This fall, the Craft in American Center will presentPiñatas: The High Art of Celebration, which will focus on the overlooked craft of handmade Piñatas and Piñata-based art objects. Piñatas, ubiquitous and often the focal point of parties and festive occasions across the U.S., are handcrafted and ephemeral objects that signify happiness, joy, and celebration. This show will explore how they are designed, constructed, and executed, and the integral role that they play in modern material culture. It will present the work of traditional piñata artisans alongside artists who reinvent and reinterpret the Piñata through their engaging sculptural practices and strong political expressions.
The contemporary artists featured in this exhibition reconsider the techniques, materials, form, function, and concept of the Piñatato create sculptural art. For example, Los Angeles artist Roberto Benavidez creates exquisite fantastical beasts, creatures, and animals through a cut and applied paper process that stems from Piñatas, but that carries them into a new world of imagined possibilities. Other participating artists, including Giovanni Valderas in Texas, amplify the materiality and performative aspects of Piñatas to address the displacement and mistreatment of Latinx communities in the U.S. Binational San Diego/Tijuana artist Diana Benavidez’s trio of Vehiculos Transfronterizos is a group of remote-control cars that use the Piñata as a form of political resistance.
Yesenia Prieto, third generation artist-maker, makes vibrant custom Piñatas for parties, events, concerts, and performances across Hollywood. Prieto, like several makers in the exhibition, is dedicated to bringing the beloved yet under-recognized and underpaid work of piñateros, many of whom are immigrants, to the forefront.
Piñatas are a rooted Mexican tradition that has become widespread and dispersed across the world. The intent of the exhibition is to bridge communities through the engaging, accessible nature of the Piñata as an art form and popular cultural artifact. Considering the popularity of Piñatas in our lives and how many memories are made around Piñata play, this contemporary form of cultural craft has been relatively unexamined.
Piñatas are intertwined with childhood experiences, gatherings of family and friends, and moments of happiness, all of which became rarer and more precious over the past year and a half. As markers of these events, Piñatas have new contemporary meaning. They continue to be shaped to reflect changing times. This exhibition will spotlight makers who creatively generate these objects in response to our shifting world.
As creators of material culture, craft makers design and build the relics of our everyday, modern world. This exhibition touches on the ephemeral and performative nature of certain forms of craft. Craft today plays a part in our traditions, our celebrations, our relationships, and it deepens how we experience life.
Participating artists include: Alejandro Arredondo, Diana Benavidez, Roberto Benavidez, Sita Bhaumik, Amorette Crespo, Dignicraft, Justin Favela, Francisco Palomares, Yesenia Prieto, Josue Ramirez, Isaias Rodriguez, Lorena Robledo, Ana Serrano, and Giovanni Valderas.
An internationally acclaimed artist and a figure central to the German minimalist movement, Charlotte Posenenske (1930-1985) worked mainly with sculpture and received numerous accolades in Germany and from the international scene up until her decision, in 1968, to dedicate her life to sociology.
From B to E and more is her first retrospective in Italy, and it traces the evolution of this artist, who died prematurely, by concentrating on a series of some of her best-known works that were created in the span of just over a year. Her artwork is distinguished by its radically open-ended nature: embracing concepts of repetition and industrial fabrication, Posenenske developed a form of minimalism that, unlike her American contemporaries, addressed the socioeconomic and political concerns of 1968 in order to redesign the status quo of the art market and reject the established cultural hierarchies.
In these years of pandemic and social protests driven by an ever-increasing apprehension of economic polarization, Fondazione Antonio Dalle Nogareis exhibiting Charlotte Posenenske:from B to E and more with the aim of confronting the dynamics that govern the world’s economic structures and especially those of the contemporary art system. It does this through the work of an artist who focused on these issues over 50 years ago, indicating that, despite the progress of our civilization, cyclically we face the same concerns, even if they are generated by events of a profoundly different nature.
The exhibition is staged with the kind support of Provincia autonoma di Bolzano.
The Miami Design District announces the debut of several new installations and initiatives for their current season of art programming.
SPECIAL SUNSET PUBLIC ART TOURS
Immerse yourself in the Miami Design District’s rich art and architecture. Experience the neighborhood like never before alongside resident expert Thom Wheeler Castillo. Visit Emmett Moore’s The Grotto, Apollo Projects ‘Landed’, April Bey’s Fringe Project installation, and more.
LOCATION: Palm Court Plaza 140 NE 39th St, Miami, FL 33137
DATES: Takes place the first and last Sunday of every month at 6 PM
ArtLife is an innovative contemporary art gallery and lifestyle brand with a focus on contemporary, pop and street art. The gallery was founded by veteran Art Advisor and Manager, Avery Andon in 2015, as one of the first online-only international Blue-Chip art galleries. Given the high momentum Miami is currently experiencing, the team felt it was the right time to debut this temporary pop-up in the Miami Design District. ArtLife has created a space where visitors can be immersed in works by some of the world’s most celebrated artists including Andy Warhol, Keith Hering, and Banksy. Additionally, ArtLife also provides the opportunity for visitors to experience works by a range of up-and-coming artists such as Cory Van Lew and Jannie Holmes. ArtLife Gallery will be on view through the end of June.
LOCATION: 180 NE 40th St, Miami, FL 33137
DATES: Month of June 2021 (Sunday – Thursday 11am-6pm/ Friday & Saturday 11am-8pm)
QUINAZ STUDIO’S BAY STORE
Using only materials sourced from Biscayne Bay and the Miami River, artist/designer James Quinaz transforms trash into treasure for BAY STORE. Part exhibition, part performance, BAY STORE invites you to watch the design process as Quinaz navigates the detritus in our waterways to produce thoughtful, functional furniture before your eyes. BAY STORE asks the viewer to consider the cost of excess and reckon with a society that litters its priceless natural landscapes with cheap plastics, foams, and other harmful waste. Visitors will have the opportunity to watch the artist work, learn about the issues facing South Florida’s precious aquatic resources, and purchase one-of-a-kind pieces from the gallery. 10% of the proceeds will be donated to nonprofits working to keep our bay and ocean clean.
LOCATION: Sweetbird South, 92 NE 40th St, Miami, FL 33137
DATES: June 24th – July 25th
NEW WORLD SCHOOL OF ARTS PRESENTS UNSPECIFIC VOID: 2021 BFA EXHIBITION
NWSA presents the 2021 Bachelor of Fine Arts Exhibition. Despite the challenges the pandemic has brought, the students persevered and continued to work in makeshift studios at home and produced an incredible body of work. The work included in the exhibition ranges from documentation of the pandemic to heartbreak to futuristic imagination, among other themes. The exhibition culminates these young artists’ academic training at the school and will present a wide range of media and themes. Twenty-eight recent graduates will participate in the exhibition.
LOCATION: Moore Building, 191 NE 40th St, Miami, FL 33137
DATES: June 21st – July 11th
“THE GROTTO” BY EMMETT MOORE
Part fiction, part reality, The Grotto is an immersive installation comprised of faux coral boulders sculpted into a secluded lounge, inspired by coral rock quarries and the mythology surrounding the fictional identities that form around these places, where the young and the marginalized gather to sequester themselves and share pleasures. The Grotto also takes cues from local sites such as the Coral Castle and the Venetian Pool where the quarrying of coral rock acquiesced to a mystical landscape, and a fantasy Venetian enclave. Each a tropical fantasy created by man in an effort to transport visitors to an otherworldly place. The Grotto is part pavilion, part folly, where one can escape from everyday life. Emmett Moore’s Grotto Lounge is on permanent display.
LOCATION: 3920 NE 2nd Ave., Miami, Florida, 33137
DATES: Permanent display
APOLLO PROJECTS ‘LANDED’
Apollo ‘Landed’ is the initial iteration of the first plant exhibition to take place in Miami Design District. All artists involved were invited to create, with nature as collaborator and muse, bringing attention to a living, shifting climate and all her inhabitants. From May to July, this pop-up will be hosting activations and installations, focused on reconnecting with the environments around us, where locals are invited to create art, with nature as their muse.
LOCATION: 151 Northeast 41st Street, Suite 12, Miami, Florida 33137
DATES: May 2021 – July 2021
JADE ALLEY FILMS 2021
A collaborative year-long art video feature, Jade Alley Films: 2021 features four artist video selections by the District’s key institutions, including Locust Projects, de la Cruz Collection, and ICA Miami. From April 1 to June 30, the Miami Design District will feature ‘Outage’ by Philadelphia-based artists: Jennifer Levonian and Eva Wylie. Originally commissioned and premiered by Locust Projects in 2019, Outage is a video that utilizes Levonian’s signature cut-paper animation technique, which incorporates deftly rendered watercolors into short films that wryly depict prescient social narratives and Eva Wylie’s unique printmaking techniques. The single-channel animation was made from over 3,000 frames and more than 275 screens were used to create pieces for the animation.
BREAKWATER BENCH BY AMLGMTD
Ideated by design duo AMLgMTD, the Breakwater Bench is a system of individual benches inspired by the lapping ebb and flow pattern of waves. The slight shift in the repetition of a single element creates movement between the open and closed sections within the design. This simple use of geometry causes playful shadows to appear where the light filters through the open structure.
LOCATION: Palm Court, 140 NE 39th Street, 2nd Floor
THE MUSEUM OF ART AND HISTORY OF JUDAISM IN PARIS REOPENS AND UNVEILS NEW EXHIBITIONS
As Paris begins to reopen, the Museum of Art and History of Judaism (known as “The mahJ”), located in the exquisite 17th-century Hôtel de Saint-Aignan in the historic Marais neighborhood, reopened its doors yesterday, presenting a lineup of new exhibitions following its closure due to COVID-19 restrictions.
Postponed from its previously planned April 2020 opening, Chagall, Modigliani, Soutine… Paris pour École, 1905-1940, will now be on display from June 17 to October 31, 2021. The exhibition will showcase 130 works by Jewish artists who came to Paris in the early 20th century, as part of “the School of Paris.” The artists, including Chagall, Soutine and Modigliani, came to Paris from across the world to create their art in a free and modern context, without the constraints present in their home countries.
Echoing the School of Paris exhibition, the mahJ will unveil a new exhibition dedicated to Hersh Fenster, author of Undzere farpaynikte kinstler (Our Martyred Artists), published in Paris in 1951. Written in Yiddish, the book retraces the lives and works of 84 Jewish artists living in France who died between 1940 and 1945. The exhibition, Hersh Fenster and the Lost Shtetl of Montparnasse, will be on display from May 19 through October 10, 2021.
Also upon its opening, the mahJ will present From Workshop to Museum: ORT and the Transmission of Jewish Culture, running until January 22, 2022. Founded in Russia in 1880 to help Jews through an apprenticeship of manual trades, ORT (Organisation Reconstruction Travail) is today an international educational network established in more than forty countries. In 2021, the organization celebrates the centenary of its presence in France, where every year it now trains some 5,000 students and trainees. Thanks to new findings in its archives, the mahJ traced back the role of this organization in the creation of the Museum of Jewish Art (1948-1998) in the rue des Saules, Paris, which became part of the mahJ.
In the contemporary gallery, the exhibition Maya Zack, La Mémoire en Action, running through September 12, 2021, presents three films presented for the first time in France by Israeli artist Maya Zack, haunted by questions of memory.
For more information about the Museum of Art and History of Judaism, visit this website.
ABOUT THE MAHJ:
Located in the magnificent 17th-century Hôtel de Saint-Aignan in the Marais neighborhood of Paris, the Museum of Art and History of Judaism (Musée d’art et d’histoire du Judaïsme – known as “mahJ”) is one of the leading history and art museums in Paris. Since its opening in 1998, the mahJ has been devoted to showcasing major artworks from influential Jewish artists and sharing the history of Judaism in France, as well as throughout Europe and the Mediterranean. The mahJ collection comprises more than 12,000 works from antiquity to the present day and a wealth of archival materials. The museum also provides a number of educational programs to younger generations on Jewish art and culture, and hosts a variety of events and activities for all ages throughout the year.
Houston architect and interior designer Lauren Rottet, closes on property for a new Houston headquarters, Rottet’s plan includes designs for new construction along with restoration of an historic building
Lauren Rottet, FAIA, FIIDA, internationally celebrated architect, designer and founding principal/president of Rottet Studio, has closed on two adjacent properties totaling 1.72 acre located in the Briar Hollow neighborhood, which encompasses a house by iconic Houston architect Howard Barnstone built in 1960. Noted for his modernist style, Barnstone’s clients included Houstonians John and Dominique de Menil, who funded the Rothko Chapel, which was also designed by Barnstone with Eugene Aubry and Philip Johnson.
Houston’s population has grown exponentially in the past decade, as noted in the recent 2020 census and Rottet’s investment in her hometown is no coincidence. During the pandemic she decided to take steps in the development of her own property and purchased these unique lots with plans to restore the Barnstone structure as well as build an adjacent office. “We don’t want our new building to look like we’re trying to match a mid-century modernist style,” says Rottet about her concept for the new build, adding, “We want it to be constructed of glass because the site is so beautiful.” The remodeling of the Barnstone-designed three-story house, which was modeled on Mies Van Der Rohe’s Farnsworth House, will include a space that will serve as a showroom and accommodate furniture and accessories from the Rottet Collection. The new building is being envisioned as a new iteration of a hybrid office and will also include space for Rottet Studios’ design team and administrative staff. While Rottet does not anticipate everyone coming into the office every single day, “We need a desk for everybody, as well as a parking space,” she states. Detailed plans for the property are pending. Purchase price undisclosed.
About Lauren Rottet/Rottet Studio
Lauren Rottet is the Founding Principal and President of Rottet Studio, an international architecture and interior design firm, recognized as one of the Top 3 Most Admired Design Firms in the World. Their extensive portfolio of residential, hospitality, corporate and maritime projects for the world’s leading companies and brands, includes: Goldman Sachs, Disney, BGC3, New York Stock Exchange, Target, Four Seasons, Langham, Starwood, Marriott, Hyatt, Hilton, Belmond, Viking Ocean Cruises and more. “Rottet is facile whether it’s a client’s private home or a million-square-foot project. I am not sure I have seen someone who is as skilled in such a wide vernacular of design styles from contemporary minimal to elegantly traditional in such an authentic manner.”– from Authentic Design, Paul Goldberger. Rottet’s product designs have received many accolades, including Interior Design’s Best of Year, four gold medals for Best of NeoCon and four Chicago Athenaeum Awards. She serves on the board of the Contemporary Arts Museum Houston.
Learn more about Lauren and Rottet Studio by checking out their website here.
HOFA Gallery NFT artworks will appear alongside corresponding physical artworks at London exhibition this week
Press preview in gallery and virtually: Thursday 13 May 2021, 10.00 – 18.00 (BST)
As the NFT artwork phenomenon continues to expand the boundaries of collectible art, HOFA Gallery is boldly reprising their role as pioneers with the upcoming release 15 May release of NFT artworks as digital complements to physical works currently on display in the ‘Matter & Form’ exhibition.
The planned press preview will take place at HOFA Gallery, Mayfair on Thursday 13 May 10.00 – 18.00 (BST) in gallery or virtually by appointment (photographers and videographers welcome).
Jan Kalab, Loribelle Spirovski, Gregory Siff and Darian Mederos, four widely celebrated feature artists in HOFA’s latest group exhibition, will release their crypto artworks on via a special collaboration with MakersPlace – the world’s largest art NFTs marketplace. This move bridges the perceived gap between conventional art and digital art and is part of HOFA’s ongoing effort to put contemporary art within reach of today’s younger, tech-savvy art collectors.
HOFA Co-founder Elio D’Anna says “Traditional, conventional art has always struggled with the problem of accessibility, which meant that many people were excluded from enjoying and investing in art. Furthermore, it has meant that artists could only reach a fraction of their potential audience.”
He continues “Finally, the world of digital is steadily levelling the field, and today we are seeing the NFT phenomenon address this problem of accessibility in a new way by giving legitimacy and currency to digitally subsisting art.“
In 2018, HOFA made headlines when it became the first to embrace the possibilities of blockchain-powered cryptocurrency by making their entire art holdings available for purchase using Bitcoin and Ethereum. Along with innovative partners, HOFA also helped established the world’s first digital asset-based art investment platform which enables full and partial investments in blue-chip contemporary artworks using secure blockchain technology to authenticate and record transactions.
HOFA Co-founder Elio D’Anna sums up “By embracing the world of collectible NFT art, both the gallery and our emerging and established contemporary artists can exponentially expand their reaches. We are finding these new audiences, consisting mainly of Millennials and Gen Zs, are enthusiastic about art and keen to have digital-first art experiences that are easily personalized and conveniently accessible via smart devices.”
Press preview: ‘Matter & Form’ at HOFA Gallery, Mayfair on Thursday 13 May 2021, 10.00 – 18.00 (BST), in gallery and virtually by appointment only.
In compliance with Covid-19 safety protocols, all visits to the gallery will be strictly on RSVP basis.
The Aston Martin Residences Miami is creating a permanent art gallery on the 52nd floor of the luxury tower, which is due for completion at the end of next year. The Art Gallery celebrates a love of beauty and an appreciation of art in all forms, values shared by developer G&G Business Developments and its partner Aston Martin.
Ahead of its completion, the Aston Martin Residences’ Art Gallery is launching virtually and will showcase a renowned artist online every two months. To launch the virtual gallery, a 3D immersive experience, the Aston Martin Residences has partnered with British artist and acclaimed photographer Julian Lennon to present an exclusive exhibition of hand-picked images from his personal collections. The virtual Art Gallery and inaugural exhibit, titled “Vision,” can now be seen by visiting this website.
Germán Coto, CEO of G&G Business Developments, said: “Art and design are woven into the soul of the Aston Martin Residences. Every decision we make is born from an intrinsic love of beauty and meticulous attention to detail. We imagine residents will fill their homes with beautiful artworks, and we’re creating the Art Gallery to offer a secluded and exclusive space for our owners to immerse themselves in an ever-changing canvas of contemporary art. We’ll present works from established artists and emerging talents that make our hearts beat faster, and we hope the Art Gallery will inspire residents in their daily lives.”
He also said: “We’re 70% sold, and we know that our residents appreciate art. It’s this love of art together with a desire for the highest quality finishes, light-filled spaces, and of course, the stunning waterside location that has attracted clients to the Aston Martin Residences Miami.”
For Lennon, capturing moments through photography is an intimate experience. “I aim, through my photography, to grant the viewer intimate access to the lives and locations of my subjects, as well as insight into my own personal journey,” he said. “In a city as vibrant and diverse as Miami, I invite the residents to draw a relationship to their own lives in these images, and to take part in my mission to unite us through empathy in the lives of others.”
Julian Lennon’s fine art photography exhibition, “Vision,” the first to be presented by the Aston Martin Residences’ Art Gallery, can now be seen virtually, ahead of the physical opening in 2022.
INTRODUCING ASTON MARTIN RESIDENCES MIAMI SIGNATURE COLLECTION
Signature Collection penthouses and residences revealed at prestigious Miami waterfront development
The Signature Collection is the next level of luxury at the Aston Martin Residences Miami
Aston Martin Residences Miami on target to complete construction at the end of 2022
Aston Martin Residences Miami, located on the exclusive Miami waterfront, has revealed its Signature Collection of seven penthouses and Line 01 ocean facing residences. Signature Collection is a personal invitation to the ultimate members-only community with unparalleled access and exclusivity at its core.
Contemporary architecture blends with art, and art blends seamlessly with design throughout the magnificent sail-shaped luxury development. The elegant homes are harmonious inside, while floor to ceiling windows afford uninterrupted views of the ocean and Biscayne Bay.
All seven one-level penthouses in the Signature Collection, starting on the 56th floor, are a minimum of 8,800 sq. ft. Prices range from $16.7 million to $25 million. The 38 Line 01 Signature Residences, starting on the 15th floor, offer a minimum of 3,600 sq. ft. of interior space facing the ocean and start at $5,525,000.
Signature Collection owners will enjoy an array of privileges, including a dedicated butler service and priority access to the Aston Martin Residences private superyacht marina. While the Art Gallery located on the 52 floor will create a secluded space for residents to appreciate an ever-changing canvas of contemporary art.
Germán Coto, CEO of G&G Business Developments, said: ‘I’m delighted to announce the Signature Collection and share the very first images of the penthouses. They’re the pinnacle of luxury and elegance, style and beauty, and the result of an inspirational collaboration between our architects and the Aston Martin Design Team. The Signature Collection is complemented by a specially-commissioned bespoke Aston Martin DB11 Coupe or DBX Riverwalk Editions, which will enhance the Aston Martin lifestyle for our owners.’
‘From the start, this project has been a labor of love, and I’m extremely proud of the passion and drive of everyone involved. We adapted to continue working safely throughout the pandemic and have reached floor 56 of 66 on schedule. The whole team is fully focused on completing the construction of our waterside jewel by the end of next year.’
Aston Martin Chief Creative Officer, Marek Reichman, said: ‘The Signature Collection is the next level of luxury; the best of elegant living. When we designed the interior, we focused on the beauty of perfect proportions, affording the same attention to detail that goes into every Aston Martin. Fine craftsmanship, with an emphasis on comfort for the living spaces and bold, pioneering design for the amenity areas, has created an astonishingly beautiful development. Aston Martin Residences Miami is our first global real estate venture, Reichman continued. I think we have shown that good design is good design, whatever the medium. This is something that really excites us as a brand.’
Located at 300 Biscayne Boulevard Way and now 75% sold, the Aston Martin Residences Miami is well on its way to completion at the end of next year.
For further information, visit Aston Martin Residences’ website.
About Aston Martin Residences Miami:
Aston Martin Residences Miami is a luxury residential tower developed by global property developer G&G Business Developments. It is located at 300 Biscayne Boulevard Way on the Downtown Miami waterfront where the Miami River meets Biscayne Bay. The project marks Aston Martin’s first real estate venture and the iconic brand’s expansion into luxury residential design. Designed by Revuelta Architecture and Bodas Miani Anger, the striking 66-story sail-shaped tower features 391 luxury residences and penthouses priced from the $750,000s to upwards of $50 million. Construction is due for completion at the end of next year. To learn more, please visit HERE.
About G&G Business Developments:
Headquartered in Miami, G&G Business Developments was founded and is managed by key members of the Coto family. The company has quickly established success in global real estate as a developer, owner and investor, bringing its visionary business strategy to this competitive market. Known for financial strength and stability, G&G is committed to developing innovative, luxury projects that mix the latest technology with uncompromising design, delivering exceptional results by creating unique residential and business properties with long-term value.
The American artist curates an exhibition of works from the collection of “la Caixa” Foundation and CRT Foundation for Modern and Contemporary Art and turns them into a large environmental installation.
Many times has the “end” of painting been declared and just as many times its “rebirth” has been attested: with the desire to investigate the limits and contemporary potentialities of painting, from February 11 OGR–Officine Grandi Riparazioni–presents Cut a rug a round square, a new site-specific commission developed for the former industrial spaces of OGR Turin by the American artist Jessica Stockholder.
Chosen for her peculiar perspective, Jessica Stockholder has played over the last twenty years a crucial role in the ongoing debate on painting and its limits, expanding the concept in a relentless dialogue amid various media, between form and space, by forcing the limits of painting towards the sculptural and installation dimension.
In her work, the artist combines apparently disparate and ordinary objects to create complex installations that hoard and stratify materials and colors: plastic bags and containers, extension cords, lumber, carpets, and furniture: in her hands, these often-neglected objects recover aesthetic and formal qualities in a practice reminiscent of abstract expressionism, color field painting, and minimalism.
For the project set up inside Binario 1 of OGR Cult, the area of OGR dedicated to art and culture, the artist Jessica Stockholder converted into an exceptional curator and created a unique installation with works from two important collections: the Collection of Contemporary Art “la Caixa” of Barcelona, and that of the CRT Foundation for Modern and Contemporary Art, whose works are on permanent loan to the Turin museums Gam – Gallery of Modern Art and Castello di Rivoli, Museum of Contemporary Art.
To plan her route across the rich heritage at her disposal, the artist developed a concept that is both rigorous and poetic: “I am exploring how the generally rectilinear geometry inherent in the contour, or edge, of paintings, generates meaning both inside and outside the paintings. – states Jessica Stockholder – In relation to both their exposure and internal mechanisms, paintings make use of geometry and its resonance with the scale and form of the human body. (…) Casting a glance through the collections, I was struck by the many works in which the circle and square intersect. Often these works literally feature circles and squares themselves. I began to think of the representation of the human body as a kind of circle within the square, as in Leonardo da Vinci’s Vitruvian Man. The paintings are themselves usually characterized by rectilinear geometries. What happens inside pushes against the edges. The edges are both literal and abstract and are defined by the end of the material support, but the rectangle, identified as a mapping, is understood by virtue of abstraction.”
Combining works of disparate production and origin, the artist investigates the ways of painting and its categorical definitions across genre boundaries, studying its literal and metaphorical edges.
Works range from Directions by Vito Acconci, a photograph documenting the exhausting performance of a man with his arms and legs spread to evoke the Vitruvian Man, to Combustion by Aurelio Amendola, whose shots portray Alberto Burri in the act of melting plastic with a flashlight to create a circle in a square. From Bonded Eternmale, Monica Bonvicini‘s installation of two chairs covered in studded black leather exhibited on a circular red carpet, to A REMOVAL OF THE CORNER OF A RUG IN USE by Lawrence Weiner where written words protrude from the surface of the wall like paint does on his canvas. From 9 to 5 by Edward Ruscha, who painted the time cycle of a working day trapped inside a claustrophobic rectangle to Undercurrent (Red) by Mona Hatoum where the floor surface acts as a pictorial plane for a large carpet of electric cables. And again, among others, the works of Marlene Dumas, Richard Tuttle, Tracey Emin, Diego Perrone, and Jessica Stockholder herself, are exhibited in a display specially designed by the artist who succeeded in transforming the entire exhibition into a work of art in itself, a large environmental installation that evokes, in an experiential form, the clash between the circle and the square as an image of the productive clash between rationality and imagination, order and superabundance, body and idea.
Cut a rug a round square is an opportunity for the public to admire, in complete safety and free of charge, in the spaces of OGR, a treasure preserved by the city’s museums and enriched over the years by the CRT Foundation, with a newfangled interpretation from the point of view of an artist across the works of yet another international collection. The exhibition focuses on the theme of painting, dear to both collections, which have a rich heritage of pictorial works, by taking the cue from one of the most discussed and loved media – even by the more general audience. Cut a rug a round square reshapes the boundaries of this discipline and weaves a discourse that takes from the forms and phantasmagorias of painting, keys to reading the contemporary world, and invites visitors to lose themselves in a world of shapes and colors.
Jessica Stockholder (1959, Seattle, WA. Lives and works in Chicago, Illinois) has exhibited widely in museums and galleries internationally. Her work is in the permanent collections of numerous museums including the Whitney Museum of Art, New York; The Art Institute of Chicago; MoCA Los Angeles; MoMA San Francisco; the Museum of Fine Arts, Boston; The British Museum, London; and the Stedelijk Museum, Amsterdam. Recent solo exhibitions include Stuff Matters at the Central Museum, Utrecht and Relational Aesthetics at The Contemporary Austin, Austin in 2019.
From February 11 Free admission Thursday and Friday, 3PM – 8PM, last admission 7.30PM
OGR Cult, OGR – Officine Grandi Riparazioni
The traditionally physical medium comes to an online platform, featuring cutting edge artists from around the world.
Taby, a powerful new digital player in the art gallery scene, is proud to announce the launch of its second exhibition, The Digital Street. Conceived with the pandemic as a backdrop, Taby’s curator Emerson Radisich has carefully selected works from an international group of artists that are vibrant representations of our times. The new exhibition touches on several themes: the emotional reflections of dealing with the post-COVID era, the blending of our everyday lives with the digital realm, and thoughtful geo-political commentary, to name a few surface points.
The Digital Street engages the viewer on several levels, whether it’s the symbols of the collective unconscious tapped into by Polish artist Karifurava, representing our inner world, or the brutal honesty of Judy Rhum’s quarantine series, demonstrating the outward reality of how the structure of our daily lives has changed.
In keeping with Taby’s tradition of exhibitions benefiting charities associated with the theme of each show, CEO Mo Al Khater has selected Street Art For Mankind (SAM) as this exhibit’s recipient. SAM produces large murals, interactive exhibitions and live performances to support human rights and bond communities across the planet. The charity primarily focuses on fighting against child labor & trafficking and funding raid and rescue programs through the Kailash Satyarthi Children’s Foundation.
Graffiti and street art is an ever-expanding and popular genre of artmaking that has found an increased role and dedicated significance during the coronavirus pandemic. It is a practice that has evolved entirely within the public realm, and often comes with the capacity to challenge, critique and contort both public places and public knowledge. At a time where museums, galleries and institutions have closed their doors, street artists have remained steadfast in their craft, and many artists from other genres have migrated to the medium to be able to continue to share work publicly.
Muralism today has seeped into many services throughout the art world; significant institutions regularly exhibit street art and graffiti shows, with artists such Banksy and KAWS–now household names who routinely break sales records at auction houses, and the aesthetic of graffiti is embedded in our society and spans advertising through to technical inclusions in fine artist’s practices, a process often referred to as Post-Graffiti.
Digital artmaking is no exception – several highly stylized comics, illustrators, designers and artists have appropriated the specific aesthetic qualities of graffiti and mark making, as well as the pursuit’s capacity to critique and challenge norms. The Digital Street seeks to examine these qualities through the works of artists globally. It presents an array of artmaking which utilizes digital reproduction in a graffiti-influenced style, and demonstrates a range of artists who openly critique the world around them within this particular practice – ultimately showcasing the beauty and necessity for graffiti in today’s climate.
The Digital Street features 18 works from 6 artists working around the globe:
Karifurava, Poland: is a Polish graphic designer, illustrator and fine artist currently based in Warsaw. Influenced by contemporary Eastern graphic designers and illustrators such as Keiichi Tanaami, his bold and colorful works explore mysticism, neo-religion, and the magical. Karifurava has exhibited extensively across the globe at galleries including Backwoods Gallery, Australia, and venues including VIKTAC, Poland.
Judy Rhum, Milan: a graffiti artist, illustrator and lecturer currently based in Milan. Her works are lucid and ludic, combining a playful and illustrative feel into the monumental platform that is graffiti. They are slick: graffiti with layered breakdowns, expanded geometric shapes and purposeful abstraction. Rhum is also the co-founder of Drinchendro, a Milan-based arts program.
Tom Gerrard, Australia: a graphic designer cum fine artist currently based in Melbourne, Australia. His unique practice involves the painting of simple characters, architecture and nature through a minimal color palette, where his works are often inspired by people he has met and places he has visited. Gerrard has exhibited work extensively across the globe at galleries including Stolen Space, London, RVCA, Tokyo and 1xRUN, Detroit.
Morris Vogel, Switzerland: a self-taught fine artist and illustrator currently based in Basel, Switzerland. Vogel examines surreal manifestations of politics, existentialism, awareness and human nature through a highly stylized black and white drawing style. His works have been exhibited at Kunsthallekleinbasel, Switzerland, Cvijeta Zuzorić Art Pavilion, Serbia and YOPE project space, Mexico.
Indie184is a New York-based artist who has been active in graffiti culture for over 2 decades. Influenced by abstract expressionism and pop art, her paintings are raptures of color and textures. Fused with her original graffiti and street art, imagery, and designs juxtaposed with personal messages, Indie’s art has been exhibited in galleries and museums worldwide, including El Museo del Barrio, New York and Völklingen Ironworks Museum, Saarbrücken, Germany.
Nini Sum is a mixed-media artist based in Shanghai, China. Her work depicts urban scenery and characters from everyday life in a captivating and surreal setting, which is strongly influenced by modern city life and eastern philosophy. The form of Nini’s work varies from silkscreen prints and mural paintings, to collage on canvas and album art. She is also the founder of IdleBeats, China’s first independent screen-printing studio.
Taby is a premium digital art gallery specializing in contemporary art. We provide several rolling digital exhibitions throughout the year which bring together hand-selected quality artworks under a specific curatorial theme. Taby only exhibits exclusive, limited edition artworks, shipped to your door, which are designed and manufactured to the highest quality. Our objective is to provide every customer with an exceptional piece of art that is ready to hang as soon as it is unpacked. Alongside every digital exhibition, Taby also selects a charity related to the theme of that exhibition, which then receives a portion of our revenue.
Taby is a global team. We are artists, curators and seasoned collectors who have developed exhibitions and worked with galleries all over the world. Our mission is to make choosing and collecting contemporary art as simple as possible; this is why we provide ready to hang artworks through our premium printing, stretching and framing service, offering bespoke curatorial services so that every client is able to find an artist and artwork to match their collection, and partner with a range of specialists to select the best artists for each theme and series. We look forward to serving you.
Some of the world’s leading contemporary artists are invited to breathe new life into centuries-old glassmaking in Venice ― maestros of glassblowing from the legendary Berengo Studio residency help artists manifest their visions.
Among the 34 artists: Ai Weiwei, Fred Wilson, Joyce J. Scott, Jimmie Durham, Ugo Rondinone, Fiona Banner, Vik Muniz, Monica Bonvicini, Jake & Dinos Chapman, Laure Prouvost, Renate Bertlmann, Thomas Schütte, Loris Gréaud, and Erwin Wurm.
“There is every reason this year to have a world view,” says Irvin Lippman, the Boca Raton Museum of Art’s Executive Director, as South Florida boldly ushers in the new year with the national premiere of Glasstress 2021 Boca Raton.
“Three years in the making, with 2020 being such a challenging year to coordinate an international exhibition of this size and scope, the effort serves as an important reassurance that art is an essential and enduring part of humanity.”
“This is also a tribute to the resilience of Venice’s surviving the floods and continuing to make art through the pandemic,” adds Irvin Lippman.
The new exhibition runs January 27 through September 5, 2021 and the Museum will feature online initiatives for virtual viewing. Watch the video here featuring interviews with some of the artists in the new exhibition. The 34 artists in this new, never before seen edition of Glasstress were all invited by Adriano Berengo to work alongside his master glass artisans at the Berengo Studio on the island of Murano in the Venetian lagoon. Most of these works in glass have never been seen elsewhere, and were handpicked by Kathleen Goncharov, the Museum’s Senior Curator who traveled to Italy in 2019.
With incredible energy, the Studio has brought a new vision on how to stimulate today’s leading artists into thinking how the medium of glass can be made into dramatic and provocative works of contemporary art. Most of these artists have, during their careers, been invited to participate in the Venice Biennale. Some of the works were created during the pandemic lockdowns, with artists collaborating remotely via Zoom with their glass artisan partners after initial on-site work at the studio in Venice.
“Unlike the past and the present, what comes next for our world presents itself as constant possibility, always transforming as we move forward in time,” says Adriano Berengo. “This concept of transformation has always held an affinity with glass, a medium which – as the name Glasstress suggests – exists in a state of constant tension. Life needs tension, it needs energy, and a vibrant exchange of ideas.”
The exhibition presents 34 new works that explore some of today’s pressing subjects, including human rights, climate change, racial justice, gender issues and politics. The Boca Raton Museum of Art has dedicated more than 6,500 square feet of exhibition space to this collection. A fully illustrated catalogue is also available.
The mission of Glasstress is to restore the visibility and reputation of Murano glass, after decades of closures of ancient, centuries-old glass furnaces. Instead of creating decorative objects with glass, these artists are invited to create original works, often on a massive scale. They collaborate with glass masters whose expertise has been developed over generations in Venice. Most of these artists have never worked with glass, so they unite their artistic ideas with the technical expertise of their skilled collaborators.
The results are breathtaking. The first installation visitors to the Museum will encounter is Sala Longhi by Fred Wilson. He created this series at Berengo Studio after the Biennale exhibited his work about Black residents of Venice from the Renaissance to the present. This installation features an ornate white chandelier with 29 glass panels that mirror 18th-century Venetian artist Pietro Longhi’s paintings. Instead of canvases, Wilson shows the viewer only the whites of the eyes of his Black subjects through cutouts in black reflective glass.
“We have brought Glasstress to countries around the world for ten years, seeking to expand and enliven international awareness of the variety and richness of contemporary artists using glass in their creative practices,” adds Adriano Berengo. “In the past, its place in the art world might have seemed uncertain. But now in this latest edition of Glasstress, the first after a global pandemic, one thing we know for certain: glass endures. Life is fragile, just as glass is fragile, yet in this fragility there is also strength.”
“It is in this spirit of experimentation that Glasstress Boca Raton 2021 explores the limitless potential of glassblowing. “We realize how far we have come as we approach the 60th anniversary of the American studio glass movement that launched in 1962 through the efforts of Harvey Littleton and Dominick Labino,” adds Irvin Lippman. “This presentation of Glasstress is also a tribute to them.”
This show also unveils the Museum’s new acquisition for its collection, created in the Berengo Studio – Glass Big Brother, a sculpture by Song Dong, one of contemporary Chinese art’s leading figures. The large-scale ceiling installation is 11 feet long and reaches all the way to the floor. Thirty surveillance cameras are ensconced from top to bottom, looking out at all directions around the chandelier.
The installation Rosemarie’s Divorce, by Renate Bertlmann, unites aspects from Rosemarie’s Baby (1983), her multi-part installation about the ambivalent relationship between mother and child, and Discordo Ergo Sum, a field of knife-roses she exhibited at the Venice Biennale in 2019. The monstrously enlarged glass pacifier is an image she has used since the mid-1970s referencing sexuality and motherhood. It is flanked by two knife-roses made of deep black glass.
The Italian artist Monica Bonvicini’s deeply psychological work addresses themes of sexuality, power, and relationships in male-oriented domains. Her visits to sadomasochist nightclubs with Gay male friends are the inspiration for Bonded. She won the prestigious Golden Lion award at the 1999 Venice Biennale. DNA HAS NO COLOR is a new statement from Nancy Burson that is a powerful work about the illegitimacy of racism. This is a continuation of the project that Zaha Hadid commissioned Burson to develop for the London Millennium Dome. Burson is known for biology-related work, including her use of cutting edge facial morphing technology for art that shows what individuals would look like as a different race.
The Pandemic Oculus, (2020), by Tim Tate, whose work explores the worlds of loss, memory, recovery, and hope. As an HIV-positive man, he lived through the worst of the AIDS epidemic during the 1980s and 1990s, and now through the current pandemic. In the Museum’s exhibition catalogue, the artist states that Pandemic Oculus also honors the many unsung heroes around the world: nurses, teachers, essential employees, grandparents caring for children so that parents can work, and so many more. Tate is the co-founder of the Washington Glass Studio in Washington, DC. He is also the co-moderator, along with William Warmus, of the 21st Century Glass group on Facebook, which has shared and discussed over 10,000 images of sculptural glass from around the world.
Erwin Wurm’s wry sense of humor permeates his most famous works and has served him well in creating a poignant cultural commentary throughout his career. Wurm produced this triad in cold hard glass at the Berengo Studio. They are smaller versions of the massive bronze sculpture of a hot water bottle with legs, Big Mutter, that he created for the Venice Biennale in 2020. In the exhibition catalogue, the show’s curator Kathleen Goncharov describes these “mothers” as neither warm nor comforting . . . their stubby little legs imply flight when called upon to be caregivers.
At the Berengo Studio, Jimmie Durham created a series of eight giant cougar heads suspended on metal armatures. Caught in suspension as they gaze at one another, their collective roar remains frozen between them. The cougar is one of the most sacred animals in Cherokee mythology, and the influence of Native-American culture vs. Western rationalism is evident in his work. The artist’s long trajectory includes his work during the civil rights movement and as a political organizer for the American Indian Movement. In 2019, Durham was the recipient of the GoldenLion for Lifetime Achievement award at the 58th Venice Biennale.
In the Museum’s exhibition catalogue, curator Kathleen Goncharov describes Prune Nourry as no stranger to illness . . . her work always dealing with science and bioethics from a feminist perspective, a focus that has intensified since her breast cancer diagnosis in 2018. At the Berengo Studio, she created River Woman, a transparent skeletal sculpture based on an anatomical drawing of the human vascular system. While its form may be human, the arteries resemble rivers, streams and trees that suffer in their own way too, from human abuse rather than disease.
Ugo Rondinone represented his home country in the Swiss Pavilion at the 52nd Venice Biennale (2007). In this work, the twelve glass horses cast in beautiful shades of blue all face different directions, creating delicate light games with their reflections and shadows in continuous motion. In the context of this installation, the reappearing motif of a horse (which has a long tradition in the history of art), evokes alienation and a subversive twist emblematic of Rondinone’s works.