Artist Jeanne-Claude, Cristo's Wife and Co-Wrapper of Biscayne Islands, Passes Away
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| Tom Healy |
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| Courtesy of The Beach Chronicles |
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| Farley Aguilar's Mother and Daughter (2008); ink on paper, 13" x 14" |
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| Courtesy of NeckFace/Norman Lendzion |
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| Rendering of Herzog & de Meuron's design for the Miami Art Museum |
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| via RW Chicago's Flickr / CC2.0 |
| The Modern Wing of the Art Institute of Chicago |
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| Natalie O'Neill |
| Atomik |
The stocky Kendall-bred graphic designer -- whom Riptide agreed not to name because, well, we like outlaws -- has been arrested five times for tagging rooftops, trains, and buildings. He's been chased by police dogs and hunted by helicopters. But his most recent beef isn't with the cops.
Atomik is the Kanye West of the Miami graffiti world: crazy talented, but with a reputation for pissing on other artists. After six years at the top of the well-known graffiti crew MSG -- or Miami Style Gods -- he's leaving. The reason: He and the founder, Crome, had a blowout over how to handle a turf war.
Crook, the cofounder, says, "It's like... your parents splitting up."
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| via Diaspora Vibe Gallery |
| Aimee Lee |
"The Machine in the Ghost" by Paul Pfeiffer, 7-10 p.m.
World Class Boxing, 170 NW 23rd St.
Check out our write-up by Carlos Suarez de Jesus, but if it's at W.C.B., you know it's going to be good. Paul Pfeiffer's videos are essential viewing.
"Everyday Travails" by Adler Guerrier, 7-10 p.m.
David Castillo, 2234 NW 2nd Ave.
One of a select few hometown artists to be featured in the Whitney Bienniel, Guerrier never disappoints.
"Fieldwork" by Richard Höglund, 7-10 p.m.
Gallery Diet, 174 NW 23rd St.
Amazingly intricate large- and medium-scale drawings, some of which are based on mapping Spinoza's Ethics.
"Cutting Edge Framing", 6-9 p.m.
Cutting Edge Framing, 11 NE 39th St.
We're really looking forward to this D.I.Y. exhibition from some of our favorite locals. (See our post from Wednesday). Also, don't miss the afterparty at Terri and Donna's.
"Native Intelligence" by Aimee Lee
Diaspora Vibe, 3938 North Miami Ave.
The opening for this show was actually Thursday, but most people probably waited until Art + Design Night anyway. This show feature's large-scale installations that are impressive upon first viewing but also reward extended staring.
"New Work" by Jenny Brillhart; "Recorded Eyesight" by John Sanchez, and "Venting" by Richard Heden, 7-10 p.m.
Dorsch Gallery, 151 NW 24th St
All three artists are worth checking out, but we're particularly excited by Brillhart, a recent transplant to the Miami scene.
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| The Dalai Lama's Shoes, 2005, Kirlian photograph, 40 x 40 inches. |
| Tomas Loewy |
| Incense and peppermints and beach balls. |
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| via |
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| Via Lani Beloso |
It sounds like a scene from House of 1,000 Corpses, but it's what a lot of Lani Beloso's art looks like. Before you run for the barf bag, consider the Brickell-based painter's reason for the somewhat gnarly medium. Ever since puberty, Beloso has had a disorder called menorrhagia. The condition causes long and painful periods. (Imagine Andre the Giant scraping your innards out with a spoon.) Beloso bleeds four times as much as the average woman and is sick three days per month. "Through life, I haven't been able to talk about it," she says. "So this is disclosure: I'm turning my pain into art."
Sure, you could argue her work is a tad narcissistic. ("I want some empathy for what I go through!" she declares.) But also she deserves credit. This isn't some sailboat-on-the-wall collection that folks will soon forget. Her show -- appropriately titled "The Period Piece" -- opens October 10 at GAB Studio (105 NW 23rd St., Miami). It seeks to make something useful out of "a painful, useless burden."
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I've constructed a 22 ft tunnel out of plywood that leads into the project room. There is no way in or out of the project room except for this tunnel. As you travel through the tunnel, it gets smaller and smaller, making it so that you have to crawl and put yourself in a submissive position in order to reach the tunnel's destination. At the end of the tunnel the subject will find me waiting in the project room and I'll try to the best of my ability to overpower and rape the person who crawls through.Problem is, Google turns up nothing on Whitehurst; the author, Sheila Zareno; curator Caroline Miffen; any of the art galleries mentioned, including William Strunk Jr. Museum of Contemporary Art (Strunk is the co-author of The Elements of Style, by the way); Alexandria Asheton Gallery; Seward Projects Space; Akron Culture Committee; and the 4D Gallery in Columbus.
For several weeks, I've been reading passionate plea emails to save the $11 million in funding for Miami-Dade cultural programming, all of them written by the heads of well-established, reputable organizations such as the Miami Art Museum, the Wolfsonian, and Vizcaya. Because the funding they receive from the county is crucial seed money -- used to secure all the other grants and donations they apply for -- the loss of county funding would be devastating for all 400 organizations, and deadly for most, so the tone of the emails is professional, pleading, and desperately sincere: "Please show up to the September 17 budget hearing and pledge your support in two minutes or less; be cordial; and don't complain about the raises Alvarez and Moss have handed out."
The stakes are too high, in other words, for the truth.
And the truth is that this entire charade the county is forcing arts organizations and their supporters (social service organizations too) to play along with is demeaning and a waste of everyone's time. Essentially, they're asking people such as GableStage's Joseph Adler, Miami Art Museum's Terry Riley; and Florida Grand Opera's Robert Heuer to take time away from their busy schedules to come and beg for the pittance of money required to run their organizations, while simultaneously amassing as many supporters as possible to give testimony. The implied equation: (two minutes of testimony) x (# of testimonies) = dollars received is pseudo-democratic at best, thuggish at worst.
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| Luciano Goizueta's la-olla de oropoel, acrylic on canvas, 60" x 75", 2009 |
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| Photo by C. Stiles |
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| via GenArt.org |
| According to a Gawker tipster, the winner of this year's Gen Art Film Festival hasn't been paid yet. |
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| photo courtesy miamiguitartown.com |
| guitar painted by artist Jeannette Pomeroy Parssi and autographed by the Allman Brothers Band |
| Wikicommons |
| "Puppy" by Jeff Koons, Bilbao |
In March, we reported on the release of Miami Graffiti, a photography book by New York husband-and-wife duo James and Karla Murray that captures the unique culture and handiwork of some of our finest street artists. Tommorow, the work of those same graff artists- and the photographers- will be honored in a fancy-schmancy opening at a Los Angeles Art gallery. It kind of tickles us to think of affluent art-collector types washing cubed cheese down with pinot grigio as they study photos of the "vandalism" our politicians have vowed to eradicate. Check out the promotional video above, which interestingly eschews much footage of murals and instead shows some cool shots of real Miami.
| Wikicommons |
| Christ, after reading too much Eric Hobsbwam |
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| via Toothpaste for Dinner |
Unlike at Columbia and Yale, there won't be any formal M.F.A. degrees awarded to those who complete the two-year program, which will revolve around a topical theme that changes with each entering biannual class. Accordingly, don't expect to see the "resident artists" hunker down in front of easels and live models. "Most art is conceptually based now. It's art based on an idea," says [Yale instructor Steven Henry] Madoff. "It didn't turn out that the twentieth century's most influential artist was Picasso. It turned out it was Duchamp ... We don't need to do foundation courses, how to draw, how to sculpt ... You don't need three credits for American Art History From 1945 to the Present."
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| via Art.com |
| P. Scott Cunningham |
| Where's the rum, Miami? |
Last night, Miami International Aiport in cooperation with American Airlines and Miami-Dade County (and thanks to the efforts of the Odebrecht Corporation), unveiled two 50-foot long murals by acclaimed Brazilian artist Carybé.
Despite the ceremony feeling like a scene out of The Wire (too many speeches and too many of them in the "Clay Davis"-style), and the fact that all the beverages were non-alcoholic (didn't they know the press was coming?), the moment retained its aura of importance. And how it could it not? How many times do great works of art get rescued from New York City, restored and re-hung in Miami? Not often.
For the whole story of how the murals were rescued just 30 days from their scheduled demolition, see our Night & Day write up or watch the video at the site dedicated to the project.
Please also see our slideshow for beautiful images courtesy of Odebrecht and MIA's Division of Fine Art and Cultural Affairs.