-4pm 4227 SW 75th Ave., 33155 Studios www.leonormurcianofinearts.com 4241 SW 75th Ave, 33155 5 Gina Guzman / Stained [email protected] Glass Studio 22 Rowe Studios Art Glass 4735 SW 75th Ave, 33155 15 Luis Fuentes’ Radical Art 4768 SW 72nd Ave, 33155 Spot 31 H. Benitez Fine Art Gallery II 4229 SW 75 Avenue, 33155 24 Sandy Levy/Visual Impact 4277 SW 75th Ave, 33155 Photography Phone 786 877 1045 23 Luisa Mesa Artspace 4406 SW 74 Ave, 33155 www.humbertobenitez.com 4432 SW 74 Ave, 33155 [email protected] 10 Santa Fe Colonial Gallery Hours: Tue – Fri, 2:00 – 7:00 pm, 10 Madero Art 4704 SW 72nd Ave, 33155 Sat: 1:00 – 5:00 pm 4225 SW 72nd Ave, 33155 30 Sauma Gallery 6 Ismael Gomez Peralta Art 4680 SW, 72nd Ave., 33155 Studio © Néstor Arenas. Courtesy Néstor 4587 SW 75th Ave, 33155 11 Speak Fridays! Arenas Fine Art ARTDISTRICTS Miami’s Most Diverse Open Mic 7 Ilisastigui’s Studio 4925 SW 74 Ct, 33155 4229 SW 75th Ave. FLORIDA 14 Nestor Arenas Art Studio & Suite A, 33155 Photography 8 Valmar Framing Gallery 4229 SW 75th Ave, Suite D., 33155 4150 SW 74th Ct., 33155 9 Lambertini Art Phone: 786 486 6959 4229 SW 75th Ave. WWW.ARTDISTRICTS.COM [email protected] 9 Victor Gomez Workshop Suite C, 33155 www.nestorarenas.com 4702 SW 75th Ave, 33155 Bird Road Art Walk Openings - 13 Las Sillas Gallery 3rd Saturdays Dec. 17 & Jan. 1 Warehouse Alternative 4301 SW 75 Avenue ADVERTISE HERE 21, 7-10 pm. Other times by Space/Andy Bilbao appointment 4396 SW 74 Ave, 33155 [email protected] 27 Nickel Glass Studios 12 The Young Artist Academy 786-274-3236 4416 SW 74 Ave, 33155 4243 SW 75 Ave, 33155

66 ARTDISTRICTS l www.artdistricts.com MIAMI COCONUT GROVE - MIAMI CORAL GABLES FLORIDA l ARTGUIDE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

GALLERY WALK 1ST FRIDAY MIAMI – COCONUT GROVE Miami Beach Convention Center, March 2-5, 2012 1 Arts Festival Gallery Mayfair East Atrium 9 Midori Gallery 3390 Mary St., Suite 128, 33133 3168 Commodore Plaza, 33133

2 Artway 66 Gallery Dharma Studio Contemporary Art 2911 Grand Avenue, 33133 3170 Commodore Plaza, 33133

2 GroveHouse Artists Frameworks Wifredo Lam, The Family, (La Familia), Mayfair Promenade, 33133 3196 Commodore Plaza, 33133 1975, oil on canvas, 19 ¾” x 27 ½”. Courtesy of Cernuda Arte. 4 RODEZart.com Gallery Galerie Des Beaux Arts CocoWalk. 3015 Grand Ave., 3220 Calusa St., 33133 1 Suite 237, 33133 3 Cernuda Arte MIAMI – CORAL GABLES 3155 Ponce de Leon Blvd., 33134 5 Max in the Grove Phone: 305 461 1050 2996 McFarlane Road, 33133 Alhambra Antiques Center Fax: 305 461 1063 2850 Salzedo St., 33134 Email: [email protected] 6 Blu Moon Studio of Art www.cernudaarte.com 3444 Main Highway, 33133 1 The Americas Collection Mon – Fri 10:30 am – 6 pm 214 Andalucia Ave., 33134 Sat 12n – 6 pm 7 Nomade Art Gallery Gallery Reception: First Friday of 3133 Commodore Plaza, 33133 Every Month, 7 – 10 pm Works by: Lam, Amelia, Carreño, Coconut Grove Arts Festival Portocarrero, Víctor Manuel, 1 Gallery Mariano, Enríquez, Bermúdez, 3390 Mary Street, 33133 Mijares, Cárdenas, Tomás Sánchez, Mendive, Gina Pellón, Flora Fong, Florido, Vicente Hernández, Besmar, Sandro de la Rosa, Irina Elén, Giosvany Echevarría, Ramón Vázquez, David Rodríguez, Dayron 4 Andy Moses, Culture of the Sea, 2006, acrylic on canvas, 12” x 16”. González & others. 5 Courtesy of ArtSpace/Virginia Miller Galleries, Coral Gables (Miami), Florida Coral Gables Merrick House 907 Coral Way, 33134

2 ArtSpace Virginia Miller Coral Gables Museum 3 Galleries 285 Aragon Avenue, 33134 169 Madeira Ave., 33134 T 305 444 4493 Domingo Padron Art Gallery Rosario Heins, Vendedor de Flotadores, 2011, acrylic on canvas. 60” x 60”. F 305 444 9844 1518 Ponce de Leon Blvd., Courtesy Cristina Chacón Gallery. www.virginiamiller.com 33134 [email protected] Mon – Fri 11 – 6 pm, Sat. and Fairchild Tropical Botanic 8 Cristina Chacón Gallery evenings by appointment Garden 3162 Commodore Plaza Vincench vs Vincench: A 10901 Old Cutler Rd., 33156 Suite 1F2, 33133 Dissident Dialogue from Cuba T. 305 442 2884 / 305 7257492 Reception: Friday Feb. 3, 2012, Galleria Ca’ D’ Oro www.cristinachaconstudiogallery. 6 - 10 pm 135 San Lorenzo Avenue, 33146 com Through February 2012 info@cristinachaconstudiogallery. IMPACT: Emotions of Color com Artists: Casper Brindle, Ned Tue-Fri: 11 am - 5 pm and always Evans, Andy Moses, Suzan by appointment Woodruff ARTDISTRICTS Phone: 305 725 7492 Opening Reception: Fri. March 2, FLORIDA One World: Ruth Bloch, SangSik 6 - 10 pm Hong, Angelo Valenzuela, March 2 - June 29, 2012 Rosario Heins, Hernando Alzate & Vince. Books and Books WWW.ARTDISTRICTS.COM Opening reception: Sat., Feb. 4. 265 Aragon Avenue, 33134 7-10 pm Feb. 4 – March 30, 2012 Centro Cultural Español Arteaméricas Booth # 606: 800 Douglas Rd., 33134 ADVERTISE HERE Cogollo, Rafael Espitia, 6 Hernando Alzate, Alberto [email protected] Gonzales Vivo, Julio Alan Lepez, y Alberto Carbi. 786-274-3236

february - march 2012 67 ARTGUIDE l FLORIDA MIAMI CORAL GABLES — MIAMI-downtown FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

GALLERY WALK 2ND SATURDAY 2 Adamar Fine Arts 4141 NE 2nd Avenue, 33137 9

2 AE District 3852 N. Miami Ave., 33137 3 1 Arevalo Gallery 6 7 10 12 151 NE 40th St. Suite 200, 33130 4 Phone: 305 860 3311 www.arevalogallery.com 8 11

Andrea Dasha Reich, Tess Garden, 2011, Pigments fused with epoxy resin 6 Lawrence Savage Galleries on sintra, 36” x 36”. Courtesy Etra 4217 Ponce de Leon Blvd., 33134 Fine Art.

Lowe Art Museum, University of Miami 7 Etra Fine Art 1301 Stanford Drive, 33124 50 NE 40th St., 33137 T 305 438 4383 Ninoska Huerta Gallery Hours: Mon-Sat 10 am - 6 pm 626 Coral Way # 601, 33134 www.etrafineart.com Gilda Sacasas, Los Hermanos Martin, [email protected] 2011, acrylic on canvas, 48” x 60”. Tresart Andrea Dasha Reich: Ecstatic Courtesy GDS Fine Arts Studio. 550 Biltmore Way, 33134 Kurt Merkel, Intuition 7, 2011, Visions aluminum, acrylic on wood, 24” x 24”. Courtesy Art Fusion Galleries. Opening Reception Saturday Victoria’s Gallery Feb.11, 7 – 10 pm 4 GDS Fine Arts Studio 293 Miracle Mile, 33134 February 11 - March 11, 2012 2910 Ponce de Leon Blvd., 33134 3 Art Fusion Galleries Phone: 305 447 1740 MIAMI – DESIGN DISTRICT 1 NE 40th St., 33137 8 Locust Projects Cel. 305 332 1905 Suites 3, 6 & 7 155 NE 38th St., 33137 Fax. 305 447 9948 T 305 573 5730 T 305 576 8570 Email: [email protected] F 305 573 5769 www.locustprojects.org Hours: Tue-Fri 11am - 5 pm, www.artfusiongallery.com [email protected] Sat 11 am - 4 pm [email protected] Thu-Sat 10 am -5 pm After hours: By appointment only. Hours: Mon-Sat 11am – 6pm Art & Design Nights (2nd Markowicz Fine Art Saturdays) 1 NE 40th Street # 5, 33137 Odyssey 2012 Ongoing exhibition of William 10 Ricart Gallery Braemer in Suite 3 3900 NE 1 st Ave., 33137 On view through March 19, 2012 Gallery Nights: Sat. Feb. 11th, 11 Spinello Gallery and Mar. 10th 7 – 10pm 155 NE 38th St., 33137 Live Music, hors d’oeuvres, and Heather Nevay, Fresh Meat, 2012, oil refreshments 12 Wolfgang Roth & Partners on panel, 24” x 20”. Courtesy of 101/ exhibit. Valet parking available by South Fine Artocust Florida Parking. 201 NE 39th St., 33137

1 101 Exhibit 4 Bas Fisher Invitational MIAMI – DOWNTOWN 101 NE 40th St., 33137 180 N.E. 39th St., 33137 Humberto Benítez, Sugar and Spice (detail), acrylic on canvas, 40” x 106”. T 305 573 2101 The Artisan Lounge Courtesy H. Benítez Fine Art Gallery. F 305 573 6101 De la Cruz Collection 500 NE 1st Ave., 33132 www.101exhibit.com Contemporary Art Space [email protected] 23 N.E. 41st Street, 33127 Christopher Miro Gallery 1 H. Benitez Fine Art Gallery Tue-Sat 11-7, or by appt. www.delacruzcollection.org @ The Bank Gallery 305 Alcazar Ave. # 4, 33134 Heather Nevay: Flesch and 137 NE 1st Street., 33132 Phone 786 877 1045 Blood Dimensions Variable www.humbertobenitez.com February 11 - March 3, 2012 171 NE 38th Street, 33137 Freedom Tower [email protected] ART WYNWOOD, Booth A 20 Miami Dade College Gallery Hours: Mon-Fri 11:30 am – 6:00 February 16-20, 2012 System pm / Saturdays by appointment David Michael Bowers, New 600 Biscayne Boulevard, 33130 Paintings 5 Jorge M. Sori Fine Art Christopher Carter, WORKS Othón Castaneda Studio 2970 Ponce de Leon Blvd.,33134 Chambliss Giobbi, Not So Still The Artisan Lounge (Life) 500 NE 1st Ave., 33132 Klara Chavarria Contemporary Art March 10 – April 12, 2012 www.othoncastaneda.net 2912 Ponce de Leon Blvd., 33134

68 ARTDISTRICTS l www.artdistricts.com MIAMI DOWNTOWN - MIAMI WYNWOOD FLORIDA l ARTGUIDE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

6 6 Galeria Adelmo / Arte de las MIAMI – NORTH MIAMI Americas 1165 SW 6 St., 33130 Ambrosino Gallery 5 2 769 NE 125th St., 33161 4 Latin Art Core 3 1 1 4 4 2 1600 SW 8th St., 33135 Amy Alonso Gallery 750 NE 124 Street, Suite # 2, 2 Marta G. Ismail 33161

GALLERY WALK LAST FRIDAY 1516 SW 8th St., 33135 Art Nexus Store 3 Mildrey Guillot 12502 NE 8 Ave, 33161 2 ARTSPACE MAGQ 1654 SW 8th St., 33135 8747 SW 134th St, 33176 Basha Gallery 4 Molina Art Gallery 795 NE 125 Street, 33161 3 Avner Zabari Art Furniture 1634 SW 8th St., 33135 8755 SW 131 St., 33176 CS Gallery Obrapia Fine Arts 787 NE 125 Street, 33161 4 Ceramic League of Miami 1648 SW 8th St., 33135 8873 SW 129 St, 33176 Museum of Contemporary Tower Theatre Art – MoCA 5 Caprali Art Studio 1508 SW 8th St., 33135 770 NE 125 St., 33161 8903 SW 129 St., 33176 5 Unzueta Gallery XINQO Art Studio 6 Demandt Architecture 1607 SW 8th St., 33135 783 NE 125 Street, 33161 Sri Prabha, Helios 1, 2012, resin on 8886 SW 129th Terrace, 33176 panel. Courtesy Sri Prabha Studio Gallery. MIAMI – MIAMI BEACH MIAMI – SOUTH MIAMI 7 Pyramid Studios 8890 SW 129 Terrace, 33176 Art Photo Expo Instituto Cultural de Mexico – Sri Prabha Studio Gallery 910 Lincoln Rd., 33139 Miami 500 NE 1st Ave., 33132 8 Puchi Art Studio, Inc. 5975 SW 72nd St. The Artisan Lounge. Studio M4 8905 SW 129 St., 33176 Art Vitam Gallery Suite 101, 33143 Phone: 786 220 2774 P.O. Box 190975, 33119 [email protected] 9 Upscale Furniture Sunset Gallery and Framing www.sriprabha.com Consignment Gallery Art/Center South Florida 5865 Sunset Dr., FL 33143 Hours: Mon-Fri 11:00 - 5:00 pm, 8845 SW 132nd St., 33176 800 Lincoln Rd., 33139 and always by appointment. MIAMI – WYNWOOD Open Studios: Feb. 18, 7-10 pm MIAMI – LITTLE HAVANA ( 8 St. ) Bass Museum of Art Ongoing show: Solo show at 2121 Park Ave., 33139 National Socio-Environmental 1 Agustin Gainza T 305 673 7530 Synthesis Center, Annapolis, MD 1652 SW 8th St., 33135 www.bassmuseum.org Wed-Sun 12-5 MIAMI – THE FALLS 1 Cremata Gallery 1646 SW 8th St., 33135 Britto Central 1 Artists at the Falls Studio 818 Lincoln Rd., 33139 12974 SW 89th Ave., 33176 2 Cuba Ocho Art & Research Center Carel Gallery 1465 SW 8th St., 33135 922 Lincoln Rd., 33139

Collection Privee de Peinture et de Sculpture A. Dale Nally, Untitled # 12, 2008, oil 8 5 4 918 Lincoln Rd., 33139 / wood, 55” x 64”. Courtesy of A. Dale Nally Studio. Galeria del Sol 1628 Michigan Ave., 33139 1 A. Dale Nally Studio

7 6 Jewish Museum of Florida 2315 NW 2nd Ave., 33127 1 301 Washington Ave., 33139 T 305 724 6021 Hours: Tue. – Sat. 1 – 5pm 3 Lemon Sky: Projects + Editions www.adalenally.com 5700 Collins Ave., 33140 [email protected] New Paintings by Nationally Miami Gallery Recognized Painter A. Dale 9 701 Lincoln Rd., 33139 Nally. Available by appointment and Tableau Fine Art Group, Inc. for Wynwood Gallery Walks (2nd 5840 Pine Tree Drive, 33140 Saturdays of the month 7-10 pm)

2 The Wolfsonian – Florida 32 Abba Fine Art International University 233 NW 36th St., 33127 1001 Washington Ave., 33139

february - march 2012 69 ARTGUIDE l FLORIDA MIAMI-WYNWOOD FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

1 Abro Gallery 13 Gary Nader Fine Art 2137 NW 2nd Ave., 33127 62 NE 27th St., 33137 T 786 348 2100 www.abrogallery.com 10 Gregg Shienbaum Fine Art 2239 NW 2nd Ave.. 33127 31 Alberto Linero Gallery Phone 305 205 9089 2294B NW 2nd Ave., 33127 www.gsfineart.com

2 Alejandra Von Hartz Gallery 34 Hammer and Block 2630 NW 2nd Ave., 33127 Auctioneers 415 NW 26 St., 33127 Art Nouveau Gallery 348 NW 29th Street, 33127 Rubem Robierb, Dream Series No. Fabiana Pena, Gift Boxes, mixed 6, 2011. Courtesy of the artist and media on canvas, 46”x31”x2” ARTOPIA Curator’s Voice. 1753 NE 2nd Ave. 33132 Phone 305 374 8882 3 Elite Art Editions Gallery www.artopiamiami.com 26 Curator’s Voice Art Projects 46 Northwest 36th Street, 33127 Contemporary Art Gallery T. 754 422 5942 Artseen – New World School of 2509 NW 2nd Ave. 33127 www.elitearteditions.com the Arts (Between 25th & 26th St.) [email protected] 2215 NW 2nd Ave., 33127 Phone: 786 357 0568 Fabiana Pena: Solo Show Fax: 305 892 4192 February 11 – March 5, 2012 Ascaso Gallery Hours: Tue-Fri 12 n - 5 pm 2441 NW 2nd Ave., 33127 Email: [email protected] EVLWORLD www.curatorsvoiceartprojects. 2345 NW 2nd Ave., 33127 Avant Gallery com / www.milagrosbello.com Nicolás Felizola, Cinetique III, 2011, Silk, chiffon & gazar specially designed 12 3850 North Miami Ave., 33127 Rubem Robierb: Show Me the Fredric Snitzer Gallery by the artist, 42” x 42“. Courtesy of Money 2247 NW 1st Place, 33127 Hardcore Art Contemporary Space. Bakehouse Art Complex February-March 2012 561 NW 32nd St., 33127 GAB Studio T 305 576 2828 / www.bacfl.org D & G Art Design Gallery 105 NW 23rd Street, 33127 14 Hardcore Art Contemporary Sun-Sat 12-5 540 NW 28th St., 33127 Space 72 NW 25th St, Miami, FL, 33127 24 Bernice Steinbaum Gallery 5 Danilo Gonzalez Gallery Phone 305 576 1645 / 786 319 3550 North Miami Avenue, 33127 2732 NW 2nd Ave., 33127 0162 Fax: 305 576 1646 6 David Castillo Gallery www.hardcoreartmiami.com 2234 NW 2nd Ave., 33127 [email protected] Tue. - Fri. 10 am - 5 pm 7 Diana Lowenstein Fine Arts Saturday: 11 am - 4 pm 2043 North Miami Ave., 33127 Gladys Triana: Games in the Dark Dina Mitrani Gallery Nicolás Felizola: Cinetique 2620 NW 2nd Ave., 33127 Carlos Torres, Gestación, 2010, February 11, 2012, 7 - 10pm. mixed on canvas, 54” x 66”. Courtesy MADA Logo Contest by 8 Dorsch Gallery Galería Baobad. students of Miami International Alexiy Say, At Wall Street Exchange, 151 NW 24th St., 33127 University of Art and Design. 2011, excel-art, 62” x 44”. Courtesy of Continues on view Consuelo Black Square Gallery. 9 Dot FiftyOne Art Space 3 Galería Baobad Castañeda: “Untitled” (Homage 51 NW 36 St., 33127 46 Northwest 36th Street, 33127 to Gego). Phone: 305 409 0709 Art Wynwood Fair 37 Black Square Gallery 11 Durban Segnini Gallery [email protected] February 16 - 20, 2012 2248 NW 1st Place, 33127 2145 NW 2nd Ave., 33127 [email protected] Gabriela Morawetz, Manuela Phone 305 424 5002 www.galeriabaobab.com Covini and Lorie Kim [email protected] Edge Zones Alejandro de Narvaez, Carlos Continues on view: Gladys www.blacksquaregallery.com 47 NE 25th St., 33127 Torres, Alexis Terenin and Sheila Triana: Games in the Dark Tue-Sat: 10 am – 6 pm Giolitti. March 10, 2012, 7 - 10pm Victor Sydorenko: The Levitation Through February 23, 2012 Galerie Schuster Miami 15 Harold Golen Gallery Alexiy Say: Excel Art 2085 NW 2nd Ave., 33127 2294 NW 2nd Ave., 33127 March 10 - May 28, 2012 T 305 989 3359 Gallery 212 www.haroldgolengallery.com Charest Weinberg Gallery 2407 NW 2nd, Ave., 33127 [email protected] 250 NW 23rd Street, 33127 Gallery Diet Ideobox Art Space 174 NW 23rd St., 33127 2417 N Miami Ave., 33127

70 ARTDISTRICTS l www.artdistricts.com MIAMI-WYNWOOD FLORIDA l ARTGUIDE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

InterFlight Studio La Nu’s Barbershop Gallery 250 NW 23rd St., 33127 3040 NW 2nd Ave. Suite B,

33127 32 33 9 28 KaBe Contemporary Gallery 3 24 123 NW 23 Street. 33127 LK 2 ND SATURDAY WA GA LL ERY

2 Adrian Guerrero, Acomodos 16 23 actuales (detail), 2010, clay, variable Julio Le Parc, Forme en contorsion 18 36 dimensions. Courtesy Kavachnina sur fond blanc (detail), 1966, 39.5” Contemporary. x 12” x 6”. Denise Rene Editions. 5 20 Courtesy Lelia Mordoch Gallery. 13 1 34 2 3 Kavachnina Contemporary 25 26 46 Northwest 36th Street, 33127 29 Lelia Mordoch Gallery 38 Phone: 305 448 2060 2300 North Miami Ave. 33127 21 14 [email protected] Phone 786 431 1506 8 www.kavachnina.com www.galerieleliamordoch.com 39 1 28 Tue.- Fri. 11 am - 5 pm. [email protected] 35 29 Sat. Noon-5 pm, and by Arteaméricas, Booth 803 31 10 12 37 appointment Solo Show: Julio Le Parc 15 Swaying in the Jongno-gu Miami Beach Convention Center 6 (Seoul). Artists: Eun Sook Shin March 2-5, 2012 11 WYNWOOD (sculptures) and Jong-Taek Woo 1 7 ART DISTRICT (paintings) 33 LMNT 27 February 11 – March 8, 2012 55 NW 36 St, 33127 Opening: February 11, 7-10 pm Phone 877 525 LMNT CODIGO: Adrian Guerrero Phone # 2: 305 572 9007 (Mexico), Sculptures, www.l-m-n-t.com installations [email protected] March 10 – May 10, 2012 Open to Public: Monday - Friday, Phone: 305.407.8131 Opening: March 10, 7-10 pm 11am - 7pm www.thelunchboxgallery.com Saturday 12pm - 5pm [email protected] (Open for Saturday and Thursday Hours: 11 am - 5 pm ArtWalks) Isolations Through February 25, 2012 18 Luis Perez Galeria iPhoneography: Updated Visual 550 NW 29 th St., 33127 Dialogs March 10 – April 7, 2012 Jae Hahn, Soaring, oil on wood, 38” x 96”. Courtesy Kelley Roy Gallery. 20 MAC Art Group 2727 NW 2nd Ave., 33127 T 305 572 9860 Carlos Enriquez, L’Ecuyer, 1933, oil 16 Kelley Roy Gallery www.macartgroup.com on wood, 32” x 27”. Courtesy of Pan 50 NE 29th St., 33127 American Art Projects. T 305 447 3888 1 The Margulies Collection At www.kelleyroygallery.com The Warehouse Tue-Fri 11–5, Sat Noon-5 and 591 NW 27th St., 33127 21 Pan American Art Projects always open by appointment. 2450 NW 2nd Ave., 33127 2nd Saturday Art Walk, 7-9 pm UNIX Fine Art T 305 573 2400 Jae Hahn: My Little Man 173 NW 23rd Street, 33127 F 305 573 0720 Feb 11 - Mar. 3, 2012 www.panamericanart.com Opening reception: Feb 11, 2012, 35 Myra Galleries [email protected] 2 - 9pm Jaime Ferreyros, Out Again, 2010, 177 NW 23rd Street., 33127 Hours Tue-Fri 10-6 pm, iPhoneography. Courtesy of the artist and The Lunch Box. Sat 12-6 pm 36 Kiwi Gallery O.Ascanio Gallery Gallery Walk, 2nd Saturday, 2 – 9 pm 50 NW 29th Street, 33127 2600 NW 2nd Ave, 33127 The Naked Truth: Nudes and 39 The Lunch Box Gallery Erotica in Art 38 Kondoit 310 NW 24th Street, 33127 OnlineWall Fine Art Feb 11 - March 31 167 NW 25 Street, 33137 The space for contemporary 169 NW 36 St., 33127 Opening Reception, Private photography and etc… cocktail and presentation of 310 NW 24th Street, 33127 the book: Carlos Enriquez.

february - march 2012 71 ARTGUIDE l FLORIDA MIAMI WYNWOOD - ORMOND BEACH FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

Erotic Ink Drawings for Sonetti 10 Harmon-Meek Gallery NORTH MIAMI BEACH Lussuriosi by Pietro Aretino. 599 9th St. North, 34102 Introductory Essay by Professor see Miami – North Miami Beach Juan Martinez. Published by Pan Holocaust Museum of American Art Projects. Professor Southwest Florida OCALA Juan Martinez will speak at the 4760 Tamiami Trail North, presentation Suite 7, 34103 Appleton Museum of Art February 17, 6-9 pm 4333 E Silver Springs Blvd. 34470 HW Gallery www.appletonmuseum.org Robert Fontaine Gallery 1391 Third St. South, 34102 175 NW 23rd St., 33127 Robert Slack Fine Art 11 Longstreth Goldberg 3060 SW 53rd St., 34474 2 Rubell Family Collection 5640 Taylor Rd., 34109 95 NW 29th St., 33127 Gilles de Beauchene, The Queen is OCHOPEE in check. From: “The chess series”. 12 Courtesy Zadok Art Gallery. Marianne Friedland Gallery 359 Broad. Ave. South, 34109 Clyde Butcher Big Cypress Gallery 25 Zadok Art Gallery Marine Arts Gallery 52388 Tamiami Trail, 34141 2534 North Miami Ave, 33127 4250 Gulf Shore Blvd. North, 34103 Hours: Tuesday - Friday 10am – ORLANDO 7pm, Saturday 11am – 6pm 1 Naples Museum of Art Phone 305-438-3737 / Fax: 305 5833 Pelican Bay Blvd. , 34108 Baterbys Art Auction Gallery 438 3738 T 239 597 1900 / 239 597 1111 9101 International Drive, 32819 [email protected] www.thephil.org www.zadokgallery.com Bold Hype Gilles de Beauchene: The chess Native Visions Gallery 1844 East Winter Park Rd., 32803 series 737 5th Ave. South, 34102 Fabio Mesa: New works City Arts Factory Reception: March 10, 2012, 13 Rick Moore Fine Art Gallery 29 South Orange Ave., 32801 Hugo Marziani, Concrete, 1959, Tempera on Paper, 8.66” x 8.66”. 7-10pm 4230 Gulf Shore Blvd. North, Courtesy Sammer Gallery. Through the end of April 2012 34103 Clay Bodies Gallery 801 Virginia Dr., 32803 Rosen Gallery & Studios 23 Sammer Gallery MIAMI BEACH North Line Plaza Comma Gallery 82 NE 29th St., 33137 2172 J&C Boulevard, 34110 813 Virginia Dr., 32803 T 305 441 2005/305 576 1995 see Miami – Miami Beach [email protected] 14 Shaw Gallery Creative Spirit Art Gallery www.artnet.com/sammergallery. NAPLES 761 Fifth Ave. South, 34102 820 Lake Baldwin Ln., 32803 html / Mon-Fri 10-6 Equivocal Space: Concrete 1 Alan Brown Gallery 15 Trudy Labell Fine Art Galleria Portofino works 1949-1959 901 7th St. South, 34102 2425 Tamiami Trail North, 34103 5601 Universal Blvd., 32819 Seron, Aguerre, Marziani, Vidal, Sacerdote, Alvarez, Costigliolo, 4 The Darvish Collection, Inc. The Von Liebig Art Center Gallery Q Freire, Llorens, Pavlotzky, 1199 Third St. South, 34102 585 Park St., 34102 29 South Orange Ave., 32801 Presno, Magariños, Jacobsen, Arden Quin. 5 DeBruyne Fine Art 16 Weatherburn Gallery The Grand Bohemian Gallery March 1 – April 26, 2012 275 Broad. Ave. South, 34102 452 Bayfront Place, 34102 325 South Orange Ave., 32801

University of Miami Wynwood 6 Eckert Fine Art - Naples NEW SMYRNA BEACH Mennello Museum of Projects Space 390 12th Ave. South, 34102 American Art 2200 NW 2nd Ave., 33127 Arts on Douglas Fine Art & 900 East Princeton St., 32803 The Englishman Fine Art & Collectibles Waltman Ortega Fine Art Antiques 123 Douglas St., 32168 Millenia Fine Art 2238 NW 1st Place, 33127 1170 Third St South, 34102 555 S. Lake Destiny Drive, 32810 Atlantic Center for the Arts Whale & Star. The Studio of Galerie du Soleil 1414 Art Center Ave, 32168 Orlando Museum of Art Enrique Martínez Celaya 393 BRd. Ave. South, 34102 2416 North Mills Ave., 32803 2215 NW 1st Place, 33127 Harris House of Atlantic Center www.omart.org Gallery Matisse for the Arts World Class Boxing 1170 3rd St. South, 34102 214 South Riverside Drive, 32168 Suz Letzig Gallery 170 NW 23rd St., 33127 1212 Woodward St., 32803 7 Gallery Susan deWitt NOKOMIS Yeelen Art Gallery 5405 Taylor Rd., 34109 Wyland Galleries of Florida 250 NW 23rd St., 33127 Elder’s Fine Art & Antiques 170 Sunport Lane, 32809 8 Gardner Colby Gallery I 901 S. Tamiami Trail, 34275 386 BRd. Ave. South, 34102 ORMOND BEACH NORTH MIAMI 9 Gardner Colby Gallery II Ormond Memorial Art 365 BRd. Ave. South, 34102 see Miami – North Miami Museum and Gardens 78 East Granada Blvd., 32176

72 ARTDISTRICTS l www.artdistricts.com PALM BEACH - ST. PETERSBURG FLORIDA l ARTGUIDE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

5 Hangen Thompson Gallery PONTE VEDRA Paradise Gallery 1 326 Peruvian Ave., 33480 5670 Palmer Blvd., 34232 Margo Buccini Paintings 3 6 Holden Luntz Gallery P.O. Box 2232, 32004 R & R Bond Galleries 256 Worth Ave., 33480 18 South Blvd. of the Presidents, Stellers Gallery of Ponte Vedra 34236 7 Irving Galleries 240 A1A North, 32082 332 Worth Ave., 33480 ST. AUGUSTINE SAFETY HARBOR John H. Surovek Gallery Absolute Americana Art Gallery 349 Worth Ave., 33480 Syd Entel Galleries 77 Bridge St., 32084 247 Main St., 34695 Liman Gallery Brilliance In Color 139 North County Rd., 33480 SANFORD 25 King St., 32084

Michali Gallery Jeanine Taylor Folk Art Butterfield Garage Art Gallery 440 North County Rd., 33480 211 East First St., 32771 137 King St., 32084

Mulry Fine Art SANIBEL City Gate Gallery 15 139 North County Rd., 33480 1 St. George St., 32084 Big Arts Center Phillips Galleries 900 Dunlop Rd. 33957 Coleman Gallery 336 Worth Ave., 33480 65 King St., 32084 SANTA ROSA BEACH Present Global Art Gallery Crooked Palm Gallery 5301 South Dixie Highway, 33405 Weatherall Fine Art 75 King St., 32084 3730 Scenic Highway 30-A West, 8 Russeck Gallery 32459 Cutter & Cutter Fine Art Galleries 203 Worth Ave., 33480 120 Charlotte St., 32084 SARASOTA Select Fine Art Galeria Del Mar 339 Worth Ave., 33480 Allyn Gallup Contemporary Art 9 King St., 32084 12 8 1419 5th St., 34236 Society of the Four Arts The Gallery at Screen Arts 6 4 2 Four Arts Plaza, 33480 Art Center Sarasota 228 W. King St., 32084 707 North Tamiami Trail, 34236 9 Wally Finlay Galleries The Imaginarium International, Inc. Art Uptown Gallery 8 Cathedral Place, 32084 165 Worth Ave., 33480 1367 Main St., 34236 PALM BEACH Lightner Museum Whitehall Flagler Museum The Collectors Wall 75 King St., 32804 1 A.B. Levy One Whitehall Way, 33480 4976 South Tamiami Trail, 34231 211 Worth Ave., 33480 Love’s Art Emporium Zaras Antiques Crissy Galleries 8 Cathedral Place, 32084 Arcature Fine Art 334 Worth Ave., 33480 640 S. Washington Blvd., 34236 318 Worth Ave., 33480 Mullet Beach Gallery PALM BEACH GARDENS Dabbert Gallery 51 Cordova St., 32084 Art Wise International 76 South Palm Ave., 34236 350 S. County Rd., 33480 Onessimo Fine Art Rembrandtz 4530 PGA Blvd., 33418 Elizabeth Rice Fine Art 131 King St., 32084 Balatro Gallery 1467 Main St., 34236 408 Hibiscus Ave., 33480 Studio E. Gallery Sydney Mckenna Gallery 4600 Pga Blvd., 33418 Galleria Silecchia 5 Inlet Pl., 32080 DTR Modern Galleries 12 S. Palm Ave., 34236 345 Worth Ave., 33480 PEMBROKE PINES 20 S. Palm Ave., 34236 ST. PETERSBURG

2 Edward and Deborah Pollack The Art Gallery – Broward College Hodgell Gallery Cakewalk Artists’ Co-op 205 Worth Ave., 33480 7200 Pines Blvd., 33024 46 Palm Ave. South, 34236 1114 Central Ave N., 33705

Galeria of Sculpture PENSACOLA Howard Schickler Fine Art Chihuly Collection By Morean 11 Via Parigi – Worth Ave., 33480 PO Box 49227, 34230 Art Center Pensacola Museum of Art 400 Beach Drive, 33701 3 Gallery Biba 407 S. Jefferson St., 32502 The John and Mable Ringling 224-A Worth Ave., 33480 T. 850 432 6247 Art Museum Craftsman House Gallery F. 850 469 1532 5401 Bay Shore Rd., 34243 2955 Central Ave, 33713 4 Gasiunasen Gallery www.pensacolamuseumofart.org 415 Hibiscus Ave., 33480 Katherine Butler Gallery Crystal Mirage Gallery Visual Arts Gallery - Junior 1943 Morrill St., 34236 800 2nd Ave. NE, 33501 Gavlak Gallery College 249 B Worth Avenue, 33480 1000 College Blvd., 32504 Museumpiece Inc. Florida Craftsmen Gallery P.O. Box 20309, 34276 501 Central Ave., 33701

february - march 2012 73 ARTGUIDE l FLORIDA ST. PETERSBURG - VERO BEACH FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

Florida International Museum TALLAHASSEE VENICE 244 Second Ave. North, 33701 Capitol Complex Galleries Native American Fine Art Mindy Solomon Gallery Florida Dept. of State 4402 Via Del Villetti Drive, 34293 124 2nd Ave N.E., 33701 400 S. Monroe St., 32301 Venice Gallery & Studio Morean Arts Center LeMoyne Art Foundation 237 Warfield Ave., 34285 719 Central Ave., 33701 125 N Gadsden St., 32301 VERO BEACH Museum of Fine Arts The Mary Brogan Museum of Courtesy Flametree Clay Art Gallery 255 Beach Dr. N.E., 33701 Art and Science 350 S. Duval St., 32301 Nancy Markoe Gallery 3 Flametree Clay Art Gallery 3112 Pass-A-Grille Way, 33706 Museum of Fine Arts – 2041 14th Avenue, 32960 Florida State University Phone: 772.559.5473 Nestor Haverly Gallery 250 Fine Arts Building, 32306 www.flametreeclay.com 25 2nd St. North, 33701 TAMPA Red Cloud Indian Arts Gallery 208 Beach Drive N.E., 33701 Bleu Acier 120 W Gasparilla Plaza, 33602 The Salvador Dali Museum Charlotte Dickinson. At Rest, oil on Collection Brad Cooper Gallery canvas. Courtesy Artists Guild Gallery. One Dali Boulevard, 33701 1712 E 7th Ave., 33605 T 727 823 3767 F 727 894 6068 Clayton Galleries 1 Artists Guild Gallery www.salvadordalimuseum.org 4105 South MacDill Ave., 33611 1974 14th Avenue, 32960 Phone 772 299 1234 Sebastian Thomas Gallery Florida Museum of www.artistsguildgalleryverobeach. 635 Central Ave, 33701 Photographic Arts com 200 N. Tampa St., 33602 3D District Summer Stroll: 1st Fri. Shapiro’s at BayWalk 5-8 pm Winter Hours: Mon. – Fri. Kim Xu, Tai Ping, oil on paper, 20” x 28”. Courtesy of the artist and Gallery 14. 185 Second Ave. N., 33701 Gallery Hoffman Porges 10 am – 5 pm, and Sat. 11 am 1907 East 7th Ave., 33605 – 3 pm St. Petersburg Clay Company Opened by appointment. 4 Gallery 14 420 22nd St. South, 33712 Graphicstudio / Institute for The Artists Guild Gallery is a 1911 14th Avenue, 32960 Research in Art cooperative gallery of 19 local Phone 772 562 5525 St. Petersburg Museum of 3702 Spectrum Blvd., 33612 artists (painting, sculpture, www.gallery14verobeach.com History jewelry, pottery, raku, glasswork, Hours June & July: Thurs.– Fri. 335 Second Ave NE, 33701 Michael Murphy Gallery ceramics, prints, etc.) 10am-4pm & Sat. 10am-2pm, or by 2701 S. MacDill Ave., 33629 Charlotte Dickinson: People, appointment. Studio Encanto Places and Things Located in the Downtown Dine 209 First St. NE, 33701 Nuance Galleries February 3 – 29, 2012 and Design District, the Art 804 S Dale Mabry, 33609 Destination of the Treasure Coast STUART Gallery 14 partners: Edgardo Orange Park Gallery Abello, Leigh Bennett, Lila Court House Cultural Center International, LLC Blakeslee, Barbara du Pont, 80 East Ocean Blvd., 34994 1215 North Franklin St., 33602 Mary Ann Hall, Virginia Knapp, Barbara Landry, Deborah Morrell Profile International Galleries of Tampa Museum of Art 2 Cultural Council of Indian Polackwich, and Dorothy Napp Fine Art 120 W. Gasparilla Plaza, 33602 River County Schindel. Also, represented 3746-48 East Ocean Blvd., 34996 2041 14th Avenue, 32960 artists: Minakshi De, Emily USF Contemporary Art Phone 772 770 4857 Heinzel, Francis Mesaros, Carole Ron Renner Gallery Museum [email protected] Keller, Carol Staub and Viola 649 SE Central Parkway, 34994 4202 East Fowler Ave. CAM 101, www.cultural-council.org Pace Knudsen. 33620 3D District’s First Friday “Gallery Art Meets Fashion: Works by SUNRISE Stroll,” 1st Friday of the month, Chinese Artist Kim Xu TARPON SPRINGS 5-8 pm. Take My Hand: A Photographic Louis J. Dianni Journey. Works by Gary Collins Antique Marine Art Leepa-Rattner Museum of Darby Fine Art Feb 1 – 25 2012 1304 SW 160th Ave., 33326 Art 1902 14th Avenue, 32960 Fifth Annual “SMALL is Big” 600 Klosterman Rd., 34689 Juried show featuring works SURFSIDE under 12” x 12” by artists from TEQUESTA near and far. Lions Gallery Reception Fri. March 2, 5-8pm in 9300 Harding Ave., 33154 Lighthouse ArtCenter Museum conjunction with the Downtown, and School of Art Dine and Design First Friday 373 Tequesta Dr., 33469 Gallery Stroll. 395 Seabrook Road, 33469 March 1 - 31 2012 (School Address)

74 ARTDISTRICTS l www.artdistricts.com VERO BEACH - WINTER PARK FLORIDA l ARTGUIDE FEATURED: GALLERY MUSEUM ARTIST STUDIO PRIVATE COLLECTION

First Friday Gallery Strolls WEST PALM BEACH

2 7 6 8 1 3 Ann Norton Sculpture

5 Gardens 253 Barcelona Rd., 33401

1 The Armory Art Center 9 1700 Parker Ave., 33401

4 Eaton Fine Art, Inc. 10 11 1 435 Gardenia St., 33401 12 2 Historical Society of Palm Beach County 300 N. Dixie Highway, 33401 5 Indian River Charter High School 11 Mary Woerner Fine Arts 6055 College Lane, 32966 3700 S Dixie Highway # 6, 33405 Phone 772 567 6600 www.irchs.org 3 Norton Museum of Art South Olive Ave., 34108 www.norton.org

12 Red Dot Contemporary Kathy Ferrell, Splash. Courtesy Palm 3508 South Dixie Highway, 33405 House Gallery. 4 South Florida Science Museum ©Rochelle Haisley. The Glory of Life. 9 Palm House Gallery 4801 Dresher Trail North, 33405 Courtesy the artists and Island Images Gallery of Hope. 3227 A Ocean Drive, upstairs, 32963 WHITE SPACE The Mordes Pamela Pike Gordinier, Am I? I am. Phone 772.231.6816 Collection Courtesy Intrepid Art Gallery. 7 Island Images www.palmhousegallery.com/ 2805 N. Australian Ave, 33407 Gallery of Hope Exhibits & Classes by Member Photographic Gallery Artists. Hours by chance or by WESTON 6 Intrepid Art Gallery 2036 14th Avenue, Suite 101, appointment Pelican Plaza 32969 Visit our website to see our Fine Art Acquisitions 4807 North AIA, 32963 T. 772 643 6994 complete schedule of classes, 318 Indian Trace, 33326 Phone 772 913 1122 / 786 227 www.galleryofhope.org exhibitions, workshops and events. 3481 [email protected] WILTON MANORS Intrepidartgallery.blogspot.com Hours: Tues. & Thurs. 10 am – 8 [email protected] pm, Wed. & Fri. 10 am – 5 pm, Ellen Charapko Gallery Tue – Sat 10 – 6 pm, and Sunday Sat. 10 am – 4 pm 2374 Wilton Drive, 33305 by appointment. Rochelle Haisley: My Voice My Pamela Pike Gordinier: Am I? Vision-A photographic Journey WINTER GARDEN I am of Self Through February 18, 2012 Through February 25th, 2012 Winter Garden Heritage Video performance. The artist Reception: Friday, February 3rd, Foundation will be performing with dancer L’ 2012 5 – 8 pm 1 Plant St., 34787 Ana Burton “It’s A Dog’s Life” to benefit Gallery view. Courtesy Tiger Lily Studio February 18, 2012, 4:00 pm, at Dogs For Life, Inc. & Gallery WINTER HAVEN the beach February 28 - March 31, 2012 Rafael Consuegra: Sculptures Reception: Friday, March 2, 2012 10 Tiger Lily Studio & Gallery Ridge Art Association March 1 – 31, 2012 5 – 8 pm 1903 14th Avenue, 32960 210 Cypress Gardens, 33880 Phone 772.778.3443 8 Meghan Candler Gallery www.tigerlilyvero.com WINTER PARK Village Shops. 6270 Highway A1A North, 32963 11 Tropic Art & Frame Albin Polasek Museum & Phone: 772 234 8811 1910 14th Avenue, 32960 Sculpture Gardens www.meghancandlergallery.com Phone: 772 567 9400 633 Osceola Ave., 32789 www.tropicartandframe.com Cornell Fine Arts Museum – 1 Vero Beach Museum of Art Rollins College ARTDISTRICTS 3001 River Park Drive, 32963 1000 Holt Avenue, 32789 ADVERTISE HERE FLORIDA Phone 772 231 0707 www.verobeachmuseum.org The Charles Hosmer Morse [email protected] Museum of American Art 12 Vero Beach Art Club 445 North Park Ave., 32789 786-274-3236 WWW.ARTDISTRICTS.COM 3001 Riverside Park Drive, 32963 Phone 772 231 0303 Frames Forever & Art Gallery www.verobeachartclub.org 941 Orange Ave., 32789

february - march 2012 75 Serving Miami for over 30 years

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