Miami Art Basel Countdown Report 2014

EVERY YEAR EVERYTHING CHANGES FOR MIAMI ART BASEL AND ITS SATELLITE FAIRS AND MONSTER PRIVATE COLLECTION SHOWS AND SMALL BUT AMAZING MUSEUM SHOWS. This year may be more different than any we’ve seen since Fireplace Chats began going to Miami for Art Basel starting in 2005. First off is the return of the art fairs to from Miami to Miami Beach. The Pulse Fair is the most recent to decamp from Miami and will be centrally located south of NADA (which moved from Miami to Miami Beach a couple/three years ago). The Scope Fair is spending its second season in Miami Beach in South Beach; not far away is the Untitled Fair, which debuted on Miami Beach and remains there with an even more potent program than ever before. Art Miami and its Context Art Fair, and its Miami Beach fair – Aqua Art Miami, together offer over 200,000 sq. ft. of exhibition space for during Art Basel Miami Beach 2014. Miami Project fair still has serious game in Miami, and is joined this year by the newest Miami art Fair: Concept Art Fair. The guaranteed superb museum retrospective experience will be of the work of the leading abstract painter in South America, Beatriz Milhazes, at PAMM. The brand new ICA Miami, formed by the former board of North Miami MoCA, will have its debut show in the Design District. North Miami MoCA will have a show by a Nigerian artist curated by an African art scholar. According to the NYTimes, Mana (the massive full service contemporary art venture in Jersey City  has invested in group of buildings covering five blocks, Mana will host an art fair in Miami in December. The several private collection exhibitions are described in the Art Basel Miami Beach 2014 press release:

“Reflecting the show’s long-term impact on the local art scene, South Florida’s leading
museums and private collections will again time their strongest exhibitions of the year to
coincide with Art Basel. Visitors from across the world will have an opportunity to view the
city’s internationally renowned private collections.”
Public Opening Night, which is free and open to the public, will take place in Collins Park on Wednesday, December 3, from 8.30 pm to 10pm. The Public sector is free of charge and open to the public from December 4 to December 7. Tours will be offered daily at 10.30am, 11.30am and 12.30pm.
The Cisneros Fontanals Art Foundation
(CIFO) will show ‘Impulse, Reason, Sense, Conflict/Abstract Art in the Ella Fontanals-
Cisernos Collection’, featuring works exhibited for the first time at the CIFO Art Space.
‘Beneath The Surface’ at the de la Cruz Collection Contemporary Art Space will include
work by Félix González-Torres, Wade Guyton, Rob Pruitt, Dana Schutz and
Kelley Walker, among others.
The Margulies Collection at the Warehouse will celebrate
its 15th anniversary with an exhibition of work by Pier Paolo Calzolari, John
Chamberlain, Willem de Kooning, Olafur Eliasson, Dan Flavin, Michael Heizer,
Donald Judd, Anselm Kiefer, Jannis Kounellis, Sol LeWitt, Richard Long, Mario
Merz, Joan Miró, Isamu Noguchi, Michelangelo Pistoletto, George Segal, Richard
Serra, Tony Smith, Do-Ho-Suh, Franz West and others.
The Rubell Family Collection
will present ‘Collection Overview/50 Years of Marriage’.”

looking forward to seeing you all there in sun and fun Miami Beach and Miami! Vincent Johnson Los Angeles



Dominique Levy to Bring TRUE GRIT to Art Basel Miami Beach, 12/4-7

November 24
11:15  2014
Dominique Levy to Bring TRUE GRIT to Art Basel Miami Beach, 12/4-7From December 4 through 7, 2014, Dominique Lévy will present the exhibition TRUE GRIT at Art Basel Miami Beach. With significant works created from the 1970s through the 1990s, the show is inspired by the potent themes that transformed Charles Portis’ 1968 novel True Grit – and the 1969 Academy Award-winning film based upon it – into bona fide milestones of American popular culture celebrated worldwide. The exhibition includes painting, sculpture, and photography by Alberto Burri, Enrico Castellani, Gilbert & George, David Hammons, Keith Haring, Barbara Kruger, Sigmar Polke, Richard Prince, Peter Regli, Thomas Schütte, Kazuo Shiraga, Richard Serra, Frank Stella, Günther Uecker, Andy Warhol, and Christopher Wool.

The original story of Portis’ True Grit is told from the perspective of an Arkansas woman named Mattie Ross, who recounts the time when she was 14 years old and in search of retribution for the murder of her father by a scoundrel named Tom Chaney. She is aided in her quest by the tough U.S. marshal Rooster Cogburn and a young Texas Ranger called LeBoeuf, unlikely cohorts who nevertheless share with Mattie a single defining trait: “grit.” Literally a collection of small, hard, abrasive materials such as dirt, ground stone, debris, and the coarse surface of sandpaper, “grit” is also a marked steeliness of character – a mixture of determination, fearlessness invincible spirit, and willingness to be society’s outsider for the sake of a goal.

TRUE GRIT at Art Basel Miami Beach focuses on interrelated thematic threads harkening back to both definitions of the word “grit”, to unrefined materials and the archetype of the outsider. In a strictly black, white, and red color palette, the works on view have evolved specifically from artistic attitudes of true grit – unwavering consistency, fearlessness, and the willingness to tread untested turf conceptually and materially.

Among TRUE GRIT’s highlights are works made by Gilbert & George, David Hammons, and Keith Haring via materials and techniques that exude the grittiness of the pre-gentrification streets London’s East End (“The London Nobody Knows”) and New York’s East Village and Harlem in the 1970s and 1980s. Also on view are daring explorations of tough, untested industrial materials, such as Alberto Burri’s visionary experiments with acrovinyl and cellotex to create the “Crettos” that resemble the cracked surface of a desert floor. Günther Uecker’s obsessive hammering of oversized nails onto the picture plane and Frank Stella’s determinedly hand-built works from scraps of metal, industrial detritus, and car paint – rusty and sharp-edged – are primary examples of rough material investigation. Richard Prince, Sigmar Polke, and Christopher Wool have channeled the tough ethos of the of the streets with spray paint; Andy Warhol’s glitter-splattered “Diamond Dust Shoes” nods to the dark, hardened heart of a seductive downtown disco scene; and Richard Serra’s heavily applied paintstick drawings suggest an artist as craggy and indomitable as Portis’ Rooster Cogburn. Perhaps the pivotal work of the exhibition is Barbara Kruger’s large-scale photographic work “Cuando ellos hacen negocios hacen historia,” with its transgressive mantra linking business and history with the mise-en-scène of TRUE GRIT.

Gilbert & George declared in the 1980s, “We want to be completely outside with-whatyoucall-hooligans and tramps.” TRUE GRIT offers a glimpse of a group of exceptional artists’ explorations of the dark hero’s embrace of Portis’ declaration that “outside is a place for shooting.”


Miami’s Top Private Collections

Ty Cole
By Sue Hostetler

Why the best contemporary art in town may not be in museums.

The best counterargument to the outdated canard that Miami is a sun-swept cultural desert is the passion of its private art collectors. Their contemporary holdings are arguably more comprehensive than the local museums’ collections—thankfully, many of them have dedicated spaces to show them off to the public—and their stamp of approval can help turn an emerging artist into a global star practically overnight (as Don and Mera Rubell did with Oscar Murillo). If Art Basel Miami Beach is widely regarded as the catalyst behind South Florida’s cultural renaissance, it was these collectors who laid the groundwork for it. In the pages that follow, Miami’s most influential patrons open their doors.


“We have to remember Miami used to be a beach resort, and we are always trying to compare it to other cities with a rich history of museums and cultural institutions,” says Rosa de la Cruz. Ironically, her world-class collection and vociferous support of the contemporary art scene in Miami are among the reasons such comparisons are increasingly apt.

Rosa and her husband, Carlos, met as teenagers in their native Cuba. They left for Spain just after the revolution to seek political asylum. In 1975 they settled in Miami, where Carlos made his fortune in beverage distribution. The couple began collecting con­temporary art about 25 years ago to decorate a new home, without ever dreaming it would turn into the full-fledged passion that it has.

Recently, the de la Cruzes have been taking local cultural institutions to task for becoming “banquet halls and country clubs” prizing elitist social functions over bringing art to the community. “The collectors in Miami realize the importance of opening our spaces to the public,” Rosa says.

For years they allowed visitors into their art-filled Key Biscayne mansion during Art Basel for legendary dinner parties. In 2009 the collection outgrew the home, and the couple opened the 30,000-square-foot de la Cruz Collection Contemporary Art Space in the Design District. Open year-round and free of charge, the space hosts rotating exhibitions from their stellar collection (including names like Isa Genzken, Christopher Wool and Dana Schutz). “Our space is an extension of our home,” Rosa says. “No room is private. I like when visitors tell me they would love to live there!”

For Rosa, the acquisition of works is less rewarding than the ability to foster a thriving local arts culture. With that in mind, the de la Cruzes have also established residencies for artists and invited them to create site-specific installations. At 23 NE 41st St.;


On their first day of law school at the University of Miami, in 1978, Dennis and Debra (née Schwartz) Scholl were seated next to each other, per the class’s alphabetical arrange­ment. Their foray into collecting began just as for­tuitously as that first meet­ing. “During law school we needed a job,” recalls Dennis, “so we both worked in a gallery that sold art that matched your sofa! But that allowed us to learn a lot about what makes a great piece of art.”

Both practiced law, though Debra made a name for herself as one of the first historic developers of Art Deco buildings in South Beach, completing more than 20 restorations.

For 35 years the Scholls have earned recognition for their experimental collection and their generosity. Most recently they donated more than 300 works to the Pérez Art Museum Miami—with an emphasis on sculpture by artists like Olafur Eliasson and photography by Catherine Opie and Anna Gaskell.

Each year the couple selects a young guest curator to reinstall work from their 1,000-plus-piece collection during Art Basel, then opens their South Beach apartment to thousands of visitors. “Miami has a very committed group of collectors who are willing to turn their collections outward,” says Dennis, who is now the vice president of arts for the Knight Foundation.

Debra, who is the chair of the board of directors for one of the coolest alternative arts spaces in town—Locust Projects—finds Miami singular for its utter lack of pretense. “Miami is a very open city—you don’t have to be fifth generation to get involved on the highest level.” Collection viewing by invitation only.


“I don’t drink wine, so that wasn’t an option [to collect],” says Martin “Marty” Margulies. “And I don’t want to be reminded that time is constantly going by, so watches were out, too. I relate to the visual arts because of the great imprint art makes on your mind.”

Raised in Washington Heights, New York, Margulies moved to Miami in his late twenties after serving in the army and attending Wharton Business School to capitalize on the “virgin” real estate market and be near his retired parents. He began collecting modern and contemporary art in the ’70s and photography in the ’90s. The collection eventually grew so large that “my curator, Katherine Hinds, pointed out that we were running out of space in the apartment,” Margulies recalls. So, in 1998, The Margulies Collection at the Warehouse was born.

Creating the 45,000-square-foot, Wynwood-based space accomplished two important objectives: “It allowed the collection to expand into new areas such as large-scale installations and video,” he says, “and we were able to use the Warehouse as a vehicle to educate young people.” He is particularly dedicated to opening the space to Miami-Dade County public-school students. As Hinds says, “Today contemporary art originates from every corner of the globe. The firsthand exposure to different cultures through great art is valuable and not available in the schools.”

Margulies feels that Art Basel’s coming to Miami was a no-brainer. “In the early days I got a call from the mayor of Miami Beach saying he was taking suggestions about the fair coming to town,” he recalls. “My response was, ‘Don’t listen to any suggestions, because Art Basel is the Super Bowl of the art world.’” Margulies doesn’t think that the subsequent cultural revitalization has been fully realized, though. “The current art scene here, contrary to public perception, is still in the very early stages,” he says. At 591 NW 27th St.;


Over the last 30 years, Norman and Irma Braman have watched Miami transform from a drug-fueled dystopia to a top cultural destination. “In the late ’80s and ’90s, Miami had a terrible reputation worldwide,” Norman says. “The racial difficulties and crime against tourists…Miami was ripped apart in a Time magazine article called ‘Paradise Lost’ The art scene really was what revolutionized the city.”

As a major collector, Norman rightly claims some credit for that revolution. Both he and his wife, Irma, believed early on that bringing Art Basel to Miami would not only help solve the city’s PR problem but would also be good for business. “We thought it could be a very successful enterprise,” he says. “We kept speaking to [former director of Art Basel] Lorenzo Rudolf, who, after careful analysis and deliberation, persuaded the board in Switzerland to come to Miami. And now it is by far the most important fair in the States.”

The 81-year-old made his fortune selling pharmaceuticals and cars—his name adorns dealerships around the city. Outside Miami, he’s best known as a former owner of the Philadelphia Eagles.

He and Irma began collecting in the late ’70s after visiting the Maeght Foundation in Saint-Paul-de-Vence, France. They were so entranced with the works of Alexander Calder and Joan Miró that they returned five times in two years to see the changing exhibitions, finally deciding to buy a few Calders. Fast-forward nearly four decades, and their blue-chip collection—much of it on display at their spectacular Indian Creek Island residence—now includes the largest private holding of works by Calder. The 240-piece trove also contains works by Andy Warhol, Willem de Kooning and Jasper Johns.

Married for 58 years, the Bra­mans reportedly have $900 million of their $1.6 billion net worth invested in art. In 2011 the Bramans announced that they intended to sell their collection to fund med­ical research. Collection viewing by invitation only.


Perhaps no collectors loom larger on the Miami contemporary art landscape than Don and Mera Rubell. As they demonstrated in 2012, when they offered a residency to then-little-known Colombian artist Oscar Murillo—whose paintings now command hundreds of thousands—they have the power to anoint art royalty. (Murillo created 50 works during his five-week residency—the Rubells bought every one.)

The couple began collecting in the ’60s in New York City while she was a schoolteacher (earning $100 a week) and he was a medical student. “Our first impulse was to cover the holes in the walls of our Chelsea walk-up apartment with art posters rather than plaster and paint,” laughs Mera, who has maintained a teacher’s ability to communicate passion. “We met young artists in the storefronts around our neighborhood who were happy to work out long-term payment schedules for their original works. For some years, it was literally $5 per week per artist!”

The Rubells moved to Miami in 1992 because of the cheap and seemingly limitless real estate opportunities—and because their children were already there. “With little money, you could own amazing property,” says Don. “Virtually every building in South Beach was for sale.”

Mera continues, “As a collector, nothing is more frus­trating than having your artwork in storage. The only way to experience our art was to follow it to places where it was being exhibited. Miami was such a wide-open frontier that we were able to buy a 45,000-square-foot former DEA facility,” which they converted into the Rubell Family Collection, “for less than it cost to get a storage space in Manhattan.”At 95 NW 29th St.;


Complex magazine

The Marina Abramovic Institute Announces Special Events for Art Basel Miami Beach and Design Miami/

Today in a press release, the Marina Abramovic Institute (MAI) announced a new series of “collaborative events and public installations” that will happen during this year’s Art Basel Miami Beach and Design Miami/ art fairs in December.

The first will be a collaboration with the Beyeler Foundation and will take place at their booth at Art Basel. Designed by Marina Abramovic, the event will involve attendees and what we are going to call #ArtBaselNaps. “Participants, guided by trained facilitators, will be encouraged to lie down, rest, and sleep with no time restriction,” reads the release. “This exercise will offer the public an opportunity to slow down within the lively, fast-paced environment of Art Basel.”

MAI will also present Abramovic’s Counting the Rice exercise, a long durational exercise that requires that participants separate grains of rice from lentils. on wooden tables designed by architect Daniel Libeskind in collaboration with Moroso, the Italian design company. The exercise will be presented in the Miami District as well as during Design Miami/. At the fair, two special design objects will be used: the Libeskind table and the Portal chair by Patricia Urquiola.

The Slow Motion Walk exercise will also be presented in Miami from Dec. 4 through Dec 7. at the YoungArts Jewel Box. The exercise will be facilitated by Abramovic collaborator Lynsey Peisinger and performance artist Brittany Bailey​, and presented in collaboration with the National YoungArts Foundation.

The final announcement is that the IMMATERIAL Volume 1 ebook will launch at Art Basel on Dec. 1 to $2+/month subscribers at That’s a lot to keep track of, so check and the MAI Hudson Tumblr, where photographs and updates will be posted from the coming events.


Art Basel Miami Announces Public: 26 Sculptures Transforming Collins Park - ArtLyst Article image

Art Basel Miami Announces Public: 26 Sculptures Transforming Collins Park


As a highlighted feature of Art Basel Miami 2014, 26 works by international artists will transform Collins Park into a sculpture garden. Nicholas Baume, Director and Chief Curator of Public Art Fund, returns for his second year curating Art Basel’s Public sector. Under the theme Fieldwork, Public will transform Miami Beach’s Collins Park into an outdoor exhibition space with 26 large-scale and site-specific installations by leading and emerging artists from 13 countries. Produced in partnership with the Bass Museum of Art for the fourth consecutive year, the sector will include work by Georg Baselitz, Lynda Benglis, Matthias Bitzer, Sarah Braman, Ana Luiza Dias Batista, Sam Ekwurtzel, Elmgreen & Dragset, Faivovich & Goldberg, Nuria Fuster, Ryan Gander, Jeppe Hein, Jessica Jackson Hutchins, Alfredo Jaar, Gunilla Klingberg, Jose Carlos Martinat, Justin Matherly, Olaf Metzel, Sam Moyer, Ernesto Neto, Ugo Rondinone, Nancy Rubins, Yinka Shonibare MBE, Jessica Stockholder, Barthélémy Toguo, Tatiana Trouvé, and Hank Willis Thomas with Ryan Alexiev and Jim Ricks.

Focusing on the potential for public art to challenge artists and viewers, Nicholas Baume’s curatorial premise of Fieldwork will center on the idea of experimentation. In Collins Park artists will try out their ideas and verify them ‘in the field’. Public will include several site-specific works conceived especially for the exhibition by Ryan Gander, Sam Moyer and Jessica Stockholder. Some of the selected works will engage with the architecture of Collins’ Park, like Ugo Rondinone’s intervention on the Bass Museum façade or Alfredo Jaar’s on the park’s rotunda. This year, the sector will extend beyond Collins Park to include a performance-installation by Gunilla Klingberg on the nearby beach, where an intricate geometric pattern will be imprinted into the sand every morning, gradually being erased over the course of the day.

Both Lynda Benglis and Tatiana Trouvé will be represented with works that reconceive the classical fountain, while Nancy Rubins’ and Nuria Fuster’s works will give new meaning to found objects and scrap materials. Familiar images will shift scale and significance in sculptures by Yinka Shonibare MBE and Barthélémy Toguo, while perceptions of space and form will be challenged by Matthias Bitzer, Sarah Braman, Jeppe Hein and Jessica Jackson Hutchins.

On display will be one of Georg Baselitz’s rare bronzes; Ana Luiza Dias Batista’s scaled replica of a popular 1980’s Brazilian amusement park attraction; and Elmgreen & Dragset’s formal golden-bronze equestrian statue of a young boy riding a rocking horse, a scaled version of the artists’ Fourth Plinth commission in London’s Trafalgar Square.

Also on view will be nós sonhando [spacebodyship] (2014), a sculpture by Ernesto Neto that functions as a playful double hammock for two, giving visitors the opportunity to slow down and pause. Sam Ekwurtzel’s mole tunnels cast in aluminum and Jose Carlos Martinat’s cacophonous audio-mechanical installation will reflect on art history. History and politics will come together in Faivovich & Goldberg’s 3.6-ton sculpture composed of 12 fragments that render the contour of the Chaco province of Argentina, as well as in Olaf Metzel’s sculpture revolving around recent American history. Meanwhile, Hank Willis Thomas and collaborators from the Cause Collective will invite visitors to record their own truth within a portable and inflatable Truth Booth in the shape of a giant cartoon speech bubble.

As in the past two years, a selection of artworks will remain installed in Collins Park through March 2015 as part of tc: temporary contemporary, which is present by the Bass Museum of Art in partnership with the City of Miami Beach.

A series of live performances will be presented on Public’s Opening Night on Wednesday, December 3. Alix Pearlstein will invite actors carrying illumination panels to circulate amongst the crowd, at times spotlighting artworks and other objects. Ryan Gander will equip curator Nicholas Baume with two bodyguards, heightening the visibility and the actions of the curator. The boundary between stage and audience will be disrupted with Christian Falsnaes’ participatory collective performance, in which a large- scale structure is continuously spray painted, torn down, displayed and subsequently rebuilt. Liz Glynn and Dawn Kasper will transform the Collins Park Rotunda into a pulsating and animated geodesic planetarium, questioning how we locate ourselves within the vast universe of seen and unseen forces.

Public Opening Night, which is free and open to the public, will take place in Collins Park on Wednesday, December 3, from 8.30 pm to 10pm. The Public sector is free of charge and open to the public from December 4 to December 7. Tours will be offered daily at 10.30am, 11.30am and 12.30pm.

Collins Park is located between 21st and 22nd Street, in close proximity of the exhibition halls within the Miami Beach Convention Center and adjacent to The Bass Museum of Art.

On Friday, December 5, from 5pm to 6pm, Art Basel’s Salon program will see Nicholas Baume in conversation with Ryan Gander, Lyz Glynn and Nicolás Goldberg. Art Basel entry tickets include admission to Salon


Mana Miami:
Mana Monumental, Dirty Geometry, GLE at Mana

December 2 – 7, 2014

For its Miami art fair debut, Mana Contemporary presents a compilation
of special projects all reflecting an organizational mission of collaboration and community. Held on Mana’s Wynwood campus in a 140,000-square-foot facility spread over 22 acres, the shows will take place in conjunction with Art Basel Miami.


Featuring Aboudia, Doug Argue, José Bedia, Orit Ben-Shitrit, Stanley Casselman, Ofri Cnaani, Sante D’Orazio, Carole A. Feuerman, Kate Gilmore, Ron Gorchov, Kaoruko, KAWS, Ben Keating, Eugene Lemay, Alfred Leslie, Yigal Ozeri, Milton Resnick, David Salle, Julian Schnabel, Ray Smith, Edvins Strautmanis, and Maxwell Snow.

Scale, spectacle, and community star in this staggering survey of large-scale works by twenty-one artists associated with Mana Contemporary. Titled Mana Monumental, the exhibition features projects that utilize colossal proportions as a means to connect with viewers in a personal, meaningful way — much like Jackson Pollock and Sol Lewitt, whose sizable work effectively enveloped viewers with the sheer experience of confronting them. For Pollock and Lewitt, as with the artists in Mana Monumental, scale contributes to meaning rather than the grandiose, and aims to create an elemental impact that is at once magnificent, heroic, and influential.

Mana Monumental also references Mana’s mission to foster a sense of community in the contemporary art world. By showcasing a diverse roster of artists who have a studio in, have exhibited at, or are otherwise connected to the bourgeoning arts organization, the exhibition acts as a platform that unifies and empowers its participants as group. The project is curated by artist Eugene Lemay, the founder and director of Mana, whose artwork doubles as visually engulfing displays that invite viewers to not only look at, but enter into, their enticing expanse. Through Mana Monumental Lemay, together with a talented troupe of peers, demonstrate the enduring relevance of Barnett Newman’s belief that, in a contemporary context where traditional art subjects and styles are made invalid, it is the sublime that will save us.


Featuring Emilia Azcárate, Alessandro Balteo Yazbeck, Cecilia Biagini, Sigfredo Chacón, Emilio Chapela, Eduardo Costa, Willys de Castro, Diana de Solares, Marcolina Dipierro, Eugenio Espinoza, Jaime Gili, Mathias Goeritz, Juan Iribarren, Bárbara Kaplan, Ramsés Larzábal, Raúl Lozza, Beatriz Olano, César Paternosto, Alejandro Puente, Luis Roldán, Osvaldo Romberg, Joaquín Torres García, and Horacio Zabala

Curated by artist Osvaldo Romberg, Dirty Geometry showcases work that demonstrates what he sees as a rebellious attempt to separate itself from the tight, rigid theoretical framework perpetuated by traditional notions of geometry. The exhibition’s twenty-three participants, all Latin Americans working in geometric abstraction between 1950 and today, explore a kind of creolization of orthodox geometric style. They effectively reinvent geometry into a notion that is free from theory—a “dirty war,” according to Romberg. Like the controversial French philosopher Georges Bataille, who believed that “divine filth” leads to pure ecstasy, Romberg believes geometry can be made erotic through primal dirt.

Romberg’s Dirty Geometry subverts the strict, systematic, straightforward qualities of geometric forms pioneered by Wassily Kandinsky, the Russian artist and art theorist credited for creating the first purely abstract paintings. While a number of artists, including Mark Rothko and Frank Stella, have experimented with this bold approach, Romberg feels Latin American artists offer some of the most prominent examples of it.

By twisting and reinventing classic shapes using contemporary cultural prisms, the organic, pared-down works in the exhibition question the role of art in the human experience. Playful, colorful, and subtly sexy, the featured practitioners display a solid consciousness of artistic-cultural identity together with a sense of new possibilities.


Featuring Bob Gruen, Charles Hinman, Robert Indiana, Richard Meier, Yigal Ozeri, and Jessica Stockholder.

Mana Contemporary is pleased to present GLE at Mana, an exhibition of limited-edition prints selected from Lichtenstein’s most recent collaborations made in his studio, Gary Lichtenstein Editions (GLE). Now based in a 10,000-square-foot space at Mana, GLE is dedicated to making high-quality, limited-edition prints. GLE at Mana features a selection of work made in collaboration with the visionaries GLE has attracted thus far, showcasing the venture’s creative potential.

Over the course of his forty-year career, Gary Lichtenstein has created a wide range of screen-printed images with industry legends. Known for his distinctive use of color, reflection, and light absorption, the artist’s experimental work is part of permanent collections at the Museum of Modern Art, the San Francisco Museum of Modern Art, and the Chicago Art Institute, among others.


During Mana Miami, Mana Sessions will feature a daily program of roundtable discussions led by prominent art world insiders. These conversations grant visitors an in-depth analysis of critical and current issues facing artists and art professionals. The themes of the talks reflect Mana’s organizational mission of collaboration and community. A full program will be announced soon.




Liz Glynn and Dawn Kasper Team Up for Public at Art Basel in Miami Beach

Sarah Cascone, Wednesday, November 19, 2014


Lynda Benglis, Pink Lady (2014. Photo: courtesy Cheim & Read.

Visitors to Art Basel in Miami Beach planning their visits to fairs and parties have yet another great item to add to their itineraries. Twenty-six artworks will transform Miami Beach’s Collins Park into an outdoor sculpture garden for Art Basel Miami’s Public sector. Curated by the Public Art Fund’s Nicholas Baume, in partnership with the Bass Museum of Art, the show will kick off on December 3 with opening festivities featuring four simultaneously occurring performance art pieces from Ryan Gander, Christian Falsnaes, Alix Pearlstein, and a collaboration between Liz Glynn and Dawn Kasper.

For opening night, Glynn and Kasper have teamed up on a theoretical physics-based performance, titled cosmo[il]logical. The piece will take place in the park’s rotunda, which will be transformed into a planetarium under a dome structure installed by the artists which will emit both light and sound. It will project images of of the cosmos on the rotunda ceiling while the artists draw with chalk on the felt floor, which has been coated in chalkboard paint.

“The piece is kind of activated through the act of drawing,” Glynn told artnet News in a phone interview, “and the drawings accumulate over the course of the performance…. The performance explores different theories of perception.”

Going all the way back to the big bang for inspiration, Glynn and Kasper will discuss quantum mechanics and string theory in relation to visual art, drawing a distinction between “things that are visually perceptible and things that you believe in but can’t experience through sight alone.”

“In physics, when matter and antimatter collide they destroy each other,” said Glynn. “We go through the history of the origins of the universe and how we can kind of explain our position within it through physics.”

The artists have taken opposite sides in the debate, with Kasper taking the position of antimatter, which, according to Glynn, she has dubbed “invisible dark energy—all of the things that prevent you from getting out of bed in the morning.” Glynn, for her part, will take a more didactic approach. The divide is a reflection of their unique approaches to performance art. “I’m much more of a research-driven person,” said Glynn. “Dawn works much more with improvisation and sound, so it’s kind of the collision of our two practices as well.”

Gander’s suspended sculpture of plastic barrels and an etched metal plaque, titled Never has there been such urgency, or The Eloquent and the Gaga – (Alchemy Box #45), will be on view for the duration of the fair. He will also perform Thank you, but I am promised to the company of my artist this evening during the opening, a piece that centers around Baume, who will be followed throughout the evening by two actual armed bodyguards. As Baume crisscrosses Collins Park that evening, his comings and goings will be all the more noticeable thanks to the imposing presence of the guards being paid to protect him. In effect, curator will become a performer, a part of the very spectacle he is there to oversee, in a unique blending of art and life.

Pearlstein’s performance, The Shining, will also infiltrate the crowd, outfitting a roving group of actors with personal illumination panels, while Falsnaes will actively engage with the audience, encouraging them to participate in the repeated ritualistic building up and breaking down of a large-scale structure in his piece Front.

The full roster of artists, artworks, and galleries for Public 2014 are listed below:

Georg BaselitzLouise Fuller (2013), Galerie Thaddaeus Ropac
Lynda Benglis, Pink Lady (2014), Cheim & Read
Matthias Bitzer, Sleep and echo (2012), Marianne Boesky Gallery, Almine Rech Gallery
Sarah Braman, Door (2013–14), Mitchell-Innes & Nash
Ana Luiza Dias Batista, Eva (Eve), 2014, Galeria Marilia Razuk
Sam Ekwurtzel, Incomplete Open Cubes (2014), Simone Subal Gallery
Elmgreen & Dragset, Powerless Structures, Fig. 101 (2014), Victoria Miro Gallery
Faivovich & Goldberg, Territorio del Chaco (2013), SlyZmud, in cooperation with Nusser & Baumgart, Munich
Nuria Fuster, Pump Iron (2014), Galería Marta Cervera
Ryan Gander, Never has there been such urgency, or The Eloquent and the Gaga – (Alchemy Box #45), 2014, Lisson Gallery
Jeppe Hein, Mirror Angle Fragments (3×60°), 2014, Johann König
Jessica Jackson Hutchins, Him and Me (2014), Johann König
Alfredo Jaar, Culture = Capital (2012/2014), Galerie Lelong, Goodman Gallery, Galerie Thomas Schulte
Gunilla Klingberg, A Sign in Space (2012–ongoing), Galerie Nordenhake
José Carlos Martinat, Manifestos (2014), Revolver Galería
Justin Matherly, The degenerated instinct which turns against life with subterranean vengefulness; See you again in your muck of tomorrow (2010), Paula Cooper Gallery
Olaf Metzel, Untitled (2014), Wentrup
Sam Moyer, Zola (2014), Galerie Rodolphe Janssen
Ernesto Netonós sonhando [Spacebodyship] (2014), Tanya Bonakdar Gallery
Ugo Rondinone, Untitled (2014), Galerie Eva Presenhuber, Gladstone Gallery
Nancy Rubins, Our Friend Fluid Metal, Chunkus Majoris (2013), Gagosian Gallery
Yinka Shonibare, Wind Sculpture IV (2013), James Cohan Gallery
Jessica Stockholder, Angled Tangle (2014), Kavi Gupta Chicago/Berlin
Barthélémy Toguo, In the Spotlight (2007), Galerie Lelong
Tatiana Trouve, Waterfall (2013), Gagosian Gallery
Hank Willis Thomas with Ryan Alexiev and Jim Ricks, In Search of the Truth (The Truth Booth), 2011, Goodman Gallery, Jack Shainman Gallery

Art Basel in Miami Beach will be on view December 3–7, 2014. A selection of works from Public will remain on view in Collins Park through March 2015 as part of “tc: temporary contemporary.”



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Just six weeks until the opening of Art Basel Miami Beach! The 13th edition of the annual art fair — and all it’s satellite fairs, exhibits, museum and gallery openings (and parties) — begins on Wednesday, December 3rd and runs through the 7th at the Miami Beach Convention Center.  The city’s ambitious plan to build a new convention center has now been replaced with a simpler and cheaper “re-model,” but that won’t affect this year’s fair or the expected 75,000+ international visitors.For 2014, ABMB launches a new sector called Survey, featuring “art-historical projects” from thirteen galleries including two rare “Tir-Assemblages” by Niki de Saint Phalle, outsider art by Henry Darger, mid-twentieth century works by the Brazilian artist Alfredo Volpe and more.  The original “sectors” will also return, including Nova, Positions and Kabinett; plus all the big outdoor, public art projects in Collins Park and the films in SoundScape Park and at the Colony Theatre on Lincoln Road.Due to an on-going fight between two factions of Miami’s Museum of Contemporary Art (770 NE 125th Street, North Miami) several members of the museum’s board resigned and started a new museum called the Institute of Contemporary Art in the Moore Building (4040 NE 2nd Avenue, Miami) in the Design District.  MOCA is still alive, and they’re having an opening reception for an exhibition called “Shifting the Paradigm: The Art of George Edozie” featuring works by the Nigerian artist on December 2nd at 7 p.m.Buckminster-Fullers-Dome.jpgMeanwhile, the Design District is rapidly morphing into “the luxury fashion district” with an incredible transformation of the entire area still underway.  Lots of stores are already open including Prada, Marni, Rick Owens, Louis Vuitton, Hermes, Louboutin, Cartier, Celine, Pucci, Dior etc. and many more are on the way.  And there’s a new “Palm Court” featuring a Buckminster Fuller dome, an enormous underground parking garage and plans for a condominium building to be designed by Chicago starchitect Jeanne Gang. You can follow the progress HERE.Screen Shot 2014-10-21 at 2.52.59 PM.pngTo take advantage of all the “luxury” in town for ABMB, The New York Times is hosting an “International Luxury Conference” at the Mandarian Oriental Hotel from December 1st to 3rd with guest speakers including Francois-Henri Pinault, Diane Von Furstenberg, Frida Giannini, Tom Sachs, Diego Della Valle and many more. Tickets are $4250.

Screen Shot 2014-10-21 at 2.59.23 PM.png(The Edition hotel)

The third edition of the SELECT art fair is making a bold move up to North Miami Beach where they plan to set up a 40,000 square-foot tent to hold over 50 galleries on the beach at 72nd Street. They’ll also use the art deco amphitheater already on the site for installations, performances and exhibitions. Just a few blocks south at 67th Street and Collins Avenue, the NADA fair is back in the Deauville Beach Resort. The whole strip of Miami Beach from the W Hotel on 23rd Street up to the SoHo Beach House on 43rd Street is the hottest new, high-end real estate in town.  This year should see the opening of Ian Schrager’s Miami Beach Edition  hotel (rooms are over $1,000 a night during ABMB) on 29th Street; and construction is also well under way at Alan Faena’s massive $1 billion hotel, condo and art museum complex at 32nd Street with buildings designed by Rem Koolhaas/OMA and Norman Foster.  If your budget won’t cover any of these mid-beach, mega resorts, we suggest the super-cool and trendy Freehand Miami on 27th Street were a co-ed dorm room goes for around $115 per person a night.

Screen Shot 2014-10-21 at 3.03.07 PM.pngPeter Marino

The Bass Museum of Art (2100 Collins Ave., Miami Beach) will be celebrating their 50th anniversary with a big gala on November 1st and, during ABMB, they’re planning an exhibition called “One Way: Peter Marino” curated by Jerome Sans.  Marino is a renowned American architect and designer and this show will include art from his private collection plus site-specific installations, an opera collaboration and a series of his bronze boxes.  The opening VIP reception is the evening of December 3rd and it will be open to the public from the 4th until March 29, 2015.

On Thursday, December 4th, the up-and coming UK singer FKA Twigs will be performing at YoungArts and on Friday,  December 5th, they’ve booked the Grammy-nominated and Mercury Prize winning recording artist James Blake. Tickets are available HERE. Last year, the National YoungArts Foundation debuted their new home in the old Bacardi building on Biscayne Boulevard and now they’re moving ahead with plans to open a restaurant and performing arts space on the top floor called Ted’s.  Philadelphia’s Stephen Starr Events will handle the food.

Apparently there’s a VIP crisis at Art Basel Miami Beach — or maybe it’s just a clusterf**k. The problem is that too many people were being admitted on Wednesday, so they’ve made a big change this year. Instead of hosting the “Vernissage” during the evening of December 3rd, it will now take place on Thursday morning, with the general public admitted at 3 p.m. On Wednesday, “First Choice VIPs” will still get in at 11 a.m. and “Preview VIPs” at 3 p.m. with the doors closing at 8 p.m. The change will probably leave many people scrambling to find a way in before Thursday, but it should prevent another early shut-down by fire marshals as happened in 2011. Marc Spiegler, Director of Art Basel, explains: “We are confident that this opening structure will allow us to provide our galleries with the best opportunity to spend quality time with both existing and potential patrons.” Overcrowding — or shortage of “quality time” — has also become an issue at Basel in Switzerland and at FRIEZE London, with more VIP days and hours added to keep patrons and galleries happy.

Screen Shot 2014-10-27 at 2.20.53 PM.pngFuture Brown. (Photo by Christelle de Castro)

The Perez Art Museum Miami (1103 Biscayne Boulevard, Miami) celebrates the first anniversary of their new Herzog & de Meuron-designed home with exhibitions by Beatriz Milhazes, Mario Garcia Torres, Gary Simmons, Geoffrey Farmer and more. They’re also hosting a big party on December 4th, 8 p.m. to midnight, with the electronic supergroup Future Brown (Fatima Al Qadiri, Asma Maroof and Daniel Pineda of L.A.’s Nguzunguzu and J Cush, founder of NYC record label Lit City Trax) along with special guests including L.A. singer Kelela, Total Freedom from L.A.’s “Wildness” parties, Ian Isiah andMaluca. The band will play on a special stage with an extreme-watersports performance on Biscayne Bay as the backdrop. The party is a DIS Magazine and THV Entertainment production.

Screen Shot 2014-10-27 at 2.48.49 PM.pngThe Wolfsonian-FIU Museum (1001 Washington Avenue, South Beach) takes a look back at how designers, artists and filmmakers responded to the First World War with an exhibition called “Myth and Machine.” The show is divided into three sections: “War Machines,” Unknown Soldiers” and “Loss and Redemption.” They’ve also got an exhibition called “Remembering Tokyo” featuring 30 woodblock prints made between 1928 and 1940 by Koizumi Kishio. Be sure to check out their cool gift shop when you stop by.

Screen Shot 2014-10-27 at 2.49.38 PM.pngThe Miami Project (NE 34th Street at NE 1st Avenue, Miami) satellite fair returns to Midtown Miami for a third go-round from December 2nd to the 7th. Their VIP Preview, sponsored by 1stdibs, is on Tuesday from 5:30 to 10 p.m.

Screen Shot 2014-10-27 at 3.10.21 PM.pngLocal Miami gallery, Locust Projects (3852 North Miami Avenue, Miami), is presenting Daniel Arsham’s first major exhibition in Miami since 2010. Called “Welcome to the Future,” the installation will included an excavation of the gallery’s floor, filled with thousands of “calcified, 20th Century media devices.” The opening reception is Thursday, December 4, 7 to 10 p.m. Meanwhile, check out James Franco while he destroys some artifacts HERE in Arsham’s new short film.

Screen Shot 2014-10-27 at 3.15.10 PM.pngUntitled, 2012 from Paula Crown’s “Fractals” series

The Chicago/Aspen-based artist Paula Crown is working on a big, site-specific installation called “Transportation: Over Many Miles” in the Design District at 39th Street and 1st Avenue. The work includes a 25-foot-long sculpture on a 3,200 square-foot floor, all made from reclaimed wood, glass, Astroturf, metal, plants and sand. Theaster Gates Design Apprenticeship Program is assisting with the fabrication and Chicago’s Studio Gang is the architect. It will be up from December 1st through March 2015, and there’s an opening reception the evening of December 4th.

Screen Shot 2014-10-27 at 3.17.08 PM.pngFridge Art Fair returns for second year, this time at The 3rd Street Garage (300 SW 12th Avenue, Miami) from December 4 to 9. Their “Mega Mango Miami: The Great Opening” preview is on Thursday, December 4, from 2 to 8 p.m., with an afterparty at the infamous “den of iniquity,” The Ball & Chain (1513 SW 8th Street, Miami) in Little Havana starting at 9 p.m. This fair started in NYC’s LES in 2013 and founder Eric Ginsburg has the right attitude: “People should not be afraid to go and see art, and it should not cost a fortune.”

Screen Shot 2014-10-27 at 3.18.21 PM.pngPerrier-Jouet launches a new, year-long collaboration with the Vienna-based art duo mischer’traxler(AKA Katharina Mischer and Thomas Traxler) called “Small Discoveries.” Their aim is “to tell the story of the magical dialogue between nature and mankind” and they’ve created a work called “Ephemera” that will be on view at Design Miami from December 2nd to the 6th.

Screen Shot 2014-10-27 at 3.20.00 PM.pngA new fair called Concept will be held aboard the Seafair mega-yacht, docked downtown at Bayfront Park (100 Chopin Plaza, Miami) from December 3 to 7 with VIP previews on the 2nd from 6 to 10 p.m. Over 35 international galleries are expected.

Screen Shot 2014-10-27 at 3.22.08 PM.pngKLIMA

Several new restaurants are expected to be ready by the time ABMB hits town. KLIMA will bring the gastronomy of Barcelona and the Mediterranean to a bi-level, indoor/outdoor spot on 23rd Street and Collins Avenue in South Beach. Their Executive Chef is David Rustarazo and Barcelona restaurateur Albert Ventura is advising. L.A Chef Danny Elmaleh launches a third version of his award-winningCleo restaurant in the Redbury Hotel (1776 Collins Avenue, South Beach). This one’s also “contemporary Mediterranean.”

Screen Shot 2014-10-27 at 3.25.44 PM.pngThe Gale Hotel (1690 Collins Avenue, South Beach) — that’s the spot that hosted PAPER’s “Tiki Disco” pop-up last year — will open a special “rooftop” edition of the Disaronno Terrace from 7 to 10 p.m. on December 4th. DJs are TBA.

img_1.jpgPhoto via Wynwood Walls

Over at Wynwood Walls, they’re planning several new mural collabs featuring teams like Shepard Fairey X Cleon Peterson, Pose X Revok, Haas X Hahn and Faith 47 X Alexis Diaz.  Also, Swoon and Case will each contribute solo works and Kenny Scharf is updating his existing mural.

Detroit gallery Library Street Collective will have a pop-up space nearby and they’re programming artist talks and a book/print signing fair. The blocks around NW 2nd Avenue and 26th Street have become a gigantic arty-party during the area’s monthly “Second Saturday” art walks, but the congestion has some Wynwood veterans seeking space elsewhere. Fredric Snitzer, owner of one of the only two local galleries showing in the convention center and who plans to move from Wynwood to downtown Miami, recently told Miami New Times: “Wynwood has become too hectic and lost its vibe.” Jessica Goldman Srebnick, Wynwood Walls’ chief curator and daughter of Tony Goldman, hopes their “Art of Collaboration” exhibition can “encourage and inspire greatness” and claims, “The growth of Wynwood as a mecca for the arts is the result of great collaborations.”

Screen Shot 2014-11-04 at 3.32.55 PM.pngAs we mentioned two weeks ago, the SELECT art fair is moving to a tent on the beach at 72nd Street and they’ve enlisted Solange to curate a bunch of performances — including one by herself — nightly from Wednesday thru Saturday, starting at 7 p.m. She’s expected to book several acts from her label,Saint Heron Records, that will appear in the on-site, deco amphitheater.  The shows are open to the public and admission is FREE.  When we hear who’s playing (and when), we’ll fill you in.

AB/MB and Performa are hosting an immersive performance by artist Ryan McNamara called “MEEM 4 Miami: A Story Ballet About the Internet” on December 3rd and 4th at 8 and 10:30 p.m. at the Miami Grand Theater at Castle Beach Resort (5445 Collins Avenue, Miami Beach). RoseLee Goldberg, Performa’s founder and director, describes the work by the Brooklyn-based artist: “This piece is far more complex than it first appears, because it unfolds as one surprise after another. The viewer is both totally in the moment and yet spends hours thinking about it afterward.”
$30, tickets are available HERE. Note to VIPs: There’s also an “invitation only” preview on Tuesday.

NADAxPAOM_Logo.pngThe NADA art fair at the Deauville Beach Resort (6701 Collins Avenue, Miami Beach) will host their “invite only” opening preview on Thursday, December 4, 10 a.m. to 2 p.m. After that, admission is free and it’s open to the public daily through December 7th from 11 a.m. to 8 p.m.  You can also preview the fair on Artsy. This year, they’ve partnered with Contemporary Art Daily, Print All Over Me and the 15th Artadia Award. Print All Over Me will be doing special “artist editions” of clothing using images created by Jose Lerma, Amy Yao and Sarah Braman.

01_iwc_portofino_photo_shoot_actors_2014.jpgSwiss watch manufacturer, IWC will be celebrating their new “Portofino” collection with an exhibition of photos by Peter Lindbergh on December 3rd at the W South Beach (2201 Collins Avenue, South Beach). Several of the celebs featured in the campaign including Emily Blunt, Karolina Kurkova and Adriana Lima are expected; and hosts for the night are DuJour magazine founder Jason Binn and IWC CEO Georges Kern.

1959513_800160363360543_7668972189172110849_n.jpgOn December 3rd, Miami’s Institute of Contemporary Art (4040 NE 2nd Avenue, Miami) — the new spin-off from MoCA North Miami — is opening an installation/performance piece called “Sanatorium” by the Mexico-based artist Pedro Reyes. The pop-up “clinic” includes receptionists and therapists that will “help visitors with their individual needs” via everything from hypnosis to psychodrama to trust building games. The museum will also present new and recent works by the New York artist Andra Ursuta. Both will be up until March 15, 2015.

Screen Shot 2014-11-04 at 4.12.09 PM.pngThe PULSE fair is moving to Indian Beach Park (4601 Collins Avenue, Miami Beach) up by the Eden Roc Hotel for their 10th year in Miami. Their private preview brunch is on Thursday, December 4, 9 a.m. to 1 p.m. and then it’s open daily through the 7th. As part of their PULSE Projects, they are featuring a work by the Ontario-based artist Shayne Dark called “Tangle Wood” and also an audio installation by Jenna Spevack called “Birds of Brooklyn.” Their new media and video art section, PULSE Play, will be presented by Tumblr and curated by Lindsay Howard. Tickets are available HERE.

58.jpgNew works from PAPER faves Studio Job will be on view at Design Miami/2014 in the Carpenters Workshop Gallery. The Dutch/Belgian collective have re-imagined several global landmarks like the Taj Mahal and the Eiffel Tower, and transformed them into incredible “functional” sculptures.

LAD_basel_poster_FULL.jpgThe Life and Death record label is hooking-up with PLOT and Miami promoters Poplife and Aquabooty for a big showcase/party on December 4th at Grand Central (697 N Miami Avenue, Miami) nightclub. The line-up for the night includes Dixon (Innervisions), Bob Moses (Domino Records), Recondite, Mind Against, Thugfucker (Life and Death) and DJ Tennis; plus the Miami debut of Vaal.Tickets are available HERE.

Screen Shot 2014-11-04 at 4.24.51 PM.pngThe third annual Miami Street Photography Festival will take place from December 4th to the 7th at Kike San Martin Studios (2045 NW 1st Avenue, Miami) in the Wynwood Arts District.  This year’s featured guests include Magnum photographers Alex Webb, Susan Meiselas and Constantine Manos; poet/photographer Rebecca Norris Webb and National Geographic’s Maggie Stebber.  The festival is a partnership with Leica Camera.

carousel-shen-wei.jpgSeveral works by the Chinese-born artist Shen Wei — he was the lead choreographer of the opening ceremony at the Beijing Olympics — will be on view at downtown Miami’s Freedom Tower. The exhibition, “In Black, White and Gray,” includes paintings and site-specific performances and is the artist’s first U.S. museum show. The performances are on December 5, 6 and 7 and they are FREE, but you need to reserve a spot HERE.

Jean-Prouve-8x8-Demountable-house-process-6.png[Photo via]

Bally will be unveiling a house designed by Jean Prouve and Pierre Jeanneret in the garden behind The Delano (1685 Collins Avenue, South Beach). The house was originally commissioned by the French government in 1944 and recently underwent a 6-month restoration. During AB/MB it will be used for an art installation called “Triangle Walks” featuring works by Zak Kitnick and the art-duo,KOLKOZ, plus selected pieces from Bally’s collection of modernist furniture. There’s a VIP-only reception on December 3rd, but then it’s open to the public by appointment from December 4th to the 7th, 10 a.m. to 9 p.m.

Screen Shot 2014-11-10 at 5.16.05 PM.pngDesign Miami returns to a tent behind the convention center at Meridian and 19th Street with their VIP preview happening on Tuesday, December 2nd, and then it’s open to the public from December 3rd to the 7th. This year’s “10th anniversary” pavilion was created by the Minneapolis-based designerJonathan Muecke and the fair will also be honoring Peter Marino with their first Design Visionary award.

boardwalk-1.jpgThe Thompson Miami Beach (4041 Collins Avenue, Miami Beach) is now expected to be open in time for AB/MB and we hear that Peter Brant, Stephanie Seymour and Jean-Marc Pontroue, CEO of luxury watchmaker Roger Dubuis, are hosting a super-private dinner and afterparty with Dom Perignon at the new hotel on December 3rd. In case you haven’t heard, Jason Pomeranc recently sold all of his interest in the Thompson Hotel chain — including the Thompson name — to John Pritzker’s Commune Hotels and the Pomeranc properties are now called Sixty Hotels.

Screen Shot 2014-11-10 at 5.19.30 PM.pngMeanwhile over in the Design District, Miami’s new “luxury shopping” destination, a hybrid fashion store/design exhibition/art installation called “The World of Mr. Somebody & Mr. Nobody” featuringWalter Van Beirdendonck and Bernhard Willhelm will be open from December 1st to 15th, 11 a.m. to 8 p.m. daily at 91 NE 40th Street. Fashion from the Belgian “mavericks” will be juxtaposed with photography by Miles Ladin, graphic works by Peet Pienaar and clothes by Superella in an extravaganza hosted by Craig Robins, Sharon Lombard and Cathy Leff. The VIP opening is on December 4th with music by Dirk Bonn and drinks by Chris Adamo.

RyanMcGinley_sd_pierre_grasslands_HIGH.jpgRyan McGinley, Prairie (Pond), 2014. C-print, 90 x 60 inches (Courtesy of the artist and Team, New York)

The UNTITLED 2014 art fair hosts their “by invitation only” opening on Monday, December 1st, from 6 to 9 p.m. in a tent on the beach just off Ocean Drive near 12th Street. The opening is a benefit for the AIDS research and education organization ACRIA and will be hosted by Ryan McGinley. The New York artist donated an edition of three prints of his large-format photo, Prairie (Pond), 2014, to the cause. ACRIA will also be offering other objects and prints for sale in a booth at the fair. The VIP preview is on Tuesday, December 2, 3 to 7 p.m., and then they’re open to the public from December 3rd to the 7th.

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Scottish artist Georgia Russell — she’s known for slicing and dicing old books, newspapers etc. — is creating limited-edition “ornaments” to display bottles of Ruinart Champagne’s Blanc de Blancs that are inspired by the etchings in Maison Ruinart’s chalk quarries. She also crafted a large sculptural version of Ruinart’s 18th-Century ledger. The artist sees the works as “a continuation of my practice of cutting paper to bring the past into the present.” Ruinart Champagne and Public Art Fund are hosting a private brunch in her honor at Morimoto in the Shelborne Wyndam Grand South Beach(1801 Collins Avenue, South Beach).

Screen Shot 2014-11-10 at 5.22.18 PM.png[Photo via]

The Miami Ad School (571 NW 28th Street, Wynwood, Miami) will be celebrating the grand opening of their new campus location in Wynwood on Friday, December 5th, 7 to 10 p.m. with a big party called “SoakUp.” There will be interactive installations and activities featuring several international street artists including Kislow, NYCHOS, Dome, Omen, Aber and others.

wang-qingsong---new-women.jpgThe Frost Art Museum (10975 SW 17th Street, Miami) will have several gigantic photo-murals on view during AB/MB in a show called “Adinfinitum” by the Chinese artist Wang Qingsong; plus there’s also a group show, “A Global Exchange: Geometric Abstraction Since 1950,” with over 30 works “integral to the development of geometric art.” Both are up until January 2015. The museum’s annual “Breakfast in the Park” will feature guest speaker Daniel Arsham in their outdoor sculpture park on Sunday, December 7th, from 9:30 a.m. until noon.

Screen Shot 2014-11-10 at 5.26.23 PM.pngGary Nader, Miami art collector and owner of the self-professed “biggest gallery in the world” in the Wynwood neighborhood at 62 NE 27th Street, has just opened a branch here in New York City on 57th Street featuring Latin American art. He has now announced plans to build a $50 million museum on Biscayne Boulevard in Miami, designed by the Mexican architect Fernando Romero. A model of the museum, as well as several selections from his private collection, will be on view during AB/MB in the Wynwood space.

big-eyes-amy-adams1.jpgTim Burton’s new film Big Eyes headlines the AB/MB film program with a special screening on December 5th, 8:30 p.m., at the Colony Theatre on Lincoln Road.  It’s the story of Walter Keane, the mysterious painter of waifs with “big eyes,” who’s works turned out to have actually been made by his wife Margaret (played by Amy Adams). The screening is free, but get there super early.  Many other films submitted by participating galleries will be shown in a new, specially-designed screening room inside the convention center and nightly in SoundScape Park outside the New World Symphony (500 17th Street, South Beach).  The complete schedule is HERE.Russell and Danny Simmons celebrate the 5th anniversary of their “Artisan Series” with a big party for the 2014 finalists and winner — and a special performance by Miguel — at Soho Beach House (4385 Collins Avenue, Miami Beach) on Thursday, December 4th.  Since 2010, they’ve searched for and helped emerging artists by showcasing their work during AB/MB.  This year’s big winner will also receive a solo show during SCOPE NYC in March 2015.  Bombay Sapphire has collab’d and sponsored since the friends at GAYLETTER are having a big party called “Basel, Honey!” on Saturday, December 6th, 9 p.m. to 4 a.m., at TSL Lounge (167 NW 23rd Street, Wynwood, Miami)  Co-hosts on the night are Miami Eccentrics and the Kodex Agency.  Music by Kim Ann Foxman, Honey Soundsystem and Mystic Bill; plus there will be fab decor by San Fran’s Phillip Fillastre and crew.pmuocbxhtpdp9pkwcmcg.pngThe fab Alchemist shop on level 5 of the Herzog & De Meuron-designed parking garage on Lincoln Road, is set to top last year’s cool Colette collab with a week-long installation called “AIRBALL.”  They are installing a basketball court designed by Snarkitecture, where you can shoot some hoops or just chill to DJs and shop for new collabs from Rick Owens, Del Toro, Rochas and more.  Alchemist and Snarkitecture host an “AIRBALL” party at the Delano on Friday, December 5th, with performances by Pusha T and Travis Scott, along with a DJ set from Virgil Abloh.  Miami-based footware brand Del Toro( 2750 NW 3rd Avenue #22, Miami) is also celebrating the second anniversary of their Wynwood boutique on Thursday, December 4th, from 4 to 7 p.m.The Sagamore — aka Miami’s “Art Hotel” — just announced their latest exhibition, “Screen Play: Moving Image Art,” opening in November and on view throughout AB/MB. The show explores the moving image and it’s relationship to other media over a period of six decades via artists including John Baldessari, Joan Jonas, Nam June Paik, Merce Cunningham and others.  It was curated by Lori Zippay of Electronic Arts IntermixThe Sagamore‘s (1671 Collins Avenue, South Beach) 13th Art Basel brunch is on Saturday, December 6th.Screen Shot 2014-11-17 at 9.17.30 PM.pngThe bragging rights for being Miami’s first art fair surely belong to Art Miami.  Now in its 25th year, the fair also includes CONTEXT — dedicated to emerging and mid-career artists — and Aqua Art Miami, as well as the original fair hosting over 130 international galleries in their Midtown Miami location.  The private VIP preview on Tuesday, December 2nd, is a benefit for PAMM and then it’s open daily through December 7th.horsemeatdiscoiii-300.jpgIan Schrager (and Marriott) launch their latest Edition hotel (2901 Collins Avenue at 29th Street) with parties from top to bottom.  On December 3rd, there’s a private dance party with London’s Horse Meat Disco DJs in the basement in honor of the hotel’s designers George Yabu and Glenn Pushelberg.  And in the penthouse, Absolut Elyx will create an private, pop-up club called Casa Elyx with cocktail parties, book launches etc. happening all week.  We can’t wait to check out this new hotel and are happy to hear that Ben Pundole is involved. Supposedly there’s a bowling alley in the basement.As usual, the Morgan’s Hotel Group has a super-busy week of events lined up including a Snarkitecture (Daniel Arsham and Alex Mustonen) installation in the lobby of the Delano (1685 Collins Avenue, South Beach) and Jen Stark and Misaki Kuwai’s “Teepee Project,” featuring their interpretations of historic teepee painting, at the Mondrian. (1100 West Avenue, South Beach)  Le Baron — celebrating their 10-years-running Miami pop-up — will be in the Delano’s basement nightclub FDR nightly. There will also be an Art Markit pop-up shop and a Vanity Projects nail salon poolside at the Mondrian.

brooklyn-street-art-ron-english-martha-cooper-miami-marine-09-14-web-2.jpgMiami Marine Stadium — designed by Hilario Candela and built on Miami’s Rickenbacker Causeway in 1963 — is raising money for a total restoration, and they’re having a big street art exhibition during AB/MB.  Featured artists include: Ron English, Doze Green, Risk, Tristan Eaton, Crash, The London Police, Astrik and many more.  The event is hosted by the Art History Mural Project, the National Trust for Historic Preservation and Friends of Miami Marine Stadium, with proceeds from sales of one-of-a-kind works and limited editions going to the restoration.  The show will be open to the public at 5 NW 36th Street, Midtown Miami, daily from 10 a.m. to 10 p.m., from December 2nd to the 7th. There’s also an “invite only” reception on December 1st.  The Miami Boat Show plans to move to the stadium in 2016.

6a0128763ee05d970c01b8d08e38d5970c-800wi.pngChristie’s and the Marriott hotel group are hosting a pop-up gallery featuring original works by Andy Warhol on December 3rd and 4th in the JW Marriott Marquis Miami (255 Biscayne Blvd., Miami).  All the works — including paintings, photos, prints and works on paper —  are from the Andy Warhol Foundation, with proceeds benefiting their grant-making program.  Stop by the hotel’s fifth floor and have a look between 10 a.m. and 5 p.m. both days.  There’s also a private VIP lunch and panel discussion on Tuesday.

If you’re heading down to Miami early in the week, LAND (Los Angeles Nomadic Division) plus FLAUNT and Paddle8 are having their big gala on Monday, December 1st, 7 p.m., at the Raleigh Hotel (1775 Collins Avenue, South Beach). They’ll be celebrating “innovative women in arts and culture” with dinner and dancing and a big auction of works by artists including Hernan Bas, Sam Falls, Brendan Fowler, Rashid Johnson, Raymond Pettibon and others.  Tickets are available HERE.



Pérez Art Museum Miami mounts colorful solo show from Brazilian painter Beatriz Milhazes
10/10/2014 6:13 PM 10/10/2014 6:13 PM
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From left to right: ‘Férias de Verão,’ 2005. Collection of Catherine and Franck Petitgas. ‘Feijoada,’ 2010. Collection Beatriz Milhazes. ‘Chora, menino,’ 1996. Colección Patricia Phelips de Cisneros, Caracas and New York.
From left to right: ‘Férias de Verão,’ 2005. Collection of Catherine and Franck Petitgas. ‘Feijoada,’ 2010. Collection Beatriz Milhazes. ‘Chora, menino,’ 1996. Colección Patricia Phelips de Cisneros, Caracas and New York.ORIOL TARRIDAS PHOTOGRAPHY
Beatriz Milhazes: Jardim Botânico, Milhazes’ solo show at the Pérez Art Museum Miami, is both a beautifully perfect title for the exhibit, and a misleading one as well.The Brazilian painter has been popular for a couple of decades in Latin America and Europe, but this is her first U.S. museum survey, making it a bit of a coup for both PAMM and Miami. The more than 50 mostly large paintings simply burst from the walls in the several galleries they cover, with their outrageously bright colors and tropical flora imagery. It does feel like you are engulfed in a botanical garden, surrounded by shapes and hues that seem to have an organic life of their own and spiwll out from their canvases.But these lovely paintings, with all their obvious decorative flourishes, start to become far more formal, less “wild,” when observing them closely, and especially as you move from early years to the most recent creations. The contrast becomes more intriguing as you dig deeper into Milhazes’ garden.She is in fact intentionally playing with tension. She’s embracing her tropical environment — Jardim Botânico is the name of her neighborhood in Rio de Janeiro — and heritage, which includes the unique Brazilian cultural mix that has resulted in the exuberant carnival traditions and vibrant music.But Milhazes is also schooled in the Modernist (and at times much more rigid and minimalist) trends that overtook European and Latin art during the 20th century. And then she plants textural, architectural and Pop culture elements into her yard, making her work more complex than what first meets the eye.That’s why botanical is an essential part of the title: Her works are a framed study of detailed, specific bits and pieces that make up a micro-world, and not really an overflowing bouquet or untamed landscape.The earlier works, made in the 1990s, start in the first room — where you can see the development of the mixture of abstract and literal detail colliding and taking on its own morphed form. Some of these can look like tapestries or jewelry — broaches and necklaces — with clear references to lace and ruffles and an almost Baroque-like imagery. One good example is Santo Antonio, Albuquerque from 1994; the pink, lavender and baby blue coloring is somewhat gentle, with a patterning that looks like doilies woven together with jeweled chains and interspersed with flowers and decorative knick-knacks.It was at this time that Milhazes was inventing her own technique to make these paintings, which while feeling loose with their hyper-bright color schemes and elaborate interpretations, were actually precise in their composition. She didn’t leave the signs of brush-strokes behind after she applied a decal-like process to the creation of her works: She would paint on plastic sheets and then transfer the image to the canvas, layering them one on top of another, as though leaving layers of skin on the final product. That small touch, adding the collage element to all of her works, is what makes them less free-form and exploding than it seems from a distance. They are specimens, both natural and man-made.Milhazes moved toward abstraction in the next decade, with circular and linear geometric designs becoming more prominent. Geometric abstraction has a long history in South America, so this too can feel part of an organic progression.Flores e Arvores from 2012-2013 is an almost 3D culmination of all these influences, the huge painting truly leaping from a wall that seems trying to hold this kinetic, kaleidoscopic vision in. There are vertical and horizontal lines crossing over spheres and bubbles with more distinct motifs still popping through, in turquoise, yellow, pink, orange and purple coloring. These later works are more mural-like than confined to framed painting.

Like in any other garden, botanical and otherwise, there are surprising imperfections that also appear, marring in a good way. Milhazes suggests with these intentional markings that, mirroring nature, even the most gorgeous creations have flaws.

If there is a flaw in this exhibit, it is that even the lushest of gardens often need to be trimmed; at some point the number of psychedelic canvases sprouting from the galleries gets a little redundant. But Milhazes’ style and culturally influenced aesthetics are a fine fit for Miami, which is one reason why PAMM Chief Curator Tobias Ostrander picked her for this high profile solo outing. Milhazes combines references that reflect those of the multicultural New World, from Colonial Baroque to African rituals, from formal European artistic traditions to North American Pop culture. It’s a mix that Ostrander thought would resonate well in this cosmopolitan capital on the Caribbean rim, filled with people from points all over, and growing as an arts destination.

In fact, this is the first major in-house exhibit organized by the new museum and not brought in from elsewhere, which is a welcome trend. It will be the featured exhibit during Art Basel Miami Beach.

On your way in or out, don’t miss the new installation at PAMM on the ground floor, taking over from the Hew Locke piece comprised of dozens of colorful model boats and ships that helped inaugurate the museum. Hard to fill those shoes. But the monochromatic pieces from Portuguese artist Leonor Antunes, so different in tone from both Locke and Milhazes, nonetheless tie into the vision of the museum.

Antunes based these minimalist sculptures made of dark wood, brown leather and brass chains, on Brazilian architecture both Modernist and Afro-Brazilian. The linear meshes, weaves and planks that come down from the ceiling form a subtle maze through which you can quietly maneuver. It becomes immediately clear what a nice dialogue this installation has with another art asset here — the superb architecture of the Herzog & de Meuron building itself. Without screaming, they both stand handsomely and inviting.

Appropriately enough, the installation is called “a secluded and pleasant land. In this land I wish to dwell.”

What:S ‘Beatriz Milhazes: Jardim Botânico’

When: Through Jan. 11

Where: Pérez Art Museum Miami, 1103 Biscayne Blvd., Miami

How much: $16


Read more here:


Art Basel Miami Beach 2014 Local Gallery Guide

By Jose D. Duran
Published Tue., Nov. 18 2014 at 11:30 AM

Courtesy of Robert Fontaine Gallery
Space Fruit, Still Lifes (Watermelon), Andy Warhol (1979).

If all you do during Art Basel Miami Beach is stick to the big fairs, you might as well call it a day and go back home.Seriously. Some of the best contemporary art we’ve seen during Art Basel has been away from the convention center and tents.

Local galleries feature both homegrown and international talent, including a mix of well-established artists and those on the cusp of greatness. And wouldn’t you rather have bragging rights that you saw so-and-so before they were big? (Basel is just one big bragging Olympics. Step your game up!)

That being said, there are way too may galleries to possibly feature them all. But we’ve picked out some of the best shows that coincide with Art Basel Miami Beach, some of which are already exhibiting right now — because it’s never too early to start Basel-ing.

See also: Art Basel Miami Beach 2014 Fairs Guide

Courtesy of Galerie Perotin
“Welcome to the Future,” Daniel Arsham at Locust Projects.

Design District and Upper EastsideKris Knight, “Smell the Magic.” December 1-15. Spinello Projects Pop-Up, 95 NE 40th St., Miami; 786-271-4223;

Tim Okamura, “Love, Strength, and Soul.” November 22-January 10. Yeelen Gallery, 294 NW 54th St., Miami; 954-235-4758;

Daniel Arsham, “Welcome to the Future.” November 15-January. Locust Projects, 3852 North Miami Ave., Miami; 305-576-8570;

“Art on the Move,” Ron Terada curated by Dominic Molon. Locust Projects, 3852 North Miami Ave., Miami; 305-576-8570;

Egan Frantz, “Monday and Friday, Tuesday and Friday, Wednesday and Friday, Thursday and Friday, Friday and Friday.” November 22-January 17. Michael Jon Gallery, 255 NE 69th St., Miami; 305-521-8520;

“Re-al-ized.” November 23-December 21. Carol Jazzar Contemporary Art, 158 NW 91st St., Miami; 305-490-6906;

“Luxury Face.” Ida Eritsland, Geir Haraldseth, and Agatha Wara in collaboration with Bjørnar Pedersen. December 1-January 10. Guccivuitton, 8375 NE Second Ave., Miami;

Robert Curran, “Anthology of 20 Years of Photography From Five Different Continents.” Robert Curran Gallery, 74 NE 40th St., Miami;

Courtesy of Primary Projects
Cole Sternberg

Downtown and Overtown“International Friendship Exhibition.” Autumn Casey, Jim Drain, Gavin Perry, Asif Farooq, Magnus Sodamin, Cole Sternberg, Cody Hudson, and Michael Vasquez. December 1-January 30. Primary Projects, 151 NE 7th St., Miami;

Fabian Peña, “Death of a Printed Story.” November 28-December 20. Dimensions Variable, 100 NE 11th St., Miami; 305-607-5527;

Purvis Young, “A Man Among the People: A Purvis Homecoming.” December 4-March. The Historic Lyric Theater, 819 NW Second Ave., Miami; 786-708-4610;

“The Avant-Garde and Latin-American Photography: The Poetics and Discourse of the Modern Gaze.” November 15-December 19. Centro Cultural Español, 1490 Biscayne Blvd., Miami; 305-448-9677;

“Panting.” Gina Beavers, Aaron Bobrow, Van Hanos, Sadie Laska, Dean Levin, Jeff Tranchell, and Jeff Zilm. Organized by John Connelly. December 5. Fredric Snitzer Gallery, 1540 NE Miami Ct., Miami; 305-448-8976;

Miami Beach

Jose Lerma, “Guaynabichean Odyssey.” December 1-Janaury 31. David Castillo Gallery, 420 Lincoln Road, Miami Beach; 305-573-8110;

“Auto Body.” María José Arjona, Naomi Fisher, Paloma Izquierdo, Dana Levy, Alex McQuilkin, Nontsikelelo Mutiti, Naama Tsabar, Agustina Woodgate, Antonia Wright, and more. December 4-7 Giant Motors, 1750 Bay Road, Miami Beach;

Courtesy of Gallery Diet
In Anticipation of Women’s History Month, Rochelle Feinstein (2012-2013)

Wynwood and EdgewaterJames Kennedy, “Morphosis.” November 14-December 26. Mindy Solomon Gallery, 172 NW 24th St., Miami; 786-953-6917;

Marcela Moujan, “Paradise Is Where You Are Right Now.” December 2-January 17. Vice Gallery, 47 NE 25th St., Miami; 305-898-6109;

Art | History Mural Project Pop-Up. December 1-7. 5 NW 36th Street, Miami; free with RSVP to;

“Welcome to the Jungle.” November 14-January 2. Pan American Art Projects, 2450 NW Second Ave., Miami; 305-573-2400;

“4409.72 miles 9125 days: 25 Years of Art Discourse from Buenos Aires to Miami.” November 21-January 31. Diana Lowenstein Fine Arts, 2043 N. Miami Ave., Miami; 305-576-1804;

Sebastiao Salgado, “Genesis.” November 6-January 10. Dina Mitrani Gallery, 2620 NW Second Ave., Miami; 786-486-7248;

Yuri Tuma, “Departure.” November 6-January. Butter Gallery, 2930 NW Seventh Ave., Miami; 305-303-6254;

David Hayes, “Maquettes + Studies.” November 7-February 28. m+vART, 2750 NW Third Ave. Suite 11, Miami; 786-431-1186;

Mauro Giaconi, “Revolt (Revuelta).” December 1-February 13. Dot Fiftyone, 187 NW 27th St., Miami; 305-573-9994;

Brandon Opalka and Hugo Montoyo, “Back on Earth.” December 1-January 31. Regina Rex, “Cemeterium.” December 1-7. Emerson Dorsch Gallery, 151 NW 24th St., Miami; 305-576-1278;

Pablo Lehmann, “The Scribe’s House.” November 8-December 27. Now Contemporary Art, 175 NW 25th St., Miami; 305-571-8131;

“Masters.” Gary Nader Art Centre, 62 NE 27th Street, Miami; 305-576-0256;

Jorge Blanco, “The Joy of Living.” November 25-December 31. O. Ascanio Gallery, 2600 NW Second Ave., Miami; 305-571-9036;

Rochelle Feinstein, “I’m With Her.” November 28-December 27. Gallery Diet,174 NW 23rd St., Miami; 305-571-2288;

“Perspectives.” Chuck Close, Keith Haring, Roy Lichtenstein, Barbara Kruger, James Rosenquist, Andy Warhol, Nick Gentry, Anthony Lister, RYCA, David Walker, and more. Robert Fontaine Gallery, 2349 NW Second Ave., Miami; 305-397-8530;



An Artist’s Tribute to the Obsolete Gadgets That Fill Our Trash Dumps
Artist Daniel Arsham with his new installation, Welcome to the Future, which is designed to look like an archaeological dig of 20th-century media devices.

Courtesy of Daniel Arsham

Last weekend, just ahead of Art Basel Miami Beach, visitors to the Locust Projectsexhibition space got a glimpse of Welcome to the Future, artist Daniel Arsham’s ode to an archaeological dig full of reproductions of 20th-century media devices that clog our 21st-century landfills.

Arsham—who has a background in set design for Merce Cunningham and runs the Brooklyn-based architecture firm Snarkitecture—spent a year collecting some 3,000 boomboxes, electric guitars, SLR cameras, Nintendo controllers, push-button telephones, VHS tapes, Walkmans, film projectors, portable televisions, and other iconic objects that have lost their urgent utility to new technologies.


Courtesy of Locust Projects/Zack Balber with Ginger Photography

Close-ups of Daniel Arsham’s Welcome to the Future.

Courtesy of Daniel Arsham

But if the installation is a comment on planned obsolescence and the wreckage on landfills, it’s also a monument to the detritus produced by art exhibitions: Those objects, some of which were broken as well as outdated, were destroyed in the process of making the molds for the reproductions. Arsham experimented with casting techniques using ash, steel, obsidian, glacial rock dust, or rose quartz crystal to achieve a partially deconstructed effect that would nevertheless hold without crumbling. Then he dug a trench in the exhibition space’s concrete floor—25 feet in diameter and 3 feet deep—and set the objects amid the concrete chunks (some weighing up to 600 pounds).

“The trench presents the recent past as archeology,” says a press release about the installation, “a world of technological objects whose obsolescence was built into their design, preserved like petrified wood or the figures of Pompeii. Rather than regard these objects as individual sculptures, the artist presents them as a mass below our feet, producing a new narrative of production, history, and discovery.”


Courtesy of Locust Projects/Zack Balber with Ginger Photography

Ashram told the Miami Herald that he chose the materials in order to create a gradient from the darker outer edges of the installation to its pale center, with the darkest objects cast from volcanic ash, followed by ash and steel, obsidian, glacial rock, and finally crystal. He began experimenting with casting objects when he recreated Pharrell Williams’ first keyboard in volcanic ash.


Courtesy of Locust Projects/Zack Balber with Ginger Photography

“I went to art school, and you don’t learn how to cast ash in art school,” Ashram said. “I want [the sculptures] to appear that they are falling apart, but I don’t want them to fall apart. I want to keep them in a frozen stasis.”

Welcome to the Future is on through January.


Miami and Miami Beach Art Fair Guide Online Guide to Miami Art Week 2014

Information about the art fairs and art events taking place in Miami and Miami Beach between December 1 – 7, 2014. The week is commonly known as Miami Art Week. Approximately twenty art fairs participate, positioned in the area between Miami’s Wynwood Art District, Downtown Miami and Miami Beach. For the second year running, will be offering a Day-by-Day Event Guide for Miami Art Week, with a wealth of information to make the experience fun, productive, and otherwise sublime. A special new section for evening and party planning will be included in the 2014 edition. The Day-by-Day Event Guide will become the “online go-to” guide for Miami Art Week! We’ll continue to update this guide and web page through November 29th. Below, you’ll find brief descriptions of the art fairs, including locations, hours, admission prices, and special events. If possible, plan on spending at least four days at Miami Art Week, as the week is flush with opportunities to mix, mingle; and, of course, feast one’s eyes on an incredible array of great art! Not only are the art fairs vibrant and engaging in of themselves, but related events occur at local art museums, private collections, non-profit art organizations, galleries and artist studios. An overview: Art Basel Miami Beach – held at the Miami Beach Convention Center is the largest art fair of the week, featuring more than 250 top galleries from around the world. Design Miami (a major design fair) takes place right next to Art Basel. Satellite art fairs: Scope Miami, Pulse, Select, NADA, and Untitled are also in Miami Beach and actually on or near the beach; enjoy the ocean view!. Hotel-based art fairs in Miami Beach include Ink and Aqua. Art Miami – held in Miami’s Wynwood Art District, is the most established art fair in Miami; it’s been around for years. Miami Project, Context, Spectrum, and Red Dot art fairs and many of Miami’s top art galleries are located in Wynwood. One can easily spend two days in the area and still miss a lot! Concept Fair is new for 2014 and it’s located at Bayfront Park. Miami River Art Fair is at the Miami Convention Center – James L. Knight Center, located in the downtown Miami. Free Shuttles – We highly recommend the free shuttle services offered by art fairs, especially when traveling between Miami and Miami Beach, and between downtown and Wynwood. Our Getting Around Town section in the Day-by-Day Event Guide will be the definitive companion for anyone navigating and schedule your weeks activities! Miami Beach Art Fairs Art Basel Miami Beach   |   Aqua Art Miami   |    Design Miami   |   Ink Miami   |   NADA Art Fair PULSE Miami   |   SELECT Fair   |   Scope Miami   |   Untitled. Miami Art Fairs Art Miami   |   Art Spot   |   Concept-Fair   |   CONTEXT   |   Fridge Art Fair   |   Miami Photo Salon Festival   |   Miami Project   |   Miami River Art Fair  |  Red Dot Art Fair  |  Spectrum

Art Basel Miami Beach 2013 logo Art Basel Miami Beach December 3 – 7, 2014 Miami Beach Convention Center, Miami Beach Art Basel Miami Beach is the most important art show in the United States, a cultural and social highlight for the Americas. Leading galleries from North America, Latin America, Europe, Asia, and Africa show historical work from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars. Paintings, sculptures, drawings, installations, photographs, films, and editioned works of the highest quality are on display at the main exhibition hall, while ambitious artworks and performances become part of the landscape at nearby beaches, Collins Park and SoundScape Park. Art Basel is comprised of multiple sectors, each of which has its own selection process and committee of experts, who review applicants and make the final selection of show participants. The seven show sectors offer a diverse collection of artworks, including pieces by established artists and newly emerging artists, curated projects, site-specific experiential work, and video. Galleries: The largest sector with more than 200 of the world’s leading Modern and contemporary art galleries – from North America, Latin America, Europe, Africa and Asia. They display paintings, drawings, sculptures, installations, prints, photography, film, video, and digital art by over 4,000 artists. Nova: Designed for galleries to present one, two or three artists showing new works that have been created within the last three years, the Nova sector often features never-before-seen pieces fresh from the artist’s studio and strong juxtapositions. Positions: This sector allows curators, critics, and collectors to discover ambitious new talents from all over the globe by providing a platform for a single artist to present one major project. Edition: Leading publishers of editioned works, prints, and multiples exhibit the results of their collaboration with renowned artists. Kabinett: Participants are chosen from the Galleries sector to present curated exhibitions in a separately delineated space within their booths. The curatorial concepts for Kabinett are diverse, including thematic group exhibitions, art-historical showcases, and solo shows. Public: This sector offers its visitors a chance to see outdoor sculptures, interventions, and performances, sited within an open and public exhibition format at Collins Park (2100 Collins AVE) near the beach. Public Opening Night, Dec. 3, 8:30-10pm. A special evening program with live performances, as part of the Public sector. Film: The Film sector presents works in two venues: inside the Miami Beach Convention Center, and in the outdoor setting of SoundScape Park where works are shown on the 7,000-square-foot outdoor projection wall of the Frank Gehry-designed New World Center. Selections include works by some of today’s most exciting artists from Latin America, the United States, Europe and Asia. Survey: Survey presents precise art historical projects that may include solo presentations by an individual artist, or juxtapositions and thematic exhibits from artists representing a range of cultures, generations, and artistic approaches. Magazines: Art publications from around the world display their magazines in single-magazine stands or the collective booth. Editors and publishers are often present at the show. ADMISSION $45 (One Day), $100 (Permanent Pass), $32 (evening ticket after 4pm) $30 Students and Seniors with ID, and and Groups of ten or more $55 Combination Ticket for Art Basel and Design Miami HOURS Thursday December 4th, 3pm – 8pm Friday, December 5th, Noon – 8pm Saturday, December 6th, Noon – 8pm Sunday, December 7th, Noon – 6pm Art Basel Conversations | Daily at 10am Art Salon | Daily 1pm to 6:30pm EVENTS Visit the Art Basel Miami website for a full listing of daily Special Exhibitions and Events. Wednesday, December 3rd, 11am – 8pm Private View (by invitation only) Thursday, December 4th, 11am – 3pm Vernissage – Private View (by invitation only) Shuttle Bus Service The show has organized a shuttle bus service for visits to the museums and collections in Miami. The pickup location is directly across the street from Hall D of the Miami Beach Convention Center. Press and Media coverage about Art Basel Miami Beach None listed at this time up arrow

Aqua 14 logo AQUA 14 Art Miami December 3 – 7, 2014 Aqua Hotel, 1530 Collins Ave, Miami Beach, FL 33139 AQUA 14 Art Miami will celebrate its tenth consecutive installment this December. It is one of the best fairs for emerging art during Miami’s Art Week. Over the years, the fair has been recognized for presenting vibrant and noteworthy international art programs with a particular interest in supporting young dealers and galleries with strong emerging and early-to-mid-career artists. Set within a classic South Beach hotel with spacious exhibition rooms that open onto a breezy intimate courtyard, Aqua’s surroundings will certainly be a favorite gathering spot not only for fun and relaxation during the busy week but also as a place to exchange and disseminate new contemporary art ideas. And with its close proximity to Art Basel and continuous shuttle service to Art Miami and CONTEXT Art Miami, Aqua Art Miami will transform into one of the top attended satellite art events for collectors, artists, curators, critics and art enthusiasts alike. Aqua Art Miami will feature 47 dynamic young galleries from North and South America, Europe and Asia; and innovative special programming including performance art, new media and solo installations. With this commitment to artistic excellence, along with building a dynamic young marketplace with new and increased opportunities around marketing and audience services, The classic South Beach boutique hotel has breezy, spacious rooms surrounding an intimate courtyard. A great place to relax and socialize during Miami Art Week. And Aqua Hotel is located within walking distance of Art Basel, just south of the bustling Lincoln Road restaurant and shopping area. 2014 Aqua 14 Exhibitors ADMISSION $15 One day fair pass (Aqua Only) $75 Multi-day fair pass (Aqua, CONTEXT and Art Miami) $10 Students 12-18 years and Seniors HOURS Thursday, December 4th, Noon – 9pm Friday, December 5th, 11am to 9pm Saturday, December 6th, 11am to 9pm Sunday, December 7th, 11am to 6pm EVENTS Wednesday, December 3rd, 4pm – 11pm, VIP Preview. Access for Art Miami, CONTEXT, and Aqua Art Miami VIP Cardholders & Press Press and Media coverage about Aqua Art Fair None listed at this time up arrow

Design Miami logo Design Miami/ December 2 – 7, 2014 Meridian Avenue and 19th Street, Miami Beach Convention Center, Miami Beach Design Miami/ is the global forum for design. Each fair brings together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. 2014 Highlights Will be added when then information is available. The program of exhibitions presented by carefully selected galleries from Europe, the United States and Asia will be enriched by a dynamic series of design talks, site-specific installations and satellite events. For details of Design Miami’s cultural programs, including Design Talks, Collaborations, and Design Satellites. Swarovski Crystal Palace will be back for the seventh consecutive year as a main sponsor of Design Miami/. ADMISSION General Admission: $25 Students and Seniors (with ID): $29=0 Combination Ticket for Design Miami/ and Art Basel $55 (at ABMB) Tickets are valid for one day only. HOURS Wednesday, December 3rd, 10am – 8pm Thursday December 4th, 10am – 8pm Friday, December 5th, 11am to 8pm Saturday, December 6th, Noon to 8pm Sunday, December 7th, Noon to 6pm EVENTS Tuesday, December 2nd, Noon – 6pm Collectors Preview Tuesday, December 2nd, 6pm – 8pm Vernissage Press and Media coverage about Design Miami/ None listed at this time up arrow

Ink Miami logo INK Miami Art Fair December 3 – 7, 2014 Suites of Dorchester, 1850 Collins Avenue, Miami Beach, FL 33139 INK Miami is a contemporary art fair held annually in December during Art Basel Miami Beach. The Fair is unique among Miami’s fairs for its focus on contemporary works on paper by internationally renowned artists. It is sponsored by the International Fine Print Dealers Association and exhibitors are selected from among members of the Association for their outstanding ability to offer collectors a diverse survey of 20th century masterworks and just published editions by leading contemporary artists. Since its founding in 2006, the Fair has attracted a loyal following among museum curators and committed collectors of works on paper. If you’re looking to purchase prints or works on paper, you should plan on attending this small art fair. This fair is located just a few blocks from the convention center and Art Basel Miami Beach. 2014 Ink Miami Exhibitors ADMISSION Free, No Charge HOURS Wednesday, December 3rd, Noon – 5pm Thursday, December 4th, 10am – 5pm Friday, December 5th, 10am – 8pm Saturday, December 6th, 10am – 8pm Sunday, December 7th, 10am – 3pm EVENTS Preview Breakfast, Wednesday, December 3rd, 10am – 11:30am Press and Media coverage about Ink Miami Art Fair None listed at this time up arrow

NADA Art Fair logo NADA Art Fair – Miami Beach December 4 – 7, 2014 The Deauville Beach Resort, 6701 Collins Avenue, Miami Beach, FL 33141 Founded in 2002, New Art Dealers Alliance (NADA) is a not-for-profit collective of professionals working with contemporary art. Our mission is to create an open flow of information, support, and collaboration within our field and to develop a stronger sense of community among our constituency. NADA’s fair is held in parallel with Art Basel Miami Beach and is recognized as a much needed alternative assembly of the world’s youngest and strongest art galleries dealing with emerging Contemporary Art. It is the only major American art fair to be run by a non-profit organization. Our international group of members includes both galleries and individuals (art professionals, independent curators, and established gallery directors). The various perspectives and ideas offered by our diverse roster creates a network which, at its most basic, is a resource which people could contribute to and take as much (or as little) as they are inclined. The benefits for some may be a matter of business, for others a source of intellectual or aesthetic stimulation. To date, our initiatives have succeeded on two fronts: making the contemporary arts more accessible for the general public, and creating opportunities that nurture the growth of emerging artists, curators, and galleries. Our EVENTS have included: artist talks/gallery walks with critics and curators; benefits in support of charitable institutions; members-only seminars to stimulate dedication and ethics in our profession; and an annual art fair in Miami, which is held in December and is free and open to the public. Don’t plan on walking to this art fair, look for the free shuttle service near Art Basel Miami Beach. The pick-up and drop-off is at 17th and Washington, near the southeast corner of the convention center. Shuttle service begins each day at 10:30am. 2014 NADA Exhibitors ADMISSION Free and open to the public HOURS Thursday, December 4th, 2pm – 8pm Friday, December 5th, 11am – 8pm Saturday, December 6th, 11am – 8pm Sunday, December 7th, 11am – 5pm EVENTS Thursday, December 4th, 10am – 2pm, Opening Preview by Invitation Press and Media coverage about NADA Art Fair – Miami Beach None listed at this time up arrow

Pulse Miami logo for 2013 PULSE Miami Indian Beach Park 4601 Collins Avenue, Miami Beach, FL December 4 – 7, 2014 PULSE provides a unique platform for diverse galleries to present a progressive blend of renowned and pioneering contemporary artists, alongside an evolving series of original programming. The fair’s distinctive commitment to the art community and visitor experience makes PULSE unique among art fairs and creates an art market experience that is both dynamic and inviting. The Fair is divided into two sections and is comprised of a mix of established and emerging galleries vetted by a committee of prominent international dealers. The IMPULSE section presents galleries invited by the Committee to present solo exhibitions of artist’s work created in the past two years. In addition, PULSE develops original cultural programs with a series of large-scale installations, its PULSE Play video lounge, the PULSE Performance events. The PULSE Prize is awarded in New York and in Miami to one of the artists presented in the IMPULSE section. 2014 PULSE Miami Exhibitors ADMISSION General Admission $20 Students and Seniors $15 MultiPass (4 day) $25 2013 HOURS Thursday, December 4th, 1pm – 7pm Friday, December 5th, 10am – 7pm Saturday, December 6th, 10am – 7pm Sunday, December 7th, 10am – 5pm EVENTS Thursday, December 4th, 9am – 1pm, Private Preview Brunch (Invitation only) Complimentary Shuttle Service: PULSE will offer a shuttle service operating between Art Basel Miami Beach and Pulse Miami Beach. Shuttles will run from 9am to 8pm Press and Media coverage about PULSE Miami None listed at this time up arrow

Scope Miami 2013 logo Scope Miami Beach December 2 – 7, 2014 910 Ocean Drive, Miami Beach, FL 33139 SCOPE Miami Beach’s monumental pavilion will once again be situated on historic Ocean Drive to welcome near 40,000 visitors over the course of 6 days. Over 100 Exhibitors and 20 selected Breeder Program galleries will present groundbreaking work, alongside SCOPE’s special programming, encompassing music, design and fashion. Long-established as the original incubator for emerging work, SCOPE’s Breeder Program celebrates its 14th year of introducing new galleries to the contemporary market. VH1 will also be presenting the ultimate mash-up of music, pop culture and nostalgia for adults who still want to have fun. There will be some great music on Miami Beach. The tickets are difficult to get but you can sill enjoy the music from the beach for free. Juxtapoz Magazine will curate and present a selection artworks. Juxtapoz Presents galleries embody the New Contemporary that is SCOPE’s hallmark and add a singular dynamism to the Miami Beach 2014 show. Juxtapoz will also release a special edition SCOPE newspaper featuring coverage of the Juxtapoz Presents programming. Scope will also feature a curated exhibition of artworks from Korea. SCOPE Miami Beach opens on Tuesday, December 2, to welcome VIPs and Press at its First View benefit, and will run December 2 – 7, 2014. 2014 Scope Exhibitors ADMISSION General Admission $30 and Students $20 Free for VIP cardholders Brunch, Tuesday: $150 First View, Tuesday: $100 HOURS Wednesday, December 3rd, 11am – 8pm Thursday, December 4th, 11am – 8pm Friday, December 5th, 11am – 8pm Saturday, December 6th, 11am – 8pm Sunday, December 7th, 11am – 8pm EVENTS Tuesday, December 2nd, Noon – 4pm, Platinum VIP First View. Tuesday, December 2nd, 4pm – 8pm, General VIP and Press First View. Friday, December 5th, 8pm – 11pm The Official VH1 + Scope Party (by invitation and confirmed RSVP only) Press and Media coverage about Scope Miami Beach None listed at this time up arrow

Select Contemporary Art Fair SELECT // CONTEMPORARY ART FAIR 72nd Street and Collins Avenue, Miami Beach, FL December 2 – 7, 2014 SELECT is pleased to announce its new location at 72nd Street and Collins Avenue in a grand-scale 40,000 sq/ft tent structure. We have selected this location for its multi-use capabilities, which include an adjunct amphitheater for performance and nightly music programming. The fair will have ample parking across the street and is a short walk from the neighboring NADA art fair. SELECT will evolve its vision of presenting 50 + cutting edge international galleries through the curatorial direction of Tim Goossens. Previously the Assistant Curator at MoMA PS1, Goossens is the Curatorial Director of envoy enterprise in Manhattan’s Lower East Side, a Curatorial Advisor at the Clocktower Gallery, and serves on the curatorial advisory committee of SoHO House New York. Additionally, he maintains a roster of independent curatorial projects. SELECT will be held at 72nd street and Collins Avenue, just three blocks from NADA along the sands of beautiful North Beach. Our location has perks such as, beach front views, an attached parking lot, and an amphitheater for music and arts programing. We are conveniently located at the end of the John F Kennedy causeway (route 934), allowing for easy visitor access for clients moving back and forth from the beach to Wynwood. Shuttle: Free shuttles will be running between SELECT (72nd and Collins) and the Convention Center (17th and Washington). 2014 Select Miami Exhibitors ADMISSION Free Entry HOURS Wednesday, December 3rd: 11am – 8pm Thursday, December 4th: 11am – 8pm Friday, December 5th: 11am – 8pm Saturday, December 6th: 11am – 8 pm Sunday, December 7th: 11am – 6pm EVENTS Tuesday, December 2nd, 4pm – 8pm, VIP and Press Preview Press and Media coverage about SELECT Art Fair None listed at this time up arrow

Untitled Art Fair Miami Beach 2013 logo UNTITLED. December 1 – 7, 2014 Ocean Drive and 12th Street, Miami Beach, FL 33139 UNTITLED., is a curated art fair and is back for it’s third year, running December 1 – 7, 2014, in the heart of Miami Beach’s South Beach district at Ocean Drive and 12th Street. UNTITLED., the international art fair launched in Miami Beach in 2012. UNTITLED.’s curatorial approach to the traditional art fair model places an emphasis on the viewer’s experience by contextualizing the artworks exhibited at each booth. The fair presents a selection of international galleries and not-for-profit spaces, positioned side by side to create a less segregated fair installation. UNTITLED. 2014 is presented in a temporary pavilion on South Beach designed by internationally recognized architecture firm K/R, led by John Keenen and Terence Riley. The 60,000 square feet floor plan complements UNTITLED.’s curatorial approach and creates an exceptional viewing experience with abundant natural light and an open ocean view. The fair is located directly on the beach in the South Beach district at Ocean Drive and 12th Street, providing a quintessential Miami Beach event. 2014 Untitled. Exhibitors ADMISSION General Admission: $25, 4-day pass $30 Discounted Admission (Seniors and Students): $15 Miami Beach residents: $15 Groups of 15 or more: $15 per person Children under 12: FREE HOURS Wednesday, December 43rd, 3pm – 7pm Thursday, December 4th, 11am – 7pm Friday, December 5th, 11am – 7pm Saturday, December 6th, 11am – 7pm Sunday, December 7th, 11am – 4pm EVENTS Monday, December 1st, 6pm – 9pm, Vernissage. Tuesday, December 2nd, 1pm – 3pm, Press Preview. Tuesday, December 2nd, 3pm – 7pm, VIP Preview. Press and Media coverage about Art Untitled Art Fair None listed at this time up arrow

Miami Art Fairs

Art Miami logo graphic Art Miami December 2 – 7, 2014 Midtown Miami | Wynwood, 3101 NE 1st Avenue, Miami, FL 33137 Known as Miami’s premier anchor fair, Art Miami kicks off the opening day of Art Week – the first week of December when thousands of collectors, dealers, curators, and artists descend upon Miami. World-famous for its stylish gallery-like decor, its outstanding quality and extraordinary variety, Art Miami showcases the best in modern and contemporary art from more than 125 international art galleries. Art Miami maintains a preeminent position in America’s contemporary art fair market. With a rich history, it is the original and longest-running contemporary art fair in Miami and continues to receive praise for the variety of unparalleled art that it offers. It is the “can’t miss” event for all serious collectors, curators, museum directors, and interior designers providing an intimate look at some of the most important work at the forefront of the international contemporary art movement. Ample and convenient parking is available through the use of a four-story parking garage with 2,000 spots, located directly across the street from the Art Miami Pavilion as well as valet parking. A network of complimentary shuttle buses will run round-trip service between Art Miami, Aqua, and Art Basel Miami Beach. 2014 Art Miami Exhibitors ADMISSION $35 one day, $75 multi-day pass, $15 Students 12-18 years and Seniors A One Day Fair Pass provides admission to Art Miami and CONTEXT Art Miami Fairs. A Multi-Day Pass provides admission to Art Miami, CONTEXT Art Miami and Aqua Art Miami Fairs. HOURS Wednesday, December 3rd, 11am – 7pm Thursday, December 4th, 11am – 7pm Friday, December 5th, 11am – 8pm Saturday, December 6th, 11am – 7pm Sunday, December 7th, 11am – 6pm EVENTS Tuesday, December 2nd, 5:30pm – 10pm, VIP Preview (Access for Art Miami VIP Cardholders and Press Press and Media coverage about Art Miami None listed at this time up arrow

ArtSpot Miami 2014 logo ArtSpot Miami 2014 December 3 – 7, 2014 3011 NE 1st Avenue at NE 30th St, Miami, FL 33137 No details at this time. ADMISSION Not available at this time HOURS Wednesday, December 3rd Thursday, December 4th Friday, December 5th Saturday, December 6th Sunday, December 7th EVENTS None listed at this time Press and Media coverage about ArtSpot Miami 2014 None listed at this time up arrow

Concept Art Fair logo Concept-Fair December 2 – 7, 2014 301 Biscayne Blvd. (Bayfront Park), Miami, FL 33132 Inaugural Edition, Contemporary art fair featuring exclusively modern works from 1860-1980 including painting, sculpture, photography, design and objet d’art. Miami will focus on “fresh to market” blue chip secondary market works and modern contemporary masters. Limited to approximately 80 carefully selected dealers, it is designed as a sophisticated, elegant waterfront oasis for collectors during the frenetic Art Basel Week. This will be a fair for the serious collector and connoisseur presented in a relaxed, waterfront location adjacent to the Perez Art Museum Miami, Frost Museum in proximity to all major downtown hotels and the Brickell financial center, the second largest banking capital in North America. Our goal is to present a new fair at the “next level” from current December fairs. Uniquely, the hours will be until 9 pm creating a later “Miami Time” venue for collectors after the closing of other December fairs throughout the city prior to Miami’s later dining times. 2014 Concept Exhibitors ADMISSION One Day Ticket $15, Multiple Day Ticket $25 HOURS Wednesday, December 3rd, 1pm – 10pm Thursday, December 4th, 1pm – 10pm Friday, December 5th, 1pm – 10pm Saturday, December 6th, 1pm – 10pm Sunday, December 7th, 1pm – 7pm EVENTS Tuesday, December 2nd, 6pm – 8pm, Preview Tuesday, December 2nd, 8pm – 10pm, Collectors Invitational (Invitation only) Press and Media coverage about Concept None listed at this time up arrow

Context Art Miami logo CONTEXT December 2 – 7, 2014 Midtown Miami | Wynwood, 3101 NE 1st Avenue, Miami, FL 33137 CONTEXT along with the 25th edition of Art Miami will commence on December 2, 2014 with CONTEXT Art Miami’s highly anticipated Opening Night VIP Preview to benefit the Miami Art Museum (PAMM. The 2012 benefit preview attracted 11,000 collectors, curators, artists, connoisseurs, and designers and the fair hosted a total of 60,000 attendees over a six-day period. This immediately reinforced the CONTEXT fair as a proven destination and serious marketplace for top collectors to acquire important works from the leading international galleries representing emerging and mid career cutting edge works of art. The combined exhibition space of CONTEXT and Art Miami will increase the overall roster of galleries to 190 participants and cover 200,000 square feet. Ample and convenient parking is available for both fairs through the use of a four-story parking garage with 2,000 spots, located directly across the street from the CONTEXT and Art Miami Pavilions as well as valet parking. A network of complimentary shuttle buses will run round-trip service between Art Miami, CONTEXT, Aqua Art Miami and Art Basel Miami Beach. 2014 CONTEXT Exhibitors ADMISSION $35 one day, $75 multi-day pass, $10 Students 12-18 years and Seniors Tickets are sold online one month prior to Fair dates and onsite at the Box Offices during show hours. A One Day Fair Pass provides admission to Art Miami and CONTEXT Art Miami Fairs. A Multi-Day Pass provides admission to Art Miami, CONTEXT Art Miami and Aqua Art Miami Fairs. HOURS Wednesday, December 3rd, 11am – 7pm Thursday, December 4th, 11am – 7pm Friday, December 5th, 11am – 9pm Saturday, December 6th, 11am – 7pm Sunday, December 7th, 11am – 6pm EVENTS Tuesday, December 2nd, 5:30pm – 10pm, VIP Preview (Access for Art Miami VIP Cardholders and Press Press and Media coverage about CONTEXT Art Fair None listed at this time up arrow

Fridge Art Fair Miami 2014 logo Fridge Art Fair December 2 – 8, 2014 300 SW 12th Ave. (Corner of SW 12th Ave. & SW 3rd St) Miami, FL 33130 Fridge Art Fair is pleased to announce that its second Miami edition will take place at the Good Wall / Conch Hill Market, 968 Calle Ocho, Miami, Florida from December 2 – 8, 2014, thanks to major sponsorship by the Barlington Group and media sponsorship by Miami Art Scene. Once again, Founding Director Eric Ginsburg, a noted painter in his own right (mainly for his soulful portraits of dogs), will lead the Fridge team. “People should not be afraid to go and see art, and it should not cost a fortune,” said Ginsburg. “I want people to be happy, we want everyone from all walks of life to come to this fair and say, ‘that was really cool!'” In that spirit he has subtitled this edition “De Staatliches Bauhaus Rijpe Mango Editie.” Cara Hunter Viera of Fridge will serve as producer, Miami Art Scene’s Kat Wagner joins Fridge as fair as head curator for the Miami Edition and NYC based curator writer and dealer Linda DiGusta, co-director of Fridge 2014 in New York, stays on the team as curatorial consultant. Major sponsors are the Barlington Group, an urban development company committed to revitalizing neighborhoods within Miami’s the urban core. And, The Miami Art Scene, an influential art portal covering local, national and international art news and information. Exhibitor applications still being accepted. ADMISSION Not available at this time HOURS Wednesday, December 3rd Thursday, December 4th Friday, December 5th Saturday, December 6th Sunday, December 7th EVENTS Tuesday, December 2nd, VIP Preview & Opening Gala, at the Ball & Chain – Miami’s Famed Cotton Club – Circa 1957 Press and Media coverage about Fridge Art Fair None listed at this time up arrow

Miami Photo Salon Festival MIAMI PHOTO SALON FESTIVAL December 2 – 5, 2014 Cuban American Phototheque Foundation, 4260 SW 74 Ave. Miami FL. 33135 Miami Photo Salon – December 2 to 5, is an International Fine Art Photography Festival that takes place yearly during Art Miami week. Local and international photographers will showcase and exhibit work in a salon-style venue, in Downtown Miami where foot traffic between 13 visiting art fairs will bring to the area 75000 visitors, meaning artists participating will get in front of a huge audience, at a time when Miami is hosting the most important international art event in the world. For those interested in collecting photography, artwork is of the best quality, as MPSF art fair committee had selectively invited excellent artists, and it is possible to attend a VIP opening night preview on December 1st. 2014 Miami Photo Salon Festival Exhibitors ADMISSION One Day Ticket – $15 Students and Seniors – $10 Preview Ticket and Multi-Day Pass – $50 HOURS Tuesday, December 2nd, 11am – 9pm Wednesday, December 3rd, 11am – 7pm Thursday, December 4th, 11am – 10pm Friday, December 5th, 9:30am – 7pm EVENTS Monday, December 1st, VIP Preview 6:30pm – 10pm Friday, December 5th, 6pm Award Ceremony and Closing Remarks Press and Media coverage about Miami Photo Salon Festival None listed at this time up arrow

Miami Project logo MIAMI PROJECT December 2 – 7, 2014 NE 29th Street and NE 1st Avenue, Miami, FL 33137 Miami Project will return to the Wynwood Art District from December 2 to 7, 2014. It will again present a selection of historically important and cutting-edge contemporary work side by side, with a unique emphasis on the strength of individual exhibitors’ programs irrespective of their primary focus. Sixty galleries from across the United States will show at the fair. Galleries that represent prominent estates like those of Larry Rivers and Robert Mapplethorpe will exhibit next to those showing today’s most exciting young artists. Work from the historic avant-garde will inform and contextualize the best examples of contemporary practice. Galleries are curated into Miami Project based on a serious commitment to important living artists; extensive involvement with remarkable estates; and the strength of their program generally. The fair’s emphasis on presenting quality works in an intimate setting won over its 20,000 visitors last year, and the 2014 edition will again be boutique-scale, allowing for comfortable viewing in a relaxed atmosphere. Miami Project is housed in a deluxe, tent with soaring cathedral ceilings erected especially for the fair. It will feature roomy aisles and extravagant lounges for a pleasant visitor experience. Located at NE 29th Street and NE 1st Avenue in Miami. Miami Project is presented with support from the Wall Street Journal, Luxe magazine, Perrier, the Midtown Doral, Porcelanosa, New Amsterdam Vodka, and Shellback Rum. 2014 Miami Project Exhibitors ADMISSION One Day Ticket – $25 Multi-Day Pass – $40 Preview Ticket and Multi-Day Pass – $50 HOURS Tuesday, December 2nd, 5:30pm – 10pm Wednesday, December 3rd, 10am – 5:30pm Thursday, December 4th, 10am – 7pm Friday, December 5th, 10am – 8pm Saturday, December 6th, 10am – 7pm Sunday, December 7th, 10am – 6pm EVENTS Tuesday, December 2nd, 5:30pm – 10pm, Miami VIP Preview Press and Media coverage about Miami Project Art Fair None Listed at this time up arrow

Miami River Art Fair logo Miami River Art Fair December 4 – 7, 2014 Miami Convention Center @ James L. Knight Center Downtown – Brickell Financial Area 400 SE Second Ave, Miami, FL 33131 The third edition of the Miami River Art Fair, an international, contemporary art fair, will take place at the Downtown Miami Convention Center inside the James L. Knight International Center in Downtown. MRAF is providing a unique fair-going experience during the art fair season as the only waterfront art fair. Miami River Art Fair is featuring both an indoor booth setting at the Riverfront Hall of the Miami Convention Center and the one-of-a-kind Riverwalk Sculpture Mall, which is featuring monumental sculpture on the banks of the historic Miami River with a presence of monumental sculptures from Italy, France, Cuba, Colombia, Korea, Spain and a special presentation from Mexico. The Miami River Art Fair will feature galleries and projects with artists from all around the globe. The Miami River Art Fair paves the way for the arts in our financial district as the pioneer art fair of the Downtown Miami – Brickell areas during the winter art fair season. The City of Miami welcomes the Miami River Art Fair as a herald for the revitalization of the Lower Miami River district, the city’s waterfront destination of the twenty-first century. Please join us as we celebrate the 3rd anniversary of the Miami River Art Fair and the Opening Night Preview on December 4. Guests will enjoy Italian Limited Edition Organic Wine and exclusive performance uniquely created for the evening. Funds raised at the event support the Little Dreams Foundation who was established by Orianne and Phil Collins in February 2000. Its mission is to fulfill the dreams of young aspiring talent without the means to achieve their goals. Special Collectors’ Preview: December 4th, 4:00 – 6:00pm, $200 per guest. The exclusive first opportunity to preview and purchase works of art at the fair. Guests are also invited to stay for the Opening Night Preview form 6:00 – 11:00 pm. Opening Night Preview Benefiting Little Dream Foundation 6:00 – 7:00 pm, $100 per guest. Meet LDF’s celebrity mentors as Phil Collins, Romero Brito, David Frangioni among others godparents, sponsors and technical advisors. The 100% proceeds supports the Little Dreams Foundation The Miami River Art Fair 2014 is endorsed by the City of Miami, the Miami River Commission, the City of Miami Beach, the Greater Miami Convention and Visitors Bureau and the Art Deco Preservation League. Miami River Art Fair complimentary Shuttle Service to transport passengers to other Art Fairs. 1) Every 30 minutes between The Miami River Art Fair and Miami Beach Convention Center. 2) Every 30 minutes between The Miami River Art Fair and Midtown Miami. Shuttle stop in front of JLK Center. 2014 Exhibitors – Not yet available ADMISSION FREE with online registration Complimentary Admission with Art Basel and Miami Art Fairs VIP Pass Complimentary group guided tour with online registration HOURS Thursday, December 4th, 7pm – 11pm Friday, December 5th Noon – 8pm Saturday, December 6th, Noon – 8pm Sunday, December 7th, 11am – 6pm EVENTS Thursday, December 4th, 4 – 6pm, Special Collectors Preview Thursday, December 4th, 6 – 11pm, VIP Opening The event will also support and raise funds for the Little Dreams Foundation, established by Orianne and Phil Collins in February 2000. Its mission is to fulfill the dreams of young aspiring talent without the means to achive their goals. Press and Media coverage about Miami River Art Fair 1) Virtual tour of 2013 edition of Miami River Art Fair 2) The Miami River Art Fair has been featured in over 50 international publications to date and in over 15 local, national and international local broadcasts, press interviews and video coverage segments. Here’s the link : up arrow

Red Dot Miami 2013 logo Red Dot Art Fair December 2 – 7, 2014 3011 NE 1st Avenue at the corner of NE 31st Street, Miami, FL 33137 Red Dot Art Fair is pleased to announce its 8th edition and return to the same prime location in Wynwood Art District in Miami, December 2- 7, 2014, concurrent with Art Basel Miami Beach. Building upon its reputation as a diverse fair, Red Dot will offer a unique selection of approximately sixty galleries exhibiting painting, sculpture, photography and fine-art objects. The opening reception on Tuesday, December 2nd, will benefit Center for Autism & Related Disabilities of Miami. Red Dot Art Fair strives to create a fair specializing in emerging, mid-career and established artists that present work of lasting value. The luxurious layout of the fifty thousand square foot tented venue will provide visitors with a sophisticated and friendly environment to view artwork presented by galleries and dealers. Red Dot is excited about being part of Miami’s vibrant art scene and its great fabric of galleries, museums and cultural institutions. 2014 Red Dot Exhibitors, not yet available ADMISSION One Day Ticket – $15 Week Pass – $25 HOURS Tuesday, December 2nd, 6pm – 10pm Wednesday, December 3rd, 11am – 5pm Thursday, December 4th, 11am – 6pm Friday, December 5th, 11am – 8pm Saturday, December 6th, 11am -8pm Sunday, December 7th, 11am – 6pm EVENTS Tuesday, December 2nd, 6pm – 10pm, Opening Reception Press and Media coverage about Red Dot Art Fair None listed at this time up arrow

Spectrum logo 2014 Spectum Miami Art Show December 3 – 7, 2014 3011 NE 1st Avenue at NE 30th St, Miami, FL 33137 No details at this time. ADMISSION General Admission $10 Opening Preview + 5 Day Show Pass $25 VIP Special Events Evening Pass – Includes special events & drinks (Dec. 4, 5, 6 – 6pm-10pm) $10 Students/Senior Admission $7.50 HOURS Wednesday, December 3rd, 6pm – 10pm Thursday, December 4th, 1pm – -9pm Friday, December 5th, 1pm – 9pm Saturday, December 6th, 1pm – 9pm Sunday, December 7th, Noon – 6pm EVENTS Wednesday, December 3rd, 6pm – 10pm, Opening Preview Press and Media coverage about Spectrum None listed at this time up arrow     === MIAMI NEW TIMES

Art Basel Miami Beach’s 13th Edition Prepares to Break Records

By Carlos Suarez De Jesus Published Tue., Sep. 30 2014 at 1:15 PM

Courtesy of MDC Museum of Art and Design
Shen Wei will present his first U.S. museum show at MOAD.

This year, our fall Arts & Eats Guide lists all that’s timeless and fresh in Miami, from visual art to delicious food. Theater, dance, music, and drinks all make a much-needed appearance throughout the season as well. Pick up one of our printed guides Thursday, October 2, where you’ll find profiles, interviews, and detailed event calendars to guide you through the upcoming cultural season.When Art Basel Miami Beach (ABMB) blitzes into town December 4 though 7, the event will likely break attendance records. For its 13th edition, ABMB will boast 267 of the planet’s top international galleries, selected from 31 countries, that will exhibit 20th- and 21st-century works by more than 2,000 artists at the Miami Beach Convention Center and various venues throughout the city. The zenith of Miami’s cultural calendar, Basel transforms our peninsula into a rambling art installation, with upward of 20 satellite fairs and scores of related events, including outdoor murals, installations, and pop-up shops mushrooming from South Beach to Wynwood, Little Havana, and Pinecrest. See also: New Bass Museum Curator of Exhibitions Reflects on Miami’s Artistic Boom The main event at the convention center, now recognized as the art world’s biggest block party, is expected to draw about 50,000 international visitors and generate close to a half-billion dollars in sales over its four-day run, according to experts. This year marks an increase of nine galleries from last year’s roster, including a whopping 90 galleries from New York City. By comparison, the Magic City’s booming arts scene will have a paltry presence, with the Fredric Snitzer Gallery returning to ABMB’s centerpiece Galleries section, while downtown Miami’s Michael Jon Gallery will make its debut in the fair’s Nova section at the convention center. It’s no surprise Snitzer’s gallery is returning. The owner has been a staple of ABMB since its inception and is a member of the fair’s selection committee. Michael Jon’s selection, however, has raised eyebrows among local dealers because the space is relatively new to a South Florida scene that, for the most part, is steaming over the repeated lack of local representation at ABMB. Also making its debut is Survey, a new sector of the fair boasting 13 select galleries that will feature art-historical projects ranging from solo exhibits to thematic showcases. New York’s Andrew Edlin Gallery will present a two-artist focus on the works of Henry Darger and Marcel Storr, ranking among the top offerings in the section. Special sectors will also showcase performance art, video art, public projects, and upstart galleries. The Positions section will feature 16 curated solo booths, including a meditation on “architectural destruction” by Syrian artist Hrair Sarkissian, who is represented by Greece’s Kalfayan Galleries. Among ABMB’s popular sectors is Public, an outdoor sculpture showcase organized by Public Art Fund director and chief curator Nicholas Baume, whose inaugural effort last year was hailed as one of the fair’s top attractions. Another returning crowd favorite is ABMB’s Film sector, in which curators David Gryn — the director of London’s Artprojx and Zurich collector This Brunner embrace the theme of playfulness for this year’s edition. Gryn will present more than 70 films and videos by an international compilation of artists. The works will screen at Miami Beach SoundScape on the 7,000-square-foot outdoor projection wall of the Frank Gehry-designed New World Center. This year’s satellite scene is expanding to downtown Miami with the inaugural edition of the Concept-Fair at Bayfront Park, where 80 exhibitors will feature blue-chip modern works from 1860 to 1980, including painting, sculpture, photography, design, and objets d’art in a tranquil setting far from ABMB’s more frenetic scene. The event will be housed in a $3 million spaceship-like circular tent with unobstructed views and a translucent ceiling designed to illuminate the artworks under South Florida’s tropical sunlight. Meanwhile, the 305’s top museums will trot out their best shows of the year to seduce visiting art-world cognoscenti and local Basel enthusiasts.

Photo by George Martinez/
Art Basel Miami Beach at the Miami Beach Convention Center, 2013

For its first anniversary, Perez Art Museum Miami’s (PAMM) Basel bash December 4 will feature a time-based art presentation by Future Brown with Kalela, an underground DJ supergroup. The museum will also unveil a commissioned work by Mexico City-based artist Mario Garcia Torres, whose project “incorporates photography, film, and objects that explore notions of South Florida as a site for withdrawal from society for the purpose of artistic creation,” according to the museum.PAMM also will display “Jardim Botanico,” the first major retrospective of Brazilian abstract painter Beatriz Milhazes. The artist is known for her complex and disorienting compositions bursting with wild, decorative patterns typically rendered in a glowing tropical palette. Both the Frost Art Museum and Miami Dade College’s Museum of Art and Design (MOAD) will showcase influential Chinese artists in their marquee matchups. The Frost has lined up Wang Qingsong, one of China’s top talents, who has earned international raves for his innovative approach to photography. The artist, who began his career as a painter, picked up the camera in the late 1990s and now works in documentary and staged photography, computer-generated images, and sculpture. His solo, “ADinfinitum,” will feature expansive images capturing his homeland’s epic transformation brought on by booming globalization. At the historic Freedom Tower December 5, MOAD will partner with MDC Live Arts to present “Shen Wei: In Black, White, and Gray.” The artist’s first U.S. museum show will be dedicated to a solo series of paintings in collaboration with site-specific performances. Chinese-born, New York-based Shen Wei is a choreographer, director, dancer, painter, and designer who achieved fame as the lead choreographer for the opening ceremonies of the 2008 Beijing Olympics. The artist, who has earned acclaim for his cross-cultural, bold movement-based spectacles, will premiere a suite of 11 theatrical and kinetic paintings while choreographing interpretive performances based on these works, resulting in a series of five public performances. If you visit the Bass Museum of Art December 4, you’ll have to navigate through a maze-like Gregor Hildebrandt installation made from hundreds of strips of tape gathered from video cassettes of the Jean Cocteau classic Orpheus. The meandering opus will be part of “One Way: Peter Marino,” a sprawling exhibit opening a window on the noted American architect and luxury designer’s multifaceted relationship with art. Marino, whose pioneering cross-disciplinary practice fuses art, architecture, fashion, and creative spatial design, has long been recognized for commissioning original artworks for his architecture and design. In addition to Hildebrandt’s shimmering tape passageways will be major installations by Guy Limone, Farhad Moshiri, Jean-Michel Othoniel, and Erwin Wurm. Works from Marino’s personal collection will include paintings by Loris Gréaud, Keith Haring, Richard Serra, Rudolf Stingel, and Andy Warhol. The exhibition will also feature sections dedicated to pop art, iconic portraiture, the German spirit, and photography. Marino worked closely with Jerome Sans, the exhibit’s curator, to strike a thought-provoking balance between his architectural work and designs, personal collection, and recent edition of cast-bronze boxes that will be showcased. Last year, North Miami’s Museum of Contemporary Art (MOCA) drew sizable Basel crowds for notorious British artist Tracy Emin’s first U.S. museum solo show. But this December marks a major litmus test for MOCA, which has been involved in a yearlong controversy. The museum’s board of directors filed a lawsuit against the City of North Miami in April before leaving MOCA with part of its collection and the city hiring a new director. On December 2, the embattled museum’s new administration will open “Shifting Paradigms: The Work of George Edozie,” signaling an institutional shift in focus while hoping MOCA’s fresh direction inspires crowds. Curated by Nkiru Nzegwu, professor of Africana studies at Binghamton University in New York, the exhibit seeks to “articulate and draw attention to the occurrence of a millennium shift in the epistemological paradigm of art-making and interpretation” while opening “MOCA, Art Basel, and the world to a new way of thinking and being in the world as truly universal,” says Babacar M’Bow, the museum’s new director. Edozie, a Nigerian artist who explores themes of identity in his narrative-based works, will present 50 works making their U.S. debut, including a series of freestanding sculptures constructed from fabric that will form his exhibit’s central installation.



Bass Museum’s New Curator of Exhibitions Reflects on Miami’s Artistic Boom

By Carlos Suarez De Jesus Published Tue., Sep. 30 2014 at 12:11 PM

Photo by Cristina Lei Rodriguez
Jose Carlos Diaz of the Bass Museum.

This year, our fall Arts & Eats Guide lists all that’s timeless and fresh in Miami, from visual art to delicious food. Theater, dance, music, and drinks all make a much-needed appearance throughout the season as well. Pick up one of our printed guides Thursday, October 2, where you’ll find profiles, interviews, and detailed event calendars to guide you through the upcoming cultural season. Jose Carlos Diaz is a pioneer. He helped transform Wynwood from a decaying warehouse district to a booming hothouse for creativity. Born in Miami, he’s one smart guy. In 2003 he turned his own apartment into the “Worm-Hole Laboratory.” It became a rehearsal space and home for cutting-edge art. Then he left town for five years, earning a master’s degree from the University of Liverpool and serving as a project coordinator during the 2010 Liverpool Biennial. In October of last year, he was named the Bass Museum of Art’s curator of exhibitions, just in time for the museum’s 50th anniversary. New Times recently caught up with the dark and handsome 36-year-old to ask about his new job and his views on how much the local art scene has changed. New Times: Where did you grow up? Jose Carlos Diaz: I was actually born in Miami and grew up in Northern California in Stockton. When did you become interested in art? My mother is an artist, so I have always been interested in art, but I also attended after-school art classes as a teenager. Visiting my local museum in Stockton ignited my interest in art and museums in general. You launched Worm-Hole Laboratory in 2003 in your tiny Edgewater apartment building [the Carolyn]. Can you tell us what inspired your mission and a little about the project? I had just finished my curatorial internship at the Rubell Family Collection. There I had learned so much about curating but did not have enough professional experience to become a museum curator or the funds to open my own gallery. The idea was to use my apartment as a rehearsal space. Miami is very entrepreneurial, so I just ran with it. Essentially, it became nomadic because I did not know how long it would last in the apartment or if other opportunities would emerge. One of the things I remember is that after you opened, you ran up a raft of shows in very rapid succession. How has Miami’s scene changed since then? Today it seems like there are so many galleries in Wynwood and the Design District, but it’s interesting to see how others have moved beyond these boundaries and are launching in downtown, west of Wynwood, and more northbound. It’s also amazing to see so many institutions celebrating anniversaries: the Bass, ArtCenter, Locust Projects, PAMM… Time flies, and it is great to see our roots grow deeper. Your apartment was so tiny. How did you manage to shoehorn group exhibits and other events into the space while continuing your daily affairs? I had an empty apartment, various part-time jobs, and lots of ideas! Miami has often had allure for young artists, so inviting someone to exhibit work in Miami never seemed to be a problem. I am not so sure I could do it now. Many of the artists you first exhibited at your space went on to become established Miami names. How did you find these artists? Who were some of the artists who caught your eye early on? I meet most artists through studio visits. I’m a natural people person, so if I connect with the art and the artist, often interesting ideas blossom. Diego Singh, Pepe Mar, and Cristina Lei Rodriguez were some core inspirations. Pepe and I both studied in San Francisco and we moved the same year. I met so many people from 2003 onward. Many artists I met back then are still making interesting work. I always admired the House and the artists involved. Actually, Martin Oppel and Daniel Arsham from the House launched Placemaker later. A decade later I have Martin in one of my shows, so that’s pretty cool.

Carlos Betancourt’s Amulet for Light in “Gold” at the Bass Museum of Art.

Some of your nomadic shows helped cement Wynwood’s nascent scene. How has the area changed since those times, and do you think it still has a future as an incubator for serious curatorial projects, or has that time come and gone? It’s really amazing to leave a transforming neighborhood and return five years later to see it as a true destination filled with galleries, restaurants, and people walking through the streets. Miami is always in motion, and spaces likeGucciVuitton are creating a lineup of shows that I would never conceive. I like that! They’re really thinking outside the box!Back in the early days of Art Basel Miami Beach, you curated a Christmas tree for the Frisbee art fair. Can you tell us about your artsy tree-trimming project? Not many people remember that! Jen Denike and Anat Ebgi, who were active in Miami, invited me to do a project. With little funds and the holidays approaching, I thought ornaments could be interesting since they are so sculptural. I bought a plastic light-up Christmas tree and asked artists to mail me their ornaments. I still use it as my Christmas tree. How has Basel changed since then, and what unifying or long-term impact has it had on Miami’s art scene? Art Basel Miami Beach continues to bring the international art world to Miami Beach. Satellite fairs, fringe projects, and exhibitions orbit that particular week, but I think since the earlier years, Miami is good at being active at showing great exhibits year-round. Lots of wonderful programming takes place too. In 2005 you co-curated “Hanging by a Thread” at the Moore Space, then run by Silvia Karman Cubiñá, who is now your boss at the Bass. What is it like working for her? I have always admired and looked up to Silvia as a mentor, so to work with her is really a dream come true. She has an impeccable eye for great art and curating excellent shows. I’m inspired! Before joining the Bass as the museum’s curator of exhibitions, you worked at the Tate Liverpool. Can you tell us about your experiences at that institution and some of the projects you were involved with there? I was quite lucky to move to a city that was once home to Henry Tate. Although Tate Liverpool is smaller than Tate Modern and Tate Britain, it pre­sents world-class exhibitions, both modern and contemporary, and rotates works from the Tate permanent collection. I was able to work with the collection and also assisted on Charline von Heyl’s solo show and a special project called The Source, which was a large outdoor pavilion by Doug Aitken filled with his video conversations he recorded with leading figures in the creative sector, like Tilda Swinton and Jack White. It was a huge AV challenge installing the work, but very rewarding! From that I curated a show tracking the last 25-year history of Tate Liverpool. Your first curatorial effort for the Bass, “Gold,” marks the museum’s 50th anniversary and is currently on view. How long did you work on your official Bass debut show, and what are some of your favorite works on display? I worked on the exhibit for about a year. As you can imagine, I really love all the works! The online new-media projects, by Patricia Hernandez and Yucef Merhi, are always in a state of flux, and I love that. One continues to monitor the price of gold, and the other, by Patti, is selling a virtual island for bitcoins, a type of online currency unregulated by the government. Anyone can access these works from home [at and]. Silvia has turned the museum’s profile around in short order, giving visiting and local artists a platform to exhibit projects in conjunction with older works in its collection. What’s the importance of this approach in terms of education? Our museum has a permanent collection that really allows us to go beyond and explore many areas. In fact, we have had real success focusing on fashion: Just last spring, Harold Koda curated a show about the subject matter found in Dutch vanitas-style paintings by pairing haute couture with contemporary works also addressing the same themes. What are some of your plans for the Bass, and what role does the museum fill on an institutional scene that has radically changed in the past year? I am working on some exhibitions and projects for the future. Many are a surprise! What can you reveal about yourself that readers might not know? I have a twin brother who won the Latin Grammy last year for best children’s album [Lucky Diaz and the Family Jam Band].



Art Basel in Miami Beach Launches Art Historical Sector

Benjamin Sutton, Tuesday, September 30, 2014

Art Basel in Miami Beach (ABMB) has established itself as one of the world’s foremost art fairs for all things brand new and cutting edge, and now the mega-fair is carving out some space for art history with its new “Survey” sector. Set to debut during this year’s edition, running December 4–7 (see “Art Basel in Miami Beach 2014 Boasts an Intimidating 267 Galleries“), the Survey section will boast 13 mini art historical presentations, including 9 solo exhibitions and 4 thematic shows. The inaugural lineup of Survey presentations will highlight lesser-known artists and movements. São Paulo’s Galeria Bergamin will showcase the work of Brazilian painter Alfredo Volpi, who was especially influential in the middle of the 20th century. Paris’s Galerie Georges-Philippe & Nathalie Vallois will showcase two sculptures from around the same period by Niki de Saint Phalle, while Garth Greenan Gallery‘s solo presentation of paintings and sculptures by Paul Feeley will span the early-to-mid 1960s. New York gallery Menconi + Schoelkopf is bringing photographs and paintings by the Canadian-born American Ralston Crawford, one of the leaders of the Precisionism movement. Another New York gallery, Leslie Tonkonow Artworks + Projects, will show pieces spanning the decade between 1969 and 1979 by conceptual, minimalist, and land art figure Michelle Stuart. Works from roughly the same period by the Chilean Lotty Rosenfeld, including photo, video, and slides, will be displayed by Valencia’s espaivisor. James Fuentes Gallery, meanwhile, will display Fluxus artist Alison Knowles’s Big Book, a walk-in, book-shaped installation that made its debut in 1966. Galleri Bo Bjerggaard will present an exhibition of the Danish sculptor Poul Gernes’s work, co-curated by Gernes’s youngest daughters. Rounding out the solo presentations is Japan’s Y++ Wada Fine Arts, which will show dystopic and melancholy paintings by Tetsuya Ishida. The group shows in Survey boast a similarly eclectic selection. Perhaps most intriguing will be Cecilia de Torres, Ltd‘s exhibition of Uruguayan artist Joaquín Torres-García’s self-titled constructivist art movement and workshop the Taller Torres-García, which spanned the 40s and 50s. New York’s Broadway 1602 will bring together works by four women artists who got their start in the 60s and 70s: the late French conceptualist Gina Pane; the New York-based sculptor and painter Rosemarie Castoro; the Brazilian artist Lenora De Barros; and Lydia Okumura, the Japanese-Brazilian artist known for her minimalist site-specific installations. New York-based Outsider art dealer Andrew Edlin will present a two-artist show juxtaposing works by Henry Darger and Marcel Storr. And finally Vienna’s Charim Galerie will show works by three of the Vienna Actionists: experimental feminist filmmaker Valerie Export; conceptual artist Andrei Monastyrski; and early Action painter Alfons Schilling.


ICA Miami Launch is Yet Another Reason to Leave New York in December

Pedro Reyes, Sanatorium Just in case you needed an excuse to make a trip to Miami this winter, the new Institute for Contemporary Art, Miami will open to the public on December 2 with exhibitions by artists Pedro Reyes and Andra Ursuta. Ms. Ursuta’s collection of new work includes Soft Power 1 and 2 (2013), huge sculptures of fists made from quilted comforters. Mr. Reyes’ installation, Sanatorium, will transform the museum’s second floor into a clinic where non-professionals will interview, diagnose, and provide visitors with one of 16 types of therapy, like Gestalt or hypnosis. First staged at the Guggenheim in 2011, it’s a “democratization of therapy, a ‘psychological first aid,’” according to a statement from Reyes on his website. The Mexico City-based artist will be on hand to train volunteer therapists and pass on suggestions for visitors’ treatment during the exhibition’s opening week, which coincides with mega-show Art Basel Miami Beach from December 4 through 7. “The exhibitions will seek to create a unique experience that’s both complementary to and distinct from the fair, and the city,” ICA Miami deputy director and chief curator Alex Gartenfeld told The Observer. ICA Miami’s opening comes after a dramatic spat between the board of the Museum of Contemporary Art, North Miami and the City of North Miami. In August, some MoCA staff announced their departure from the museum and their plans to reopen as ICA Miami in the Design District’s Moore Building. Mr. Gartenfeld explained that ICA Miami hopes to set itself apart from the city’s art scene by focusing on emerging and experimental artists and commissioning new works. The opening exhibitions are also making use of the museum’s new 12,500-square foot space in the Moore Building, donated by Miami Design District Associates. Ms. Ursuta’s installations will be integrated into the architectural details found throughout the former furniture showroom’s atrium gallery, added Mr. Gartenfeld. Last week ICA Miami rounded out its leadership with the appointment of new interim director Suzanne Weaver, the former curator of modern and contemporary art at the Speed Art Museum in Louisville, Kentucky. Ms. Weaver replaced Mr. Gartenfeld, who has moved into the position of deputy director and chief curator after previously serving as interim director of MoCA. The inaugural exhibitions will run from December 3 to March 2015 and will be free to the public. Mr. Gartenfeld wouldn’t give specifics on how long admission will remain free, but said only that visitors wouldn’t have to pay as long as the museum stays in the Moore Building.

Peter Marino, Still In Leather, Details the Mammoth Exhibition of His Collection

“One Way: Peter Marino” opens at the Bass Museum of Art in Miami Beach on December 4.

Peter Marino (Photo courtesy Patrick McMullan) It’s always nice to see someone like Peter Marino walk into a fancy party, like he did at a dinner in his honor given by Design Miami Tuesday night, with all the suits and swanky dresses. This is because Peter Marino—the architect responsible for dreaming up most of the world’s high-end boutiques, who is also a designer, muse, motorcyclist and major collector—eschews anything that could be called “fancy” in favor of leather on metal on leather. His outfit for the evening: a leather vest pricked all over with metal studs, leather wristguards with metal spikes, a leather hat with a metal skull, a strand of leather hanging from his neck which holds some metal knives, leather belt, metal belt buckle, metal knuckles with skulls, leather pants, leather boots. All the leather is always black. He’s a great person to honor with a dinner, because he comes complete with three different modes of personality. Sometimes he prefaces everything with a long “Dude…” and sometimes he affects a strong British accent for no reason in particular. He also likes to refer to himself in the third person—not as “Peter,” as one might think, but as “The Pedro.” And then there’s his art collection. He’s got a thing for Renaissance Bronzes—he’s got 36 of them. He’s bought scores of Warhols, hordes of Hirsts, and many, many Mapplethorpes. Peter Marino owns so many Anselm Kiefers that Anselm Kiefer refers to Peter Marino’s house in Aspen as “The Anselm Kiefer Museum.” And this—this collection as loud as his outfits—is the reason for the dinner where he can totally disregard any sort of dress code. In December, the Bass Museum of Art in Miami will open “One Way: Peter Marino,” the first major review of his mammoth collection and his contributions to the world of fashion, architecture, and design. More on that in a second, but first I have to describe my first interaction with Mr. Marino, at the dinner Tuesday. You see, the star architect was not always the jet-setting man in black, the dynamo creator of designer stores, the guy ensuring that the ritziest of retailers could corral the shopper’s eye directly to the products upon entering the store. He was once Pete Marino from Queens, living in squalor and worshipping Warhol, who gave him his first work and exposure. “Dude… I’m just inviting all my friends for a free meal!” he said, swinging one leather-clad arm toward the two tables. (This would be Dude Peter, but he switched to British Peter later in the night, and other people were worried if The Pedro would come out, too). “I just ate at Tad’s Steakhouse for 11 years,” he bellowed. “99 cents a steak! I would just inhale them, and then I would go and stuff them in my pockets, just stuffing all these steaks in my pockets. Here he made some furious swooping motions with his arms toward himself, as if stuffing his pockets full of steak. His current pants were way too tight to have pockets, but the extra-beefy mental image of steaks in leather pockets was a nice one. “When Tad’s closed, I starved for two years,” he went on. “Look, dude… when people ask, ‘Isn’t it nice to have money?’ I’m like, dude… that was like two years ago!” The dinner continued on well into the night, and then, the next morning it was more Marino: he gave a chat in the offices of Peter Marino Architect, which naturally is very, very high up in a Midtown East building. My ears popped on the elevator zooming up, then I was lead past Warhols and Tom Sachs-drawn guides and Han Dynasty vases and Richard Princes and so on and so forth. He was talking about “One Way: Peter Marino,” and once again he had on more leather than all the biker bars in Detroit, and once again he was surrounded by guys in suits, and it didn’t matter. At least he called upon British Peter for the occasion. (Wherever was The Pedro, I wondered.) It was an attractive room, with models and drawn plans for private home commissions—homes in Lebanon, Star Island, Southampton, Sagaponack—and a view of that much-questioned skyscraper, One57, as cranes bring materials up to its peak. Mr. Marino went about describing what sounds like it will be one of the most talked-about things going on during Art Basel Miami Beach. There’s a room of Marino-designed bronze boxes, the walls all made of black leather. There’s a multi-part opera that Mr. Marino made in collaboration with Francisco Clemente and Dior designer Raf Simons. Also in the mix was Jérôme Sans, the co-founder of Palais de Tokyo in Paris and former editor-in-chief of L’Officiel Art, who curated the show. He was video chatting in from France, as one does. “I’m going to give a physical walkthrough of the show and then Jérôme is going to make sense of it all,” he said. He began by showing off the catalog, which had along its spine—what else?—a black leather clasp studded with metal. “Just in case the people didn’t know who the show was about!” Mr. Marino said. There are five commissions in the show. The first is by Gregor Hildebrandt, and it’s on the outside of the building. “I was like, how can that go over the outside of the building? Because I’m not crazy about the way it looks,” he said, to the slight consternation of Silvia Cubina, the executive director of the Bass Museum, who was standing right next to him. The Hildebrand work is a giant portrait of Mr. Marino. “You’ll see it from airplanes 38,000 feet in the air,” he said. He ran through a few more plans for other rooms in the exhibition—a lot of Mapplethorpes, a skeleton wearing a lot of leather called Peter Marino in 100 Years—and then turned it over to Mr. Sans, who began speaking of the show in his own style, one that was slightly more elliptical than that of the punchy, loud Mr. Marino. “The show has this life, and this presence, this skin, and it is going into the future, and the future cannot exist without the past,” the floating head of Mr. Sans said. “I love hearing that the show actually makes sense!” Mr. Marino said at the end of Mr. Sans’ remarks. Then, before everyone was to walk back out through the Hirst-heavy hallways and pieces of antiquities at every corner, someone asked which artist he first bought when he began collecting. “Warhol,” he said, in that put-on British accent. “I know that sounds very chic and all, but I was working for him, and he gave me a painting. He helped me out. One day he gave me a check and said, ‘If you’re smart, you won’t cash that, because my signature is going to be worth more than the check itself.’ But I was broke, so I cashed it. And what do you know! Andy was right.”

NADA Miami Beach 2014 Will Be the Anti-Art Basel

Rozalia Jovanovic, Wednesday, September 3, 2014


NADA Miami Beach 2012 Opening Preview The New Art Dealers Alliance (NADA) has just announced its exhibitor list for the 12th edition of NADA Miami Beach. The art fair, which will take place from December 4–7 at the Deauville Beach Resort, will feature over 90 exhibitors with a little over 40 from New York, and including 36 international galleries, along with 15 exhibitors that are new to the fair. There are around twenty New York exhibitors that are not returning this year, including Churner + Churner, James Fuentes, the Hole, Horton (which merged earlier this year with ZieherSmith), Klaus von Nichtssagend Gallery, Joe Sheftel, Kerry Schuss, Simone Subal, Kate Werble, Feature Inc. (the gallery’s founder, Hudson, died earlier this year), Andrew Edlin, Clifton Benevento, the Still House Group, Know More Games, Recess, and Devon Dikeou. Some, like Clifton Benevento and Simone Subal, are doing Art Basel in Miami Beach this year. Some are not making it to Miami at all this year. Kate Werble said she is attending two fairs in Europe in October—London’s SUNDAY Art Fair and the new FIAC satellite (Off)icielle—and her gallery just underwent an expansion. Some New York galleries that did not partake last year but are exhibiting this year are Bodega, Chapter NY, the Lodge Gallery, Grand Century, Koenig & Clinton, Kai Matsumiya, Simon Preston, Regina Rex, and Tomorrow. “Galleries apply to multiple fairs with multiple types of projects,” Maggie Clinton of Koenig & Clinton told artnet News. “The project we applied with to Art Basel Miami Beach was waitlisted.” While the gallery has participated numerous times in NADA Miami Beach, it did Art Basel Miami Beach last year. This year, it is participating in NADA and Untitled. But she said that their decision about which fairs to attend related more to the formats of the various fairs. “I think that NADA is an excellent format for emerging artists. Untitled is really great for curatorial projects. We have an artist that will be featured at the fair, and it’s the type of project that could not be shown at any of the other fairs.” Other advantages NADA has over the larger fair? “You’re not going to see way too much stuff,” Clinton said. “There’s not a huge discrepancy between larger booths and smaller booths.” While she noted the benefit of the larger audience at a larger fair, she said there was less chance of falling victim to so-called “fairtigue.” “You also have this moment in between, because of the architecture, to just have a coffee, and stop and see more art.” Without further ado, here is the list: Cooper Cole, Toronto, Canada The Apartment, Vancouver Andersen’s Contemporary, Copenhagen, Denmark Temnikova & Kasela, Tallinn, Estonia High Art, Paris, France Future Gallery, Berlin, Germany Natalia Hug Gallery, Cologne, Germany, Galerie Christian Lethert, Cologne Germany Linn Luhn, Dusseldorf, Germany Galerie Max Mayer, Dusseldorf, Germany Galerie Parisa Kind, Frankfurt, Germany Proyectos Ultravioleta, Guatemala City, Guatemala Tempo Rubato, Tel Aviv, Israel Apalazzo Gallery, Brescia, Italy Frutta, Rome, Italy, Federica Schiavo Gallery, Rome, Italy Galerie Bernard Ceysson, Luxembourg, Luxembourg Lulu, Mexico City, Mexico Rob Bianco, Oslo, Norway Aoyama Meguro, Tokyo, Japan Kayokoyuki, Tokyo, Japan Misako & Rosen, Tokyo, Japan Mujin-To Production, Tokyo, Japan XYZ Collective, Tokyo, Japan Roberto Paradise, San Juan, Puerto Rico Sabot, Cluj-Napoca, Romania Truth and Consequences, Geneva, Switzerland Glasgow International, Glasgow, UK Ibid, London, UK Kinman, London, UK Seventeen, London, UK Rob Tuffnell, London, UK Rod Barton, London, UK The Sunday Painter, London, UK Jonathan Viner, London, UK Whitechapel Gallery, London, UK 247365, New York, Brooklyn, New York Clearing, New York, Brooklyn, New York The Journal Gallery, Brooklyn, New York Courtney Blades, Chicago, Illinois Shane Campbell Gallery, Chicago, Illinois And Now, Dallas, Texas Bill Brady Gallery, Kansas City, Missouri Artist Curated Projects, Los Angeles, CA Thomas Duncan, Los Angeles, CA Francois Ghebaly Gallery, Los Angeles, CA International Art Objects Gallery, Los Angeles, CA Overduin & Co, Los Angeles, CA Night Gallery, Los Angeles, CA Tif Sigfrids, Los Angeles, CA Young Art, Los Angeles, CA Locust Projects, Miami, FLA The Green Gallery, Milwaukee, WI David Peterson Gallery, Minneapolis, MN Alden Projects, New York American Contemporary, New York Nicelle Bauchene Gallery, New York Bodega, New York Brennan and Griffin, New York Callicoon Fine Arts, New York Canada, New York Lisa Cooley, New York Chapter NY, New York Independent Curators International (ICI), New York Eleven Rivington, New York Derek Eller, New York Thomas Erben Gallery, New York Essex Street, New York Zach Feuer, New York Foxy Production, New York Laurel Gitlen, New York The Lodge Gallery, New York Grand Century, New York Jack Hanley Gallery, New York Invisible-Exports, New York JTT, New York Karma, New York Koenig & Clinton, New York David Lewis, New York Magic Flying Carpets, New York Marlborough Chelsea, New York Martos Gallery, New York Kai Matsumiya, New York P!, New York Eli Ping Frances Perkins, New York Simon Preston, New York Regina Rex, New York Sculpture Center, New York Rachel Uffner Gallery, New York Tomorrow, New York White Columns, New York Creative Growth, Oakland, CA Adams and Ollman, Portland, OR Ratio 3, San Francisco, CA ===

Suzanne Weaver Will Lead Miami’s New Contemporary Art Museum

Sarah Cascone, Tuesday, September 23, 2014 Suzanne Weaver. Photo: Gesi Schilling, courtesy Institute of Contemporary Art, Miami. The Institute of Contemporary Art (ICA), Miami, founded by the former board of trustees and staff of the Museum of Contemporary Art (MOCA) in North Miami (see “MOCA North Miami Closes in Controversy“), is making a fresh start in its new Miami Design District home with Suzanne Weaver, who has been appointed the reborn institution’s interim director. A 20 year art world veteran, Weaver has previously held curatorial positions at institutions such as the Dallas Museum of Art and the Speed Art Museum in Louisville, Kentucky. Alex Gartenfeld, who had served in an interim capacity as director since September of 2013, following the departure of Bonnie Clearwater, has been promoted to deputy director and chief curator. He joined the museum in May of 2013 as a curator. The new ICA Miami looks to move past its troubled MOCA North Miami past, which saw the city fail to provide funding and led to a heated battle over museum leadership (see “The Museum of Contemporary Art North Miami Sues City For Breach of Contract” and “Racist Taunts Escalate MOCA North Miami Feud“). It will open in the the Design District’s Moore Building in December, presumably just in time for Art Basel in Miami Beach festivities (see “Art Basel in Miami Beach 2014 Boasts an Intimidating 267 Galleries“). The interim space, provided rent-free by Miami Design District Associates while the board of trustees seeks a new permanent home, measures 12,500 square feet. “We are thrilled to be welcoming Suzanne Weaver as our new interim director, whose talent, enthusiasm, and professional experience will be an invaluable asset as the museum continues to grow,” said Ray Ellen Yarkin, co-chair of the ICA’s board, in a press release. “It is truly an honor to work with such a highly talented and committed Board of Trustees and staff to launch a new museum of contemporary art dedicated to quality, excellence, and rigor,” added Weaver. “Together, we will create an institution that will be an important addition to Miami’s dynamism internationally and make a lasting mark on the intellectual, cultural, and artistic life of the region.” ==

SCOPE Bringing 111 Galleries to Miami in December

Sarah Cascone, Friday, September 19, 2014 Scope Miami Beach. Photo: Scope. Not to be outdone by Art Basel in Miami Beach, PULSE, NADA, and UNTITLED., the venerable SCOPE art fair, now in its 14th year, has announced its exhibitors for its 2014 Miami Beach edition. A total of 111 galleries will be on hand, representing 27 countries and 48 cities. The fair runs December 3–7. With a focus on emerging artists, SCOPE will once again feature its Breeder Program, which provides an important showcase for new commercial galleries. The fair will also introduce a FocusKorea section, a collaboration with the Galleries Association of Korea sponsored by the Korea Ministry of Culture, Sports, and Tourism (similar to the Korean section at this summer’s Art Hamptons, as reported in “Hamptons Art Fairs Target Hipster Collectors with Edgy, Nostalgic Artworks“). This year, SCOPE will partner with Juxtapoz Magazine in what is being described as “an exploration of the New Contemporary.” As part of “Juxtapoz Presents,” Kimou “Grotesk” Meyer will design and create an interactive newsstand installation inspired by old Brooklyn, and based on Meyer’s 2009 cover for Juxtapoz. The stand will sell artist-made goods, magazines, as well as the new book, Juxtapoz Hyperrealism. Here is the full list of SCOPE Miami Beach 2014′s participating galleries:

ACE Gallery | Los Angeles Andenken | Amsterdam Art Park Gallery | Seoul Art Projects Gallery | Hong Kong Artside Gallery | Seoul Asterisk Projects | Brooklyn AUREUS Contemporary | Providence Baiksong Gallery | Seoul Barbarian Art Gallery | Zurich Galerija Bastejs | Riga Beautiful Asset Art Projects | Beijing Tally Beck Contemporary | New York Gallery Bhak | Seoul Gallery Biba | Palm Beach Black Book Gallery | Denver blunt | Toronto Bon Gallery | Seoul Anthony Brunelli Fine Arts | Binghampton C-Arte | Buenos Aires C.A.V.E. Gallery | Venice Beach Callan Contemporary | New Orleans Lawrence Cantor Fine Art | Venice Chalk Horse | Sydney Chandran Gallery | San Francisco CHUNG Art Gallery | Seoul Chung Jark Gallery | Seoul Dorothy Circus Gallery | Rome Elizabeth Clement Fine Art | Danvers & New York Ethan Cohen Fine Arts | New York Collage Habana Gallery | Havana Contempop | Tel Aviv Copro Gallery | Santa Monica Corridor Contemporary | Tel Aviv DECORAZON | London Dubner Moderne | Lausanne E3 {a small gallery} | Ostend Faur Zsófi Galéria | Budapest Fifty24MX | Mexico City The Flat – Massimo Carasi | Milan Forré & Co. Fine Art | Aspen Emmanuel Fremin Gallery | New York Fresh Eggs | Berlin Gallery G-77 | Kyoto Gana Art | Seoul Gauntlet Gallery | San Francisco Gallery Godo | Seoul Galerie Frédéric Got | Paris Joseph Gross Gallery | New York Mark Hachem | Paris & New York Hashimoto Contemporary | San Francisco Cheryl Hazan Contemporary Art | New York Kashya Hildebrand | London Kirk Hopper | Dallas Dan Hort Projects | New York Inner State Gallery | Detroit JanKossen Contemporary | Basel K + Y Gallery | Paris Kallenbach Gallery | Amsterdam Jacob Karpio Galeria | San Jose Keumsan Gallery | Seoul L’inlassable | Paris La Ira de Dios | Buenos Aires Labartino | Miami Jonathan LeVine Gallery | New York Life as a Work of Art | New York Long Sharp Gallery | Indianapolis Luster | Brooklyn Galerie Magenta | Antwerp Magpi Projects | New York Primo Marella Gallery | Milan Mario Mauroner Contemporary Art | Salzburg & Vienna Miami’s Independent Thinkers | Miami Mighty Tanaka | Brooklyn Mirus Gallery | San Francisco Mordekai | New York Leila Mordoch Gallery | Miami NextArt | Budapest NUNC Contemporary | Antwerp Ohshima Fine Art | Tokyo OTCA | London Galleri Oxholm | Copenhagen Pabellón 4 Arte Contemporáneo | Buenos Aires Paik Hae Young Gallery | Seoul Paradigm Gallery | Philadelphia Parlor Gallery | Asbury Park Pavleye Art & Culture | Prague Phone Booth Gallery | Long Beach Project Gallery | Los Angeles Pyo Gallery | Seoul RARE | New York Red Corridor Gallery | Künzell Red Truck Gallery | New Orleans Duane Reed Gallery | St. Louis Rush Arts Gallery | Brooklyn Gallery Shilla | Seoul Shirin Gallery | Tehran & New York Stick Together | Amsterdam StolenSpace | London TBD Independent Projects | Key Biscayne Thinkspace | Los Angeles Tribe13 Gallery | Redwood Valley Vertical Gallery | Chicago Vice Gallery | Miami Vogelsang Gallery | Brussels Gallery on Wade | Toronto Wallplay | New York Waltman Ortega | Miami & Paris Wanrooij Gallery | Amsterdam Wellside Gallery | Seoul White Walls | San Francisco Woolff Gallery | London Wunderkammern | Rome Yellow Peril Gallery | Providence 55bellechase | Paris == ARTNET NEWS

UNTITLED. Lines Up 96 Galleries for Third Edition

Sarah Cascone, Tuesday, September 9, 2014 2014-july-22-untitled-miami-new As if Art Basel in Miami Beach‘s impressively long list of exhibitors wasn’t enough to look forward to this December (see “Art Basel in Miami Beach 2014 Boasts an Intimidating 267 Galleries“), there are also the event’s numerous competing satellite fairs, which are also beginning to announce their 2014 line-ups. The third edition of UNTITLED. (running December 3–7) has just unveiled plans to feature work from over 200 emerging and established contemporary artists represented by 96 galleries and non-profit art organizations from 18 countries, as well as 16 cities in the US. The fair will be hosted in a temporary beach-side pavilion designed by K/R architects under John Keenen. With a newly expanded curatorial team comprising artistic director Omar López-Chahoud and curators Christophe Boutin and Melanie Scarciglia, UNTITLED. will host a series of conversations, performances, and events, as well as special projects (see “Miami’s UNTITLED. Fair Adds Curators, Gets New Tent“). As part of the special projects series, Paul Ramírez Jonas will present his volcanic rock and cork sculpture, Publicar V (2010), while French conceptual artist Mathieu Mercier has created a series of new works for the fair, to be shown by New York’s Denis Gardarin Inc. New York non-profit gallery carriage trade will present Cutting Through the Suburbs, a multimedia project memorializing 1970s suburbia and featuring works by Gordon Matta-Clark, Bill Owens, and James Wines/SITE Architects & Howard Silver. The fair is also partnering with online art service Curiator, which will allow UNTITLED. visitors to peruse the fair’s offerings online, creating digital collections, both in the two-week period leading up to the annual event, for VIPs, and during its run, for all guests. Here is the full list of UNTITLED. 2014′s participating galleries: (+) R – Barcelona Ada – Richmond, Virginia Adn Galeria – Barcelona Andrew Rafacz, Chicago Arroniz – Mexico City Artag – Helskinki Art Nueve – Murcia, Spain Arts & Leisure Gallery – New York Asya Geisberg Gallery – New York Bitforms Gallery NYC – New York Bravinlee Programs – New York Carriage Trade – New York Carrie Secrist – Chicago Casa Maauad – Mexico City Cindy Rucker Gallery – New York Cirrus Gallery – Los Angeles, California Cristin Tierney – New York Curro & Poncho – Jalisco, Mexico De La Cruz Projects – San José, Costa Rica Diablo Rosso –Panama City Denis Gardarin Inc. – New York Denny Gallery – New York Document-Art Gallery – New York Espacio No Minimo – Guayaquil, Ecuador Formato Comodo – Madrid, Spain Fredericks & Freiser – New York Fridman Gallery – New York Galería Bacelos – Madrid Galeria Espacio Minimo – Madrid Galería Juan Silió – Santander, Spain Galería Nora Fisch – Buenos Aries Galeria Pilar – São Paulo Galerie Antoine Ertaskiran – Montreal Galerie Laurent Godin – Paris Galerie Richard – New York Galerie Thomas Fuchs – Stuttgart, Germany Gallery Sinne – Helsinki González Y González – Santiago Halsey Mckay Gallery – East Hamptons, New York Henrique Faria Buenos Aires – Buenos Aires Hionas Gallery – New York Inman Gallery – Houston Island Press – St. Louis Jack Bell Gallery – London Johannes Vogt Gallery – New York Johansson Projects – Oakland, California Josée Bienvenu – New York Klemens Gasser & Tanja Grunert Gallery – New York Koenig & Clinton – New York Kravets Wehby Gallery – New York Kristen Lorello – New York Lawrie Shabibi – Dubai Little Big Man Gallery – San Francisco Longhouse Projects – New York Lora Reynolds – Austin Lucia De La Puente – Lima Luis De Jesus Los Angeles – Los Angeles Lvl3 – Chicago Makebish – New York Maloney Fine Art – Los Angeles Marisa Newman Projects – New York Marso – Mexico City Max Estrella – Madrid Microscope Gallery – Brooklyn Mite – Buenos Aires Mkg127 – Toronto Monique Meloche – Chicago Mulherin – Toronto Narrative Projects – London Nathalie Karg Gallery – New York Nueveochenta – Bogotá, Colombia Parisian Laundry – Montreal Present Company – Brooklyn Projektrom Normanns – Stavanger, Norway Richard Heller Gallery – Santa Monica, California Rincón Projects – Bogotá, Colombia Romer Young Gallery – San Francisco Ronchini Gallery – London Royale Projects: Contemporary Art – Palm Desert, California Salon Dahlmann – Berlin Sandra Gering Inc. – New York Sic Helsinki – Helsinki Site:Lab – Grand Rapids, Michigan Steve Turner Contemporary – Los Angeles Steven Zevitas – Boston Susan Inglett – New York Taymour Grahne Gallery – New York Threewalls – Chicago Today Is the Day Foundation – New York Universal Limited Art Editions – Bay Shore, New York Upfor – Portland, Oregon Vigo Gallery – London Western Exhibitions – Chicago Y Gallery – New York Zieher Smith & Horton – New York Zürcher Studio, – New York   ==

Announcing PULSE Miami Beach Artists and Exhibitors
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PULSE Contemporary Art Fair is pleased to announce the artists and galleries exhibiting at PULSE Miami Beach 2014. The fair, in a new custom-designed venue on Indian Beach Park, will feature work from over 150 cutting-edge artists presented by a select group of exhibitors from Asia, Europe and the Americas.”As we move into the tenth year of PULSE, we are focused on celebrating artists, who are the core of the fair and the indeed the industry as a whole,” says Director Helen Toomer. “We are excited about our move to mid-Miami Beach and our newly-designed exhibition space that will compliment the presentation and discovery of these artists’ work and we look forward to welcoming the international arts community to our new home.” Read more about PULSE’s tenth year in Miami in the New York Observer and scroll down to read the full list of artists and exhibitors.
PULSE Miami Beach 2014
PULSE Miami Beach at Indian Beach Park. Rendering courtesy of PULSE Contemporary Art Fair.
PULSE Miami Beach 2014 Artists & Exhibitors – (Learn more hereArt Mûr, Montreal, Canada: Jinny Yu Ballast Projects, New York, NY: Russell Tyler (POINTS) Beers Contemporary, London, UK: Faig Ahmed | Janneke Von Leeuwen | Tony Romano | Pawel Sliwinski Black & White Gallery/Project Space, Brooklyn, NY: Michael Van den Besselaar Bryce Wolkowitz Gallery, New York, NY: Yorgo Alexopoulos | Edward Burtynsky | Jim Campbell | Robert Currie | Airan Kang | Jimmy Nelson | Jose Parla Catinca Tabacaru Gallery, New York, NY: Yapci Ramos CC Gallery, Berlin, Germany: Maya Hayuk Danziger Gallery, New York, NY: Christopher Bucklow | Susan Derges | Hendrik Kerstens | Karen Knorr | Jim Krantz | Corinne Vionner Davidson Contemporary, New York, NY: Kiel Johnson | Darren Lago | Sam Messenger | Thomas Witte | Ghost Of A Dream De Buck Gallery, New York, NY: Simon Vega | XOOOOX De Soto Gallery, Venice, CA: Amelia Bauer | Brian Paumier | Ramona Rosales (IMPULSE) DIA Galería, Mexico City, Mexico: César López-Negrete | Ricardo Paniagua Elizabeth Leach Gallery, Portland, OR: Ann Hamilton | Sean Healy | Isaac Layman | Julia Mangold | Anna Von Mertens Front Room Gallery, Brooklyn, NY: Mark Masyga | Sasha Bezzubov galerieKleindienst, Leipzig, Germany: Corinne von Lebusa | Christoph Ruckhäberle Galerie Simon Blais, Montreal, Canada: Jean-Sébastien Denis | Alexis Lavoie | Yann Pocreau Gallery Joe, Philadelphia, PA: Mia Rosenthal gallery nine5, New York, NY: Soojin Cha | Jessica Lichtenstein | Ignacio Muñoz Vicuña Gallery Poulsen, Copenhagen, Denmark: Barnaby Whitfield | Aaron Johnson | Jean-Pierre Roy | Eric White Greg Kucera Gallery, Seattle, WA: SuttonBeresCuller | Chris Engman | Margie Livingston | Whiting Tennis GUSFORD | los angeles, Los Angeles, CA: Genevieve Chua (IMPULSE) Heskin Contemporary, New York, NY: Doreen McCarthy | Jennifer Riley Horrach Moya, Palma de Mallorca, Spain: Aníbal López | Jorge Mayet  | Joana Vasconcelos Hosfelt Gallery, San Francisco, CA: Jim Campbell | Jay DeFeo | Jutta Haeckel | Emil Lukas | Marco Maggi | Andrew Schoultz James Harris Gallery, Seattle, WA: Karin Davie | Gary Hill | Alexander Kroll | Cameron Martin | Alwyn O’Brien | Akio Takamori junior projects, New York, NY: Guy C. Correiro | Stuart Elster (IMPULSE) LAMONTAGNE GALLERY, Boston, MA: Gil Blank | Jeff Perrott | Joe Warwell LA NEW GALLERY, Madrid, Spain: Cristina de Middel | Santiago Talavera | Jorge Fuembuena LMAKprojects, New York, NY: Jonathan Calm | Popel Coumou | Claudia Joskowicz | Erika Ranee LYNCH THAM, New York, NY: Carlo Ferraris | Walter Robinson (IMPULSE) MA2Gallery, Tokyo, Japan: Ken Matsubara Miller Yezerski Gallery, Boston, MA: Evelyn Rydz | Nathalie Miebach | Deb Todd Wheeler New Image Art, West Hollywood, CA: Cleon Peterson | Retna | Maya Hayuk Nohra Haime Gallery, New York, NY: Natalia Arias Nuova Galleria Morone, Milan, Italy: Felix Curto | Mariella Bettineschi | Domenico Grenci | Sadegh Tirafkan Paci contemporary, Brescia, Italy: Michal Macku | Teun Hocks Patrick Heide Contemporary, London, UK: Pius Fox | Hans Kotter | Reinoud Oudshoorn | Dillwyn Smith Paul Loya Gallery, Los Angeles, CA: Tom Fruin Philip Slein Gallery, St. Louis, MO: Andrew Masullo | Gary Stephan | Chuck Webster | John Zinsser Purdy Hicks Gallery, London, UK: Sue Arrowsmith | Jonathan Delafield Cook | Claire Kerr | Susan Derges | Sandra Kantanen | Jorma Puranen Rena Bransten Gallery, San Francisco, CA: Dawoud Bey | Joe Cunningham | Bovey Lee | Nathan Lynch | Vik Muniz Rick Wester Fine Art, New York, NY: Alyse Rosner | Laurie Lambrecht | Lilly McElroy ROCKELMANN&, Berlin, Germany: Florian Japp | Jeffrey Teuton (IMPULSE) Rosamund Felsen Gallery, Santa Monica, CA: John Mills Rosa Santos, Valencia, Spain: Andrea Canepa SENDA, Barcelona, Spain: Oleg Dou | Anthony Goicolea | Sandra Vásquez de la Horra | James Clar Shoshana Wayne Gallery, Santa Monica, CA: Phil Argent | Kathy Butterly | Rachel Lachowicz | Izhar Patkin | Berverly Semmes | Michal Rovner | Kiki Smith Schroeder Romero, New York, NY: Lisa Levy Shulamit Gallery, Venice, CA: Kamran Sharif | Shahab Fatouhi | Tal Shochat Sienna Patti Contemporary, Lenox, MA: Lauren Fensterstock | Susie Ganch taubert contemporary, Berlin, Germany: Adrian Esparza | Markus Linnenbrink | Markus Weggenmann | Beat Zoderer | Jan von der Ploeg | Dionisio González | Sylvan Lionni Tyler Rollins Fine Art, New York, NY: Arahmaiani | Heri Dono | FX Harsono | Agus Suwage Uprise Art, New York, NY: Eric LoPresti | Erin O’Keefe Walter Maciel Gallery, Los Angeles, CA: Tm Gratkowski WAGNER + PARTNER, Berlin, Germany: Erwin Olaf | Mona Ardeleanu | Peter Dreher | Ruud van Empel WATERHOUSE & DODD, New York, NY: Kim Keever | Jean-François Rauzier | Xavier Guardans X-Change Art Project, Lima, Peru: Alessadra Rebagliati | Ana Cecilia Farah| Marian Riveros | MOHO Collective (POINTS) Yossi Milo Gallery, New York, NY: Marco Breuer | Lorenzo Vitturi | Alison Rossiter | Matthew Brandt | Assaf Shaham YUKI-SIS, Tokyo, Japan: Katsutoshi Yuasa | Kohei Kawasaki (IMPULSE) Zhulong Gallery, Dallas, TX: Alexander Gorczynski | James Geurts (IMPULSE)

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Reviews of the Dazzling Anselm Kiefer Retrospective at the Royal Academy London



Britain’s Royal Academy Surveys Anselm Kiefer’s Work
Preoccupied by politics and history, the German-born Anselm Kiefer is getting a retrospective at Britain’s Royal Academy

Anselm Kiefer often uses unusual materials including straw and real blood to confront Germany’s past.DPA/Zuma Press


© Anselm Kiefer/Irma and Norman Braman, Miami Beach, Florida


© Anselm Kiefer/Städtische Galerie im Lenbachhaus, Munich

© Anselm Kiefer/Collection Stedelijk Museum

Sept. 18, 2014 4:09 p.m. ET
The Works of Anselm Kiefer
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Anselm Kiefer often uses unusual materials including straw and real blood to confront Germany’s past. DPA/Zuma Press

In the late 1960s, when German artist Anselm Kiefer was in his early 20s, he owned recorded speeches by Adolf Hitler and other Third Reich leaders. The Allies had distributed the recordings after World War II in a move to encourage reluctant Germans to confront their Nazi past.

For Mr. Kiefer, now 69, the impassioned speeches acted as a trigger: He would use his art as a weapon to fight social amnesia. “Now you can turn on German TV and there’s likely to be a documentary about the war. When I was growing up in the 1960s you didn’t even talk about it,” says Mr. Kiefer.

In 1969, wearing his father’s military uniform, the artist had himself photographed giving the banned Nazi salute and bound the photos along with Nazi-themed watercolors into two cardboard books. The performance launched a career that would remain dominated by Mr. Kiefer’s preoccupation with Germany’s past and the nation’s politics.

Both books are part of a retrospective opening at London’s Royal Academy on Sept. 27 and running until Dec. 14. The exhibition documents how over 40 years the France-based artist has employed such materials as oil paints, straw and electrolyzed lead to convey his mostly grave messages.

The Nazi salute quickly disappeared from his work, and some art in the show touches on more neutral themes, such as “Osiris and Isis,” a large 1985-87 work of oil and acrylic emulsion exploring the nuances of ancient Egyptian mysticism. But Mr. Kiefer has kept returning to Nazi Germany, albeit often in oblique ways. ” Georges Bataille : Blue of Noon,” a new set of watercolors and pencil on plaster, alludes to a prewar erotic novella by the 20th-century French writer in which a group of Hitler youths plays a peripheral role.

“I hate that I’m using this clichéd phrase but he’s very much an ‘intellectual artist,'” says Kathleen Soriano, the show’s curator. Ms. Soriano, 51, says she decided against explanatory wall captions to avoid “hitting visitors over the head with all the meanings in the show” and limited such clarification to the catalog.

Visitors unschooled in the artist’s obscure references may be left to focus on the artist’s often unconventional materials, both Mr. Kiefer and Ms. Soriano say. In “Parsifal III,” a 10-by-14-foot work on paper from 1973, Mr. Kiefer used a mixture of paint and blood. This image, which addresses Wagnerian themes adored by Hitler, aims to “rehabilitate” artists like Wagner from the blemish of Nazi worship, Mr. Kiefer says.

A similar-size work, “Margarethe,” was created using gray and white paints mixed with straw Mr. Kiefer found in a cornfield. Mr. Kiefer says the work was inspired by the poem “Death Fugue” by Paul Celan, a Jewish poet jailed by the Nazis. “My art… changes not only because the materials like straw change over time, but also because since they concern themselves with history, the world views of those looking at it are unavoidably different as the decades pass,” he says.

Ms. Soriano says she’s dedicating two rooms in the show, including the first, to Mr. Kiefer’s delicate watercolors. Mr. Kiefer’s Paris-based dealer Thaddaeus Ropac welcomes the move. Mr. Ropac, 54, only offered one watercolor in his latest exhibition. It sold for $65,000, far below the $650,000 to $5.8 million for large paintings. “The watercolors are still such virgin ground,” he says.

As he awaits his retrospective, Mr. Kiefer says he can never begin to answer one question: Would he have been a Nazi? “Naturally I hope I would have said ‘I’m fighting against Hitler.’ But I can’t say for certain if I had lived then, what I would have done or decided.”


All my doubts about Anselm Kiefer are blown away by his Royal Academy show

Plus: Why the Turner Prize should be abolished – and what could replace it
‘Winter Landscape (Winterlandschaft)’, 1970, by Anselm Kiefer

‘Winter Landscape (Winterlandschaft)’, 1970, by Anselm Kiefer

Anselm Kiefer

Royal Academy, until 14 December

The Turner Prize 2014

Tate Britain, until 4 January

In the Royal Academy’s courtyard are two large glass cases or vitrines containing model submarines. In one the sea has receded, dried up, and the tin fish are stranded on the cracked mud of the ocean floor. In the other, the elegantly rusted subs are mostly suspended like sharks in an aquarium: a fleet in fact, all pointed in the same direction.

These works are the visitor’s first sight of the vast and glorious exhibition by Anselm Kiefer (born Germany, 1945) currently occupying the main galleries of Burlington House, and they are apparently related to his interest in the Russian poet and futurist Velimir Khlebnikov. At once we are confronted by several Kiefer themes: war, poetry (he says poems are ‘like buoys in the sea. I swim to them, from one to the next …without them, I am lost’), and Mesopotamian clay tablets. His very particular mix of history, imaginative transformation and high culture is thus succinctly introduced.

There have been plenty of opportunities to see Kiefer’s work in Britain in recent decades (I well remember an impressive show of giant lead books at Riverside Studios in Hammersmith in 1989), but I must admit that up to now I have remained equivocal about him. The Academy’s show has completely changed my mind. I have never seen Kiefer better presented, and in this exhibition his imagery and use of materials make perfect sense. The increasingly large works have been superbly laid out through the grand galleries, and their cumulative effect is not so much overwhelming as utterly convincing. This remarkable display makes a great argument for the monographic exhibition. Not all artists can survive this sort of exposure, some looking too repetitious or threadbare in extensive solo shows, but Kiefer’s work thrives on it, and the exhibition is a triumph.

The first couple of rooms offer a kind of prologue of early work, introducing Kiefer’s abiding passion (since 1968) for artists’ books, his drawings and watercolours, and the wood-grain ‘Attic’ series of the 1970s. The exhibition really catches fire in room 3 with the increased scale and texture of the paintings, the inventive use of materials (clay, ash, earth, straw, dried sunflowers, scorched photos) and a certain salutary grimness of subject. Here the aggrandising tendency of Nazi architecture is squarely faced, the neoclassical stone structures built to last (and make fine ruins), as against the bricks of straw and the writing on the wall of the artist’s alternative reality. If some of the paintings look like dried-up river beds, suggesting drought and starvation, this is the other side to handsome prisons of the spirit.

Kiefer uses the shape of a palette in his pictures to stand for himself, and I was reminded of Leonard Cohen’s lyric ‘like a bird on the wire/ Like a drunk in a midnight choir’ when looking at ‘Palette on a Rope’ in room 4, though there’s more than one bird on this particular wire, and they look decidedly flame-like. Room 5 contains just two enormous paintings: ‘Osiris and Isis’ on one side, decked out with copper wire and what looks like the fragments of a washbasin; ‘For Ingeborg Bachmann: The Sand from the Urns’ is on the other, an achingly beautiful, desiccated landscape. The theme is death and resurrection, just one of the great linked polarities that Kiefer rarely shrinks from addressing.

Burnt books, branches, roses — all are incorporated in one or other of the epic paintings on display here, many of which, despite their size, come from private collections. Kiefer has a genuine interest in the mystic life, and is as likely to explore the diamond-studded firmament as he is the fertile plain. In room 11, we find Kiefer in agrarian mode, evoking ‘a land, perpetually coming to harvest’ (Ronald Johnson: The Book of the Green Man). These intensely romantic images of fruitfulness are subverted by such things as a mantrap attached to the painting’s surface — a notable vagina dentata clearly echoing Courbet’s ‘L’Origine du Monde’ — old shoes or a set of primitive scales, along with volcanic stone and gold leaf. Since the death of the Catalan master Antoni Tàpies, Kiefer must be our leading artist-magus.

Some people complain that they’re overburdened by the weight of reference in Kiefer’s paintings, the history, poetry and philosophy that inform his approach. I can only say that the viewer does not need to know or recognise its presence, nor feel inadequate before Kiefer’s learning. There is much to enjoy in his work on a purely formal level, but if you wish to explore the manifold layers of meaning below the surface, there’s even more to intrigue and savour. Then there are those who think his pictures rather rudimentary, exploiting texture and simple perspective and owing more to the mud and muck of the farmyard than to any alchemical (or artistic) transformation.

Others admire his work but regret the industrial scale on which it now seems exclusively to operate, and suggest that you can get away with murder with an adoring international market and an army of assistants. But I have to say that such quibbles dwindle and vanish in the face of this beautifully installed exhibition. It is the art that has to convince us or condemn itself, and this is a breathtaking show, a real source of awe and wonder, probably the most astonishing event of the season.

And it can be a pretty silly season too, as demonstrated by the media circus which is now the annual Turner Prize. When the prize was founded in 1984, it seemed to offer some hope of promoting excellence with such artists as Malcolm Morley and Richard Deacon winning in early years. But since the millennium, it has increasingly become the resort of installation and multimedia artists, not painters and sculptors, and this colonisation has resulted in a tragic loss of credibility. The new conceptual orthodoxy is nothing more than a current establishment fashion but its perpetrators and propagators seem bent on excluding more traditional forms of art.

The problem is that the so-called experimental art showcased by the Turner Prize is so thoroughly passé that it merely recycles ideas thought new and original half-a-century ago. But the pundits of the media still find such stale stuff wonderfully controversial and diverting. To my mind, the unholy crop of films, wallpaper, slide projections, bad writing, flags, sociological reportage and relentless pretension that makes up this year’s shortlist is intensely depressing. The banality is unredeemed. Time to abolish the Turner Prize and inaugurate a Constable Prize for Painting, and perhaps a Henry Moore Prize for Sculpture.

This article first appeared in the print edition of The Spectator magazine, dated



At the RA

John-Paul Stonard

Anselm Kiefer first came to public attention in London in A New Spirit in Painting, the exhibition held in 1981 at the Royal Academy. It’s fitting, then, that this should be the venue for the first full retrospective in Britain, curated by Kathleen Soriano (until 14 December). Kiefer has always divided critics, some taking fright at his heavy Germanic imagery, others describing the experience of his work in religious terms. It has lost none of its ability to provoke in either direction. Visitors circulate unusually slowly, silently contemplating the works. Looming at the top of the Academy stairs is a big sculpture,Language of the Birds (2013), a pile of large books made of lead sheets, interleaved with metal park chairs, surmounted by a giant pair of outspread wings, also of lead. Made from elements familiar from Kiefer’s work over the past forty years, the sculpture signals the epic journey that lies ahead.

At the heart of Kiefer’s work is an idea and image of history. For the series of photographs entitled Occupations, which launched his career in 1969, he posed in different European locations dressed in military garb and performing a Nazi salute. The claim some have made that the photographs are evidence of fascist sympathies is bizarre – the satire is obvious. Although other German artists – Gerhard Richter and Markus Lüpertz, for example – had used military imagery, only Kiefer was reckless enough to portray himself as a Nazi. Kiefer was breaking a taboo about showing the recent past, but he was also saying something about the present – about the confrontation of generations that was then taking place in West Germany. Those who were too young to have taken an active part in the Third Reich (the ‘blessed’ generation in Helmut Kohl’s phrase), were confronted with a society still dominated by collaborators. The task was to hold a mirror up to West German society, to show what it had been, and to some extent what it still was.

Anselm Kiefer’s ‘Heroische Sinnbilder’ (1969).

Anselm Kiefer’s ‘Heroische Sinnbilder’ (1969).

In paintings and books made over the next few years Kiefer seemed to plunge further down into German history, into the constellations of art and culture that had become so problematically entangled with fascism. His art is in this sense a form of unravelling.Man in the Forest, for example, a painting from 1971, is one of the first statements of his fascination with the theme of the forest and trees central to the Nazi myth. In a picture recalling Caspar David Friedrich’s The Chasseur in the Forest, Kiefer paints himself in a white gown, holding a burning branch in a thick forest, the oil layered and dripping as if the work was itself the outcome of a pagan rite.

With Kiefer there is always a sense of meanings lurking just beneath the surface, of barely hidden taboos. Four paintings from 1973 on the theme of the Parsifal legend (three are included in this show) depict an attic space, in fact Kiefer’s studio at the time, the canvas dominated by the wood grain of the interior, done in charcoal on an oil ground. Inscribed on the canvas are the names of characters from Wagner’s opera and Gurnemanz’s line ‘Oh, wunden-wundervolles heiliger Speer!’ (‘Oh wounding, wondrous holy spear!’), which puts one in mind of Albert Speer. Also inscribed are the names of members of the Baader-Meinhof gang – Andreas Baader and Gudrun Ensslin had finally been arrested shortly before Kiefer began the work. Half-buried in the wood grain effect (a Kiefer trademark), the combination of names suggests not only ‘difficult meaning’, but also the generational conflict which was to culminate in the events of the Deutscher Herbst (German Autumn) a few years later.

Kiefer is one of the few living artists who can work convincingly on a truly monumental scale, creating vast works that seem not merely to take up, but to activate the space around them. This is particularly true of his paintings based on fascist architecture. The vast canvas Ash Flower (1983-97) is more than seven and a half metres long, and almost four in height, and shows a large ruin of what had been a classical interior in plunging single-point perspective, clay, ash and earth forming the desiccated surface. An enormous dried sunflower is attached, inverted, in the centre of the canvas. Peter Schjeldahl saw an ‘energetic contradiction of the frontal and the recessive’ in these works, which he compares to the paintings of Jackson Pollock. He refers to the sense of being caught between diving into the image, drawn into the perspectival vortex, or remaining on the surface of the canvas, seeing it as a physical object rather than an imaginary space. For perspectival recession read historical imagination, and for scarred surfaces read the historical present in which Kiefer was living and working, a Germany consumed with the task of reconstruction and, in its national life, the work of constant redefinition. According to Andreas Huyssen, this oscillation between past and present becomes a dilemma for the viewer, caught between the feeling of being ‘had’ and falling for the monumental aesthetic beguilingly presented as ‘art’. Hold onto the surface, remain in the present, if you can.

The final painting in the architectural series, Sulamith (1983), is one of Kiefer’s best-known works, and possibly his greatest. It shows a low-ceilinged vaulted chamber, based on the Nazi architect Wilhelm Kreis’s 1939 memorial hall for German soldiers. The charred walls and glowering atmosphere of Kiefer’s version, and above all the inscribed ‘Sulamith’ show that far from being a Nazi Valhalla this is a Holocaust memorial. The ‘ashen-haired’ Sulamith and the ‘golden-haired’ Margarethe are from Paul Celan’s Todesfugue; the loss of Sulamith is a symbol of the Holocaust. Political reunification in 1990 restored the former east, but the real ‘other half’ of German history, the Jewish part, could never be restored.

Kiefer’s range of subject matter and references is epic. Since the 1980s overtly Germanic themes – the forest, the Nibelungen, the Third Reich – have been joined by Mesopotamian history, Egyptian and Greek mythology, the Old Norse Edda and the Kabbalah. A summary of these interests is captured by The Rhine, an installation of monumental woodcuts displayed on free-standing screens: Goethe, Dürer, fascist architecture, the poetry of Celan, all hovering above an image of the longest German river. It is a testament to Kiefer’s tact that, despite the grandiosity of these themes, his work never feels overblown. At the heart of the Royal Academy display is an installation, Ages of the World, a title loosely translated from the German Erdzeitalter. A lofty, tapering stack of discarded canvases, stretched and rolled, interleaved with old photographs, rubble, lead books and more large dried sunflowers gives off a faint odour of the dust and solvent of an artist’s studio. Two works on the wall, large photographs of the sculpture overpainted with words, annotate the stack in terms of the strata of geological eras. At first it seems to be a monument to art’s failure in the face of history, or an attempt to escape history. The critic John Russell saw an earlier form of the work, titled Twenty Years of Solitude (1971-91) as a ‘portrait of the artist as Atlas, bearing upon his shoulders a whole world in epitome’. But despite this the mood remains somehow light, as though a burden has been shifted, a knot unravelled.

This (relative) lightness of mood is one of the most striking qualities of Kiefer’s monumental works. These have taken the form of vast crumbling concrete towers, libraries of lead books – or the two enormous studio complexes he runs in France (descriptions of visits to these studios to interview the artist are a sub-genre of the Kiefer literature). The effect can be seen in the large canvas For Ingeborg Bachmann: The Sand from the Urns, 1998-2009 (even the date range is epic) which shows a large brick structure, perhaps a tomb, barely visible beneath a surface of acrylic and shellac (who knows what else might be lurking in there), the whole thing encrusted in a thick layer of sand. The title refers to the two poets whom Kiefer holds in greatest reverence; when Celan embarked on an ill-fated affair with Bachmann, he inscribed his poem ‘In Egypt’ in his collection The Sand from the Urns for her: ‘Thou shalt say to the strange woman’s eye: be the water!’ The surface of the painting recalls Joyce – ‘These heavy sands are language tide and wind have silted here’ – but at the same time his citation from Celan counters the heaviness of the lead books, the pyramids, the halls of fame, with a dash of mysticism to suggest that there is something to be read in those leaden tomes after all. His schoolbook-like script (which strongly recalls the lettering Kitaj used on his paintings) adds to the sense of more simple histories and truths, and also reveals something of Kiefer’s sense of humour, which he has sustained since the absurdist satire of the Occupations photographs. An endearing crankiness helps his work to survive the grandiosity of its subject matter.

As a retrospective the Royal Academy show is far from definitive. A weighting in favour of recent works, including two large diamond-encrusted lead-sheet ‘paintings’, and a room of seven new paintings, characterised by their rich gilded surfaces and grouped under the title Morgenthau, gives the impression of a mid-career show, organised in a commercial rather than a scholarly context (although the catalogue is highly informative and contains a fine essay by Christian Weikop on Kiefer’s use of tree and forest symbolism). It offers an opportunity to marvel, but not to get beneath the skin of Kiefer’s work, or to see him alongside other artists. His considerable debt to Joseph Beuys, at one time his teacher, is a case in point. The dried roses Beuys stuffed in a piano in 1969 are surely the origins of Kiefer’s sunflowers; and where Beuys used felt and fat as his signature materials, Kiefer uses lead (salvaged, we are told, from the roof of Cologne cathedral). The use of inscriptions, and the sense that an attempt is being made to create allegories of recent history also joins the two artists, although there are many differences too: Beuys was not a painter, for example; and Kiefer, since hisOccupations photographs, is not known for performances. And in many respects Kiefer has gone beyond his former teacher in creating a body of work that captures the experience and memories of a German artist working in the wake of the Third Reich. But it isn’t his subject matter, or even its poetic transformation, that makes Kiefer’s work so beguiling, particularly when compared with that of artists such as Beuys or Georg Baselitz. It is something far more prosaic: the fascination of running one’s eyes over the intricate surfaces of his paintings, admiring the sense of design in his woodcuts, his skill in painting in watercolour, or ingenuity in recycling materials for sculpture – the pleasure of wondering how it was all done.


Anselm Kiefer review – remembrance amid the ruins

Royal Academy, London
Anselm Kiefer’s monumental work in ash, straw, diamonds and sunflowers dazzles in a superb retrospective

Anselm Kiefer retrospective - London
‘This is a show covered in clinker’: Ash Flower, 1983-97 by Anselm Kiefer at the Royal Academy. Photograph: Justin Tallis/PA

Anyone who knows even the smallest thing about Anselm Kiefer will have gathered that his ambitions are not ordinary. An old-school history painter, didactic and inescapably moral, he works on a grand scale in lead, sand, gold leaf, copper wire, broken ceramics, straw, wood and even diamonds, his ideas informed by, among many other subjects, the Holocaust, Egyptian mythology, the architecture of Albert Speer, German Romanticism and the poems of Paul Celan. He is the kind of artist whose physical presence – in his black T-shirts and rimless spectacles, he puts one in mind just lately of an executive from Apple – always comes as a surprise. How, you wonder, can a man who deals with so much weighty stuff have such regular-looking shoulders, such ordinary biceps? And why is he smiling? Doesn’t the darkness ever threaten to engulf him? Doesn’t his project – now more than 40 years old – sometimes pinch at his sanity?

Ice and Blood (Eis und Blut), 1971 by Anselm Kiefer.

Ice and Blood (Eis und Blut), 1971 by Anselm Kiefer. Private collection © Anselm Kiefer Photograph: Bénédicte Peyrat/Private collection © Anselm Kiefer

Yet only with the help of a blindfold would you be able to wander the Royal Academy’s stupendous retrospective of his work and leave feeling anything less than drunk with amazement. However much you know about Kiefer, it’s impossible to be prepared for this show: for its scale, its pleasures, its provocations and – this must be said – its bafflements. This is a total experience. The work first speaks to the eyes, which instinctively scour every last corner of every painting, every sculpture. Then it calls to the heart, pulling from you all sorts of things Kiefer certainly didn’t intend (in my case: modern-day Syria; the 80s nuclear TV drama Threads; John Wyndham’s novel The Day of the Triffids). Last of all, it engages the head, as you attempt to unravel his complex, multilayered narratives. It’s certainly useful to know your history before you enter these spaces – and if you’re fluent in the language of Richard Wagner and Caspar David Friedrich, so much the better. But it isn’t necessary. In any case, mystification is half the point. No artist puts this much effort into the construction of their work without wanting their audience to linger over it, to try and fathom it out.

Ages of the World (Die Erdzeitalter), 2014 by Anselm Kiefer at the Royal Academy.
Ages of the World (Die Erdzeitalter), 2014 by Anselm Kiefer at the Royal Academy. Photograph: REX/REX

Kiefer was born in the Black Forest in 1945, a kind of year zero in terms of German history. And it’s this – the attempt to wipe out collective memory after the war – that has long been his creative wellspring (at school his teachers hardly mentioned the Third Reich). Taught by Joseph Beuys, the artist who helped Kiefer’s generation to reclaim much of the historical and mythological imagery rendered so toxic by the Nazis, his early work depicts himself, dressed in his father’s army uniform, taking the Nazi salute outside the Colosseum in Rome and elsewhere. The Royal Academy show, which works chronologically, begins with this zesty, youthful reappropriation. I was queasily hypnotised by the watercolour Ice and Blood (1971), in which an expanse of snow is scarred with pools of crimson and, far worse, a tiny, naive figure in a military overcoat, its right arm ominously raised. Before you get there, though, the Royal Academy reveals its breathtaking commitment to Kiefer with a little reappropriation of its own. The garish shop at the top of the gallery’s stairs has disappeared. In its stead is Language of the Birds (2013), a monumental sculpture comprising a pile of charred-looking books with a huge set of wings attached. Do these belong to a German eagle? Naturally, that’s what comes to mind. But I kept thinking, too, of the phoenix, a creature that speaks to Anselm’s preoccupation with myth, rebirth and the cycles of time every bit as loudly as the Reichsadler.

The phoenix rises from the ashes, and this, after all, is a show that is covered in clinker. Ash Flower (1983-97), made of oil, acrylic, paint, clay, earth, ash and – a recurring symbol in Kiefer’s work – a dried sunflower, is a seven metre-wide depiction of a ruin, the ruthless lines of a grand public building emerging through its murky surface like the prow of a ship through fog. Sulamith (1983), inspired by a Paul Celan poem, Death Fugue, which was written in a concentration camp (“your ashen hair Shulamite”), is a gloomy crypt rendered in oil, acrylic, woodcut, emulsion and straw, at one end of which a fire endlessly flickers. Untitled (2006-08) consists of a triptych of huge vitrines in which there resides a wintry graveyard of brambles, dead roses, more ash, and toppling concrete houses. Gradually, the work starts to talk to the future as well as the past. In the Royal Academy’s octagonal gallery is a new piece, Ages of the World (2014): a pile of abandoned canvases and rubble bedecked with an unhappy coronet of yet more dead sunflowers. It has a dystopian, post-apocalyptic feel: no culture, no hope.

Morgenthau Plan, 2013.



Morgenthau Plan, 2013. Photograph: Charles Duprat/© Anselm Kiefer

All this is pitch-dark. But there is radiance elsewhere – and colour too. For Ingeborg Bachmann: the Sand from the Urns (1998-2009) is a depiction of a ziggurat in a sandstorm so astonishingly dynamic you’re almost tempted to squint, the better to protect your eyes, while the satirical Operation Sea Lion(1975) has toy battleships floating in one of the zinc baths that were given to every German home by the health-obsessed Third Reich, its water a horribly chipper shade of blue. Best of all there are Kiefer’s Morgenthau paintings from 2013, named for the US Treasury secretary Henry Morgenthau Jnr – whose plan it was in 1944 to transform Germany into a pre-industrial nation as a means of limiting her ability to fight future wars – and crammed with impasto stalks of corn that sometimes blow and bend, and sometimes reach for the blazing sky. A note on the wall urges the visitor to note the crows circling above, a symbol of death and resurrection. But it isn’t these flapping shadows that keep you in the room; it’s the whispering grass, the beatific sunshine, the splashes of cornflower blue. Kiefer is that most resolute of artists. He has never turned away from the difficult and the sombre; his career is a magnificent reproach to those who think art can’t deal with the big subjects, with history, memory and genocide. In the end, though, what stays with you is the feeling – overwhelming at times – that he is always making his way carefully towards the light.



September 19, 2014 6:38 pm

Interview with Anselm Kiefer, ahead of his Royal Academy show

Politics, history, money – and alchemy. The provocative artist gives our visual arts critic a tour of his studio
Anselm Kiefer in front of his work ‘Ages of the World’ (2014)©Howard Sooley

Anselm Kiefer in front of his work ‘Ages of the World’ (2014)

When I tell Anselm Kiefer that my favourite work in his forthcoming Royal Academy retrospective is “Tándaradei” – a monumental new painting in oil, emulsion and shellac where pink, red and mauve blossoms seem to burst into life, fade, wilt, all at once – the artist looks apologetic. “I put it out of the exhibition because it’s too beautiful. It’s too much. I couldn’t allow it.”

Painters have been quarrelling about beauty for centuries but Kiefer, born in southern Germany in the last months of the second world war, has rooted his life’s work in the urgent postwar anxiety about art’s role and future: Theodor Adorno’s claim that there could be no poetry after Auschwitz.

“You cannot avoid beauty in a work of art,” says Kiefer. He waves at a room full of richly textured works with scorched, barbed surfaces – built up from ash, lead, shards of pottery, battered books and broken machines – that evoke war-ravaged wastelands but have lyricism etched into the violence of their making. “You can take the most terrible subject and automatically it becomes beautiful. What is sure is that I could never do art about Auschwitz. It is impossible because the subject is too big.”

This is a conversation stopper because Kiefer has rarely made art about anything else. In the 1960s he made his debut as a performance artist: dressed in his father’s army uniform, he photographed himself making the Nazi salute in iconic European locations such as Rome’s Colosseum, confronting what his fellow artist Joseph Beuys called Germany’s “visual amnesia” about the Holocaust. Half a century later, at this year’s Summer Exhibition at the Royal Academy, he displayed a new painting “Kranke Kunst” (“Sick Art”), a lovely willowy reprise of a 1974 watercolour of the same name in which a landscape of the kind idealised by the Nazis was dotted with pink boils.

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Kiefer explains: “I like the double sense, first ‘Kranke Kunst’ is negative, it comes from Nazi censorship of entartete Kunst [degenerate art]. And then, it’s completely true because all is ill, the situation in the world is ill . . . Syria, Nigeria, Russia. Our head is generally ill, we are constructed wrong.”

What can art do?

“Art cannot help directly. Art is the way to make it obvious. Art is cynical, it shows the negativity of the world, it’s the first condemnation.”

Can art be celebratory?

“Matisse, he celebrates, but I see through this – to desperation.”

Kiefer says all this to me cheerfully, deadpan, over vodka at three in the afternoon in his 30,000 sq metre Paris atelier, a former warehouse of the department store Samaritaine. Another studio in Barjac, southern France, occupies a 200-acre estate but even the Paris one is so extensive that you need a car to cross it, past rusting tanks, containers with paintings left out to the chance elements of weather, and rose bushes planted by the artist. At one point we nearly collide with a crane hoisting a slab of lead. “For me, huge doesn’t exist,” Kiefer admits.

. . .

Tall and greying but lean and swift in white shorts and open shirt, the 69-year-old has fled preparations for the show in London – “It’s boring for an artist to do a retrospective” – but he offers a tour of the work here. Sculptures wrought from damaged bomber planes are strewn across one studio. Styrofoam towers from his nine-storey set for the Bastille Opera’s In the Beginning tumble and crumble in another. Hundreds of bleached-out resin sunflowers at three times life size, a comic homage to Van Gogh, stand guard at the gated entrance.

You cannot avoid beauty in a work of art

Sunflowers like these are coming to London, part of an installation, entitled “Ages of the World”, of unfinished canvases stacked horizontally into giant rubbish heaps that will occupy the RA’s opening central hall. I had interpreted an allusion to German history, the unhealable rupture imposed by the Nazi attack on degenerate art. Kiefer, however, points to monochrome gouaches that will surround his fallen canvases, which are scrawled with words referencing stratigraphy, palaeography, geology.

Archaikum, mesozoikum,” he recites, drawing out the syllables like a line of poetry. He speaks English well but relaxes into real pleasure of expression when lapsing into German. “I like these words! How many million years are we old? You don’t know? You don’t know our age! I have all this catastrophe in my biography. That is what you see in ‘Ages of the World’. We go back much before our birthday. In our mind is inserted all this stratigraphy. Three hundred and fifty million years ago a meteorite touched the earth and 95 per cent of life was extinguished. Three hundred and fifty million years ago the dinosaurs – and lots of people – died. German history? It starts with Archaikum.”

In one of the most affecting paintings in the exhibition, “The Orders of the Night” (1996), there are also giant sunflowers, blackened, lined up in rows, menacing as soldiers, looming over a self-portrait of Kiefer as a corpse. And dried sunflowers mix with ash, clay and oil in the sombre, tapering interior, “The Ash Flower” (1983-87), the show’s largest painting at nearly 26ft wide.

At the Royal Academy, such ghostly interiors, echoing with references to Hitler’s architect Albert Speer, such as the chancellery in “To the Unknown Painter” (1983), will hang alongside desolate versions of the forests and fields of the German romantic imagination: landscape destroyed in “Painting of the Scorched Earth” (1974); deathly in the shimmering straw of “Margarethe” (1981), representing the blond camp guard; paired with the dark straw ashes of the victim of the furnaces “Sulamith” (1983); or inscribed with the poems of Paul Celan and studded with charred books in the more recent furrowed “Black Flakes” (2006).

When I got an early glimpse of the show, these struck me as the dark heart of Kiefer’s achievement I ask him if he feels that these were the works he inevitably had to make. “No, no. Perhaps I should have been a poet or a writer. You can never be sure because you make mistakes but the mistake becomes reality.” Poems, he says, “are like buoys in the sea. I swim from one to the next; in between, without them, I am lost.” He says Celan, a Holocaust survivor, “is the most important poet since the war. He puts words together as no one did before. He made another language, he’s an alchemist concerning words.”

Is alchemy a metaphor for what Kiefer does? “It is what I do,” he corrects. “Alchemy is not to make gold, the real alchemist is not interested in material things but in transubstantiation, in transforming the spirit. It’s a spiritual thing more than a material thing. An alchemist puts the phenomena of the world in another context. My bird is about that . . . ” He points out “The Language of Birds”, a new avian sculpture whose body is composed of burnt books, also to be completed for the London show. “It’s made with lead and strips of silver, gold. Its wings are lead and can’t fly, the books can’t fly, the metal is solid, but it changes.” He loves lead because “it has always been a material for ideas. It is in flux, it’s changeable and has the potential to achieve a higher state.” He grins: “And then, my paintings have a certain value, so I’m an alchemist.”

Art cannot help directly. Art is the way to make it obvious. Art is cynical, it shows the negativity of the world, it’s the first condemnation

Kiefer’s auction record is $3.6m, achieved for “To the Unknown Painter” in 2011, and he is represented by blue-chip dealers Gagosian, White Cube and Thaddaeus Ropac; indeed, in 2012, both Gagosian and Ropac launched massive galleries in Paris with rival Kiefer shows, flaming criticism of overproduction and repetition. “Kiefer has become better and better at making Anselm Kiefers. In them grandiosity rarely takes a holiday,” wrote Roberta Smith in The New York Times of a 2010 Gagosian Manhattan show. In that exhibition, Next Year in Jerusalem, Kiefer’s references to Jewish mysticism and history, a strand in his work since the 1980s, attracted protesters against Israel’s blockade of Gaza; wearing T-shirts inscribed with the show’s title, they asked to stay in the gallery to continue discussions raised by Kiefer’s work. The gallery called the police, saying, “This is private property. We’re here to sell art.”

Was this a betrayal of Kiefer’s seriousness, an admission that 21st-century art is primarily a commodity? I can think of no other contemporary figure who operates at the interface of art, money, politics and history as prominently, and with such confident equilibrium, as Kiefer. It is undeniable, and borne out by unpredictable auction results, that the quality of his prolific output is uneven, sometimes top-heavy with portentous theme or occult narrative. On the other hand, the cohesion of ideas and tone in the RA show, Kiefer’s first retrospective, dramatises how the conceptual impetus underpinning his material endeavours mean that all his works belong together as a sort of Gesamtkunstwerk – or even as a performance piece in progress, which began with his solitary Sieg Heil in Rome half a century ago.

At his Wagnerian stretch, Kiefer is a very German artist, though he left the country in 1990, after reunification. He says: “Since I live in France it seems that I am more German. Thomas Mann wrote Buddenbrooks in Rome: when he was in Italy he became aware of being German. It’s clear that I am in the tradition of German art, Holbein, Dürer, Caspar David Friedrich, but national character is no longer so present. The last time there was real distinction between French and German art was impressionism, which was French, and expressionism, which was German – then it was clear who was who. Now it’s not global but it’s European – if I take America as part of Europe, though they will not like that! In America and the UK it’s about the work. In Germany it’s always linked to some moral issue.”

It seems to me that there are two things that make the Royal Academy show significant beyond an account of one man’s vision. This autumn Kiefer is being shown alongside two German near-contemporaries, Sigmar Polke at Tate Modern and Gerhard Richter at Marian Goodman’s new Mayfair space. Each came of age in a morally fatherless culture and had to negotiate positions vis-à-vis German history: Polke’s was fundamentally absurdist, Richter’s ironic, and Kiefer’s is broadly tragic. All are valid responses to Adorno.

But an RA show is also an institution boasting a centuries-old history of debate about the formal nature of painting. Kiefer follows exhibitions devoted to Anish Kapoor, who in 2009 drove a “paint train” through the galleries and shot pigment at the walls from a gun; and to David Hockney, who in 2012 challenged traditional painting with iPad sketches enlarged to enormous scale and film. Both artists proved that painting could rival younger media as spectacle, theatre, performance; this show will do the same.

Before I leave Paris, Kiefer shows me a group of green-gold paintings, encrusted with metal, polystyrene, shellac, sheaves of wheat, paint layered over photographs, a shoe, a pair of scales. This is the Morgenthau series, begun in 2012 and named after a leaked, abandoned wartime American plan to deindustrialise Germany. “A big present to Hitler,” says Kiefer, “because he was able to say, ‘If you don’t fight, this will happen to you. Fifty million Germans would have died – though that’s nothing [compared] to Mao.”

I could never do art about Auschwitz. It is impossible because the subject is too big

Kiefer has made some new Morgenthau paintings especially for Burlington House. Altogether there are a lot of them: an obvious glitzy currency for a widening collector base. They are also rather beautiful.

“I came to the title,” Kiefer explains, “because I so much like flowers and I painted so many flower pictures that I had a very bad conscience, because nature is not inviolate, nature is not just itself. So what to do with this beauty? I thought, ‘I will call it Morgenthau’, in a cynical way telling that Germany would be so beautiful without industry. This way of turning it round, it tells you the ambiguity of beauty.”

A smart conceptualist’s marketing strategy or an artist making peace with the tradition of painting? Kiefer pauses to marvel at an emerald hue while fingering the gold leaf, which he has layered on to sediment of electrolysis, an industrial galvanisation process to which he submits the works – a modern alchemy. “You cannot produce it, it’s such a powerful green, that’s the electrolysis, it changes the painting and when I see it, I am surprised. And that’s what I live for: to be surprised.”

‘Anselm Kiefer’ is at the Royal Academy, London, September 27 to December 14,

Jackie Wullschlager is the FT’s chief visual arts critic. Read her review of Constable at the V&A

Photograph: Howard Sooley



Anselm Kiefer, Royal Academy, preview: Is he our greatest living artist?

Kiefer’s range seems limitless: the courtyard entrance to the Royal Academy will be dominated by his first ever vitrines for outdoor display, one containing ships, as it were, beached, the other with vessels afloat

The sunflowers are over for another year: the confident golden heads have drooped, their sunny countenances giving way to a black scowl.

It feels like a metaphor for the end of summer. But for the artist Anselm Kiefer, this is when sunflowers get interesting. Like his hero Van Gogh, he revisits the sunflower time and again, not for its buttery radiance, but for its blackened seeds. Sunflowers, in Kiefer’s work, are embedded into paintings, apparently dead, but bearing the potential for life.

The polarities of life and death, the heavens and the earth, micro and macro, are central to the work of the 69-year-old German painter and sculptor, described by the curator of a major retrospective of his work at the Royal Academy in London, opening this month, as “our greatest living artist”. Kathleen Soriano has worked closely with Kiefer, an honorary Academician elected by his peers, and while she has been selecting work from a career lasting almost 50 years, he has been making new pieces – 40 per cent of the work will not have been seen before, and much of it has been created with the architecture of the RA’s home in Burlington House in mind.

“One of the things that Anselm wanted to do was to respect the architecture,” explains Soriano. This is not simply an aesthetic response to a well-proportioned building, but a physical interaction with the bricks and mortar that can be both mankind’s triumph and its disgrace.

Kiefer, a child of the Second World War, was born into another polarity: on the one hand the grandiose, fascist buildings of architects such as Albert Speer, on the other, the rubble of bombed houses. On the day Kiefer was born, the neighbouring shop/house was destroyed, only a sewing machine propelled unbroken into the street, its isolation and solidity later echoing in works such as Black Flakes (2006), at first glance a desolate winter landscape, in which a book made of lead is embedded in the thawing snow.

Growing up with the heavy burden of his country’s wartime atrocities, Kiefer scandalised some when, early in his career, he produced images that were not only unacceptable but actually outlawed in Germany – depicting him, in a Nazi uniform, giving the Nazi salute. Due to feature in the first room of the exhibition, they force us to confront the past and raise the question of the role of the artist in the wake of a vicious regime. Though at the same time, Soriano says, “the work is as much about the present and the future … and the way he plumbs the past is always forewarning us about the evils of mankind.”

Kiefer wants to restore some of his country’s corrupted legacy, too. “The Nazis had tarnished so much mythology, and he wanted to reclaim it,” says Soriano. Much of that mythology lies in the woods and forests of Germany, which not only inspire the subjects of Kiefer’s work, but provide the materials. Going far beyond traditional oils and sculptural metals, Kiefer’s media for one work, based on the story of Isis reassembling her dismembered lover Osiris, reads: “Lead, concrete, roses, bramble, acrylic, emulsion, ash shellac …” Nothing is invalid as a material.

‘The Renowned Orders of the Night’, from the Seattle Art Museum
But even with the whole world as his supplier, Kiefer does not rest there. Another of the polarities that fascinates him is order and chaos. A completed work may, to him, appear too organised, and so he relinquishes it to nature – leaving it outdoors, allowing it to disintegrate. Curators and conservators have been known to retrieve flakes of paintings from the gallery floor, returning them to the artist, who incorporates them in other work. Sometimes he sets fire to his pieces; he has also shot at them. The ambiguity of fire intrigues him: it is cleansing and cauterising, but also disfiguring and destructive.

In contrast to the natural cathedrals of the forest canopy, Kiefer also paints vast, cavernous halls, but again he is drawn to extremes: on the one hand he admires their grand architecture; on the other, he is drawn to their simple building blocks. “He loves the idea of man making bricks as God makes stars,” says Soriano.

Kiefer’s range seems limitless: the courtyard entrance to the Royal Academy will be dominated by his first ever vitrines for outdoor display, one containing ships, as it were, beached, the other with vessels afloat. He is intrigued by the Russian Futurist Velimir Khlebnikov’s theory that history throws up a critical naval battle every 317 years. Even water, plain and simple, is ambiguous. When the Rhine, which forms a geographical border between Germany and France, flooded the basement of his childhood home, Kiefer wondered where the boundary lay then – in the midst of the swollen waters or in his cellar?

Landscape is important to him, and not only the golden lakes of sunflowers. The American Morgenthau Plan, devised in 1944 to strip a near-defeated Germany of its industry and turn it into a farm for Europe, is thought to have only strengthened the Nazis’ resolve, and cost more lives. Kiefer harvests the landscape in his own way, embedding straw in his portrayals of Margarete, a blond Aryan who appears in a series of paintings inspired by Paul Celan’s elegy to victims of the Holocaust, Death Fugue, alongside another figure from the poem, black-haired Jewish woman Shulamite.

Since 1968 Kiefer has been making books, the pages of which do not necessarily reveal obvious text and images: 48 will be on show at the RA, and the exhibition will conclude with a walk through the panels of a larger-than-life, concertina-like volume, called a leporello (after Don Giovanni’s servant, whose list of his master’s lovers that is so long he must fold it).

“People think of Kiefer’s work being so masculine and confrontational,” says Soriano, “and I don’t think they understand his gentle side. What I want people to take away from this show is not only the knowledge that he is a great painter, but also that he has great relevance.” Indeed Kiefer, she adds, is looking, like all of us, with great anxiety at today’s turbulent world. “He says you have to remember that history is cyclical.”



Review:  Anselm Kiefer at the Royal Academy


A visit to the Anselm Kiefer retrospective exhibition at the RA can be a daunting prospect for many reasons, the scale of the work, the complexity of themes and the sheer overwhelming volume of diverse media on display in this huge exhibition.

Kiefer has many interests among which German history, mythology, alchemy, poetry, ritual, metaphysics, cosmology, are explored and transformed into a special, unique vision of our world.

Kiefer was born in Germany on 8 March 1945 just before the end of the Second World War, so growing up in post-war Germany has been a major conditioning factor in his development and a defining influence in his practice.

As a young artist he found that there was a reluctance to acknowledge and confront the recent Nazi past and the damaging distortion that had been inflicted on German culture.

Reacting to this he made provocative photographs and paintings of himself wearing his father’s coat (he had been a Nazi party member) giving an illegal salute.

But in these images, the pose looks weak and limp and pathetic. In one painting there are references to Classical sculptures, favoured by the Third Reich, hovering in ghostly form in the sky above the saluting figure seen standing beside the Rhine. This painting, despite the unsettling subject matter is full of beautiful passages showing Kiefer’s command and expressive use of oil paint.

He is also a skillful and fluent watercolour painter exploiting the potential of the medium to great effect as seen in Winter Landscape 1970, where the delicacy of the paint starkly contrasts with the violence of the image. Any idea about watercolour being a soft medium used for pleasing subjects, easy on the eye and brain, will be rapidly dispelled here. It is this quality of employing seduction with repulsion that forms a consistent element flowing like the Rhine through the show.

A major characteristic of Kiefer’s work is the use of elemental materials that includes ash, clay, straw, wood, blood, lead, sunflowers, copper and recently, gold and diamonds.

The physical manipulation of materials has given him opportunities to explore his themes and concerns resulting in awe-inspiring work, gigantic in scale and ambition.

As his practice has developed over the years, the surface of the 2D work becomes increasingly 3D to the point where it seems as if a vertical canvas cannot support the weight of the material.

Because many of the materials employed are by nature fragile, paint and other additives trowelled on in heavy impasto, the monumentality of the work increases a sense of its precariousness and possible disintegration.

Kiefer apparently, is not worried by this possibility!

One of the preoccupations that recurs in the paintings is the forest. Being aware of recent history, these paintings can have different readings dependent on whether they are viewed as places of refuge or murder.

Kiefer’s understanding of the way in which paint behaves is seen here, dripping, contrasting thin with thick textures, implying spatial depth and volume. There is always an underlying sense of perspective in the composition of the visual elements giving, however obscured, structure to the painting.

The use of single point perspective is especially strong in the converging parallels employed in the huge paintings of the bombastic Nazi Neo-Classical architecture, destroyed in the war, but reimagined by Kiefer as charred ruins.

Railway lines and tracks in the landscape take us nervously towards an ominous vanishing point.

With his high status in the art world justifiably recognized he now has the power and means to do anything he dreams of, demonstrated by the increased use of very expensive materials and huge installations. I was left with the feeling that because he “can do” he “will do”.

Is there the possible risk that the priceless value of the materials will overwhelm us and act as a barrier in our ability to reach further into the meaning of the work?


The exhibition continues until 14 December.


Anselm Kiefer
Operation Sea Lion (Unternehmen Seelowe), 1975
Oil on canvas, 220 x 300 cm
Collection of Irma and Norman Braman Miami Beach, Florida
Photo Collection of Irma and Norman Braman, Miami Beach, Florida / © Anselm Kiefer



Reviews of African London Post-Conceptual Painter Chris Ofili’s “Night and Day” at the New Museum, New York City




An Ode to Blackness

CreditHiroko Masuike/The New York Times


Chris Ofili makes paintings that will not let us be. For more than two decades, the work of this British artist has dazzled and discomfited, seduced and unsettled, gliding effortlessly between high and low, among cultures, ricocheting off different racial stereotypes and religious beliefs. His paintings mesmerize, whether with their opulent dotted surfaces or bawdy eroticism, their perfumed colors or their riffs on established masterpieces.

One example is “Rodin … The Thinker,” a black woman in garter belt, bra and bright orange wig. Another is a St. Sebastian in rusted bronze, reinterpreted as a dark-skinned martyr who, instead of arrows, is riddled with nails, conjuring a Congolese power figure. And then there are the eccentric materials, brightly colored map pins, glitter and — most famous — elephant dung. And always, through changes in subject, technique and style, Mr. Ofili never loses touch with his belief in painting as, foremost, a sensual, accessible experience meant to engross the eye before doing much with the mind. Sometimes he challenges the basic act of seeing.

“Chris Ofili: Night and Day,” the New Museum’s  intoxicating midcareer survey of Mr. Ofili’s ambitious art, presents six distinct bodies of paintings and drawings across three floors. In a darkened gallery on the museum’s third floor hangs shadowy paintings whose images flicker amid dark metallic purples, blues and reds. This ambiguous perceptual experience is akin to looking at the paintings of Ad Reinhardt, the Abstract Expressionist master of abstract geometries enmeshed in barely differentiated shades of black. But Mr. Ofili’s fleeting motifs reveal themselves to include images, set amid tropical settings, of a hanged figure, soldiers brandishing bayonets, and a black man surrounded by white policemen.

Standing before this last, especially disturbing image, which is titled “Blue Devils,” you understand beyond a doubt that the through line in this beautiful show is blackness: as night, as history, as culture, as skin, as majesty, as terror, as paranoia, as myth. It is present in the show’s opening second-floor gallery, too, but with a playful forthright decorativeness: Here are over 100 small watercolor “Afromuses,” bust-length portraits of imaginary men and women in full face or in profile, that Mr. Ofili began in 1995. At once regal and cartoonish, they suggest an extended family of royal ancestors and a bottomless well of inspiration.

In the next gallery, a dozen paintings from the late 1990s line the wall. They depict raffish black superheroes, blaxploitation film heroines and a brown clown-faced phallus — curvaceous characters with layers of dots, glitter-strewn resin and exotic backdrops — especially the radiating loops behind the goddesslike “She.” All are surrounded by tiny collaged images from black music or pornographic magazines, and garnished with one or more clumps of elephant dung, shellacked and stuck with colorful map pins that form decorative patterns or state the work’s title.

In the early aughts, summarized in an adjoining gallery, Mr. Ofili put a political symbol — the red, black and green of Marcus Garvey’s Pan-African flag — to lavish use. The five paintings here, which represented Britain at the Venice Biennale in 2003, depict figures, tropical plants and flowers. In three of them, mysterious lovers (or entertainers), descendants of the Afromuses, appear in formal evening dress. In two others, female nudes recline before us. It is as if the black maid in Manet’s 19th-century landmark “Olympia” has assumed the place of her white mistress. In each of these exultant paintings, a richly decorated dung ball forms the center of an immense star that seems to bless the scene like the star of Bethlehem.

Outstanding painters inevitably expand the medium to suit their needs and the specifics of their lives, and Mr. Ofili is no exception. Born in Manchester, England, in 1968, to Nigerian parents, he emerged with the group of Young British Artists led by Damien Hirst who heated London’s art scene in the early 1990s. His approach lacked their Conceptual orientation, but this did not stop him from being included in “Sensation,” the exhibition of the advertising magnate Charles Saatchi’s collection of Young British Artists at the Brooklyn Museum in 1999.

The rest is local history: Mr. Ofili’s painting, “The Holy Virgin Mary,” caused noisy outrage. Now displayed in the New Museum show, it depicts a black Madonna, a clump of elephant dung, shellacked and decorated as always in Mr. Ofili’s paintings, replacing her right breast, which is exposed in keeping with Renaissance tradition. She is also surrounded by little putti that on close inspection turn out to be images from pornographic magazines.

Mr. Ofili’s lack of Conceptual credentials differentiates him from American black artists whose art focuses on black identity, among them Glenn Ligon, Lorna Simpson or Kara Walker (although he shares Ms. Walker’s upfront bawdiness). Mr. Ofili has more in common with painters who couch blackness in a fierce visuality, namely Mickalene Thomas, Kerry James Marshall, Robert Colescott and Ellen Gallagher, and with more distant precedents such as the insistent colors and forms of the American painters Bob Thompson, Beauford Delaney and William H. Johnson.

On a larger stage, Mr. Ofili belongs to a multigenerational group of painters, black and white, born primarily during the second half of the 20th century, who have sidestepped several popular wisdoms. They dismissed Minimalism’s premise that art had to be abstract, laughed at the post-Minimalist belief that painting was dead and largely ignored the Pictures Generation assertion that the only good image was a photo-based one. (Among these artists are Carroll Dunham, Nicole Eisenman and Ms. Thomas.) They turned back to Pop Art, the unfinished figurative styles of early Modernism, or non-Western art, among other sources. Mr. Ofili also rejected the early ’90s contention that painting could not be political, making it so by making it fully “out of himself,” to paraphrase Barnett Newman. It is a demanding, if not excruciating process  that most young artists today fail to grasp, much less to undertake.

On the show’s final floor, which culminates in several new paintings, riotous color returns and a final surprise awaits: looming gallery walls painted with a lush jungle in spreading violets and pale pinks. Across this ravishing expanse, nine paintings proceed from 2007 to 2014, indicating an artist growing steadily while inspired by precedents that include Gauguin and the Symbolists, Picasso in his Blue Period, Matisse, Art Nouveau and the Color Field painters and Ovid.

Building on a version of stain painting and mostly depicting couples, these works start out simply with flat blazing color and move toward mosaiclike complexity. In “Ovid-Desire,” a creature in a diaphanous gown swoons in her partner’s arms on a pink-and-black dance floor. In “Frogs in the Shade,” bright trees cast leaf patterns on the skin on the bodies of a nude couple, a reclining male entranced by the woman dancing before him.

These paintings form an impressive demonstration of headlong development, but they suggest an artist still in transition, moving toward a promising future, which is exactly where Mr. Ofili, at 46, should be right now.

The New Los Angeles (2011;2012; 2013; 2014)

The Cedd Moses award winning bar, The Varnish, at the back of Coles, a restored century old formerly run down restaurant. We enjoyed a great hot pastrami sandwich at Coles just after it opened. The Varnish was recently named best bar in America.


The Best Restaurant Bar Programs in L.A.

Despite what the New York Times says, there are plenty of great restaurant bars

October 10, 2014 Cocktails, Drinking Add a comment

Restaurant critic Pete Wells was kinda tough on New York restaurant’s bar programs in his New York Times column this week, saying that “an awful lot of the cocktails I’ve had in restaurants have landed with a splat in the ‘not good’ category.” So to convince Wells otherwise, Grubstreet came up with a list of New York restaurant cocktails “that don’t suck.” Surprisingly there were only 13 drinks.

Thirteen? L.A. could pass that in its sleep. In Los Angeles, many restaurants are taking their cocktail programs seriously. They’re hiring cocktail consultants or beverage directors, usually well-respected mixologists and bartenders, to build the bar program by handpicking the spirits, training the staff, and creating a drink menu to complement the food and the theme. Nowadays, a phoned-in cocktail menu of “classics with a twist” ain’t gonna cut it.

For this list, instead of calling out one cocktail from each restaurant, I decided to give a shoutout to restaurant bars that actually have drinks you finish involuntarily.

By the way, originally this list was up to 22 but had to whittle it down. Are there any restaurants that you think should have made the cut?

Rivera/Bestia/Acabar/Petty CashJulian Cox has the magic touch when it comes to bar programs. Trained by Sam Ross at Comme Ca, Julian’s drinks appeal to both teetotaller and pro drinkers. Unlike most restaurant cocktails which are light for fear of interfering with the food, his drinks are still flavorful and will leave liquor lovers sated. His bartenders are required to go through six weeks of training to earn a spot at one of his bars. Basically, when you see the Cox name on the menu, you know you’re good to go.

A.O.C.: Christiaan Rollich is also the man behind the bar programs at Suzanne Goin and Caroline Styne’s other successful restaurants—Lucques and Tavern—but it was his creations at A.O.C. that helped put it at the top of L.A. Magazine’s 75 Best Restaurants list, at least for me. There he makes his own…well, everything, from coffee liqueurs to pepita syrups to even bathtub gin.

Brilliantshine: If Julian Cox can create such amazingness for other bar programs, you can imagine what he’s doing with his own restaurant, which he owns with his Soigne Group partner Josh Goldman. It’s like the best of Julian all up in there with cocktails inspired by his world travels. Best part, you can enjoy his drinks during a boozy brunch, late night or before and after dinner with food by Chef Richie Lopez. (During the meal, partake of Goldman’s wine list.)

The Corner Door: While this Culver City restaurant played musical chefs, head bartender Beau du Bois has been a stalwart fixture since the beginning, making it a go-to spot for cocktail enthusiasts who followed him from his days at M.B. Post. Plus, who can stay away from those fun cocktails with unusual flavor combinations like pineapple and cinnamon-infused Campari.

Crossroads: The fact that barman Jeremy Lake can create tasty vegan cocktails is a testament to his skills. Have you checked out his vegan hot buttered rum? Trained by Julian Cox, Lake consistently puts out imaginative drinks to complement chef Tal Ronnen’s animal-friendly cuisine.

The Eveleigh: Bar manager Dave Kupchinsky has singlehandedly turned the Sunset Strip, an area usually favored by tourists and the beautiful people, into a destination for craft cocktail enthusiasts. Every Monday features a different guest bartender, every Sunday a farmers-market fresh cocktail, and of course there’s D-Kup’s seasonally updated menu.

Gracias Madre: Another vegan restaurant with an impressive bar program. What are the chances? Only in L.A. At this West Hollywood vegan Mexican restaurant, beverage director Jason Eisner complements the fun fare by the Cafe Gratitude crew with build-your-own picklebacks, 24k gold-flecked cocktails, and boozy popsicles.

Ink: If you can’t get a reservation at Chef Michael Voltaggio’s hot West Hollywood adjacent restaurant, a seat at the bar with head bartender Gabriella Mlynarcyzk is in no way a consolation prize. She will wow you with her unique cocktails which make use of inventive ingredients like housemade IPA foam, chartreuse pixie dust, and chamomile vermouth. Or for something more familiar, check out her list of classic cocktails where a Negroni is made with rapid barrel-aged gin and the Dirty Martini has sake, umeboshe plums, vinegar, and celery bitters.

Petit Trois: It’s exciting stuff to be able to have cocktails with chef Ludo Lefebvre’s French bistro fare. For a long while diners could only enjoy BYOB wine with the pop-up king’s cuisine. But now for his second brick-and-mortar restaurant which features a full bar, bartender Danielle Motor (Hungry Cat) created food-friendly and Ludo-approved drinks.

Republique: I’m usually torn between barman Erik Lund’s cocktails and sommelier Taylor Parson’s wine list here but in the end it’s a cocktail for starters and wine for the meal. Lund’s short cocktail list–categorized by aperitif, traditional, and market–changes often, keeping up with chef Walter Manzke’s menu. So if you see something on there you like now better order it before it’s gone.

Scopa Italian Roots: What happens when two skilled barmen and a chef go into the restaurant business together? You get this Venice-adjacent eatery where everything you consume makes you happy. Steve Livigni and Pablo Moix (also co-owners of Santa Monica’s new Chestnut Club) created not only a stellar cocktail menu with instant favorites like Bullock’s Wilshire as well as one of the best Palomas I’ve ever had but a rich person’s drink list expertly using high-end stuff.

Tasting Kitchen: Barman Justin Pike has shaped the program of Chef Casey Lane’s Venice hotspot eatery since it opened in 2009. His drinks are simple, approachable and excellently crafted. Sure he’ll employ cocktail trends but because they make sense for his bar, and not because they’re crowd pleasers. Back when shrubs started to hit the scene, Pike made his own since he wasn’t a fan of the farm-to-glass trend. Shrubs were a good way to add the fruit component.

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Crossroads Bartender Jeremy Lake Opens New Hollywood Bar Lost Property

Claim rare whiskies and found items at this lost-and-found themed bar

November 12, 2014 Cocktails, Drinking Add a comment

Bartender Jeremy Lake is living the dream. Over a year after taking on his first solo project creating the cocktail program at Chef Tal Ronen’s Crossroads, he teamed up with Ryan Floyd and Walter Schild of the David Myers Group (Hinoki & the Bird, Comme Ca) and partners Rhino Williams and Matthew Jacobs to open up Lost Property in Hollywood.

This brand-new whiskey bar is next door to 33 Taps on the historic Hollywood and Vine intersection. “I feel so blessed. I get emotional about it. It’s amazing,” Lake gushed. “I’m opening my own place and it’s on Hollywood and Vine.” The intimate bar takes over 33 Taps’ little-used event space which can hold 60 people comfortably. Its decor is timeless with blue couches, clean midcentury style tables and a crystal whiskey decanter chandelier. “You can come in here in the ‘40s, ‘50s, ‘80s, ‘90s, today and it will all look exactly the same,” said Lake.

And even though sports attire and flip flops may reign supreme at the adjacent two-level sports bar, Lost Property will have a “just look nice” dress code and a doorman to enforce it. There won’t be a password, though.

Now, the concept of a whiskey bar isn’t new. But a “lost and found” claim check system where you can “claim” (read: spend massive amounts of money on) lost and rare bottles of whiskey is. “We’ll advertise that we have a very rare Macallan coming in and you can buy the bottle if you want to and we’ll keep it in a bag with a ‘lost and found’ tag with your name on it,” explained Lake. “Whenever you come in, you pay a little corkage and you and your friends can sip on your bottle. It’s reserved for you.” The idea is that customers will have fun getting a sense of ownership, knowing that their bottle is waiting there for them.

For the opening, the whiskey list will start out with 50 different brands ranging from a $6 Evan Williams to a $40 rare rye from Northern California, which they only have one bottle of. However, it won’t get super nerdy here with tasting notes laid out in the menu. “A whiskey geek can come in here and I’ll make them a great cocktail and we’ll talk all day long about whiskey. Or a guy who doesn’t know anything about whiskey can come in and have a great time, too,” said Lake.

Cocktails off the standard list will be priced from $9 to $15 while Lake’s more decadent “Why Not?” menu, which spotlights cocktails made with his more high-end spirits, will range from $20 to $100. Another fun aspect of the Lost Property theme takes drunk shopping to another level. “Unclaimed” scarves, hats, sweaters, etc. will decorate the walls and if you see something that should be yours you can claim it.

Or you can turn it into a fun way to buy a drink for a friend who isn’t there. Pick a knickknack and buy a drink for your absentee buddy. The bar will affix a “lost and found” tag to the item and write down the drink. Then your friend can simply come in with their claim check stub to pick up their drink and found item. Don’t worry about missing out. The bar plans to replenish the fake lost items on a regular basis through estate sales and places like Jet Rag.

Lost Property’s grand opening is tomorrow starting at 7 p.m. Hours will be Thursday through Saturday from 7 p.m. to 1:30 a.m.

redarrow Lost Property, 1704 N. Vine St., Hollywood, 323-987-4445

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A First Look at Butchers & Barbers’ Cocktail Program

Plus, how to pair the cocktails with chef Reyes’ comfort food

October 29, 2014 Cocktails, Drinking Add a comment

Leave it to Jonnie and Mark Houston (Houston Hospitality) to constantly up the bar and nightlife scene with every new venue they open. I mean, wow, Good Times at Davey Wayne’s. Next Tuesday, however, the brothers aren’t adding yet another drink spot to their growing repertoire of themed delights but rather an old bowery-style New American restaurant called Butchers & Barbers. Complete with meat hooks and barbicide jars. Tucked between Houston properties No Vacancy and Dirty Laundry in Hollywood, the 1,200-square-foot, 50-seat restaurant will feature New American cuisine by Chef Luke Reyes (The Corner Door).

So why a restaurant now? Besides courting the challenge of the food biz, Mark said it felt like a natural next step for them. “As I get older I desire an environment where I can sit down and have a conversation,” he said. “I think the next thing is breaking bread with friends, having dinner, and genuinely get to know each other.”

The food menu accommodates every kind of appetite. For snacking at the bar, there’s popcorn seasoned with roasted garlic, rosemary, and thyme oil. For something absolutely indulgent and hearty there’s the 34-ounce côte de boeuf. And even though these are shared plates, they’re the hefty family-style portions. “You have to be very cautious about ordering too much,” said Mark. “You want to make sure you order and don’t overstuff yourself because you might not be open to going out after.”

To go with the dishes, Houston Hospitality Beverage Director Joseph Swifka didn’t just complement the masculine feel of the restaurant with the use of heavy, brown spirits but designed a drink menu of eight food-friendly cocktails. With house-made infusions and syrups as well as fresh produce, the drinks don’t overshadow the food yet still manage to have interesting, sophisticated flavors. “I wanted to have a couple of drinks with sherry involved just because sherry pairs nicely with food in general,” said Swifka. “There’s also on the lighter end of things, nice acidity to balance some of the flavors and to cut through richer dishes that we have.”

If you’re looking to do your own cocktail pairing with dinner, he recommends starting with the Lillian Gish (name may change) or the Good Ol Laurel, a take on a gin and tonic. Both have “a nice brightness and acidity to get your palate moving.” While the mellowness of the Ava Gardner, thanks to the toasted hazelnut and honey, makes it a fitting sipper during the meal. And to finish up, go for the Battle Potomkin which “could stand in the place of a very strong cup of tea or coffee.”

Groups of friends can order up a barrel of cocktail, which won’t be used to age but rather as a serving vessel for four people or so. “They’ll go out to the table and they’ll be able to use the spigots to pour their own drinks.”

In terms of the beer situation here, there are six beers on tap and only one bottle and one can as that space behind the bar is very tight. The selection, although limited, hits all the major notes, from a light white ale to IPA to richer, darker beers by producers like Angel City, Ballast Point, and Saint Archer. As for wine, the list is primarily made up of Rosenthal wines. “They’re mostly French right now, but again food-friendly but pretty elegant stuff,” said Swifka.

Butchers & Barbers will be open Tuesday through Sunday starting at 6 p.m.

Butchers & Barbers, 6531 Hollywood Blvd., Hollywood, 323-461-1464

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L.A.’s Best New Bars

Where to drink this fall

By Katherine Kims

Best New Bars in Los Angeles 2014

Illustration: Libby VanderPloeg

With a new season comes the arrival of many recently opened places to quench our thirst, perfect for going classy in Hollywood, drinking seaside in Santa Monica or spending a late night in West Hollywood.

Whether you’re in the mood for fancypants cocktails, wines by the glass or beer on draft, here are the best new bars to spend a night out.

① Brilliantshine, Santa Monica
Most L.A. cocktail bars seem to start with Julian Cox. The barman behind Petty Cash, Bestia, Picca et al. recently debuted his Santa Monica flagship with partner Josh Goldman. The theme: seaside saloon. Grab a stool at the charming old-timey bar (think: vintage piano, brass fixtures) and order a Rome with a View ($10)—Campari, dry vermouth, soda and a lime wheel—or Spread Love, It’s the Brooklyn Way ($12) with rye whiskey, China-China bitters, dry vermouth and maraschino. There are Peruvian bites, too—we love the shrimp ceviche ($11) and lobster uni rice ($21). You can even post up for the night on the alfresco patio.

② Grandpa Johnson’s, Hollywood
Keep it classy with a taste of Old Hollywood. Blink and you’ll miss the unmarked entrance. Once inside, the Art Deco bar reveals wall-to-ceiling chevron panels, white marble tops, mirrored walls and a swanky 24-foot-long brass bar. The cocktails are just as fancy, dressed up in Darjeeling syrup, rose water and guava purée. Toast to T-Bizz ($14), named after owner Johnny Zander’s grandfather, made with bourbon, ginger syrup, apple cider, amaro, lemon juice, bitters and a lemon wedge.

③ The Nice Guy, West Hollywood
Continuing on the throwback theme, the Nice Guy serves cocktails with a side of mafiosa. Translation: red-sauce shared plates, old-school cocktails, booths (even a family chef’s table) and a sultry songstress. Go for a Moscow Mule ($15) served in a proper copper mug—you can upgrade to a punch bowl ($350) like a boss—or Mother’s Milk ($15), a frothy mix of vodka, house-made chocolate milk and soda water. Also of note: a dedicated whiskey menu, because that’s what men do.

RELATED   Zoe Nathan’s Santa Monica »

④ Grain, Playa del Rey
As the name suggests, whiskey is the order of the day. Ask for it straight up, on the rocks or in a cocktail at Playa Provisions’ bar. Your evening will go something like this: oysters followed by clams casino and a lobster roll on an outdoor patio, then a visit to the back room for a night cap. There are more than 60 whiskies from 21-year Elijah Craig Kentucky bourbon ($22) to Nikka Taketsuru Japanese whisky ($28). And even bar bites are made with the brown spirit—don’t miss boozy bourbon milk and warm chocolate cookies ($8).

⑤ The Chestnut Club, Santa Monica
This Santa Monica bar is serious about one thing: cocktails. With Pablo Moix and Steve Livigni of Black Market Liquor as the duo also behind the scenes (err, bar), the drinks here are worth a visit alone. But the lofty, den-like watering hole also has a relaxed neighborhood hangout feel, with comfortable leather booths. The mixed drinks are simple: All 13 list no more than five ingredients. And beer geeks can get into the impressive craft brew list, ranging from local barleywines to double IPAs.

⑥ Murph’s, Sherman Oaks
This Americana-themed bar is the latest to rouse the SFV after-hours scene. Designed to look like a 1930s gas station, Murph’s offers 11 local brews on tap (pulled from wrench handles) and even more by the can. If cocktails are calling, we suggest a standard Oil Change ($10)—a mix of bourbon, ginger and honey—or a rum-laced vanilla Coke float ($10) layered with bitters and vanilla liqueur. Fuel up with bro bar food such as a pimento cheese-topped burger ($14) and spicy fried chicken sandwich ($14). Bonus: Get $20 off your first Uber ride to make the trek back over the hill.

⑦ Bacari PDR, Playa del Rey
Winos can belly up and cheers at this beachside bar. And for good reason: Happy hour brings half-off wines by the glass and $10 liters of sangria, and “open bar” ($20) means 90 minutes of limitless red, white, champagne and sangria (and beer, too). If that doesn’t whet your taste buds, the kitchen slings grilled pizza ($8) and tapas-style cicchetti. Order individual plates ($8) or sample a trio of tastes ($21) ranging from crab crostini to lamb-stuffed eggplant with lemon garlic emulsion.

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  • Refinery 29 – Best New Restaurants in Los Angeles, November 2014
  • Freds
    Situated atop Barneys New York in Beverly Hills, Freds couldn’t have a more chic locale. The terrace offers top-notch views of the Hollywood Hills, while the menu sources local, fresh ingredients unique to California. In other words, you need to try this spot, pronto.

    Freds at Barneys New York, 9570 Wilshire Boulevard (at North Camden Drive); 310-276-4400.

  • Butchers & Barbers
    The brothers behind hot spots Pour Vous, Harvard & Stone, and No Vacancy have ventured away from the nightlife realm to open their first restaurant, Butchers & Barbers. Located smack-dab in the middle of Hollywood, the restaurant opened just last week. Hurry up and try it now — before word of its deliciousness gets out.

    Butchers & Barbers, 6531 Hollywood Boulevard (near North Cahuenga Boulevard); 323-461-1464.

  • Kye’s
    Whether you’re vegan, Paleo, gluten-free, or just appreciate a health-conscious meal, you gotta check out Kye’s in Santa Monica. The restaurant’s tagline — “Super tasty superfoods to go” — sums up the fare perfectly: It’s delicious, it’s healthy, and it’s quick. What more could you want?

    Kye’s, 1518 Montana Avenue (at 16th Street); 310-395-5937.

  • Stir Market
    A restaurant, market, wine bar, and cafe hybrid, this place is pretty much a one-stop culinary shop. Inspired by European food halls, Stir Market just opened its doors yesterday(!), so head over now to take the first peek.

    Stir Market, 7475 Beverly Boulevard (at North Gardner Street); 323-879-8283.

The Springs
In addition to being a 100% raw, organic, and vegan restaurant, The Springs also boasts a yoga studio, wellness center, and organic juice bar. So, really, you can just chill here all day long.

The Springs, 608 Mateo Street (at Mesquit Street); 213-223-6226


  • The Oyster Gourmet
    The newest resident of downtown’s Grand Central Market, The Oyster Gourmet comes complete with a crazy-cool, oyster-inspired bar that you need to see to believe.

    The Oyster Gourmet, 317 South Broadway (near West 3rd Street); 213-624-2378.

Bowery Bungalow
Nosh on Mediterranean, North African, and Middle Eastern cuisine at this two-week-old Silver Lake spot, which is housed in a super-cute yellow cottage (complete with a white picket fence). Standout dishes include baba ganoush, chickpea falafel, and Moroccan couscous.

Bowery Bungalow, 4156 Santa Monica Boulevard (near North Hoover Street); 323-663-1500.



L.A. Story: Where to Eat Now

The 10 must-try restaurants in the City of Angels this summer

By Katherine Kims

Best New L.A. Restaurants 2014

What’s cooking at Roy Choi’s POT? Hot pots, of course.

From Roy Choi to Ludo Lefebvre, and from Downtown to Venice, Los Angeles is flush with new restaurants to try this summer. We’re crushing just as hard on Choi’s latest venture, the unpretentious POT, as we are on the impressive rotating chef lineup at Fifty-Seven.

Here are ten noteworthy spots worth braving L.A.’s notorious traffic for:

POT, Koreatown
L.A.’s culinary hero, Roy Choi, continues to make headway with his sixth brick and mortar inside the Line Hotel. The Korean restaurant/bar/cafe is all about casual, unpretentious and fun. Diners tie on floral-patterned bibs and dig into one-dish hot pots—try the Boot Knocker ($25 small, $45 medium, $56 large) or seafood-loaded Fisherman’s Wharf ($39, $72, $96)—supplemented with more traditional dishes to share such as kimchi fried rice ($10). Bonus: The ’90’s soundtrack blares everything ffrom Boyz II Men to Bone Thugs.

Night + Market Song, Silverlake
Part two of Kris Yenbamroong’s cult Thai hit, Night + Market. Here, the Northern Thai menu continues with classics such as sweet and spicy “party wings” and sour Isaan-style sausage. The family-style additions are just as spicy and bold: pork blood-flavored luu shuk ($10) soup topped with cracklings and crispy noodles; and Bangkok mall pasta ($14) charged with salted fish, garlic, bird’s eye chile and green peppercorn.

③ FiftySeven, Downtown
Inside the old Heinz loading dock, the restaurant and downstairs bar is home to a rotating list of in-residence chefs. It’s only been open since March, but this Arts District restaurant has already seen David Nayfeld of Eleven Madison Park and Thomas Keller-trained Joshua Drew at the helm. For the summer, Farmshop’s former executive chef uses farmers’ market ingredients in dishes like local, ink-braised squid with beet greens, green garlic aioli and puffed buckwheat ($14). (Look out for 15-year old wunderkind Flynn McGarry June 23, July 21 and August 11, when he’ll be cooking a nine-course dinner, priced at $150 per person.)

④ Faith & Flower, Downtown
On the other side of Downtown, this glam restaurant’s bar is a scene in and of itself. Suede banquettes and sleek touches pave the way for chef Michael Hung’s menu of French-leaning dishes. Unexpected surprises like deviled eggs with kimchi ($6) and confit carnitas pizza ($17) keep things fresh, while an extensive list of cocktails keeps the night loose.

République, Mid-City
The old Campanile space returns to its roots as a fine dining destination, serving beautiful dinners at night and equally beautiful baked goods from the bakery. Stop in mornings for viennoiserie, tarts and dough baked, rolled, fried and sweet; and start dinner with housemade bread with salted Normandy butter ($5) or, better yet, wood oven pan drippings ($5). The rest of the menu reads like a French bistro’s—escargots en croûte, steak frites—but with seasonal ingredients. It’s all made by the talented Walter Manzke, formerly of Church & State and Bastide.

Superba Food + Bread, Venice
Superba Snack Bar expands its local approach to food, both in its ingredients and its devotion to Venice, with a restaurant-slash-bakery. The all-day menu options rotate from kaya toast and hotcakes for breakfast, subs and salads for lunch, a mid-afternoon selection of tartines, to a full menu of not-too-fussy large plates for dinner. Don’t miss weekly specials like rotisserie half duck with duck fat-braised radish ($29), and, of course, try the bread and pastries.

Ladies Gunboat Society at Flores, West L.A.
Chef Brian Dunsmoor of The Hart and The Hunter brings his Southern roots to plates like chicken-fried rabbit ($29) with spiced local honey, cilantro and sesame seeds, and Sea Island red pea and Carolina gold rice-mixed Hoppin’ John ($15). There’s also a fried chicken plus beer combo for happy hour, and a roster of stick-to-your-bones comfort foods (beignets, cornmeal pancakes) for brunch.

Pine & Crane, Silverlake
Pine & Crane keeps it in the family by using produce sourced from the owners’ own farm for its Taiwanese dishes. The service is fast-casual, which translates to unfussy food in a modest, minimalist setting. But the spot-on Chinese options mean legit dan dan noodles ($7.50) and pork dumplings ($5) without having to trek to the SGV.

Petit Trois, Mid-City
Trois Mec may be the hardest (ticketed) reservation in town, but come mid-summer, Angelenos can stop into its sister restaurant from Ludo LeFebvre, Jon Shook and Vinny Dotolo (the duo behind Animal and Son of a Gun). The theme is classic French, with options like croque monsieurs, escargots, steak tartare and crème caramel. The look? That of a brasserie outfitted with an open kitchen counter, checkered floors, etc.

⑩ Alimento, Silverlake
Zach Pollack strikes out on his own from Sotto to the Eastside. Pollack sticks to what he knows best: handmade pastas, sugo and rustic Italian cooking. The indoor-outdoor space completes a nice trifecta of neighborhood food options—L&E Oysters and LAMILL are close by—come the end of June, when doors finally open.

Read more:






11 Key Restaurant Openings In Los Angeles

Feb 4, 2014 12:00 pm

Sandwiches, super omakase and the Egg Slut indoors

By Joshua Luriestatic
The busy dining room at Josef Centeno's new tasting menu only restaurant Orsa & Winston.
The busy dining room at Josef Centeno’s new tasting menu only restaurant Orsa & Winston.

The last four months have been a boom time for the Los Angeles dining scene. The culinary wealth extends from LAX to downtown and hits appear at all price points, from  breakfast sandwiches to a “super omakase” at an exclusive chef’s counter. We’ve done our homework. As in, eaten some serious meals. And with that here are 11 of the most promising openings from the past four months in L.A. County.

Orsa & Winston
Chef Josef Centeno, a well-known grinder who seems most comfortable in the kitchen, steps into the spotlight at Orsa & Winston, which features a refined combination of Italian and Japanese cuisines and a more open design that keeps the main man front and center. The menu changes daily and gets as ambitious as diners will allow, from a four-course family-style menu that costs $50 per person to seats to a “super omakase” meal at the chef’s counter. The menu is highly seasonal, but you might catch dishes like koshihikari rice with uni and Pecorino cream or pork loin with chicken liver mousse and huckleberries. Centeno already captured the attention of Angelenos with Bäco Mercat and Bar Amá in the Old Bank District, and Orsa & Winston is likely to keep it. 122 West 4th Street, Downtown, 213-687-0300,

The Factory Kitchen
This concrete and steel showpiece in the downtown L.A. Arts District features flashes of color from reclaimed wood tables and fire red chairs. Matteo Ferdinandi is running the front of the house while longtime Valentino chef Angelo Auriana is at the stove at this Italian-to-the-core restaurant. House-made pastas have been early hits, including marjoram-speckled corzetti stampati with veal and tomato sauce. Really though, plenty of people would visit just for the focaccia calda di recco al formaggio, thin focaccia stuffed with crescenza cheese and dressed with arugula and Ligurian olive oil. 1300 Factory Place, Downtown, 213-996-6000,


The Egg Daddy sandwich includes an all-beef patty and cheddar with a fried egg on a brioche bun.

Egg Slut
Chef Alvin Cailin and co-owner Jeff Vales generated plenty of interest by serving refined egg dishes from a truck. Now they’re running an open-air counter in downtown’s increasingly epic Grand Central Market. Sure, they’re still serving breakfast options like coddled eggs with bacon-braised cannellini beans and crostini. Also, The Fairfax — a sandwich with scrambled eggs, onions, cheddar and Sriracha mayo on house-baked brioche. But the duo’s also added steak and eggs served with crispy potato pave; egg salad tossed with honey mustard aioli and served with arugula on Texas toast. There’s even talk of a burger with coffee bacon jam…of course topped with a fried egg. Wonder if Burger Coffee Bacon Slut is going too far? 317 Broadway, Downtown,

L.A. Chapter
Sadly, Ace Hotel founder Alex Calderwood didn’t live to see the opening of L.A.’s Ace Hotel, which has inspired triumphant praise since reviving the United Artists building on the south end of downtown’s historic Broadway Theater District. On the ground floor, chef Ken Addington and business partner Jud Mongell of Brooklyn’s Five Leaves have opened L.A. Chapter, a two-tiered restaurant that features checkerboard tile floors, copper tables and serves three seasonal meals daily. Yes, they’ve imported the Five Leaves Burger, which hosts grilled pineapple, pickled betters, egg, harissa mayo and Lindy & Grundy beef. 929 South Broadway, 213-623-3233,

LAX Tom Bradley International Terminal
A long LAX layover is no longer dreaded thanks to the influx of new dining options at the retooled Tom Bradley International Terminal. The multi-tiered deck in the Villaraigosa Pavilion food court, named for L.A.’s previous mayor, now houses chef-driven restaurants like Border Grill (modern Mexican from Mary Susan Milliken and Susan Feniger), Larder at Tavern (seasonal sandwiches and salads from Suzanne Goin and Caroline Styne), and ink.sack (Michael Voltaggio’s reimagined sandwiches). Fast casual options include 800 Degrees (wood-fired pizza) and Umami Burger. Petrossian’s caviar emporium adds a luxe touch, and Vanilla Bake Shop delivers a sweet finish.

Din Tai Fung
Persuasive developer Rick Caruso convinced Frank Yang to expand his family’s Taipei legacy at The Americana at Brand, a 15 1/2 acre mixed-used development in downtown Glendale. Din Tai Fung already dominates the doughy San Gabriel Valley arms race with weekend-only soup dumplings, pan-fried rice cakes, airy steamed buns and more. So it was good news when this location opened closer to downtown. In Glendale, Yang’s upped Din Tai Fung’s game with juicy pork dumplings studded with shaved Italian truffles, potstickers and a full bar. Poon Design has also cranked up the ambiance, including towering wooden doors, overhead wood slats, jumbo box chandeliers and an exhibition kitchen fronted by rings that resemble dumpling steamers. Thankfully, DTF kept playful touches like a cartoon dumpling character, which greets diners at the reception desk. 177 Caruso Avenue, Glendale, 818-551-5561,


République already boasts one of the city’s finest selections of fresh morning breads and pastries.

Classically trained powerhouse Walter Manzke and talented chef/wife Margarita joined forces with restaurateur Bill Chait to replace famed Campanile with a multi-faceted restaurant and bakery. The airy space features a counter up front, which hosts pastries by day and oysters by night. High-top tables and detailed tile work give way to an open kitchen, communal tables and high ceilings. In terms of the menu, the well-traveled couple’s culinary offerings are by no means limited to France. République is already one of the best L.A. places to find morning pastries, seasonal salads, oak-cooked meats and inventive dishes like ramekins of escargots with puff pastry and garlic butter; or beignets with porcini mushrooms and Parmesan. Margarita Manzke’s desserts include stupendous panna cottas, tarts and bombolini. A seasonal bar program from Erik Lund and a varied wine list from beverage director Taylor Parsons rounds it all out. 624 S. La Brea Avenue, Los Angeles, 310-362-6115,

Mud Hen Tavern
Susan Feniger of Top Chef Masters, Food Network and Border Grill fame, joined chef/partner Kajsa Alger in flipping STREET into an everyday neighborhood hangout. The space now features an inviting patio, a more welcoming bar with high-top tables, comfortable booths, craft beer and cocktails. The menu still embraces global influences, including multi-textured tuna ceviche, and Greek-inspired lamb meatballs anchored in tangy tzatziki, though Mud Hen does feature a Cheeseburger with Lindy & Grundy grass-fed beef. After all, the name evokes Feniger’s childhood in Toledo, home of the Mud Hens minor league baseball team, so some things are all-American comfort. 742 North Highland Avenue, Hollywood, 323-203-0500,

Scopa Italian Roots
A culinary wave is washing over the Westside, starting with Venice, and now extending to Marina del Rey. One chef riding the crest is Antonia Lofaso, who teamed with Black Market partners Mario Guddemi and Salvatore Aurora and bartenders Steve Livigni and Pablo Moix on Scopa, who draw on the chef’s Italian roots. The glass-fronted space features brick walls, communal wood tables, and a backlit bar. Of course the bar is clearly visible, since Livigni/Moix are one of the most accomplished bartending duos on the West Coast. Lofaso’s sprawling menu can get pretty inspired at places, whether it’s a stuffed shells flavor bombed with duck sausage, ricotta and tomato sauce. There’s also rigatoni with oxtail and bitter dandelion greens, as well as a seared T-Bone served with salsa verde. For dessert, request Livigni’s favorite Amaretto, which drinks like a liquid cookie. 2905 West Washington Boulevard, Marina del Rey, 310-821-1100,


Floral custom tile flooring and communal tables are part of the dining room at East Borough.

East Borough
Chloe Tran & John Cao have opened an upgraded “Fraîche Vietnamese” restaurant in Culver City with restaurateur Paul Hibler and chef Jason Neroni, partners in the American Gonzo Food Corporation culinary incubator. This builds on the success of Tran and Cao’s more casual and small Camp in Costa Mesa. Sandwiches and salads are featured at lunch, and more ambitious fare is available at dinner, including head-on blue shrimp with tart pomelo in a funky crab paste butter bath. Neroni, also the chef at Venice’s Superba Snack Bar, has finally brought phocatini to Los Angeles, al dente pasta dotted with fresh herbs, oxtail, hoisin, sambal and onion. A large format pork shank slow cooked with Vietnamese spices and served with Sriracha, butter lettuce and sliced pickles for wrapping. For dessert, think bittersweet Vietnamese coffee…budino. Tran, a longtime designer, built the space with floral custom tile flooring and communal tables. 9810 Washington Boulevard, Culver City, 310-596-8266,

Warren’s Blackboard
Until chef Warren Schwartz opens The Frontyard this spring in North Hollywood’s Beverly Garland Hotel, the accomplished chef (Saddle Peak Lodge, Westside Tavern) is operating a sort of food & drink workshop complete with blackboard menu at night. Popular early selections include popovers, based on grandma’s recipe, sliced open and layered with mushrooms, bacon and pencil-thin asparagus spears; a bone-in braised lamb shank with orange gremolata and house-made pappardelle. White Boy Fried Rice is stir-fried with Spam, broccoli, egg and sambal, just like Schwartz makes for family at home. 4222 Vineland Avenue, North Hollywood, 818-255-7290,

Joshua Lurie is the L.A. based founder of Food GPS.



Downtown: The 11 New Bars You Need to Know About

Drinking downtown has never been better

Photograph courtesy of Bar Jackalope

Downtown L.A. has been getting more love than usual, not just from Angelenos but the rest of the nation. (Thanks, GQ and Bon Appetit!) And amazingly it continues to grow and develop. To think it all really started gaining momentum back in 2007 when Cedd Moses first opened Seven Grand. Cut to seven years later and we have a boom of new watering holes, underground and overlooking the city, to add to the mix of already successful bars, sealing the deal that DTLA is THE place to do an epic barhop. Either take the Metro in or book a room at one of the many hotels.

Bar Jackalope at Seven Grand: This new bar-within-a-bar, which opened in January, only accommodates 18 drinkers, emulating those intimate whiskey bars you find in Japan. In fact you can’t just saunter in from Seven Grand outside. Rather, you flick a light switch to get instructions on how to get in. Once in, enjoy the selection of 120 different whiskies, including rarities like Pappy and Balvenie Tun 1401 or the three classic whiskey cocktails. Ballers may choose to purchase a bottle of their own and store it in their very own whiskey locker at the bar.

City Tavern DTLA at Figat7th: This downtown outpost is, frankly, bigger and better than its Culver City sister what with more space, more taps and a thoughtful and extensive cocktail program created by Brent Falco and Cari Hah (both formerly of Cole’s Red Car Bar). Thanks to their cocktail menu, you’ll probably end up staying here from happy hour, when you can get a decent cocktail for $5 to $6, through dinner for a desserty Grown-Ass Milkshake, to close with a flight of Manhattans.

The Continental Club: From the folks who brought you The Room in Hollywood and The Association comes this basement bar which opened two weeks ago beneath Bar Ama. Meant to resemble the sort of gentlemen’s club you’d find in London it holds 300 stylish attired guests. Sip on fancy-pants cocktails like the Rolls-Royce or a “ferociously shaken” Sloe Gin Fizz.

Crane’s Downtown: The first of two new downtown bars with “Crane” in its name, this one is where Crane’s Hollywood Tavern moved and opened in November. Take the steps down til you come across a massive door leading into an old bank vault. Thankfully, it’s not a speakeasy, but rather a chill, upscale dive bar. Here you get no frills, just straight-forward drinking.

Honeycut at the O Hotel: True, this discotheque/craft cocktail bar opened in October of last year but it still bears mentioning. It’s where bartenders go to boogy down and lay back. With one room dedicated to a carefully crafted drink and the other a fun selection of cocktails on tap, you can’t go wrong.

Nest at WP24: Wolfgang Puck’s new 4,100-square-foot venue, which takes the place of the WP24 lounge on the 24th floor of the Ritz-Carlton, opened just this month. Stop by for a bar bite like tiny dumplings or a dinner of crispy black pepper pork belly but definitely stay to explore the 300-wine list. Or there are cocktails like the Bourbon Buddha with sage, Buffalo Trace, Aperol, lemon juice, and simple syrup, and the Bird of Paradise with 209 Gin, lemon juice, orange wedge, simple syrup, and club soda.

Peking Tavern: Rounding out the basement boozeries, this Chinese gastropub is located in the basement of NCT Lofts and boasts to be “Home of the Bai Jiu Cocktail.” For those unfamiliar with this pungent Chinese liquor, best tread lightly. Definitely an acquired taste but you can ease into it with their Peking Coffee, a mix of Bai Jiu, coffee and horchata liqueur. Or try out their Peking versions of an Old Fashioned and a Manhattan, both made with Peking bitters.

Tom’s Urban: Taking the place of ESPN Zone in L.A. Live and opening just this week, this gigantic two-level sports bar is the place to go if you want to catch the game, any game, on one of the 80 TV screens. For your immediate drinking needs, there are cocktails on draft by barman Joel Black (Comme Ca).

Upstairs Bar at the Ace Hotel: Everyone keeps talking about this gorgeously, romantic new poolside roof bar at the stunning Ace Hotel. It’s definitely THE place to take that special someone, aka the person you want to get it on with. Just make sure to come early to avoid the long line. The cocktails here are twists on tropical cocktails, showcasing aperitifs, gin and whiskey.

Wendell: Former Bukowski dive bar hang Craby Joe’s was made new again, openinglast October. Even though it’s sleek with its dark wood and long, polished bar, it’s still all about chill drinking for the neighborhoodies rather than the next big cocktail trend. Settle in and order up a tasty craft brew or a canned Schlitz while pondering the fact that you’re under the roof where U2 filmed that “Where the Streets Have No Name” video.

Wolf & Crane: This Little Tokyo bar, which opened in December, celebrates the Japanese trend of highball bars and features 10 different highballs, simple cocktails made with booze and soda. You’re in a hurry to get your drink on, then this is the place.



Restaurant News As 2014 Arrives, Downtowners Hunger for These New Restaurants

Posted: Tuesday, January 7, 2014 5:00 am

DOWNTOWN LOS ANGELES – Foodies had plenty to chew on in Downtown Los Angeles in 2013, with a number of buzzed-about restaurant openings. It seemed that every time you threw a bread roll you hit a celebrity chef working on his or her own place in the Central City.

It appears that the momentum will continue in 2014. The new year is slated to feature fresh ventures from old faces, expansions of already popular L.A. joints, potential rising stars and everything else on the food spectrum.

In short, Downtown diners are already looking at a plethora of new eateries, even if some are still in the early planning stage. Here’s a look at some of the hottest restaurant arrivals slated for the coming year.

Lucky 57: Beau Laughlin has had plenty of success with West Hollywood gastropubs The Hudson and The Churchill. Now, he has set his sights on fine dining in the Arts District. Fifty Seven is scheduled to open at 712 S. Sante Fe Ave. — at the old Heinz loading dock, near Italian hotspot Bestia — in the first quarter of 2014. It will offer a unique conceit: The kitchen will feature a rotation of chefs from around the country who stop by, do their thing for a few months, then give way to the next big name. First up is David Nayfeld, a veteran of New York’s lauded Eleven Madison Park.

Market Madness: The Dec. 23 opening of DTLA Cheese at Grand Central Marketis just the tip of the iceberg when it comes to the venue’s foodie revolution. Up next are three new eateries: Wexler’s Deli, Olio Pizza and Oyster Gourmet. The former comes from chef Micah Wexler and partner Michael Kassar (both from the shuttered Mezze in Beverly Grove) along with Pitfire Pizza co-owner David Sanfield. The restaurant is aiming for a February opening and will serve old-school deli classics such as house-made pastrami, corned beef and smoked salmon. Olio Pizzeria is an addition to chef/owner Bradford Kent’s restaurant of the same name in Beverly Grove, and will feature wood-fired pies and appetizers. Oyster Gourmet, meanwhile, is the brainchild of oyster expert Christophe Happillon. He has been wowing eaters with impeccable shellfish at pop-ups in several restaurants (including Downtown’s Perch) and farmers markets throughout Los Angeles.

Check, Please: It’s not every day that you eat a burger with ketchup “leather” and a kombu-infused revision of cheap American cheese. Then again, Plan Check isn’t your average restaurant. Come the spring, Downtowners will no longer have to trek to the Westside or Fairfax to get their hands on owner Terry Heller and chef Ernesto Uchimura’s inventive food. Instead, they’ll just head to 1111 Wilshire Blvd. in City West, where Plan Check’s third location will be on the ground floor of a recently opened apartment complex. Expect stellar burgers, beef-fat fries and smoky fried chicken.

Pub Love: Plan Check is not the only gastropub moving across town. Culver City favorite City Tavern will be opening in the FIGat7th shopping center by the end of January, joining a slew of new eateries; like neighbor Mendocino Farms, it will have its own large standalone spot near the mall’s bustling food court. This City Tavern will be twice as big as the original location, with enough space for a cocktail lounge and patio. The menu will feature comfort-food classics such as grilled pimento cheese sandwiches, along with new options, among them a selection of chilled seafood.

Flying High: From the we’ve-been-waiting-for-this-one-for-years corner, there’s Redbird. Chef Neal Fraser has long influenced the Southern California dining scene, both at his own restaurants (BLD and Grace, which shuttered in 2010) and at others through his consulting work. He’ll be returning to the kitchen at Redbird, which will open — at an unspecified date — in the rectory next to the old Vibiana cathedral. Fraser’s wife and business partner Amy Kroll took over management of the space last year and Fraser is partnering with Bill Chait (who helped open Bestia and Rivera, among others) on the venture. As for the food: “It will be as fine-dining as we can make it,” he told Zagat in April. “Not small plates, not a bistro, not a gastropub.”

Due (Middle) East: Bestia chef and co-owner Ori Menashe has made the Italian restaurant one of the toughest reservations in all of L.A., but he’s working on something decidedly different for his next project: He hopes to open a Middle Eastern restaurant, also in the Arts District, by the end of 2014. Though it might seem like an odd transition, the new joint will pay homage to his favorite comfort foods — Menashe was born in Los Angeles but grew up in Israel. Expect dishes with the rustic-but-modern aesthetic found at Bestia; Menashe has mentioned wood-fired tagines (stews), house-made pita breads and Middle Eastern-spiced charcuterie.



Top 5 Nightclubs in Los Angeles


Courtesy of AV
Courtesy of AV

Where are the hautest spots to party in the City of Angels? It’s a tough job, but we’ve done the digging for you. With great fanfare, we present our picks for the top five nightclubs in Los Angeles. Get ready to put on your dancing shoes!

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643 N La Cienega Blvd, West Hollywood, CA 90069 (310) 652-2012

Greystone Manor Supperclub

Hollywood’s hottest stars come to party at Greystone Manor. Dinner service from sbe’s executive Chef Danny Elmaleh begins at 6 pm, but late night is when the club is at its best. The beautiful people come out to play and party in the old Hollywood-style venue, whose interior can best be described as neo-Renaissance meets neo-Gothic décor.glamour and decadence. Like the best of its peers, its door is tight. Unless you’re one of the Hollywood elite, get there early for a shot at glory. Booking a table for dinner or reserving bottle service should also do the trick if you’re not into an early bird special.
9229 Sunset Blvd, West Hollywood, CA 90069 (310) 274-7500

Bootsy Bellows

Bootsy Bellows is the best new club to hit Hollywood in ages. Under the direction of owners David Arquette and John Terzian, the Sunset Strip spot is a mixture of vintage cool and complete whimsy. It’s nearly impossible to get in the door, but should you be one of the lucky few, you’ll be guaranteed to have the best time of your life.
8713 Beverly Blvd, West Hollywood, CA 90048 (310) 274-7500

Hooray Henry’s principals John Terzian, Brian Toll and Markus Molinari have created a brand new British-themed club called Hooray Henry’s, and it’s a smashing good time. As conceived by John Sofio of BUILT Inc., Hooray Henry’s is like an aristocratic English manor with the modern touches only an Angeleno could enjoy. Dance the night away while imbibing hip Brit-themed cocktails like the bourbon-based “Royal Fashion” and gin-soaked “Oxford Lad.”
1645 Wilcox Ave, Los Angeles, CA 90028 (323) 871-8233

The Sayers Club

The Sayers Club has credibility because it’s so unassuming from the outside. Though it’s hidden behind a hot dog stand, don’t be fooled: this hot spot attracts some of the biggest names — and DJ’s — in Hollywood. The nightclub is bigger and better after undergoing a revamp in 2013; it took over an area that formerly housed Papya King and converted the space into a dark and masculine den of relaxation with pre-party snacks for pizza lovers courtesy of its new wood-burning oven. Haute!
1601 N Cahuenga Blvd, Los Angeles, CA 90028 (310) 334-9619

AV Nightclub

AV nightclub may be located inside the historic 1920′s Marion building, but trust us, its interior is completely modern. There are three platforms for go-go dancers, aerial rigging for theatrical performances and staging for dancing behind each table. If you think this sounds like a party you want to be at, you’re right.




Your Handy Guide to the 2014 LA Art Book Fair

;;; designed this LA Art Book Fair car freshener that smells citrusy fresh! (all photos by the author for Hyperallergic unless otherwise noted)

LOS ANGELES — Shannon Michael Cane knows he has big shoes to fill as the new director and curator of the highly anticipated second edition of the Los Angeles Art Book Fair (LAABF). “Taking over the fair from someone like [artist and curator] AA Bronson, who is a mentor to me, is a lot of pressure to see what you can do to improve it,” Cane told Hyperallergic.

Some of the 15,000 people that attended the 2013 LAABF. (image via Printed Matter)

A native of Australia, Cane has worked at Printed Matter in New York for the last six years after extensive experience as the independent publisher of They Shoot Homos Don’t They?, a cult classic zine that was part of the surge of queer zine making a decade ago. Cane was invited by AA Bronson back in 2007 to exhibit at one of the first New York Art Book Fairs (NYABF), and he found the experience exhilarating, as he was able to meet his zine and artist-book idols all in one place.

Cane is also a perfect spokesperson for the rise of a scene that is smart, diverse, and global. His enthusiasm for artist books and zines is obvious, and probably comes from his own experience of learning about the power of community through the page. ”I’m trying to keep what people love about the fairs that AA produced but slowly putting my spin on it,” he said.

Curator Shannon Michael Cane with Farra's mural inside MOCA's Geffen Center, where the LAABF is taking place.

While the New York incarnation of Printed Matter’s popular art book fair has continued to grow, attracting a whopping 27,000 visitors over three days in 2013, the Los Angeles fair is still coming into its own, even if it’s clear that Angelenos are hungry for the event (15,000 people attended last year). Roughly 650 applicants applied for the 260 spots available at the 2014 edition, and the publishers range from blue-chip galleries (including Gagosian) and antiquarian booksellers that have no websites or shops to the $150 zine booths that welcome exhibitors who would probably never have access to such a vast pool of potential readers in any other way.

A visitor to last year's LAABF peruses the colorful material. (via Printed Matter)

What binds all these diverse exhibitors and visitors together is a love of books — more specifically, artist books and zines, or as Cane characterizes it, “art for the page.” ”Art books are retaliation towards the gallery system,” he explained, adding that people who can’t get gallery shows have often turned to alternative outlets to communicate with an audience. “It was a reaction against the gallery system, as artists said ‘I want something I can give to people — an object but it’s not a catalogue of my work. It’s more than that.’”

But book sellers will not be the only draw this coming weekend, as the 2014 LAABF will also feature an exhibition of queer zines curated by Philip Aarons and AA Bronson, Fabulousity, an exhibition of ephemera and photographs by Alexis Dibiasio about 1980s and ’90s New York club kid culture, a conversation between LA-based artist Piero Golia and Andrew Berardini for the duration of the fair (presented by Gagosian, the entire dialogue will be transcribed in shorthand by a court stenographer), and so much more.

A view of the large MOCA Geffen Center during the 2013 LA Art Book Fair. The large warehouse space will also be the location of this year's LAABF. (via Printed Matter)

One of popular features of the NYABF that’s coming to LA is the Classroom, which has a full schedule of programming organized by David Senior, bibliographer of the Museum of Modern Art library.

“The Classroom has functioned at the NYABF as a change of pace to the bustle of fair. People can listen for an hour to someone read or an artist’s talk about their practice or a recent work. It also usually has a few zany performances to keep things fun and irreverent,” Senior told Hyperallergic.

“In LA, I’ve sort of followed the same idea. We created a pretty packed program with a lot of different artists and publishers, while also emphasizing the community of people that are out here working with this genre of artists’ publications. And this takes on a wide range — I am excited to hear Martine Syms read from her screenplay Most Days on Sunday, as well as Anna Sew Hoy in discussion with the writer Laurie Weeks. These are some highlights that feature individuals from the LA community.”

Hyperallergic will be reporting from the LAABF all weekend, but until then we’ve compiled a short list of some choice events to check out.

Thursday, January 30

6:30–7:30pm: Donelle Woolford kicks off the 2014 Whitney Biennial (yes, seems random) with a re-creation of Richard Pryor’s 1977 comedy routine from his short-lived TV show.

7–8pm: Artist Jack Pierson signs his latest book, Tomorrow’s Man, Lynn Valley 9, presented by Presentation House Gallery and Bywater Bros. Editions.

Friday, January 31

1–2pm — Women’s Center for Creative Work (WCCW) leads a casual conversation (which I guess means it is non-hierarchal) about the use of the word “feminism” and why people shy away from it.

4–5pm — Artist Laura Owens will be in conversation with Ooga Booga’s Wendy Yao about their recent book collaborations. Owens is one of those rare artists who has fully integrated artist books as an important part of her body of work.

Saturday, February 1

11am — Dynasty Handbag, the performance-arty-leotardation-comedy-psychic-meltdown-voiceover-stretchpants/antipants-lezbiananationalarmy vehicle of Jibz Cameron, will put on a show that is sure to raise questions about the role of art and comedy … and probably make you laugh out loud.

2–3pm — Psychologist Dr. Alan Castel will discuss his research on human memory and why we remember some things while choosing to forget others. Related to the release of Michael Schmelling’s Land Line from J&L Books, Castel will also discuss metamemory (our thoughts about our own memory) and its influence on memory.

3–4pm — Johan Kugelberg, an author/curator and proprietor of Boo-Hooray, will discuss the problems and possible solutions of archiving counter-culture narratives. Kugelberg has created university archives for Yale, Cornell, Oxford, and Columbia on punk, hip-hop, May 68, Living Theatre, Larry Clark, and Angus MacLise, among others. He is currently working on the Printed Matter archive.

Sunday, February 2

1–2pm — Martine Syms‘s “Most Days” is what what she calls a “Mundane Afrofuturist sound work” that will be released on vinyl next month. The piece by an artist who considers herself a “conceptual entrepreneur” looks at “what an average day looks like for a young black woman in 2050 Los Angeles.” She will be reading from her sci-fi anti-adventure.

1–3pm — Artists and special surprise guests will read from More Than You Wanted to Know About John Baldessari (eds. Meg Cranston and Hans Ulrich Obrist), a new two-volume publication from JRP | Ringier. This event requires an RSVP, which you can do here.

3–4pm — Aram Saroyan is most famous for his minimalist poem “lighght,” which caused NEA-related controversy back in the 1960s, and his four-legged “m” poem, which was cited by the Guinness Book of Records as the world’s shortest poem. He will be launching the second edition of his Complete Minimal Poems, which collects his renowned works into one definitive volume. Saroyan will give a rare reading of these works at the LAABF.

Hyperallergic is a media sponsor of the LA Art Book Fair.



The Best New Restaurants In LA, According To The Pros (PHOTOS)

2012-08-16-Screenshot20120816at4.00.54PM.png  |  Posted: 09/10/2013 7:04 pm EDT  |  Updated: 09/10/2013 8:05 pm EDT

This story comes to us courtesy of Refinery29.

With new restaurants popping up everyday, deciding where to eat dinner in LA is no small feat. So, we’ve turned to the pros! Ahead, six influential local foodies give us the scoop on their favorite new restaurants, which tasty trends are getting them excited, and why Los Angeles is such an exciting place to be hungry right now. We hope you’ve got an appetite…

connie and teds

Who: Ellen Bennett, Founder, Heldley & Bennett Aprons

Favorite new restaurant In LA:
“Connie & Ted’s is definitely my favorite restaurant! It looks like a giant boat parked in the middle of West Hollywood. The quality of the ingredients is at the level of Providence, but it’s way more casual.”

Food trend predictions:
“It seems like everyone is revolutionizing the typical ice cream!”

What’s most exciting about the LA food scene right now:
“The coolest thing about the LA food scene is how the farmers and their produce are becoming the stars.”

Connie & Ted’s, 8171 Santa Monica Boulevard (at Crescent Heights Boulevard); 323-848-CRAB.

tar and roses

Who: Teri Lyn Fisher and Jenny Park, Founders, Spoon Fork Bacon

Favorite new restaurant In LA:
“Tar and Roses in Santa Monica! We’re both big fans of cheese and charcuterie, and this place definitely specializes in it. The space itself is cozy and the brick walls are a nice touch.”

What’s most exciting about the LA food scene right now:
“What makes the L.A. food scene so exciting right now — and always — is that it’s such a multiculturally influenced city that there are constantly new and different foods to try. It’s impossible to get bored with so many fun and unique options.”

Tar & Roses, 602 Santa Moinica Boulevard (at 6th Street); 310-587-0700.

moon juice

Who: Kat Odell, Star of Bravo’s “Eat Drink Love” and Editor of Eater LA

Favorite new restaurant In LA:
“This is actually more of a shop/cafe, but I am over the moon for the new Moon Juice in Silver Lake. I love the celestial meets clean-hippy aesthetic and energy. The space is studded with crystals, there’s a refrigerated case up front with a rainbow of cold-pressed juices and nut milks in fun flavors like ‘tomato-watermelon’ and ‘pumpkin-seed ginger,’ and chef/owner Amanda Chantal Bacon is serving a sophisticated raw snack menu with the likes of strawberry geranium bars. I am by no meats a raw foodist — or even a vegetarian — but her healthful snacks are the kind even carnivores will appreciate.”

What’s your favorite current food trend:
“I have to say, as over-saturated as the ‘cronut’ trend is at the moment, I love me some fried dough! My favorite iteration has been from ConfeXion in Pasadena. It makes a serious brioughnut, which is glazed and topped with maple bacon.”

Moon Juice, 2839 Sunset Boulevard (at Silver Lake Boulevard); 213-908-5407.

bar ama

Who: Matthew Poley and Tara Maxey, Chefs/Owners, Heirloom LA

Favorite new restaurant In LA:
“We love Chef Josef Centeno’s restaurants downtown, Bäco Mercat and Bar Amá. And, we can’t wait for his new place Orsa & Winston to open. His food is playful, but not experimental. It’s food you can eat everyday.”

What’s most exciting about the LA food scene right now:
“The fact that chefs are growing some of their own produce on their rooftops, in their parking lots, and even on their counters!”

Bar Ama, 118 West 4th Street (between Main and Spring streets); 213-687-8002.

the hart and the hunter

Who: Talamadge Lowe, Founder and Drinkist, Pharmacie LA

Favorite new restaurant In LA:
“I love The Hart and The Hunter. Being from the South, I’m a sucker for fried-chicken skin and pimento cheese! And, even though it is a beautifully designed restaurant, it feels like a quiet little hole-in-the-wall discovery.”

What’s most exciting about the LA food scene right now:
“Two things: The availability of just about anything and everything from produce to sprits as well as the inclusive nature of the city’s bars and restaurants and caterers. It seems like everybody knows just about everybody. I love that!”

The Hart and The Hunter, 7950 Melrose Avenue (at Fairfax Avenue); 323-424-3055.


Who: Jenny Engel and Heather Goldberg, Chefs/Owners, Spork Foods

Favorite new restaurant In LA:
“Crossroads is our new fave. We love the space because it’s clean, modern, and elegant. It shows food lovers a mature side of vegan cuisine that Los Angeles hasn’t seen yet. The menu changes seasonally, which we enjoy!”

What’s your favorite current food trend:
“We are constantly inspired by DIY techniques, and have even experimented with making our own scorpion-pepper-infused vodka and home-made bourbon vanilla extract.”

Crossroads, 8284 Melrose Avenue (at Sweetzer Avenue); 323-782-9245.


Eat 5 sweet new spots you need to hit right away

By Jeff Miller

Los Angeles

  • Honeycut, Los Angeles-5 sweet new spots you need to hit right away
    Joey Maloney (Honeycut)

Nobody likes a know-it-all. Unless that know-it-all is providing valuable information about five new LA spots you most definitely want to check out. Everybody likes that guy… right? RIGHT?! Check out the newest deliciousness to open in LA so that YOU can be that likable know-it-all…

  • 643 North, Los Angeles-5 sweet new spots you need to hit right away
    Moretti Photo

    643 North
    Gastropubbing-up the normally traditional Downtown ‘hood, this new hops-packed grubbery is letting you lay a base with fennel sausage pizza and ossobuco ravioli before you move onto craft beer flights… that ironically make it far more difficult for you to lift off the ground.

  • Phillipe, Beverly Hills-5 sweet new spots you need to hit right away

    Beverly Hills
    It’s ba-ack!! After closing its Mid-City location more than a year ago, the longtime power-meal Chinese resto’s back in Beverly Hills, serving up signature dishes like their Peking duck, pan-crispy salmon, and “nine seasons spicy prawns”, which’re delicious Winter, Spring, Summer, Fall, and wait, what are the other five seasons? We didn’t pay attention in Earth Sciences.

  • Honeycut, Los Angeles-5 sweet new spots you need to hit right away
    Joey Maloney

    This collab between the 213 dudes (Las Perlas, 7 Grand, etc.) and the NY bros behind Death And Co. is a decidedly Manhattan-esque underground lair sporting pool tables, an extensive cocktail list, and a second room with bottled drinks and a light-up dance floor… so tread carefully if you’re epileptic.

  • Orsa and Winston, Los Angeles-5 sweet new spots you need to hit right awayOrsa & Winston
    The Bar Ama and Baco Mercat guy’s at it again, this time with a small, fixed-menu-only joint named after his dogs (but not his dawgs, ’cause then it’d be called, like, Ted and Brent’s). The menu’s got some Asian influences with dishes like rice w/ uni & Pecorino cream.
  • Stumptown, Los Angeles-5 sweet new spots you need to hit right away

    You know how anyone you meet from Portland’s all like, “we have coffee that’s way better than anything you’ve got in LA”, and you’re like, “there’s no way that’s true”, and then they make you some Stumptown and you’re bashed over the head with caffeinated amazingness? Yeah. Now they have a store here.


The Best New LA Bars To Check Out This Fall/Winter

October 29, 2013 6:00 AM

Los Angeles is home to many bars, but finding the perfect watering hole to call your own is no easy challenge. Whether you’re looking to class it up with a view or just enjoy that classic SolCal vibe, we have a newly-opened bar that’s perfect for you. Be sure to check out our Fall E.S.P. Guide to guarantee a great night out on the town. By Rex Sakamoto

(Photo credit: Alen Lin)

(Photo credit: Alen Lin)

Pearl’s Liquor Bar
8909 West Sunset Blvd.
West Hollywood, CA 90069
(310) 360-6800

There’s nothing classier than a pearl, and this spot is nothing short of classy. A three-level, expansive slab of sophistication that’s straight out of the 1920’s, Pearl’s features a scenic front deck overlooking Sunset Strip and supreme handcrafted cocktails for which even Mr. Gatsby would travel to LA. Opened late summer. 8909 W. Sunset Blvd., West Hollywood, CA

(Photo credit: Alen Lin)

(Photo credit: Alen Lin)

6507 W. Sunset Blvd.
Los Angeles, CA 90028
(323) 460-6667

After opening last September 2013, this plush cocktail lounge is already the hottest place to be on Sunset Boulevard. What used to be a dingy lingerie bar has been transformed into a swanky space adorned with comfy leather couches, circular chandeliers and photos of naked ladies. Yep, the high brick walls are covered in artsy full frontal nudes of women. So grab your friends and join the party.

(Photo credit: Las Palmas Furniture Warehouse)

(Photo credit: Las Palmas Furniture Warehouse)

Las Palmas Furniture Warehouse
1714 N. Las Palmas Ave.
Los Angeles, CA 90028
(323) 464-0171

There’s always a party at this recently opened crazy neighborhood dive bar filled with remote controlled sumbarines, piñatas, glowing neon signs and Simpson posters. Imagine bashing a piñata, while sipping on a couple of beers. Pretty cool right? If you need to take a break from all the action, head out to the patio and enjoy a few mint juleps and Berry Manilows (blueberry vodka, soda, lime). With all the action, there’s never a down moment.

(Photo credit: Frank Ishman)

(Photo credit: Frank Ishman)

Dirty Laundry Bar
1725 Hudson Ave.
Los Angeles, CA 90028

From the men who brought you No Vacancy & Pour Vous, the Houston Brothers bring you the brand new Dirty Laundry Bar. During the prohibition it served as the personal speakeasy for silent film actor Rudolph Valentino. In order to preserve the speakeasy atmosphere, the 1,500 square foot space hosts an exposed brick ceiling, deconstructed light fixtures and black leather couches.


NYTimes T Magazine

Accommodations | A New Hotel in L.A. Celebrates its Koreatown Surroundings



October 21, 2013, 2:00 pm Comment

Clockwise from left: Chef Roy Choi at Pot; a guest room overlooking Koreatown; the hotel's sleek exterior.Photographs by Adrian GautClockwise from left: Chef Roy Choi at Pot; a guest room overlooking Koreatown; the hotel’s sleek exterior.

A stately yet unstuffy hotel injects style into the vibrant Los Angeles neighborhood.

In L.A.’s golden age, when streetcars clanged past urban orange groves and Carmen Miranda was Hollywood’s nod to ethnicity, the high life thrived on a stretch of Wilshire Boulevard near Vermont Avenue. Today, a generation after gang wars and riots sapped the life out of this district, it has re-emerged as the lively epicenter of the city’s Koreatown, bustling with restaurants, nightclubs and shops. The area has long been off the tourist map, but this is about to change with the opening of the Line in November.

The hotel’s creator, Andrew Zobler, is the man behind the Beaux-Arts-style NoMad Hotel in Manhattan and the cheap-chic Freehand Miami hostel. But the Line, designed by Sean Knibb, is something different for both Zobler and Los Angeles. Korean-American culture — or at least a high-end permutation of it — is the 388-room establishment’s organizing theme. ‘‘There is so much good stuff coming out of Korea today, and nobody has really captured that in a hotel,’’ Zobler says. Setting out to educate himself on Korean culture, he encountered the celebrated chef Roy Choi, who will preside over the hotel’s two restaurants: Pot, which serves a new take on hot-pot cuisine, and Commissary, a vegetarian eatery. The 24-hour thrum of the neighborhood inspired Zobler to make the hotel an all-hours social hub. There will be a late-night bakery, a newsstand that never closes and a nightclub that stays open until the wee hours, called Speek, created by the twin brothers Mark and Jonnie Houston, who grew up just four blocks from the hotel.

A version of this article appears in print on 11/03/2013, on page M256 of the NewYork edition with the headline: The Scene: Koreatown Cool.


Drink An editor’s guide to drinking around town

By Jeff Miller

Los Angeles

  • An editor's guide to drinking around town

Los Angeles has long been marketed as the birthplace of the Moscow Mule, so perhaps its fitting that there are hundreds of fantastic drinking establishments here willing to help you make an ass of yourself. Unfortunately, the urban sprawl means a self-guided crawl is a dicey situation, which is why local editor Jeff Miller is here with his picks for the top places to get your booze on.

Best Club: Clubland is fickle around here. By the time you’re reading this, it could already be closed, but I was impressed when I was recently at The Emerson Theater, a glittery, gilded room that feels sufficiently majestic to justify the wallet-emptying cost of bottle service.

Best for Work: The Montage in Beverly Hills has a slightly-hidden bar called Ten Pound directly above Scarpetta. You should make a reservation first, but, once you’re in, it feels like an old boys’ club: huge leather couches, a massive Scotch menu (they’re exclusively Macallan, with all the pricey, ancient, partner’s-expense-account-ready blends that entails), and a private patio for making discreet calls.

Best for Partying: Hollywood’s recently renovated Three Clubs is an old-school gem: a two-pronged bar with a classic-feeling LA lounge on one side, and a darkened dance floor room on the other where DJs push everything from oontz-tacular electronic jams to 90’s hip-hop. It’s a great place to party because it walks the line: you can dance your ass off with a cute girl, then actually seal the deal next door. Bonus: no (or very cheap) cover.

Best Drink: I’m a big fan of letting bartenders go nuts, and no one does it better than the guys at The Varnish, who — through their booze-addled haze — have somehow retained an encyclopedic knowledge of alcohol and how to mix it. The only problem is that it’s different every time, and after you’ve had a couple it can be hard to remember what you drank and which one was better than the last.

Best Cocktail Bar: The Houston Brothers — a pair of identical twins — kind of have this category on lock. La Descarga is a rum-centric Cuban speakeasy with a cigar lounge; Harvard & Stone‘s rear R&D room’s where barmen from all over the world head to get nuts; and Pour Vous has an extensive list of fresh, fruit-forward cocktails and, um, an actual train in the backyard, so they all tie for first, second, and third.

Best Beer Bar: Another tie! Both Blue Palms and The Surly Goat are manned by hops lovers who’ll talk to you for hours about the difference between an IPA and a double IPA, if you’ll let them. Bonus points to The Surly Goat, though, as last time I was there the TVs were screening Reservoir Dogs.

Best Wine Bar: Though their Hollywood location didn’t make it (R.I.P.), the Westside is still lucky to call Bodega their own. Knowledgeable staff, heavy pours, and inexpensive options make this longtime favorite a, uh, longtime favorite.

Best Local Beer: I recently visited Angel City‘s now-open-to-the-public Downtown brewery and tried their Eureka! Wit out of the tap. It’s simple, it’s refreshing, and it has unusual complexity. They can definitely count me as a fan.

Best Brewery: No question on this one: Golden Road keeps blasting out winner after winner (their 16oz cans of smooth-drinking Hefeweizen are my favorite part of seeing a band at the Bootleg), and they’ve created a mini bar empire as well, as the owners are also the behind Tony’s Darts Away in Burbank, and Mohawk Bend in Silverlake.

Most Local Place (aka Where Locals Hang Out): Every single neighborhood in LA has at least one stellar dive where you can find 63-year-old wizened barflies and recent college grads discussing the best route for avoiding police checkpoints. The Drawing Room, Tom Bergin’s, The Backstage in Culver City, the Chimneysweep in the Valley — I could go on. But I won’t.

Best Place to Day Drink: I’m partial to the patio at El Coyote. They make a mean margarita, the tortilla chips and salsa duo never stop coming (insider tip: mix ’em together!) and they’ve got the perfect combo of shade and sun. That said, if you want something more unique than Cuervo and marg mix, the back patio at Eveleigh has wood tables, foliage on the walls, an odd birdcage in the back, and housemade cocktails on par with anything you’d find at a more dedicated cocktail bar.

Best Jukebox: Koreatown’s HMS Bounty isn’t just one of the best nautically-themed dive bars in LA — it’s also the only nautically-themed dive bar in LA. And it has a sick jukebox. Sinatra? Check. Obscure punk rock? Check? THE NEW KIDS ON THE BLOCK? Yep.

Best Outdoor Spot: On a sunny day, there’s nowhere I’d rather throw one or five back than Ray’s & Stark at LACMA. Their bar snacks — flatbreads, charcuterie, and more — are top-notch, their modern-artsy chairs are equal parts pretentious and lounge-y, the drinks are proper and strong, and their live jazz on Fridays is actually, like, bee-pop-a-bop good (as opposed to “wanka-blllepabap” unlistenable).

Hottest Girls: If I can jump to the conclusion that you like college girls (safe conclusion), then Happy Ending in Hollywood, The Lab at USC, and either location of Busby’s are sure bets for eye candy. If your tastes could be better described as “aspiring actresses”, The Churchill will do juuuuuust fine.

Easiest Place to Get Laid: Head West, for sure. The Basement Tavern in Santa Monica has a ventilation problem, which means that all the girls in there are shedding clothing and inhibitions nightly, and Venice’s well known cougar hangout James’ Beach is an in-at-1:15, in-and-out-and- well, you get the idea, by 2:15.


10 Great Los Angeles Bars With Truly Excellent Food

By Erin Lyall
Published Mon., Oct. 7 2013 at 7:00 AM

Erin Lyall
Deviled Eggs at Library Bar

There’s a thin red line — or perhaps a fuzzy purple one — between restaurants with good bar programs, and bars with good food. This is a list of the latter: The following are drinking establishments in which you don’t feel guilty pulling up a chair just to have a drink, but where the food is much better than it needs to be. These are the perfect places to head after work when you’re starving — to meet up with your friend who already

ate. No one’s going to look down their nose at you if you just order a glass of wine and pick at your friend’s fries.There are a gazillion bars in town that serve a good burger. But on this list you’ll find burgers and dogs and nachos — as well as salads, sushi, mole and charcuterie. It’s bar food, elevated. And there’s a nice bonus when you eat dinner in bars: Happy Hour. Many places will slash prices on booze and bites, potables and provisions, spirits and snacks. Keep reading for the best of the bunch. We know there are more bars in town than days in the year, so if we’ve missed your favorite, add it to the comments section!

Chris Jolly
The interior at El Carmen

10. El Carmen
El Carmen is a tequila bar serving stick-to-your-ribs Mexican fare. The tables are bar-sized; the lighting is dim-to-dark; and the menu, a thick little booklet of 16 pages, only dedicates two of those to food (the rest is the tequila list). But the guacamole is top-notch, the tamales are rich and creamy, and the tacos (particularly the pork taco) more than serviceable.During Happy Hour here (Monday thru Friday, 5-7 p.m.) eleven bucks will get you a freshly squeezed margarita and a platter of tacos with rice and beans. Plus, this place is just cool. There are Mexican wrestling masks on the ceiling and Mexican wrestler portraits on the walls and you have to walk through a velvet bordello curtain to get in. It’s fun. You want to be there. So go. 8138 W 3rd St., Los Angeles; (323) 852-1552.

Erin Lyall
Greek Nachos at Pour Haus

9. Pour Haus Wine Bar
Tucked into the Warehouse District, just beyond the bistro fare of Church & State, you’ll find an industrial little wine bar serving food that’s filling and flavorful and far better than you’d expect from their teeny little kitchen. During Happy Hour (4-7 p.m. daily) there are six food options for five bucks: bruschetta, oxtail tacos, white flatbread pizza topped with artichokes and olives, papitas bravas (roast baby potatoes with aioli), a grilled vegetable sandwich, and the insanely addictive Greek nachos.Crispy pita chips are topped with melted feta, roast eggplant, tomatoes, olives and a tangy tzatziki sauce; you’ll wonder why no one thought of these before. Pour Haus serves beer and wine, including generously poured $10 wine flights, and every patron gets a bowl of truffled popcorn to start their evening. Come for a bottle, stay for a plate — the Mediterranean-influenced menu pairs beautifully with fermented grapes. 1820 Industrial St., Los Angeles; (213) 327-0304.

Erin Lyall
The deli counter at Spring St.

8. Spring Street Bar
Compared to so many East Coast cities, Los Angeles is woefully short on delis. Good news, meatball sub fans — one of our better delis is located inside a bar! Take that, New York! At Spring Street Bar, a high-ceilinged, casual spot of bar stools and communal high-tops, the back corner is dedicated to a cold cuts case and a toaster oven. From that humble spot emerge warm, crusty sandwiches like prosciutto and burrata, Cubano, roast beef, and a killer veggie melt of smoked cheese and avocado.You may not think you’re hungry but once the table next to you puts in an order, the smell alone will inspire you to get one of your own. Don’t worry, they’re big enough to share — but be aware, you need to order at the bar, and keep an ear out for the bell meaning your meal’s up. Wine, booze, and a good rotation of interesting draught beers will round out the experience. Ding! 626-B S Spring St., Los Angeles; (213) 622-5859.

Erin Lyall
Fried chicken at The Prince

7. The Prince
You have out of town guests staying with you for the weekend, and you want to show them something uniquely L.A.? Take them to The Prince. It’s got Hollywood street cred (with cameos on Mad Men, The New Girl, and Chinatown), it looks mid-century swank (with red leather banquettes, a horseshoe bar and funky carved lights), and it serves Korean food. No kidding. The thing to get here is the deep-fried chicken — fried Korean-style, with no batter. A whole bird is spatch-cocked and served with Korean chili paste and picked radishes, all crispy skin and moist meat and salt.Pair it with some kimchi fried rice, maybe a seafood pancake, and some galbi for a full meal. The Prince has beer and soju but also a full bar, and during Happy Hour (’til 8pm) all drinks are half off; be aware that like most Korean establishments in town, you’ve got to ring the tableside doorbell to get service. Bonus: This may be the one bar in town in which you can snack on spicy sea snails. How’s that for “Welcome-to-LA” impressive!? 3198 1/2 W 7th Street, Los Angeles; (213) 389-1586

Villains Tavern
Salad at Villains Tavern

6. Villains Tavern
The first time you drive up to Villains Tavern, you think you’re lost: it’s out in some weird Gotham City no-man’s-land that is kind of Little Tokyo and kind of Downtown L.A. and kind of the “warehouse district” but seems way too dark and scary and then BAM you arrive. And there is this strange place that looks like a circus-tent-slash-New-Orleans-Victorian bar and you’re like “what is this place,” but then you get one of their incredible cocktails (like the Bluebeard: Jameson, blueberries, lemon, cranberry and egg whites) and you’re like “OK, I can get behind this.”And then you look at the menu and order some things that sound interesting and then you are totally pleasantly surprised when a burger with bacon marmalade, spicy roasted corn on the cob topped with cayenne and cotija, and a bowl full of Bourbon-bacon caramel corn make their way to the table. And you eat your above average meal while listening to above average live music and drinking above average libations and you think “I’m in heaven” but then you look around at all the red lighting and steampunk décor and you wonder if maybe you’re just having a really good time in hell. 1356 Palmetto St., Los Angeles; (213) 613-0766.

Erin Lyall
Bacon-wrapped dates at Library Bar

5. Library Bar
Hidden behind Sixth Street Tavern, Library Bar has a speakeasy-ish vibe: dark, book-lined, candlelit, sultry. Cocktails, wine, and beer are top notch — muddled, mixed and poured by well-trained (and well-dressed) bartenders. Yet the beautiful people populating the mirrored bar and the leather couches are looking good and eating well – dipping into garlic fries, pork belly skewers, chorizo sliders.The bacon-wrapped dates are salty and sweet, oozing sharp blue cheese hot from the oven. There are deviled eggs, roast artichokes, and edamame tossed with lime juice and flakes of sea salt. Go big with a burger or pork belly sandwich, or go decadent with grilled cheese made with buttered raisin bread, apricot jam and three kinds of dairy. Just wipe your fingers before you start thumbing through those hardcovers on the shelves behind you. 630 W 6th St #116A Los Angeles; (213) 614-0053.

Adam O’Connor
The York

4. The York on York
The York just might be the Cheers of Highland Park. It’s the perfect neighborhood spot: there’s usually a game or an old movie on the TV, and there’s usually no trouble finding a seat. Local artists hang their work up by the bar, and it’s the kind of place where the bartender won’t just remember your name — she’ll remember your drink.But next time you pull up a stool for a beer (and they have a serious selection), do yourself a favor and pair it with an impeccable burger, juicy and oozy with melted cheese, or a bowl of mussels — spicy, garlicky, and served with grilled bread. Fries are crisp, hot, light on the grease, and ideal to share with friends (for a slightly more “healthful” snack, go for the fried garbanzos, tossed in cayenne and lemon). On weekends you can brunch to cure your hangover with croissant French toast or eggs Benedict — just don’t be surprised if you find yourself hanging out there all day. 5018 York Blvd., Highland Park; (323) 255-9675.

Erin Lyall
Grilled Artichoke at Laurel Tavern

3. Laurel Tavern
Bustling at nearly every hour of the day, Laurel Tavern is one of those great neighborhood joints that feels like the place to be. Once you’re in the door, the energy is infectious. It’s casual — you seat yourself, and have to walk up to the bar to order both booze and food — and convivial, with people chatting between tables and standing out on the sidewalk. They’ve got a dozen beers on tap, wine by the glass and craft cocktails; but pay close attention to the chalkboards on the wall.Listed there you’ll find a range of things to nosh on: from the light (a fabulous marinated/grilled artichoke, beets with burrata, grilled shishito peppers) to the substantial (chorizo fondu, patty melt, bbq ribs). They’ve got five yummy burger options, and claim to have the best one in the neighborhood: we’ll let you be the judge. 11938 Ventura Blvd, Studio City; (818) 506-0777.

Erin Lyall
Taco Tuesday at Mission Cantina

2. Mission Cantina
Mission Cantina is tough to characterize, but right there on their website they qualify themselves for this list: “The Mission is a bar with fresh homemade Mexican food.” Mission is in fact a tequila bar, an impressive gothic-looking cave with bottles stacked all the way to the ceiling. But it’s got some of the best Mexican food in this part of town, including chile rellenos, enchiladas (verde & rojo), and a rich chicken mole poblano, deeply flavored with chocolate, spice and spiciness.They also serve tamales on the weekend. But the day to go is (Taco) Tuesday — when their tacos are a dollar apiece: carne asada, carnitas, chicken, potato and veggie. Top a couple of those carnitas tacos with onions, cilantro and salsa, pair it with one of their top-notch jalapeno margaritas. Life doesn’t get much more bueno than that. 5946 Sunset Blvd, Hollywood; (323) 469-3130.

Erin Lyall
Trout Toast at Black Market Liquor Bar

1. Black Market Liquor Bar
This relative newcomer to Ventura Blvd. (opened in 2011) is fast becoming the local favorite, filling up quickly and staying busy ’til closing time — 2 a.m. every night of the week. The room is vaguely reminiscent of a tunnel, long and dark under a curved ceiling of inlaid brick. Candles flicker on every table, booths ring the walls, marble high tops cluster in the center of the room, and a polished wood bar hugs the length of the place. There’s a full bar, a list of “fancy drinks,” two-dozen beers and an interesting wine list — but the real stunner is the food menu.Follow your gut. Want a few beers and guy food? Dig into the homemade dill potato chips, the sweet-spicy kimchi chicken wings, or the highly addictive fried cauliflower. On a date? There is very little sexier than the ricotta gnudi, sautéed in a brown butter sauce (eaten over flickering candlelight with a few glasses of wine). Smoked trout toast is a thing of casual beauty — and a good indicator of chef Antonia Lofaso’s skill in the kitchen — open-faced baguette strewn with hard-boiled egg and pickles, served on a cutting board. Still hungry? They’ve got a deep fried fluffer-nutter for dessert. ‘Nuff said. 11915 Ventura Blvd., Studio City; (818) 446-2533.


Vogue Daily — Trois Mec

“Our place is more like a little kitchen,” Lefebvre says of the 900-square-foot open layout. ” (Vogue magazine)

Trois Mec is the hottest new restaurant in LA, with three superstar LA chefs at the helm.

Photographed by Austin Hargrave


6. Create

Create, a new 20,000 sq. ft. gallery in Los Angeles

8. Willie Jane

Willie Jane, a beautiful new Southern style cooking restaurant in Venice, CA by Govind Armstrong.

3. Vanguard

Vanguard, a new nightclub in Los Angeles

10. Le Ka

Le Ka, a new French inspired artisan restaurant in downtown Los Angeles


Much good news is on the way in terms of the continuing range of offerings in downtown Los Angeles. The Grand Central market already has six new vendors; several others are on the way, including Olio pizza, who is bringing in an oven from Italy and who will only cook by fire. The Medallion building, originally designed to showcase wholesalers and discounters, has changed course. Now they’re planning for ten restaurants to move into their 125 million dollar space, plus a 27,000 square foot farmers market, instead of trying to lure a supermarket. And check this out – the Alamo Draft House from Austin, Texas is opening an eight screen independent film showcase. You will be able to order food and drinks at your seat.

Sticky Rice brings authentic Thai street food to Grand Central Market

 Hinoku & The Bird has opened in a plus new Century City Los Angeles condo tower, whose penthouse is owned by Candy Spelling.
The New York Times did a phenomenal advance review of it in January 2013. It noted:
“The cocktails, by the Milk & Honey mixologist Sam Ross, are as refreshing as the food.”
Lobster Roll (Photo by Dylan + Jeni)
Hinoku & the Bird – some dining options.

Le Grand Fooding comes to MoCA Geffen from Paris in April, 2013.

Chi Spacca is the latest restaurant in the Mario Batali, Nancy Silverton, Osteria Mozza, Pizzeria Mozza LA Italian food empire.

Baryard Restaurant in Venice is one of the best new places that have opened in LA in 2013.

Barnyard Venice exterior. Its chef worked at the French Laundry in Napa.

Superba Snack Bar in Venice is also adding to the how new LA dining scene.

Bestia is one of the most months in advanced booked new Italian restaurants in California. Its in downtown Los Angeles.


A sample of Bestia’s in-house salumeria offerings.

A dish at Bestia.

Figaro Bistro has opened in downtown LA.

alma new american french 952 s broadway los angeles ca is getting superior reviews from LA’s genius restaurant critic Jonathan Gold. He says there is no one cooking like Alma in LA, its on its way to being a global destination restaurant.

An example of Alma’s cooking.

Over 15,000 Attend Inaugural LA Art Book Fair at LA’s MoCA Geffen museum

Artist A.A. Bronson’s LA Art Fair was covered by the NYTimes T magazine. There were 220 exhibitors from 21 countries. There were small showcases of exceptional collections of art books that I found fascinating, particularly the one featuring Yves Klein and his International Blue. The LA books fair received a huge amount of press from New York.

The book fair attracted thousands of people from all parts of Los Angeles. (all photos by the author for Hyperallergic)

The book fair attracted thousands of people from all parts of Los Angeles. (all photos by the author for Hyperallergic). The entire museum’s space was given over to the first annual LA Artist Book Fair. We went on Sunday afternoon and it was packed. Afterwards we ate in nearby at an amazing noodle bar. So many choices – most directly from Japan.


The main lobby of The Geffen, on the second day of the Book Fair before the rush (over 15,000 visitors in the three-day fair).


In late 2012 and early 2013, LA will experience a new wave of most remarkable new restaurants. (photo)

Bestia, an amazing new Italian restaurant that will open in the downtown LA arts district. It will feature 30 kinds of salumi and an Acunto pizza oven from Naples, Italy.

–Le Grand Fooding Announce LA Event

By FDL on September 24, 2012

The team at Le Grand Fooding, publishers of the Le Fooding Restaurant guides and organizers of food events in New York, Paris and Milan, have announced plans to stage a food event in LA.

The team have recently held their fourth annual New York event – this time with a focus on upcoming chefs and say that tell the LA Times that they picked Los Angeles because it’s just a lively as New York but still very different from the Big Apple.

Known for throwing quirky events that mix social and dining experiences perfectly with some of the worlds best chefs, Le Fooding has built a solid reputation over the years. With New York offices now opened and the announcement of an LA event in the works – it’s seem there’s a Le Grand Fooding revolution taking place State sid

Campanille Exterior - H 2012

“Republique, a concept from acclaimed chef Walter Manzke and prolific restaurateur Bill Chait, will replace the Cal-Mediterranean restaurant at the landmark 1929 address originally owned by Charlie Chaplin.Beginning in 1989, chef/owner Mark Peel and his then-wife Nancy Silverton, who now nurtures industry hotbed Mozza not too far away in Hancock Park, helped define a quintessentially L.A. sort of white-cloth yet rustic Cal-Mediterranean menu that would eventually emerge as one of the most dominant trends in the city’s restaurant culture in the 1990s.”

the historic property was  first built for Charlie Chaplin in 1929


Jeremy Fox Launches Barnyard Restaurant In Venice

“Los Angeles, CA(July 17, 2012) – Chef Jeremy Fox, formerly of Ubuntu and Manresa, is readying Barnyard Venice for a 2012 opening. In his first solo project since Ubuntu, Fox’s Barnyard will showcase his own interpretation of peasant cuisine, offering shareable plates of rustic, seasonal fare. Says Fox, “Barnyard will be a product of everything I have learned on my cooking journey. Not only do I look forward to exploring the flavors of the Mediterranean and North Africa, and incorporating elements from my childhood in the South, but to continuing the voyage as the Barnyard menu evolves.” Barnyard is located at 1715 Pacific Avenue in Venice.””About Jeremy Fox
Jeremy Fox opened Ubuntu in 2007, where he was named a Food & Wine Best New Chef 2008, Bon Appetit’s 2009 Best Chef, and received James Beard Best Chef Pacific Award nominations in both 2009 and 2010. In Fall 2009, Ubuntu became the first modern vegetarian restaurant to receive a Michelin Star. Prior to Ubuntu, Jeremy spent five years working for his mentor, Chef David Kinch, at Manresa, eventually rising to the position of Chef de Cuisine. During his tenure, Manresa received two Michelin Stars and four stars from the San Francisco Chronicle. Fox has also staged at the Michelin three-star Restaurant Gordon Ramsay and the widely acclaimed St. John, both in London, as well as the Michelin two-star De Snippe in Belgium. Since leaving Ubuntu, Jeremy has been working on a vegetable cookbook for Phaidon Press and has consulted for restaurants including Plum, Tyler Florence’s Rotisserie & Wine, Freddy Smalls, and Paper or Plastik Cafe.”

Plan Check restaurant and Bar, West Los Angeles

  • Redefining Classic American Food with Plan Check's Ernesto Uchimura
  • Plan Check restaurant and bar just got the review of the century (10.20.2012)  for its technology driven modernist cooking ultra burger by Jonathan Gold in the LA Times. Gold also mentions that Plan Check may have more Japanese whiskey than all of the other restaurants in LA combined.

    “Plan Check (West Los Angeles) – Industrial atmosphere, small batch liquors, and wagyu burgers.” (Text and Photo by Blackbook/Los Angeles)

New Los Angeles restaurants and bars, July 2012

Kitchen 24 downtown LA ( photo)

Perch restaurant and bar downtown LA ( photo)

The Parish downtown LA true 2 story gastropub (photo: Longrada Lor)
We went to The Parish for Sunday dinner at 6pm during opening week. The tomato soup and wonderful toast with Grafton cheese started the evening, along with cocktails. Broth infused tasty clams and other dishes followed.
The dining area is on the second floor of a Flatiron shaped building on South Spring street. The bar is also on the second floor and was packed even at this early hour.


Departures magazine names n/naka one of the Top 1- World’s Top Tasting Menus for 2012


© Zen Sekizawa

n/naka, Los Angeles

At n/naka, the tasting menu is modeled after kaiseki, the Japanese analogue to a multi-course haute cuisine dinner. Chef Niki Nakayama’s Modern Kaiseki is a 13-course affair that showcases her inventive twists on traditional kaiseki progression, which specifies a first course of “something common and something unique,” a second course of a “main seasonal ingredient presented as an appetizer,” a third course of sashimi and more. At n/naka, these specifications yield dishes like Maine lobster tartare with uni butter and California sturgeon caviar, and Muscovy duck houba yaki with foie gras. The meal comes with similarly diverse beverage pairings—sake to start, Portuguese port to finish and wines in between.


File:Stumptown Coffee Roasters window.jpg
Stumptown Coffee is expanding to LA.

Pour Vous bar, Hollywood

“The space is separated into four main parts: a lengthy marble bar to the left, w/ antiqued mirrors and a steampunk-ified vintage espresso maker rejiggered to pour four tap beers; a sunken seating area to the right, w/ plush velvet couches and a fireplace under a domed skylight; a formerly working train trolley (!) that’s been refurbished into a backyard smoking area” Thrillist

oysters at Pour Vous
Wolfslair Biergarten, Hollywood

“This dark-wooded biergarten kinda feels like that taxidermy-wolf bar in Hostel where the kids talk about how much fun they are having in Europe before they have much less fun being killed.” Thrillist


The Wellesbourne in West Los Angeles

Picture brass reading lamps, a bar menu printed on textured paper, oversized bookshelves jammed with books and guest checks issued in miniature novels…”

Los Angeles Brewing Company
AV nightclub, Los Angeles / Photos: Genie Fitzgerald

The Blue Whale jazz club is LA’s hottest. Located on Astronaut street in Little Toyko.

Parc bar, Beverly Hills

“It’s that living room-y space located across from Scarpetta on the ground floor of the Montage in Beverly Hills with sweeping vistas of Canon Gardens. Each evening at Parq,  different musical genre such as jazz, R&B or blues and a fresh lineup of talented local and regional artists are featured. From 8 p.m. to 12 a.m. nightly, you can settle in with a glass of wine, Champagne or a classic cocktail and enjoy house-made charcuterie, beef and Fourme d’Ambert sliders or fresh farmer’s market produce. Get this! They even offer fresh, hand-crafted sushi.”


Black Hogg, in Silverlake neighborhood, Los Angeles from Chef/owner Eric Park (The Spotted Pig, Eleven Madison Park in New York City)

Little Bear Belgian beer bar in east of downtown Los Angeles is rolling. (Photo: Savory Hunter blog)

Umamicatessen’s Soft Opening, DTLA (Photo: Darin Dines/Eater National Flickr Pool)

Burger Demand in Los Angeles Grabs Hold in New York Patrick Fallon/Bloomberg
Customers eat lunch at UMAMIcatessen in Los Angeles.

Beautiful Pork @ PIGG, UMAMIcatessen

TOP 1: Burgers Ozark (CA, MO)
2: Finchville (KY)
3. Iberico de Bellota (Spain)
Bottom 4. Iberico de Bellota paletta (Spain)

bacon and dipping sauce from PIGG. It has an off the chain selection of tastes of the worlds finest hams from Spain.

For years Water Grill was the only Michelin starred restaurant in downtown LA. Now its has completed a $1.5 million upgrade and is more fabulous and phenomenal than ever.

Fresh seafood displayed at the bar counter at the Water Grill in downtown LAGovind Armstrong’s new Post & Beam is the first truly upscale restaurant and cocktail bar in Central Los Angeles, south of the Santa Monica (10) freeway in a predominantly African-American community. Nearby is one of the wealthiest black communities in the U.S. in Baldwin Hills.

Pasta at Post & Beam in Central Los Angeles

Beacher’s Madhouse at the Roosevelt Hotel, Hollywood

“And fourth, saving the wildest for last is Beacher’s Madhouse — a revolutionary Vaudeville-inspired theater on the hotel’s lower level, with European influences and echoes of the Folies Bergére. The venue extends 3,000 square feet, featuring a mirrored passageway, a 1920s-inspired main stage, antique brass accents and red velvet curtains. Eighteen VIP banquettes of various sizes are available throughout the theater including an exclusive birdcage booth with seating for 20. Concessions and catering are offered to guests as they enjoy the performances and order drinks from the Beau Joie Flying Midget bartender mixing up cocktails at the fully operating Midget Bar.”

Hollywood Roosevelt Hotel

Beacher’s Madhouse Theater, Thompson’s Hollywood Roosevelt Hotel.

Artisan House Interior - H 2011
Artisan House joins Botegga Louis and many new restaurants coming to the quickly transforming Broadway corridor.

Artisan House
Officially opening today, this massive, high-ceilinged complex full of reclaimed marble on the ground floor of the Pacific Electric Lofts in the Historic Core is remarkably ambitious. The sit-down restaurant serves foie gras terrines just a block from Skid Row. The bar finds mixologist Elden McFeron III, a vet of The Bazaar, whipping up margaritas cryo-frozen with liquid nitrogen. And the market annex sells made-to-order deli sandwiches—as well as gelato, wine and more—until 2AM (and an hour later on weekends). 600 S. Main St., L.A., 213.622.6333, (Hollywood Reporter)

Oldfield’s bar

Pattern Bar opened in the fall of 2011 on  9th/Main in Downtown LA

batch-restaurantBatch, a new gastropub in Culver City.

Batch Restaurant & Bar is now open in Culver City offering artisanal food and handcrafted cocktails in a sophisticated and lively environment.

Short Order is one of several new LA gourmet burger bars. They recently added a selection of savories by Walter Manszke, whose won restaurant, Republique, is on the most anticipated new dining destinations in LA. It will be downtown.

Golden Road Brewing , Los Angeles

Chicago has seen the rise and collapse of brewpubs since the late 1980′s. The now famous Goose Island (an actual tiny island with a superb brewing facility and lively bar and restaurant in Chicago) hails from that time and is a standard-bearer today. The Chicago Beer Society’s Real Ale Festival started in 1996 and was closed in 2003, when the were forced out of business by the liquor commission who said they had to license the former steel factory they used each year as a year round tavern. The festival closed and relocated to San Diego. Chicago’s global beer bar – the Map Room – opened in 1992. The Chicago Beer Society was formed in 1977. Ray Daniels Cicerone Certification Program has so far produced 38 Certified Cicerone’s in Chicago and 8 in Greater Los Angeles. The 6,000 square foot The Publican (Belgian beer and grub bar, every waiter and bartender is a certified beer server (level 3 in the Beer Cicero education program, with Master Cicerone and Certified Cicerone being levels one and 2. There are now 2 Master Cicerone’s in Chicago). Unbelieveably, and unlike in the past, when major breweries were out to destroy the smaller breweries, Goose Island has been absorbed into Anheuser-Busch In Bev, yet Goose Island remains a true artisanal brewer with its full arsenal of flavors. Chicago is building neighborhood breweries to compliment the rise of their city’s culinary programs to being at the upper strata of American cuisine. Since it was city-based breweries that did not ship out their beer that were at the start of the American beer industry, what we have then is a return to the same place that the industry started, but this time, actually producing product in America that has already been on this planet for somewhere between 700 and 2000 years, depending on the place of the earth you choose as a starting point.

Ray & Stark bar, LACMA

Cook’s country is one of the most rewarding new artisan restaurants in LA.

Handsome Coffee Roasters

A sneak peak at the new flagship store in LA’s downtown Arts District

by Julie Wolfson in Food-Drink on 15 February 2012 / Coolhunting


For the last few months, the corner of 5th and Mateo in the Arts District of downtown Los Angeles has been abuzz with activity as the WoodSmithe team puts the finishing touches on Handsome Coffee Roasters‘ flagship store. Handsome has made a splash in the specialty coffee world since they announced that Tyler Wells and Chris Owens would be teaming up with World Barista Champion Michael Phillips to launch the coffee company of their dreams.


With the space nearly ready to open its doors, the collaboration between the roasters and the builders—who also happen to be neighbors—seems like a natural one. Also in on the operation is Na Young Ma’s Proof Bakery, whose pastries will be served alongside the coffee.


“Frank Gehry Designing New Jazz Bakery Theater in Culver City” (Curbed LA)

Tuesday, January 31, 2012, by Adrian Glick Kudler

“Current site photo via Culver City Times The Jazz Bakery is getting a new permanent home in Culver City and it’ll be designed by Frank Gehry, who we don’t often see around these parts anymore. The jazz nonprofit has been itinerant since 2009, when it lost its lease in the Helms Bakery complex, but about a year ago it got a $2 million grant from the Annenberg Foundation and made a deal with the Culver City Redevelopment Agency for a piece of land on Washington Blvd., next to the Kirk Douglas Theatre. Last night, the city council signed off on the land deal (probably in advance of the redevelopment agency apocalypse going down tomorrow), reports the Culver City Times. The Jazz Bakery will get the land for free on the condition that it goes ahead with plans for a “premier live performance state of the art jazz venue with two hundred and fifty (250) seats, ground level lobby, a jazz museum, black box performance area and a bakery/café with outdoor dining,” as described by the staff report on the matter. The Bakery plans to hold about 250 shows a year. According to the CC Times, the whole project will cost $10.2 million, so the Jazz Bakery will be holding a capital campaign to supplement the Annenberg grant.” (Curbed)

LA To Get Film Museum next to LACMA in 2016

Film News

Posted: Tue., Mar. 27, 2012, 4:45pm PT

Academy adds to future museum (Variety magazine)

Ruby slippers just one recent acquisition

The recently acquired ruby slippers are just one centerpiece for the future Academy museum. The recently acquired ruby slippers are just one centerpiece for the future Academy museum.
The Acad collection includes sketches from “There Will Be Blood.”
“The Acad collection includes sketches from “There Will Be Blood.”

When the Academy of Motion Picture Arts & Sciences gathered for a recent staff meeting at the Pickford Center in Hollywood, the group had the opportunity to see a piece of movie history that impressed even the most senior executives: a pair of ruby slippers from “The Wizard of Oz.”

It was the first time since AMPAS made the acquisition in February that anyone within the org had seen the shoes, and everyone celebrated with red velvet cupcakes embellished with tiny, garnet-colored shoes.

The footwear unveiling was a tangible sign of how much closer the org is getting to opening the decades-in-the-making Academy Museum of Motion Picture Arts & Sciences, the centerpiece of which will be Dorothy’s magical shoes. The Academy recently named execs to run the museum, which is targeted to open at LACMA’s May Co. building in 2016.

“The experience of seeing (the slippers), especially in a crowd, puts everyone in touch with their inner film geek,” said Anne Coco, graphic arts librarian.

The high-profile pair of shoes is just one of the recent additions to the Academy’s massive collection of scripts, press clippings, biographies, costume sketches, movie posters and personal papers, amassed over more than eight decades, that will provide fodder for a wide scope of exhibits when the museum opens.

The library is also processing late-2011 donations from producer Stephen Chin, who gave the library several kung-fu movie posters, and Chicago-based real estate developer Dwight Cleveland, who provided rare film posters from his collection.

“The library is the history of our country, the history of our culture,” Hudson explained.”

Berggruen builds collection for Los Angeles (excerpted)

The German collector shelves plans to build a Berlin museum in favour of long-term loans to the US

By Gareth Harris. News, Issue 231, January 2012
Published online: 05 January 2012

Berggruen is focusing on German and West Coast artists, including Chris Burden, whose Metropolis II (right) is already on loan to Lacma from the collector

The private collector and billionaire Nicolas Berggruen, son of the late German-Jewish art dealer and philanthropist Heinz Berggruen, is set to follow in the footsteps of the collector Eli Broad by sending several works on long-term loans to the Los Angeles County Museum of Art (Lacma), where Berggruen is a trustee. “I’m building up a collection for Lacma,” he says, “focusing on German artists such as Thomas Schütte, Martin Kippenberger, Gerhard Richter and Joseph Beuys.” Works by West Coast artists such as John Baldessari, Ed Ruscha, Charles Ray, Paul McCarthy, Bruce Nauman and Mike Kelley from Berggruen’s collection are also due to end up at the museum. “Los Angeles is still a developing cultural centre and that’s why one can make a difference there,” he says.27 Jan 12

A ‘very special’ city.

“I find L.A. super vibrant. The city is not always considered a serious place, but it has a lot of serious creativity,” he added. “Notwithstanding its problems, California is the idea center of America. If you take away Hollywood and Silicon Valley for the last 20 years, you would have a different world. If you erased New York, I hate to say it, if you erased Frankfurt, even London, the world would not have changed.”

LA MOCA Teams with YouTube for Art Video Channel

By Stephanie Murg on January 23, 2012 9:51 AM

Get ready for MOCA TV! The Museum of Contemporary Art, Los Angeles has teamed with YouTube to create a new video channel for fresh contemporary art and culture programming. The online programming venture, part of YouTube’s new original programming push, is expected to debut in July with an identity designed by L.A.-based Studio Number One. “Contemporary art is the new international language, unifying leading creators across art, music, fashion, film, and design,” said MOCA director Jeffrey Deitch, who has always struck us as a natural VJ. “MOCA TV will be the ultimate digital extension of the museum, aggregating, curating, and generating the strongest artistic content from around the world for a new global audience of people who are engaged in visually oriented culture.” Slated for the MOCA TV line-up? Global art news briefs, programs focused on the latest collaborative projects (art and music, art and fashion), looks inside artists’ studios, the street art beat (natch), and an interactive education series called MOCA University. The musem has tapped social media company theAudience to help get the word out about MOCA TV as the launch approaches.

The Bordello is now the One Eyed Gypsy!

The re-model looks gorgeous, and I’m glad to see they haven’t lost their steam-punk circus vibe! They just added an old-school fortune-teller, a love-o-meter, and two skee ball machines that distribute tickets redeemable for drinks & food! And they didn’t leave out the grub, The Brite Spot guy will be slinging an extensive fried menu (corn dogs, sweet potato tots, funnel cakes, deep-fried Chocodiles, etc.) as well as share-eats like a reuben pizza with sauerkraut, corned beef, and thousand island.
The Escondite burger bar in downtown LA

United Artists Theater to Be Ace Hotel

photo by Gary Leonard

United Artists Theater

Posted: Monday, January 23, 2012 7:45 pm | Updated: 3:53 pm, Tue Jan 24, 2012.

By Ryan Vaillancourt, Staff Writer | 0 comments

DOWNTOWN LOS ANGELES – Oregon-based Ace Hotel has confirmed plans to open in the historic United Artists Theater on Broadway.

The hotel chain’s plan calls for 180 rooms in the former office building’s 13 floors, and it will include a 1,600-seat entertainment venue in the structure’s namesake theater. The plan also calls for a pool, restaurant and bar in the edifice that has not been fully activated in decades, according to the office of 14th District Councilman José Huizar.

The Broadway landmark had long been owned by the University Cathedral, a congregation made famous by its late founding pastor, Dr. Gene Scott. The church has maintained the building, which was built in 1927 by United Artists founders D.W. Griffith, Charlie Chaplin, Douglas Fairbanks and Mary Pickford.

The building was the tallest privately owned building in Los Angeles until 1956, Huizar’s office said.

King & Grove Coming to LA, Possibly with Two Hotels

Where: Los Angeles, CA, United States
December 23, 2011 at 10:30 AM | by | Comments (0)

Lanyard key chains at Ruschmeyer’s, a King & Grove Hotel in Montauk.

Downtown LA blog Brigham Yen found out earlier this month that indeed King & Grove would open up inside the old Hotel Clark near 4th and Hill Streets in downtown’s Historic Core district (and just a few blocks away from the intended Ace Hotel.) A rep for King & Grove confirmed the scoop but was not able to release any further details. Still, Brigham Yen had noticed some renovations going on at the hotel including a new pool deck and some new orange curtains.

But one hotel might not be enough for King & Grove as the blog now says that the old Trinity Auditorium at 9th and Grand Ave in downtown could possibly be a second King & Grove hotel as well.

Breaking News: Hotel Clark to be Reborn as King & Grove Hotel in Downtown LA

Posted on December 2, 2011 by | 14 Comments
“King & Grove is a new lifestyle hotel brand defined by modern luxury with eclectic influences. Dedicated to creating intriguing hotels that are sophisticated yet accessible, King & Grove is launching a collection of iconic destinations themed by a sense of nostalgia delivered through thoughtfully crafted environments. With an emphasis on immersive service, King & Grove hotels will feature honest and aspiring restaurants and bars, progressive retail, and unique amenities.”After sending an inquiry to King and Grove asking about their involvement with the Hotel Clark, I received a reply back from Jennifer Foley Shields, VP of Media Relations for King and Grove Hotels, “The Clark will become a King & Grove property, you are correct. At this point, I’m not able to provide any further detail.”Examples of King & Grove’s hotels:

King & Grove Hotel in Miami South Beach (Photo: King & Grove)
King & Grove Hotel in Montauk, New York (Photo: King & Grove)
King & Grove Hotel in Montauk, New York (Photo: King & Grove)
Downtown bar“NEW COCKTAIL LOUNGE THE AVIARY Calling The Aviary Chicago’s best cocktail lounge is needless and obvious, considering the oceans of ink already expended on this months-old Fulton Market bar, but it must be said: This brainchild of Alinea’s chef, Grant Achatz, and his business partner, Nick Kokonas, is the most ambitious, fully realized, innovative twist on drinking the city has ever seen. One sip of its take on an old-fashioned (In the Rocks, $18), which requires the drinker to crack a bourbon-filled egg of ice with a miniature slingshot, and we were hooked. Not to mention attentive, polished service; a gorgeous room blissfully devoid of false Old World charm; and finger food straight out of the Alinea playbook.”

Aviary molecular cocktail lounge from Chicago will be expanding to LA

Macao Trading Co. is one of New York City’s most fun bar.restaurants that is coming to LA

“Bagatelle has long been a St. Tropez-infused phenomenon in New York, feeding the city’s elite for years. Now emerging hospitality group Brand Essence and industry leaders The ONE Group will bring Bagatelle’s legendary dining experience to the West Coast with a multi-room indoor/outdoor establishment located in the heart of West Hollywood. Created by design firm Studio BRASA, the 2,700 square foot restaurant’s motif resembles the salon of the Parisian apartment of an international jet setter. Bagatelle’s patrons will be treated to seasonal, French-Mediterranean menu offerings by Chef Scott Quinn, whose inspiration and experience are sure to provide a lively and fine dining experience for L.A.’s globetrotters, foodies, celebrities and tastemakers.”



Bardot supperclub at the Avalon in Hollywood

Bardot at the Avalon, Hollywood

The Spare Room lounge, inside the Hollywood Roosevelt hotel

A decade ago Los Angeles seemed unconcerned with the new American phenomenon of artisan and craft beer bars, Belgian beer bars, artisan cocktail bars, adventurous upscale dining. It was only six years ago that the Los Angeles Times ran articles where local restaurants said there were only 500 serious diners in LA, and that group moved from new restaurant to new restaurant, causing the recently hot place to go under. The same newspaper chronicled the rise into the heavens of the new Las Vegas restaurant scene,  while slamming much the restaurant scene here at the time. Las Vegas,which is no doubt the most stellar today in the West at the uppermost levels of dining, as it now offers a dazzling array of European and America Michelin starred chef driven dining destinations, seems to have educated the palates of Angelinos as to the degrees of playful elegance that a truly global restaurant could offer its guests. Perhaps because of this influence of the Los Angeles palate, a new world of exceptionally good restaurants is now in Los Angeles as never before. Over the past couple years LA has gained authentic Noodle Bars from Tokyo, high-end steak houses and Italian eateries from New York, and finally we in LA now have several of the most coveted cocktail and beer bars in America, with several more planned, including one by a LA entrepreneur who promises to bring to LA a bar that he considers the best in the world. Los Angeles of course has benefited tremendously from the New York cocktail world expanding into the warm weather climate without a beach of downtown Los Angeles. I have to say that this is the first time I have been as excited about going out in LA to a great new bar or restaurant, as verses planning on have a phenomenal time in San Francisco and spending quiet evenings in LA to rest up for another trip to a mecca for entertainment like Miami Beach or New York City.

The Writers Room, enter via the back of historic Musso & Franks, Hollywood. The bar is named after the major fiction writer’s meeting place that the space once inhabited. (photo: Vogue Daily)

So here now refer to you some of my choices for the best of the new Los Angeles, 2011.

(Please note that this post will grow throughout 2011)

Downtown Los Angeles breaks into the extensive beers selection beer store with the beautiful and dark woods of 8th’s Street Bottle shop. “The 8th Street Bottle Shop will be housed just inside the entrance door at Golden Gopher whose rare 1903-issued liquor license provides for on site and packaged liquor to go sales. ” Beer Chicks Los Angeles

Sunset Beer in Echo Park promises to grow to over 1,000 different bottles of beer, giving LA a real neighborhood place to pick up something special, just like in Portland.

The sensational Total Wine and More has entered the Southern California adult beverage market

Total Wine and More has raised the everyday experience of buying beer, wine and spirits in LA/Orange County region. It has to be the case that the emergence of artisan and craft beer bars and haute cocktail lounges in Los Angeles over the past two years is the reason Total Wine and More saw there was a market in LA for their level of shopper. The largest store is in Tustin, at 50,000 square feet, yet even the Northridge store blows away every other place in town, from variety to price. Total Wine carries all the truly deluxe bottles of tequila, and has $2,000 gorgeous bottles of wine. The store has several hundred kinds of artisan and craft beer, possibly as much as the incredible Berkeley Bowl gourmet low-priced – yes – it’s true! supermarket in Berkeley, California, where we make twice a year trips just to shop and bring home countless provisions not available to us here in LA. When people here first visit Total Wine and More they start calling their friends and telling them they’ve got to get over there now!  Total Wine and More has in store ads saying they are crushing another beverage store here, from the handsome look of Total Wine as compared to the LA low rent warehouse way of selling product, to astounding variety, to pricing that blows the competition away.

Steingarten in West Los Angeles has 20 beers on tap and a menu of exotic meats to devour

In the coming months watch for several new craft beer bars in LA, including Beer Belly in Koreatown, Mohawk, a 10,000 square foot bar in Echo Park, and Smith House, in Century City (West LA), which will have 120 beers on tap. Steingarten has opened in West Los Angeles. The LATimes reports that the Houston brothers will also be opening a German beer hall in LA.


Mohawk Bend patio, Echo Park

Mohawk Bend, restaurant and bar interior, Echo Park

The second venture from owner Tony Yanow and manager Paige Reilly of Tony’s Darts Away fame, Mohawk Bend debuts in April in newly hipsterized Echo Park. The 10,000-square-foot facility is an ode to beer and farm-fresh California cuisine, with half of the menu (and the kitchen) dedicated to vegan fare. (But don’t expect a pushy, green-fiend staff; “We like to open the vegan door but not push anyone through it,” says Yanow.) For herbivores, there’s mochi-crust pizza; meat-lovers will relish the duck-pork Dork Burger. Every palate will savor the whopping 72 taps—including five nitro faucets and two hand pumps—pouring strictly Cali brews, like house favorites Hangar 24 Orange Wheat. 2141 Sunset Blvd. (Draft magazine)

The Hemingway lounge in Hollywood has ten thousand books on its shelves and is known for its strong cocktail program. Future plans for this lounge are to open a Cuban  coffee and African tea lounge next door.

Las Perlas, Cedd Moses mezcal and tequila bar in downtown Los Angeles

“Those who want ready-to-go ice for their cocktail should reach for Névé ice (available at Barkeeper in Silver Lake). Founded by former barman Michael Dozois of Seven Grand, Névé delivers perfect Collins and Rocks Glass cubes to consumers and bars anywhere in the United States.” (Seven Grand is also one of Cedd Moses’ collection of high quality LA bars.)”

Villains Tavern, on the eastern edge of downtown Los Angeles.

Villains Tavern opened in 2010

The Tar Pit opened in 2010 with beverage direction from the Pegu Club in New York. (Photo: Caroline on Crack)

The bar at the Tar Pit

La Descargas bar, on Western Avenue in East Hollywood, by the Houston Brothers. This is the first bar they transformed for LA.

Harvard and Stone bar, East Hollywood, by the Houston brothers, opened in March 2011

Library Ale House, Santa Monica, California

Wood and Vine, Hollywood
L.A.’s Smart Summer Art Hang: Ray’s Restaurant & Stark Bar

Stark bar at LACMA is one of the hottest new bars in Los Angeles

Bar concepts

Only about a decade after the Belgian beer bar boom happened in New York and San Francisco, downtown Los Angeles will finally be getting an authentic Belgian beer bar called Little Bear. Royal Clayton’s was in this space during the time that Walter Manske manned the stoves at across the street Church & State, which while he was there was the most sensation restaurant in Los Angeles. The bar will feature L.A.’s first certified beer cicerone. Chicago has three and also has a full on 3 tier cicerone training program that is providing core educations to hundreds of first tier Chicago bar helpers. (10.21.11)


The Gin Palace, a new bar planned for downtown Los Angeles

New York’s new gin palace will be fancier than this one.

“Ravi DeRossi, co-owner of an East Village mini-empire that includes Desnuda, Mayahuel, Cienfuegos, and Death & Co., is opening a new spot called Gin Palace, a spin on the original Victorian dive bars.

Gin Palace will be an upscale spin on the louche enterprises where Victorians boozed up. It will focus on gin, with a majority of cocktails made with the spirit. As for food, DeRossi says that he’ll offer “hundreds” of kinds of tea sandwiches, served on three-tiered silver platters.”

Legendary New York barmen Alex Day and David Kaplan, of Death & Co. bar NYC, have plans to open either an LA Death  Co. or another establishment or both. They are already in Los Angeles, reconfiguring cocktail programs across the city.

By summer LA will have two authentic currywursts that will be open late for the all night party crowd.


Manhattan Beach Post gives LA its first authentic dining destination restaurant a block from the Pacific Ocean.

At Manhattan Beach Post, we loved out entire meal. This restaurant and Playa on Melrose Avenue in Los Angeles gave us our two most rewarding meals in LA this year. Please make sure to order the cheese and bacon biscuits….

…and the asparagus dish – which transported us into Paris. One could only wonder what LA would be like were our oceanfront dotted with restaurants and bars of this caliber.

Son of a Gun restaurant, a new seafood palace, whose parent restaurant Animal received mountains of national press for its creativity with pork dishes. Bon Appetit just named Son of A Gun one of the top 10 new restaurtants in America for 2011.

Picca will be Richardo Zarate’s highly anticipate modern Peruvian restaurant.

Picca will be a “contemporary anticucho, ceviche, causa and cocktail concept.” We are certainly looking forward to this experience, especially because of the extraordinary food we had at Moi Chica on South Grand Ave. in South Los Angeles. Picca will be in The Townhouse, along with Sotto, in LA’s West Side. There are reports that Moi Chica, Zarate’s original LA restaurant sensation, will reopen in a downtown LA setting. We have waited years in LA to have upscale food of this kind.

Lukshon, the just opened luxury Pan Asian restaurant from LA’s first serious quality cult burger bar, Father’s Office. One of our favorite dishes is the spicy chicken pops, get some!

Lukshon, second interior

Playa, the global Latin cuisine inspired new restaurant on LA’s West Side. Its parent Restaurant, Rivera, in downtown LA, is just as memorable an encounter. (LATimes photo)

Sotto’s Ferrara pizza oven from Naples, Italy is only one of 10 in the U.S. It is the first in Los Angeles.

Lazy Ox Canteen, Little Toyko, downtown Los Angeles. Go for the lamb burger! This restaurant garnered major press in LA when it opened in 2010.

Waterloo & City, one of the top new gastropubs in Los Angeles, it serves a contemporary take on British pub food.


Pizzeria Mozza in Los Angeles is the best pizza we’ve ever had. It is one of the places that has brought LA to a new level of casual yet superior dining experience. At sometime this year, the third Mozza will open in Newport Beach. The image here is of a projected 3,500 sq. ft restaurant for Pizzeria Mozza Newport Beach. It will have all of what the LA version has, with an updated Mozza-to-go.

Marcel’s Quantum Kitchen food network television program will cause his soon to open LA restaurant, will make his upcoming LA restaurant an instant sensation. This television showing of his working method, his interest in employing the latest in food technology devices, and his excellence in transforming high concept into exquisite new dishes, will make his projected 60 seat LA restaurant concept fill up with reservations like few other places have experienced in Los Angeles.

The Daily Truffle reports that “Michael Ovitz will open Ink (with Michael Voltaggio of Top Chef) is his old restaurant space which housed Hamasaku.”

There are also reports that Thomas Keller will open his Ad Hoc restaurant in Los Angeles.

Bastide veteran Paul Shoemaker (the greatest restaurant contemporary LA’s histor with multiple star chefs) has announced plans to open an artisan pizza parlor and craft beer bar that promises to be “Father’s Office meets Pizzeria Biano in Phoenix

The owners of Rustic Canyon and Huckleberry – perhaps LA’s best breakfast, certainly it is awesome! is opening an artisan pizza parlor and bakery in Santa Monica later this year. So of a sudden the West Side will have a real artisan pizza scene.

This coming July 2011, on Venice, California’s Abbott Kinney boulevard, already one of the hottest scenes in all of Los Angeles, Local 1205, a 3,500 square foot gourmet market. I spoke to my partner about how we in LA are not getting true gourmet food encounters like never, yet we still have miles to go before we catch up to San Francisco and the Bay area, whose restaurant, pizza and artisan cocktail bar scene is on fire. It will really be really nice to not have to go up Northern Cali to get some satisfaction.

“His partner is Steve Carlin, founder of the Bay Area’s Oakville Grocery and Napa’s Oxbow Market, and project manager of SF’s Ferry Building Marketplace and the recent organic market addition in the city’s airport.” (The Feast)
a nearly 24-hour emporium that combines retail and sit-down eat-in options. The 3500-square-foot space will have sidewalk seating, a juice bar, a patio, a raw bar, and will be similar to Dean and Deluca and other famed gourmet Bay area/New York City food emporiums.

“The food will be half organic/Slow Food movement, half rich, luxurious, snotty food”—by which he means oysters, caviar and foie gras. Smoked fish, bagels, charcuterie, cheese, Portuguese-style pizza, sandwiches, rotisserie meats, frozen custard, and flowers will also be on offer.” (The Feast)

Local 1205 will be at 1205 Abbot Kinney Boulevard, and will be open daily from 7 a.m. – 4 a.m.  [The Feast]”

Ken Friedman, co-owner of New York’s West Village (with April Bloomfield), Michelin starred British gastropub The Spotted Pig, has promised his Mom who lives in San Diego that he will be opening a major seafood restaurant in LA by the end of the year. My partner and I fell in love with his white-hot restaurant in the Ace Hotel in New York City, The Breslin, which is named after the original name of the building that  too cool The Ace Hotel now resides in. The hotel features a Stumptown Coffee café and a new seafood dream of a restaurant  called The John Dory. I have covered this in another blog post about a trip to New York. By the way – the best slice of pizza I’ve ever tasted was a smoked black olive pizza that my daughter ordered at Pulino’s, which is a recently opened a Friedman establishment on The Bowery. As it turns out, Mario Batali’s restaurant group is also partnered in with Friedman and Bloomfield, which may explain why Friedman is expanding to Los Angeles at this time.

In a November 2007 New York Observer interview, Friedman said this about gastropubs: “Pub means public house. In England, it was where the poor people went, and the animal hanging outside the door [as it does at the Spotted Pig, in place of an actual sign] was because they couldn’t read. It was literally, ‘Meet me at the pig at eight!’

Friedman said this about his Los Angeles plans: “For some strange reason there are very few seafood places here even though we’re on the ocean. We’re at a certain point where we can open restaurants in places we want to be, like London or San Francisco or L.A.. ”  (Paper magazine, April 2011)

Friedman also recently noted that Los Angeles is on the ocean, it seems to not be engaged in eating from the sea. Many others have observed this, but may not take into account the orgy of sushi bars in LA, that are part of growing LA’s fixation of Japanese products, from cars to sushi bars and now to robata bars and beyond.


Michael Voltaggio’s ink.sack



The Factory Place Arts complex will be expanded with 8,00 sq. ft. 140 seat restaurant space in a 1920’s warehouse called Republique that will be home to former Bastide Chef Walter Manzke. The bistronomy inspired Republique restaurant will have a curated good and full baking department via his  wife, called the Factory Baking Co. The Los Angeles Times reported on August 22, 2011 that “The Manzkes took several Paris trips that included visits to restaurants such as Le Comptoir, Chateaubriand, Spring, Frenchie and Chez Dumonet.”

I went to The Tasting Kitchen for my birthday earlier this year. Both it and the next door Gjelina are two of my top special occasion restaurants in LA (actually on ultra cool Abbott Kinney in Venice Beach). So when I read that The Tasting Kitchen was opening what they are describing as “a true gastropub” – this got my attention on the spot and it will soon be on my dining calendar. Scheduled to open at the end of 2011. The Tasting Kitchen’s crew is from Portland. They ran the best restaurant in the city when they were in town, called Clark & Lewis. When their newest venture opens, it will mark the warehouse arts district downtown Los Angeles as a major new dining hotspot of LA.


From Chicago’s Bill Kim we have a noodle bar concept called Belly Pop that will open in downtown Los Angeles. Kim’s Belly Shack in Chicago was  food world sensation when it opened, and has since garnered a Michelin Bib Gourmand award. Studio City has already been blessed with Ramen Jinya, an authentic noodle bar from Japan, which itself has expanded to the  Japanese restaurants district of Sawtelle avenue in West LA, but this one has a liquor license. Nearby yet another direct from Japan noodle bar import has opened, called Tsujita LA Artisan Noodle. It is part of a Tokyo based chain and is the first U.S. location.

los angeles: tsujita restaurant opening

© tsujita – artisan noodles anyone? (photos by Superfuture magazine online)

“if your craving for good noodles is as regular as ours, and you live in los angeles…lucky you! artisan noodle restaurant tsujita hails from tokyo and has just opened a rather spectacular new branch in california, the first one stateside. designed in a clean contemporary yet japanese style, tsujita’s most striking interior feature is an intricately designed ceiling installation of sorts.

crafted by japanese designer takeshi sano, it’s poetically inspired by clouds surrounding izumo shrine in japan’s shimane prefecture, using 25,000 drum stick-shaped wooden sticks. obviously tsujita serves noodles or ramen, but also a wide range of typically tokyo-style japanese fusion food. you just have to drop by and taste it yourself. location: 2057 sawtelle boulevard [west los angeles].” Superfuture magazine online


“Why did you choose L.A. for Lindy & Grundy?

Erika: Amelia is born and raised in Los Angeles, so we would come visit her family here a lot, and we saw that there was a great need for a whole animal, sustainable butcher shop. We try to source as close to L.A. as possible. Everything other than our lamb comes from a 150-mile radius of our butcher shop.” from Cool Hunting’s interview of Lindy & Grundy.”

Sabatino & Co. Roma supplied several of Americas top restaurants with truffles. Soon the store will open in LA and offer truffles as well as gourmet foods and products from Italy. This  certainly makes up for LA/OC not having a Dean & DeLuccas

The news of the year in food for Los Angeles is that the world’s largest Italian gourmet food emporium, Eataly, will be opening in LA, in the Fairfax district. Eataly has several eating stations, and will be making fresh pasta daily. There will be an astounding array of prepared meats, wonderful rustic breads, and so much more. The NYC Eataly opened last fall. It has a free-standing restaurant that is mobbed. It is about to open its 4 part craft beer bar on the roof of its building on at 24th street and 5th avenue in Manhattan. It will be amazing to watch LA go from having none of the major gourmet markets to having one of the top places on earth. There are already three Eataly locations in Japan, and five in Italy.  Perhaps now we’ll also get a Berkeley Bowl supermarket from Northern California, which would be a dream.

Eataly in Turin, Italy (AP Photo/Massimo Pinca)

Eataly NYC bread station

Eataly NYCs fresh pasta station (photo AliceQFoodie)

Performing Arts venues arts

In 2011 several new performing arts venues opened or broke ground in Los Angeles. Already the performing arts scene is more dynamic than ever, with several major events happening in a single month, so much so that LA now has a dedicated Dance Calendar. In the past two years alone I’ve seen Pina Bausch Dance Wuppertal, the Berlin Phiharmonic, the Munich Symphony, Kidd Pivot Frankfurt dance company, the Wooster Group at Redcat Disney (three different tremendous experimental theater plays!), and a lot more. With these new venues LA will be able to have wall to wall performances.

Wallis Annenberg Center for the Performing Arts, Beverly Hills, CA

Valley Performing Arts Center, Cal State Nortridge

Performing arts hall, Cal State Northridge

The Broad Stage, Santa Monica College



New York’s Perry Rubenstein gallery has announced that it will relocate to LA into a 7,500 sq. ft space in fall 2011.

“I’m bringing to Los Angeles the perspective of someone who has lived and worked his entire life on the Atlantic seaboard,” says Rubenstein. “Los Angeles is a new center. It looks today the way New York looked compared to Paris after the war.”

Rubenstein is one of many New York art world personalities who is convinced that Los Angeles is post-war New York City. This is of course the time when NYC overtook the 300 year old Paris artworld  and became the new center of Western world international art. What is interesting is that NYC has been talking about LA for over 60 years, first as a no place, then a place with potential that always seemed to fizz out. Now it is being seen for the first time as THE PLACE WHERE CONTEMPORARY ART COMES FROM IN AMERICA.

In 2011 LA’s first art parade will tale place in downtown LA, courtesy of West of Rome, the LA nonprofit visual arts presenter.

LA really separated itself from the rest of the West Coast in 2011 with recent announcements of their being the first LA Biennale in 2012. Yet the major news is in 2011, with LA finally getting a layer of its own art history on paper, with the 50 some exhibitions planned that open as early as late September 2011. The major shows will be at the Getty and MoCA, with several other equally significant but smaller group shows throughout Southern California in 2011 and 2012. In the fall of 2011 LA gets the first West Coast version of the Armory Show with Art Platform Los Angeles. The Pulse Fair of Miami and NYC is also expanding to LA and will put on a huge exhibition during the same time as Art Platform Los Angeles. There are also more powerful artist run spaces in Los Angeles than at any time in its history. These spaces are serving as both project spaces for artists yet serving as commercial galleries but without the backroom storage. They are promoting the artists they show to an international audience that now visits LA monthly, as LA is now unquestionably one of the most important centers of art production and exhibition in the worl

May 2011:

London based contemporary art collector and curator Kay Saatchi moves to Los Angeles to be at the forefront of the new LA art scene. Over the next month more press reveals her plans to create major exhibitions of LA art, which she also will be collecting.


The Swiss/US based HUB Foundation announces an exciting new exhibition program in Los Angeles that will use multiple venues in winter 2012. (from the Artnewspaper, London)

LA Art collector Dean Valentine launches Bowmont Art, in 7,000 square feet of space at the Pacific Design Center in West Hollywood. Initial plans are to showcase his collection, and to have performances, talks and other programming.

summer 2011:

 L&M Arts talks about their expansion to Los Angeles (from Artinfo)
“Why did you open in LA

DL: There’s a creative energy there right now, and a fabulous number of talented artists living there. Not just young ones. If you think of the living established artists there, you think of Ed Ruscha, Baldessari, Charles Ray, Paul McCarthy, Barbara Kruger—they all live in LA. There are museums with an energy that’s quite unique. The creativity is comparable to what New York was like at the time of the [abstract expressionists]. Plus, we found a gorgeous building—it’s very beautiful.

RM: I was there last week, I was so proud of just standing in front of that building. I felt like it was one of my kids.

And the focus of the LA gallery is the primary market?

DL: Absolutely. It was a natural evolution of the gallery. There’s always been a major interest in contemporary art. We had done some primary shows: Bob was the first to do a major Jeff Koons show. But in New York, the market is saturated. You have to enter into a big fist fight to work with some of the artists. In LA, that happens less.

How is the market in LA?

RM: The only totally honest thing to say is that we see a tremendous amount of interest. We did one traditional show just to give a feeling of the range of what we do: a De Kooning show that I’m very proud of with great works on paper from 1947-52. But nothing was for sale, so the market could have been phenomenal and we wouldn’t have known one way or another.”

New York/Miami art fair veteran Fountain Art F announces it’s participation in Pacific Standard Time. Art Platform LA Weekend for 2011.

The Broad Contemporary Art Museum, to be built in downtown Los Angeles, opening in 2013

Art Platform Los Angeles will be the first major new art fair in LA. It is the creation of the same folks who own and put on The Armory Show in New York City, and the Volta Show. It promises to be an exciting time, from its gala opening on September 30, through the shows closing October 3, 2011. It opens along with Pacific Standard Time, which will see over 60 California arts institutions showcase the history of the Los Angele art scene from 1945 through 1980. This is an unprecedented event for Los Angeles.  The Getty museum’s history of LA painting and sculpture of the aforementioned period will be traveling to the Martin Gropius Bau in Berlin. The Blues show at MoCA on historical African-American artists in Los Angeles will travel to three other venues and will have a full compliment of ancillary events and a catalog. With Art LA 2011 providing showcdates, this brings the total number of artfairs that will be in LA in the fall of 2011 to four.

artLA brings the experience and knowledge of the Los Angeles landscape garnered over the past two decades, to the service of its exhibitors and collectors.

The Marriott Ritz Carlton at LA Live is nine blocks from Art Platform-LA and overlooks the Pulse tent on LA Live’s parking structure. The breathtaking fourth floor lobby atrium frames the entrance to artLAWe offer 25,000 square feet of column-free floor space with 25’ ceilings joining with 15,000 square feet of additional exhibition space which will house anchor booths, installations, book publishers, museum and vendors in addition to a private café for the fair.”


Vincent Johnson Los Angeles Photographs

Booker’s Del Hi

Ritz Motel in Living Color

Car and leaves

Hollywood station wagon

Neon Vacancy

Poet’s House

Studio Self Storage

The Five Signs of Deano’s

Circus Liquor Parking Lot

Air-Conditioned Motel

Stein on Vine

Beach City Chevrolet

Southern Gents Club

Furst Motel

Furst Motel

Santa Monica, 2005

This is one of my personal all-time favorite photos, which I took in Santa Monica one morning a while back.

What I love about it is that it captures the concrete reality and the ephemeral at once. It shows an image of California that one can actually experience here when driving, which is that the road in front of you has disappeared or ends abruptly.  It also recalls the theme of solid and air, density and atmospheric. All of the man-made signs, street markings and street signs, street lamps, speak of an effort to create the possibility of order. The rising, undulating street appears to possibly be a bridge rising to allow ships to pass underneath it. Yet the movement is illusory. Life is both real and a dream.

Private home, Pasadena, California, 2005g 

In the year 2001 I returned to my project that began in 1995, of photographing Los Angeles, without concern to subject. I would merely take pictures of any and everything I found visually intriguing. Between 1995 and 2007 I would take over 25,000 photographs in the Los Angeles region. I began to categorize the works over time, and then to focus on particular areas, such as Los Angeles vernacular architecture, and photographing LA at night.

I am currently going through my archive. I’ll post more photographs as time allows.

City park, Santa Monica, California, 2005

Parked Cadillac, Los Angeles, 2005

Under the Hollywood Downtowner neon sign, Hollywood, California, 2005

Adventurer motel, near LAX Airport, Los Angeles, 2005

Royal Roost, named after the legendary jazz club in NYC, South Central Los Angeles, 2005

Bitter Redhead bar, Santa Monica, California, 2005

Liquor store, San Fernando Valley, California, 2005

Valley Ho Liquor store, Van Nuys, California

Strip club billboard sign, Van Nuys

Automotive parts store, Van Nuys

Drapery store, San Fernando Valley

Jolly Jug liquor store, North Hollywood

Roofstack, South Central Los Angeles

Motel Tangiers, San Fernando Valley

Market Sign from 1950’s Los Angeles, San Fernando Valley

Streetlamp, MacArthur Park, Los Angeles

Parked black Two-tone Thunderbird, Van Nuys

Mansfield Motel and Movie Billboard, Los Angeles


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