Miami Art Basel 2015 – Must See Exhibitions, Best Parties and Events – Updated Dec. 2, 2015

Changes abound for the upcoming Miami Art Basel week 2015. The NADA Art Fair has a new home – the spectacular billion dollar upgraded historic Fontainbleau Hotel. In all previous locations the fair was free to enter – no more; it now $20 a head. The Rubell Family Collection stays in the forefront of the pulse of the artworld with an all woman artists exhibition that will rotate works over the duration of the show. The Marguiles Warehouse will feature a massive four custom built room exhibition of the work of Anselm Kiefer, whose retrospective I saw at the Royal Academy in London in the fall of 2014. The ICA Miami will be getting its new building in 2017 – meanwhile it will have a show of the NYC video artist Alex Bag. The de la Cruz Collection is doing a survey show loaded with art stars working in abstraction. With NADA, Scope, Pulse all having returned to Miami Beach, the major art fair action on the Miami side is now Art Miami and its Context Art Fair. Miami Projects has also moved to Miami Beach into the Deauville Hotel, which NADA just left after last year. Also up will be three stellar shows at Mana Contemporary – including the Frederick Weisman art foundation in Los Angeles, a selection of the Jorge Perez collection, and a selection of Latin America art. There will also be work from artists working in Bushwick. The other major offering will be the exhibition of representational and realist art curated by Jeffrey Deitch and Larry Gagosian that will be in the Moore Building in Miami’s white-hot Design District, and the Nari Ward retrospective at the Perez Art Museum, now under the direction of Franklin Sirmans. Isaac Julien’s 15 screen video project commission for Rolls Royce makes its North American debut at Young Arts in Wynnwood.
Miami has a couple of new gallery districts – Little River and Little Haiti, that offer warehouse sized exhibition spaces.
Up the road we can look forward to the opening of the Faena Arts Center in Miami Beach, the new ICA Miami building, and the Museum of Latin American art by Miami gallerist Gary Nader.
Vincent Johnson is an artist and writer in Los Angeles. he recently interviewed William Pope L. at MoCA in Los Angeles for the November 2015, 15th Anniversary issue of FROG magazine.
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Art Basel 2015 Sketch Book: 8 Artists to Watch

Mega Guide To Art Basel Miami Beach 2015: Tuesday

Gary Pini

Yves Behar is the recipient of the 2015 Design Miami “Design Visionary Award” and he’ll be honored with a special exhibit in the D/M venue behind the convention center through December 6. The VIP preview is today, December 1st. A student team from Harvard was chosen to design the fair’s entrance for their submission, “UNBUILT,” a collection of foam models of unrealized design projects. Expect thirty five exhibitors inside including Firma Casa from Brazil, showing new works by the Campana Brothers, and Italian gallery Secondome, with hand-crafted limited editions.

The Miami Project is also launching a new spin-off this year called SATELLITE that will show various “experimental” projects in unoccupied properties up near their 73rd Street base. One of those, “Artist-Run,” will fill the rooms in the Ocean Terrace Hotel (7410 Ocean Terrace, Miami Beach) with different installations from 40 artist-run spaces, curated by Tiger Strikes Asteroid. It’s open from December 2nd to 6th, with a VIP/media event today, December 1st, from noon to 10 p.m. ALSO: Trans-Pecos, the music venue out in Queens, New York, and Sam Hillmer from the band Zs, are putting together a 5-day music program in the North Beach Amphitheater, emphasizing “musical practitioners with some form of art practice.”

X Contemporary launches their inaugural fair in Wynwood running from December 2nd through Sunday, and a VIP opening on December 1st from 5 to 10 p.m. Twenty eight exhibitiors will be on hand, plus special projects including “Grace Hartigan: 1960 – 1965” presented by Michael Klein Arts; a look at the “genesis of street art” curated by Pamela Willoughby; and “Colombia N.O.W.” presented by TIMEBAG.

Target Too InstallationPULSE Miami Beach returns to Indian Beach Park (4601 Collins Avenue, Miami Beach) starting with a big “Opening Celebration” at 4 p.m. today, December 1st, featuring a panel discussion put together by Hyperallergic; an interactive piece by Kate Durbin called “Hello, Selfie!” and a live performance by Kalup Linzy. On December 5th, PULSE celebrates the City of Miami via a talk at 5 p.m. on “Future Visions of Miami” and a “Sunset Celebration” from 5 to 7 p.m. Fair visitors can check out “TARGET TOO,” an installation referencing items sold at the stores, originally on view in NYC last March. There’s a complimentary shuttle from the convention center, and the fair is open daily from 10 a.m. to 7 p.m. through Saturday.

Wynwood Walls (2520 NW 2nd Avenue, Miami) has a lot planned this year including “Walls of Change” with 14 new murals and installations and the debut of a new adjacent space called “The Wynwood Walls Garden.” The walls are by Case, Crash, Cryptik, el Seed, Erenest Zacharevic, Fafi, Hueman, INTI, The London Police, Logan Hicks and Ryan McGinness. Over in the “garden,” the Spanish art duo Pichi & Avo are doing a mural on stacked shipping containers and in the events space, Magnus Sodamin will be painting the floors and walls. The VIP opening is on December 1st in the early evening, but then it’s open to the public from 11 p.m. to 2 a.m. Goldman Properties’ CEO Jessica Goldman Srebnick talks about how art transformed the Wynwood neighborhood in THIS Miami New Times piece. We also hear that New York developer (and owner of Moishe’s Moving, Mana Contemporary etc.) Moishe Mana is planning a new mixed-use development on his 30 acres of land in the middle of Wynwood.

Jeffrey Deitch and Larry Gagosian are co-presenting an exhibition of figurative painting and sculpture called “UnRealism” at 191 NE 40th Street, Miami. The opening is on Tuesday, December 1st, but it will be on view all week. According to the NYT, artists featured in the group show will include Urs Fischer, Elizabeth Peyton, John Currin and David Salle. In conjunction with the exhibition, the artist Rashaad Newsome will lead an “art parade” starting at 6:30 p.m. today at 23 NE 41st Street, Miami and ending at 4001 NE 41st Street.

CONTEXT Art Miami will feature 95 international galleries this year, along with several artist projects and installations including 12 listening stations dedicated to sound art; areas dedicated to art from Berlin and Korea; solo exhibitions by Jung San, Satoru Tamura, Mr. Herget and four others; and a “fast-track” portrait project of workers at Miami International Airport. Context and Art Miami — celebrating its 26th year — open with a VIP preview benefiting the Perez Art Museum Miami on Tuesday, December 1, 5:30 to 10 p.m., at 2901 NE 1st Avenue in Midtown, Miami. The fair is open to the public from December 2nd through the 6th.

ICA Miami (4040 NE 2nd Avenue, Miami) opens a major survey of works by the video and performance artist Alex Bag — including her interactive installation “The Van” — on December 1st. The museum recently announced the appointment of Ellen Salpeter, Deputy Director of NYC’s Jewish Museum, as its new director and they’ve just broken ground on a new, permanent home in the Design District. The 37,500 -square-foot building was designed by the Spanish firm Aranguren & Gallegos Arquitectos and is scheduled to open in 2017. Shannon Ebner also has a show, “A Public Character,” on view in the museum during AB/MB and up until January 16, 2016. This is the inaugural program in the museum’s new performance series.

The fourth edition of UNTITLED Miami is on the beach at Ocean Drive and 12th Street from December 2 to 6, with a big VIP preview on December 1st from 4 to 8 p.m. They’ve got 119 international galleries along with non-profit orgs from 20 countries. New this year will be an UNTITLED radio station broadcasting via local Wynwood Radio with interviews, performances and playlists by artists, curators etc.

PAPER Magazine is hosting (and participating in) several events during AB/MB. On Tuesday, December 1st, 6 p.m., David Hershkovits will be “in conversation” with Fab 5 Freddy and David Koh on the topic, “Art On Film,” followed by a special screening of Koh’s film “Peggy Guggenheim: Art Addict.” The Tribeca Film Festival Shortlist is presenting the event at The Miami Edition (2901 Collins Avenue, Miami Beach) and SOTO sake sponsors. On Tuesday night (late) and also at the EDITION, PAPER, Silencio, A Hotel Life and One Management host the one year anniversary of the hotel’s BASEMENT nightclub with DJs Seth Troxler, Nicolas Matar and Orazio Rispo.

The Wolfsonsonian FIU Museum (1001 Washington Avenue, South Beach) is open all week with several exhibitions including “An Artist on the Eastern Front: Feliks Topolski 1941,” “Margin of Error,” “Orange Oratory,” “Philodendrum” and “Miami Beach.”

Moishe Mana’s Mana Contemporary (318 NW 23rd Street, Miami) in Wynwood plans several exhibitions during AB/MB including “Made in California,” featuring selections from L.A. collector Frederick R. Weisman’s Art Foundation; “A Sense of Place,” with over 60 works from the collection of Jorge M. Perez; and “Everything You Are Not,” key works of Latin American art from the Tiroche DeLeon collection. All are up from December 3rd thru the 6th, with a VIP preview on December 1st. Mana Urban Arts is also doing a collab with The Bushwick Collective at the former RC Cola Plant (550 NW 24th Street, Miami) that includes over 50 artists — so far the list includes Ghost, GIZ, Pixel Pancho, Case Maclaim and Shok-1 — plus skateboarding, DJs, live music etc.

Bortolami Gallery is opening a year-long exhibition called “Miami” by the French conceptual artist Daniel Buren on December 1st in the M Building (194 NW 30th Street, Miami). The show marks the 50th anniversary of his works with fabric and the 8.7 cm stripe. By periodically installing new works, Buren will also alter the exhibition during the year.

Previewing their upcoming South Beach studio, SoulCycle will pop-up poolside at the 1 Hotel (2341 Collins Avenue, South Beach) starting on Tuesday, December 1st. They plan to open permanently in the hotel in January 2016. The 1 Hotel also offers a fitness and wellness line-up for guests and visitors all week.

Miami gallery Locust Projects (3852 N. Miami Avenue, Miami) returns with their “Art on the Move” series of artists’ projects in public spaces around Miami during December. This year’s work, “NITE LIFE,” by LA-based artist Martine Syms, includes a series of prints displayed on the backs of buses and at bus stops, based on “Chitlin’ Circuit” concert posters by Clyde Killens. There’s a reception for the project, curated by PAMM’s director Franklin Sirmans, on December 1st, 7 to 10 p.m. Also check out the gallery’s site-specific installation “PORE” by Martha Friedman and “Beatriz Monteavaro: Nochebuena” in the project room.

Brickell City Centre (750 South Miami Avenue, Miami) is giving a sneak peek at their work-in-progress development in downtown Miami with an invite-only event, “Illuminate the Night,” on December 1st featuring the unveiling of “Dancers,” a sculpture by UK artist Allen Jones; () music from Wooden Wisdom DJs (Elijah Wood and Zach Cowie) and a 150,000 square-foot glass, steel and fabric structure called “Climate Ribbon” by Hugh Dutton.

The Bass Museum (2100 Collins Avenue, South Beach) is closed for renovations until next year, but they’re still hosting “outdoor activations” in the surrounding park including the AB/MB PUBLIC sector and the display of a neon sign, “Eternity Now,” by Swiss artist Sylvie Fleury. They are co-hosting a private dinner with Salon 94 Gallery on Tuesday in the Miami Beach EDITION Hotel.

Zurich’s Galerie Gmurzynska hosts an invite-only cocktail party at The Villa Casa Casuarina (1116 Ocean Drive, Miami Beach) on December 1, with Sylvester Stallone and Germano Celant. The gallery will be showing a retrospective of works by Karl Lagerfield in their stand at AB/MB, curated by Celant.

The DREAM South Beach (1111 Collins Avenue, South Beach) hooked-up with Brooklyn-based artist — and new GQ “style guy” — Mark Anthony Green for an exhibition of, according to Green, “what 2015 meant to me in both a macro and micro sense…wins, losses, heartbreak and promotion.” The hotel will have a pop-up shop curated by the artist, and guests will get a complimentary print. There’s a welcome reception on Tuesday, a private dinner and afterparty with the Green and A$AP Rocky on Friday and a pool party hosted by YESJULZ on Sunday afternoon.

FLAUNT Magazine and Guess host a private dinner at the Nautilus Hotel in December 1 in honor of their latest cover stars Zaha Hadid, Rem Koolhaas and Julie Mehretu. After dinner, there’s a poolside party with a screening of “ME” and music by the Martinez Brothers and Pusha T. Expected guests include “ME” writers Susan Taylor & Jefrey Levy and Gina Gershon.

The 2015 edition of Elle Decor’s Modern Life Concept House premieres with a VIP breakfast on December 1st at 250 Wynwood (250 NW 24th Street, Miami). Visits from December 2 to 4 are open to the public with a $35 donation to pediatric cancer research and a reservation via jacquelyn@zm-pr.com. The 6,000 square-foot home will showcase 4 leading designers selected by ED editor-in-chief Michael Boodro.

An exhibition called “LAX – MIA: Light + Space” opens on Tuesday, December 1st, 5 to 8 p.m., at the Surf Club (9011 Collins Avenue, Miami Beach). The show was curated by Terry Riley, Joachim Pissaro and John Keenan of PARALLEL and is hosted by The Surf Club and Fort Partners. It’s on view until December 12th, 11 a.m. to 5 p.m. daily, closed on Sunday.

Art Basel Basecamp (46 NW 36th Street, Miami), hosted by HGABmag, returns with a space to “re-group, re-fresh and re-energize” featuring charging stations, information booths, giveaways and art installations. Stop in from December 1 to 6, 4 p.m. to midnight daily; and don’t miss their “Alice in Wynwood” closing party on Saturday night.

The first edition of the Curatorial Program for Research Film Festival takes place on December 1, 11 a.m. to 2 p.m. at Cannonball (1035 North Miami Avenue, Suite 300, Miami). The program, “Earthbound,” was curated by Niekolaas Johannes Lekkerkerk in collaboration with Dwelling Projects. There will also be a silent auction.

New York-based developer Robbie Antonio debuts his REVOLUTION collection of pre-crafted structures during Design Miami/2015. The limited edition homes and pavilions have been designed by 30 noted architects and designers including Zaha Hadid, Richard Gluckman and the Campana Brothers. The VIP launch is in the Design Miami tent on Tuesday evening.

NYC club No.8 pops-up in the Rec Room at the Gale Hotel (1690 Collins Avenue, South Beach) with DJs including JusSke, Fly Guy and Ross One; the hotel’s Regent Cocktail Club features live jazz, Cuban cocktails, Samba and soul tunes. They’ve also got a digital art installation by Aerosyn Lex.

White Cube’s kick-off party is tonight at Soho Beach House with Giogio Moroder spinning and lots of Moet.

NYC/LA art collective Collapsing Scenery presents “Metaphysical Cops,” a one-night-only video installation on December 1st, 5 to 10 p.m., in the Surf Med Pharmacy (7430 Collins Avenue, Miami Beach). It’s a part of the new Satellite Art Fair.

Chloe Sevigny by Pamela Hanson“ICONS,” an exhibition of photos by Pamela Hanson opens at the Shore Club.

BOHO Hunter (184 NW 27th Street, Miami) hosts Monica Sordo’s SS 2016 collection with music from Bea Pernia on December 1st, 7 to 10 p.m.

Miami’s Diana Lowenstein Gallery (2043 N Miami Avenue, Miami) is showing new works by Udo Noger in a show called “Geistlos.” On view all week.

Alejandra Von Hartz Gallery (2630 NW 2nd Avenue, Miami) has their second solo show by Marta Chilindron, “Temporal Systems,” on view during AB/MB. The multi-dimensional sculptures “explore basic geometric forms, color, transparency, light, space, time and perspective.”

When you pass through Art Miami, look for copies of Jerry Powers’ new Art Miami Magazine, that fair’s first dedicated publication,

STK Miami (2311 Collins Avenue, South Beach) hosts The Drip Factory pop-up gallery featuring artist Louis Carreon doing live painting and music by DJ What on December 1st, 8 to 11 p.m. Invite only.

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Blog

Must-See New Media at Miami Art Week

Yesterday Kate Durbin’s ‘Hello!Selfie’ performance at PULSE Miami Beach, Photo: Rollin Leonard, 2015

This time of the year, the whole art scene gathers in Miami to—let’s be honest—enjoy the beach, often more than the overwhelming art-filled fairs. Many of our longtime favorite creators converge at this year’s festivities, so to support their efforts, we’ve compiled a coup d’oeil of some quality digital art happenings.

Swapping its successful one-shot hypersalon satellite project for a PULSE Miami Beach booth, TRANSFER gallery offers a more streamlined way to reach a wider audience. “The collaborative experiment that was hypersalon set in motion so many amazing exhibitions and exchanges that unfolded in the past year. But in the end, we managed to create a mostly non-commercial format amidst the biggest feeding frenzy of the commercial art world—not a sustainable project in the ABMB environment,” Kelani Nichole, founder and director of TRANSFER tells The Creators Project.

Transfer gallery’s booth under the massive PULSE Miami Beach tent, 2015

“This year, I went for the exact opposite, securing a white cube in a tent on the beach. TRANSFER is quite fortunate to have the support of PULSE to open their fair to a challenging format of social-media based performance, and their Conversations curated section gave us the perfect opportunity to present two artists working with issues of technology and the body,” Nichole adds. TRANSFER showcases recent works by Faith Holland and Kate Durbin with support from Giovanna Olmos. Both artists will be taking part in panels and screenings.

Faith Holland ‘Sub/emissions’ 2015 40″ x 40″ Digital Painting on Canvas, Edition of 3 + 1AP, Transfer gallery, 2015

Kate Durbin’s Hello!Selfie performance yesterday at PULSE Miami Beach, Photo: Rollin Leonard, 2015

Holland brings her orgasm-inspired and cumshot-generated bodies of works—including her figurative and dynamic Visual Orgasms GIF series and juicy abstract Ookie Canvas paintings, comprising a never-seen-before composition called Peter North. Kate Durbin will present video pieces created from footage of previous iterations of Hello!Selfie, a social media-rooted performance that explores and questions selfie culture in public spaces.

DiMoDa VR installation at Satellite Projects fair, 2015

Alfredo Salazar-Caro and William James Richard Robertson offer Satellite Projects, giving fairgoers the chance to experience DiMoDA, an Oculus Rift-powered VR installation. Filled with delightful digital works by artists Claudia Hart, Tim BerresheimJacolby Satterwhite, as well as Aquanet 2001 by Salvador Loza and Gibran Morgado, the nonlinear virtual exhibition opens new perspectives in terms of curation and museum experiences.

On the other side of the bay, Wynwood-located X-contemporary provides viewers with a bunch of activities ranging from panel discussions, art, and DJ performances, to one-of-a-kind projects in addition to the many artworks showcased by the 30 or so worldwide exhibitors.

Dye sublimation on aluminum, Sara Ludy, Fin (Heat sander), 2015, bitforms gallery

Taking over the beach with its huge tent designed by architects John Keenen and Terence Riley of K/R, the new edition of UNTITLED features many international exhibitors—including the NYC-based bitforms gallery—who explore contemporary curatorial cohesion through today’s wide-ranging art practices.

“bitforms gallery has been a part of the contemporary art world for 14 years,” Steven Sacks, director and owner of bitforms gallery tells us.“We have a very specific focus on new media artists covering a wide range of generations and media types.” His booth brings an impressive roster of artworks by artists such as Manfred Mohr, Daniel Canogar, Jonathan Monaghan, Rafael Lozano-Hemmer, Sara Ludy, and Quayola, artists who all strongly contribute to the solidification of new media art within the ruthless contemporary art landscape.

Inkjet print mounted on Dibond, Jonathan Monaghan, Dorilton, 2015, bitforms gallery

“The art fairs are an amazing place to reach thousands of art-centric people and introduce and educate them about our unique program, which typically does stand out amongst more traditional galleries. UNTITLED art fair is a smaller, curated fair with more experimental artists, compared to the larger Art Basel fair, which has a lot more traditional art,” Sacks concludes.

Computer, Kinect, display, Rafael Lozano-Hemmer, 1984×1984, bitforms gallery, 2014

bitforms gallery’s booth at UNTITLED, 2015

Most of the fairs will run through the December 6, 2015.

Click here for more details about PULSE, and here for more on UNTITLED. Click here to check out TRANSFER booth, and here to check out the bitforms booth.

Related:

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The Definitive Guide to Art Basel Miami 2015, Part One

By  | December 1, 2015

So you’ve made it to MIA for Art Basel 2015, but have you secured a coveted spot on the event’s hautest guest lists? Fear not—we’ve got intel on all the can’t-miss pop-ups, star-studded bashes, and gallery celebrations of the week. Check back for part deux, tomorrow. We hope you remembered to pack your VIP card with your sunnies…

Tuesday, December 1

PAPER Magazine & The Miami Beach Edition Bash
Intel: Celebrate PAPER magazine’s December cover girl Paris Hilton at an intimate, seated dinner.
Location: 2901 Collins Ave., 9:30 p.m. RSVP to johnv@papermag.com

Bello Magazine Kicks Off Art Basel
Intel: The fashion and entertainment mag, with BRAVOTV philanthropist and art gallerist Adriana De Mourainvites Art Basel, invites visitors to join stars from Pretty Little Liars and America’s Next Top Model) for a celebration.
Location: Suitsupply Penthouse, 1000 17th Street., Miami Beach, FL 33139, 6:30 p.m.

W Magazine and Roberto Cavalli Party
Intel: W mag and Roberto Cavalli celebrate the opening of No Man’s Land: Women Artists From the Rubell Family collection.
Location: Rubell Family Collection, 95 NW 29th Street, 7:30-9:30 p.m.

Locust Projects Celebrates “Martha Friedman: Pore”
Intel: The nonprofit space Locust Projects is hosting a cocktail reception celebrating Martha Friedman’s new site-specific installation Pore, which includes four sculptures made from 1,000 pounds of rubber (they’re attached to costumes that will be activated during an experimental performance by dancer Silas Reiner).
Logistics: 3852 North Miami Avenue, 7-10 p.m.

MANA Contemporary VIP Dinner
Intel: MANA Contemporary is hosting an exclusive dinner (Zaha Hadid, Dasha Zhukova, Salman Rushdie, etc.) to preview its new exhibitions. Also on tap is a performance by the Miami Symphony Orchestra.
Location: Mana Wynwood Convention Center, 6-8 p.m. Invitate only.

Galerie Gmurzynska Dinner
Intel: Galerie Gmurzynska hosts a cocktail dinner with Germano Celant and Sylvester Stallone.
Location: 1116 Ocean Drive, 8:30 p.m. Invite only.

Faena Hotel Unveiling Party
Intel: This exclusive unveiling of the hotel owned by art collector, developer, and hotelier Alan Faena promises a start-studded crowd.
Location: Faena Hotel, 10:30 p.m. Invite only.

SLS South Beach Gallery and Pop-Ups
Intel: The building transforms into a mixed-media gallery for hotel guests, collectors, and tastemakers showcasing artists and collaborations. The series of installations will vary from public art displays to pop-up retail shops. Par example: Laura Kimpton Property-Wide Installations, Africa Aycart Portraits at The Bazaar by José Andrés, Never-Before-Seen Andy Warhol Pieces at Sam’s Lounge, J. Open HeART Installation at Katsuya & Hotel Pool Duck, Poolside Retail Pop-Up Shops.
Location: 1701 Collins Ave.

Brickell City Centre Bash
Intel: Brickell City Centre is transforming one block of its three-block construction site into an event space. Wooden Wisdom (Elijah Wood + Zach Cowie) will set the vibe. VIPs and local influencers will join Brickell for a lighting ceremony of its newly completed Climate Ribbon (150,000-square-foot glass, steel and fabric by designer Hugh Dutton).
Location: Brickell City Centre, 67 SW 8th St., 7 p.m. RSVP to Brickellcitycentre@taraink.com

Boho Hunter Basel Kick Off
Intel: Monica Sordo invites those in MIA to visit Boho Hunter for cocktails, music by Bea Pernia, and a selection of her collection with sales to benefit The Duerme Tranquilo Foundation.
Location: Boho Hunter, 184 NW 27th St., 7-10 p.m.

Tribeca Shortlist “Art on Film”
Intel: The movie streaming service from Lionsgate and Tribeca Enterprises hosts “Art on Film” with hip hop pioneer, visual artist and filmmaker Fab 5 Freddy (Fred Brathwaite), independent producer David Koh (Submarine Entertainment) and moderated by PAPER Magazine founder/editor David Hershkovits. Following will be a special screening of the film Peggy Guggenheim: Art Addict.
Location: The Miami Beach EDITION, 2901 Collins Ave., 6 p.m. RSVP to rsvp@tribecashortlist.com

SoulCycle Pop-Up
Intel: Get your fitness fix at the SoulCycle pop-up studio, which features live art by Brooklyn-born, L.A.-based Gregory Siff.
Location: 1 Hotel South Beach (2341 Collins Ave., Miami Beach), December 1-4

Architectural Digest “Refuge” Preview Party
Intel: Margaret Russell, editor in chief of Architectural Digest, is throwing a preview party with 1 Hotel’s founder Barry Sternlicht and CEO of the LeFrak Group Richard LeFrak.
Location: 1 Hotel South Beach, 6-9 p.m. Invite only.

The Surf Lodge x Art Basel Miami Beach
Intel: Hamptonites, find solace in Miami this week—The Surf Lodge pop-up offers artist-hosted dinners, poolside cocktail parties, pop-up shop, and wellness classes from Equinox Wednesday through Friday at 10 a.m. Expected guests include Jeremy Scott, Rocky Barnes, Rosario Dawson, Daniel Arsham, André Saraiva, Shepard Fairey, and Jayma Cardoso. Pop into the Surf Lodge Pop-Up Shop to peruse brands including Studio 189 from Rosario Dawson and Abrima Erwiah, Reds, and Del Toro shoes, each day from 10 a.m. – 9 p.m.
Location: The Hall South Beach (A Joie de Vivre Hotel), December 1-6, 8-10 p.m. Invitation only.

 

Wednesday, December 2

Jeremy Scott Party
Intel: Jeremy Scott hosts his annual exclusive bash.
Location:
Invite only.

W Magazine and Faena Art’s Roller Disco Beach Party
Intel: Stefano Tonchi and Ximena Caminos celebrate the opening ofAngeles Veloces Arcanos Fugaces, an immersive roller-disco installation by Assume Vivid Astro Focus at Faena Beach.
Location: Faena Beach, 36th Street and the Ocean, 7:30-9:30 p.m.

VH1’s The Breaks Lounge
Intel: Join for a private press preview and a VIP performance by Mack Wilds.
Location: The Breaks Lounge, 801 Ocean Drive at 8th Street. Press preview 4-8 p.m., performance 8-9 p.m.

Burberry + Art Hearts Fashion Miami Art Basel Week at Spectrum Opening Night Gala Presented by Planet Fashion TV
Intel: Join for a VIP cocktail reception before a Burberry fashion show, an artistic runway presentation by Art Hearts Fashion featuring designers Amato Haute Couture, House of LiJon Sculpted Couture and Mister Triple X by Erik Rosete. Stick around for a performance by Island Def Jam recording artist Cris Cab.
Location: Spectrum Miami, 1700 NE 2nd Avenue (NE 2nd Ave. at NE 17th St.), 6-9 p.m.

Kim Hastreiter and PAPER Magazine Party
Intel: Grab a drink and crash some cymbals with Kim Hastreiter, Pink Martini’s Thomas Lauderdale and China Forbes, and PAPER’s Mr. Mickey at a singalon featuring accompanying percussion and singing by art and design luminaries.
Location: Meridian Ave. and 19th St., 5-7 p.m. RSVP to mijin.son@civic-us.com

 

Thursday, December 3

PAMM Presents: Dimensions, by Devonté Hynes and Ryan McNamara
Intel: Flock to Pérez Art Museum Miami (PAMM) for a one night only performance by Ryan McNamara and Devonté (“Dev”) Hynes, including an original multi-part composition by Hynes, an internationally-acclaimed musician and producer, and sculptural elements and choreography by McNamara, a celebrated performance artist
Location: 1103 Biscayne Boulevard, 9 p.m. to midnight

Brown Jordan and Sunbrella
Intel: The two join photographer Gray Malin for a celebration of art, design and travel, for a first look at the new Miami Design District flagship, an 8,600 square-foot, three-level store of re-imagined native Florida materials, which officially opens January 2016. The event will serve as a “first look” and the store will officially open in January 2016.
Location: 3650 North Miami Avenue

El Tucán
Intel: EL Tucán hosts an exclusive performance by actress and singer Cucu Diamantes, amid trompe l’oeuil murals designed by artist Happy Menocal.
Location: December 3-5, 8 p.m.

The Four Seasons Hosts Antonio Dominguez de Haro
Intel: A retrospective of 17 paintings by Spanish painter Antonio Dominguez de Haro.
Logistics: Four Seasons Hotel, December 3, 6-9 p.m. rsvp@dkcnews.com

EDITION Gallery Pop Up
Intel: EDITION Hotel hosts a pop-up with Bill Powers’ Half Gallery & Harper’s Books and Louis B James Gallery, including book signings by Justin Adian and Sue Williams. On the second floor, virtual artist Jeremy Couillard offers an otherworldly experience with an interactive exhibition.
Location: Bungalow 252, Miami Beach EDITION, 2901 Collins Ave. December 3-6. By appointment only.

 

Friday, December 4

Wall at the W Hotel: Paris Hilton
Intel:Paris Hilton spins alongside Mr. Mauricio for an evening presented by Belvedere Vodka.
Location: 2201 Collins Ave, 11 p.m. RSVP to Heidi@Taraink.com.

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Partner \
A Guide to Art Basel: The Must-see Shows and Showcases
Now in its 14th year, Art Basel is bigger and swankier than ever before
Presented By //
T.M. Brown // December 1, 2015

Every year around this time, thousands of dealers, buyers, artists, and scenesters descend on South Florida for Art Basel Miami. Now in its 14th year, the stateside spinoff of the Swiss art fair—and let’s be honest, calling Art Basel an art fair is like calling the Pope a priest—is bigger and swankier than ever before, attracting galleries from all over the globe and providing one of the world’s biggest stages for upcoming artists.

Before we get to all the shows you should be heading to while you’re in Miami, we here at SPIN want to hook you up with an exclusive invitation to K-PAX, a launch event to showcase the collaboration between PAX + K-HOLE, on the rooftop of the Gale South Beach this Friday, December 4th at 5:00 PM, brought to you by the folks at PAX vaporizers.

III Points Art Basel Concert Series (Thursday, December 3 — Saturday, December 5 at Mana Wynwood)
ADVERTISING

If SXSW moved to Berlin for a year, started wearing a lot of Acne and Gosha Rubchinskiy, and got really into DJ Rashad and Rødhåd, you’d have III Points. The three-year old art, tech, and music festival is quickly becoming a compulsory event for people who have traditionally flocked to Austin in March, so when they decide to throw a three-night concert series in the middle of Art Basel, you know it’s going to be good.

Life and Death Showcase with Richie Hawtin (Thursday, December 3 at 9:00 PM)

III Points Art Basel’s opening night brings iconic label Life and Death to Miami for the fourth time in as many years and the Italian powerhouse did not disappoint with its lineup. The showcase at Mana Wynwood brings Tale of Us, Mind Against, and Thugfucker to the DJ booth, providing a collection of artists that weave the worlds of pop, house, funk, and disco into a singular soundtrack. Oh, and techno legend Richie Hawtin just announced he’ll be joining the Life and Death crew as a special guest so those tickets are going to be hard to come by.

Jamie XX and Four Tet (Friday, December 4 at 9:00 PM)

Jamie xx and Four Tet combine forces once again to provide the centerpiece of III Points concert series. If you haven’t heard what these boys can do when they’re in the booth together, listen to their exceptional BBC One Essential Mix from March and prepare to be blown away by the effortless combination of everything from jungle to electro pop to soul into one smooth set. Both are finishing years filled with international acclaim so this set will be something of a victory lap and we’re all the richer for it.

A$AP Rocky and Kaytranada (Saturday, December 5 at 9:00 PM)

A$AP Rocky and Kaytranada close out the III Points concert series but this Saturday night set is anything but a come down. Rocky is fresh off a huge year including his sophomore release At. Long. Long. Last. ASAP and rumors that he’s working on a project with Kanye West, while Kaytranada has been pounding the DJ circuit, plying his funky house trade at every club worth its salt the world over. Both should be in rare form at Mana Wynwood.

Fuck Art Let’s Dance (Thursday, December 3 at The Electric Pickle at 10:00 PM)

By far the best name of any party happening in Miami during Art Basel week—or any party in any city during any other week—the yearly shindig is bringing Kim Ann Foxman, Justin Strauss, and Miami Players Club to the Electric Pickle in Wynwood for a suite of DJ sets mixing deep house tracks with just the right amount of tropical groove. To cap the night off, Miami staples Psychic Mirrors will be playing one of their legendary live sets, mixing together soul, funk, and psychedelic sounds into something singularly South Beach.

Superfine! Jet Set Jubilee (Thursday, December 3 at 8300 Northeast 2nd Avenue at 7:00 PM)

Ever wanted to see Shamir perform while surrounded by an “immersive” 3000 square foot chandelier designed by the Miami-born, Brooklyn-based artist Diego Montoya? Yeah, that’s what I thought. The minds at Superfine! have put together another expertly curated series of concerts in tandem with their impeccable for contemporary art and design. This time around they’ve brought in Shamir—fresh off his acclaimed debut album Ratchet—for a performance that is larger than life. Literally. That chandelier is going to be huge.

Green Velvet and Tiga (Friday, December 4th at Trade at 11:00 PM)

Any show featuring Green Velvet promises to be as strange as it is fantastic. Techno’s resident oddball is ready to take on Miami alongside Tiga, a 1-2 punch that will satisfy hardcore techno purists and newcomers alike. This show is flying slightly under the radar but don’t sleep on it, these two are the real deal.

DJ Mustard and Fabolous (Saturday, December 5th at Toejam Backlot at 9:00 PM)

DJ Mustard’s fingerprints have been all over the pop and hip-hop landscape for the last year and change so it makes sense that he’s the headliner at this Saturday night show. He’ll be joined by rap stalwart Fabolous for a night of throwback hits mixed with Mustard’s signature sound. RSVP at CLSoundtrack[at]fresh.guestcode.com.

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Fashion, Featured

The Fabulous 5.5: Art Basel Planning Guide #3

December 1, 2015

Under the Radar 2015

With dozens of places to go, thousands of things to see, and a million elbows, here are a few special spots. For those of you who make a career at this, or a career out of bragging about this, or travel to go where fewer have gone, here are 5.5 selections.

#5: Ai Weiwei pops up at Basel more than a pop-up. Why 2015? Colored vases from the Mary Boone Gallery at Art Basel. Protesters: please leave Mr. Wei’s vases alone.

Colored Vases

#4: Say my name; say my name: Warlimpirrnga Tjapaltjarri. New York’s Salon 94 brings this Aboriginal Australian’s oil paintings to life mirroring textiles and mimicking sand sculpture. If you know about dreamtime, here it is in reality. Also at Art Basel.

 

Warlimpirrnga Tjapaltjarri

 

#3: Joris Van de Moortel: This Belgian artist from Antwerp will present his solo work for the first time in the USA presented by the Denis Gardarin Gallery at UNTITLED. The art teacher’s question, “What is going on in this picture?” earns a lengthy response with works from Rotten Sun, Van de Moortel’s sculpted, painted, musical installation.

 

Jan Van de Moortel image by WeDocumentArt

#2: Larissa Bates at NADA in the Fountainebleau. Out of Vermont, Costa Rica, St. Augustine’s Monya Rowe Gallery and ARTADIA, there is something of Italy 1450, Ubud 1980, and Tokyo 2005 in one painting, then outback, desert, and prep school in the next.

 

Larissa Bates

#1: Jennifer Rubell is always on point. Over the years, she has fed Miami’s Art Basel crowd breakfast a dozen times – things like oatmeal, Sun Maid raisins, yogurt, dripping honey, and massive portions of delicious creativity. This year’s food-based installation: Devotion – bread, butter, and a couple to be married later. 9-11am on December 3 at The Rubell Family Collection 95 NW 29th Street.

Jennifer Rubell

 

.5: The weather forecast is bad, on the radar, not under it.

 


b

The North American Premiere Of Isaac Julien’s Commission For The Rolls-Royce Art Programme To Be Shown During Art Basel In Miami Beach

PHOTO (select to view enlarged photo)

GOODWOOD, England, Nov. 17, 2015 — Rolls-Royce Motor Cars, in partnership with the National YoungArts Foundation, will present the North American debut of Isaac Julien’s work Stones Against Diamonds (Ice Cave) during Art Basel in Miami Beach 2015. The work by the Turner Prize nominated artist, commissioned as part of the Rolls‑Royce Art Programme, will be shown from 1-5 December 2015 at the National YoungArts Foundation ­– located at the nexus of Miami’s Wynwood Arts District, Arts and Entertainment District and Edgewater. The video installation will fill the interior of the magnificent YoungArts Jewel Box across 15 screens, the largest and most impressive presentation of the work to date.

UBS Art Collection Highlights

This year’s annual presentation of work from the UBS Art Collection explores the theme of Inside:Out, complementing and drawing inspiration from the bright, airy and sophisticated redesign of the UBS Lounge and its new hanging garden. The installation features approximately 30 works of art by 15 artists that reflect the notion of bringing the outside in, breaking down barriers between fiction and reality and between public and private space to create images inspired by fantasy, pleasure, sensation, nature and alternative landscapes. A highlight is the newly acquired Native Land (2014), a lightbox by Doug Aitken. Filled with a mosaic of colorful roadside signs, this work highlights the intrusion of advertisements in the American landscape. Additional featured artists include Vija Celmins, Francesco Clemente, Carlos Cruz-Diez, Gilbert & George, Andreas Gursky, Catherine Opie, Marc Quinn, Caio Reisewitz, Gerhard Richter, Pipilotti Rist, David Schnell, Simmons & Burke, Xaviera Simmons, Thomas Struth and Corinne Wasmuht. The works, selected by UBS Art Collection Curator for the Americas Jacqueline Lewis, represent a globally diverse range of artists, themes and media, including installations, kinetic sculpture, painting, drawing and photography.

Miami Herald | MiamiHerald.com

UNREALISM

Unrealism: Exhibition of figurative art organized by mega-dealers Jeffrey Dietch and Larry Gagosian. The Moore Building-Elastica, 191 NE 40th St., Design District. 11 a.m.-8 p.m. Free. bridgehouseevents.com.

LITTLEST SISTER FAIR

Gallerist Anthony Spinello launches his Little River space with the fourth Littlest Sister, a “faux” invitation art fair featuring 10 unrepresented women-identified Miami artists in a presentation curated by Sofia Bastidas. Each artist has a solo booth; the fair also includes a sector on sound and performance presentations and a series of critical panels exploring arts and real estate, writing, design and collecting. 7221 NW Second Ave.; littlestsister.com. 8-11 p.m. Monday; noon-7 p.m. Tuesday-Sunday. Free.

 Sean Kelly X Chrome Hearts: Work by Marina Abramović, Los Carpinteros, Jose Dávila, Robert Mapplethorpe, Mariko Mori, Alec Soth and Kehinde Wiley. Chrome Hearts, 4025 NE Second Ave., Second Floor. Free.

100+ Degrees in the Shade: A Survey of South Florida Art: Work by South Florida artists. 3900 N. Miami Ave., Design District. 11-9 p.m. daily. Free.

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ARTSY

Your All-Encompassing Guide to Miami’s Sprawling Art Scene

By Alexxa Gotthardt

To the contemporary art set, Miami is a place of annual pilgrimage, where productivity and decadence play nice. Each December, gallerists, collectors, artists, and curators make their way to the palm-studded metropolis to sell their wares, mount exhibitions, and party in duds that would make Miami Vice’s Crockett and Tubbs proud. Art Basel in Miami Beach might be considered the nucleus of this activity, but with satellite fairs and ephemeral exhibitions opening in Art Deco monuments and beach bungalows alike, it’s high time to take a comprehensive look at what’s happening across the city’s sprawl, from South Beach to Little Haiti.

Diana Nawi, photo by Mylinh Trieu Nguyen; Emmett Moore, photo by Gesi Schilling; Nina Johnson-Milewski, photo by Gesi Schilling; Jorge Perez.

With guidance from four Miamians—gallerist Nina Johnson-Milewski, artist Emmett Moore, curator Diana Nawi, and collector and philanthropist Jorge Perez—we highlight the art spaces and watering holes of a city where beaches and swamps, American and Latin American traditions, and collections of rare palm trees and blue chip art collide. Our take away: even after the art-crowd’s dust settles, Miami is a mysteriously enchanting place where cultural output of all persuasions churns.

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Miami Beach

Photos by Gesi Schilling.

Edged by sherbet-hued high-rises and beaches dotted with hotel lounge chairs, this skinny strip of land—some call it a sandbar on steroids—is where Miami’s more flamboyant character traits originate. Separated from the mainland by Biscayne Bay, this is the sandy ground on which the holiest Art Deco edifices, flashiest clubs, and the smallest bathing suits consort. It’s also home to sprawling art fairs, beachside pop-up projects, old-school restaurants, and dive bars heralded by glowing neons that look like they were forged in the ’50s.

A. Art Basel in Miami Beach

Miami Beach Convention Center, 1901 Convention Center Drive

After Art Basel expanded to Miami in 2002, settling into the Miami Beach Convention Center (between the beach and the Botanical Garden), the city quickly became an annual stop for collectors and artists. As the parent of an ever-growing brood of art fairs that crop up during the first week of December, this mainstay is the first stop for many people, thanks to its mix of booths from the biggest, bluest-chip galleries and ambitious younger spaces, curated projects, and a constant flow of programming.

B. Design Miami/

Meridian Avenue & 19th Street, adjacent to the Miami Beach Convention Center

Across the street from Art Basel, this sophisticated fair hosts a robust cohort of galleries focused on contemporary and historic design, from immersive architectural environments to jewel-like light fixtures that fit in the palm of your hand, created by the world’s most inspired designers—Giò Ponti, Maria Pergay, and Julie Richoz among them.

Rendering of UNBUILT: Design Miami/ Harvard GSD Pavilion. Courtesy of Harvard Graduate School of Design.

Insider tip: Don’t miss Kengo Kuma’s nomadic tearoom, rendered completely in plastic, at Galerie Philippe Gravier, or Jean Prouvé’s 1939 military hut—the only one of its kind still in existence—at Galerie Patrick Seguin.

C. Bass Museum of Art

2100 COLLINS AVENUE

Though this museum, founded in 1963 and housed in an impeccably preserved Art Deco structure, is currently under renovation, conceptual artist Sylvie Fleury is hanging her site-specific Eternity Now on the building’s facade from December 1st through May 31st, 2016.

The glowing neon sign is a part of Art Basel and the Bass’s five-year-running public art collaboration in Collins Park, which is adjacent to the museum. This installment, curated by Public Art Fund’s Nicholas Baume, brings works by Sam FallsKatharina GrosseJacob Kassay, and Hank Willis Thomas to the lush lawn.

D. Nautilus, a SIXTY Hotel

1825 COLLINS AVENUE

Two blocks away and right off the beach, a shiny renovation of this hotel is accompanied by activations from “Greater New York” breakout artist Mira Dancy (with a sprawling mural), Katherine Bernhardt (with a plucky fresco on the floor of one of the pools), Eddie Peake (with a mirrored rooftop installation), and other works tucked playfully into idiosyncratic spaces throughout the compound. Curated by Artsy’s Elena Soboleva, Artsy Projects: Nautilus is a collaboration between Artsy and the hotel.

E. The Standard Spa Miami Beach

40 ISLAND AVENUE

Swing by the swank Standard hotel, just off Miami Beach on Belle Isle, for a snack on its expansive deck, or pick up one of Miami-based artist Jim Drain’s limited-edition posters, released for fair week.

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South Beach

A. UNTITLED

Ocean Drive and 12th Street

This curatorially driven satellite fair on the beach boasts booths by The Hole, Taymour Grahne, Steve Turner, and even Aperture Foundation. Throughout the week, performances move through the tent and its surrounding landscape. Don’t miss artist and choreographer Madeleine Hollander’s MILE, beginning each day on the east side of the structure at 4 p.m. Also on our radar is UNTITLED Radio, a series of daily radio shows that replace traditional art fair panel discussions.

B. Scope

801 Ocean Drive

This year marks Scope’s 15th anniversary in Miami. They bring 120 exhibitors along with curated sections Juxtapoz Presents, the Breeder Program, and FEATURE, the last featuring 10 booths that highlight new approaches to photography.

C. La Sandwicherie

229 14th Street

For a much needed dose of sustenance after a long day of fair hopping, grab a stool at La Sandwicherie’s counter, where you’ll likely devour one of their signature sandwiches—all available on a croissant in lieu of bread or bun. Wash it down with a smoothie or early evening beer. Or come back late night for a snack and hazy conversation with the post-party art crowd. It’s one of the few places in South Beach that’s open very late—until 5 a.m.

D. Mac’s Club Deuce

222 14th Street

Miami’s oldest bar, Mac’s Club Deuce is also the city’s greatest dive, offering a swirl of whiskey and jukebox tunes to colorful regulars, pool sharks, and wobbling newbies alike. Last year, its Hawaiian shirt-sporting owner, Mac Klein, turned 100.

Exterior of The Wolfsonian-FIU. Courtesy of The Wolfsonian–FIU.

E. Wolfsonian-FIU

1001 Washington Avenue

This museum is one of the crown jewels of Miami curiosities. Founded by Miami philanthropist and passionate collector-wanderer Mitchell Wolfson in 1986 to house his ever-growing collection of decorative art and propaganda—his collecting habits famously began with a stockpile of treasured vintage hotel keys—this wunderkammer is housed in a boxy, stunningly beautiful Mediterranean Revival building. Up now, don’t miss “Margin of Error,” which takes a look at “cultural responses to mechanical mastery and engineered catastrophes of the modern age—the shipwrecks, crashes, explosions, collapses, and novel types of workplace injury that interrupt the path of progress.”

F. Puerto Sagua

700 Collins Avenue

Insider tip: For a quick, low-key, and delicious bite (don’t miss the flan), take a seat at this Cuban diner—and take home one of their fantastic paper placemats, complete with a vintage Miami map. Take note: after a kitchen fire, Puerto Sagua has temporarily closed its doors but is set to reopen on November 30th, just in time for fair week.

G / H / I. Joe’s, Milo’s, and Prime 112

11 Washington Avenue; 730 First Street; 112 Ocean Drive

Insider tip: For a longer, more luxurious meal, try one of Jorge Perez’s favorites: Joe’s for stone crabs, a local delicacy (everyone wears bibs); Milo’s for fresh fish; and Prime 112 for a nice big steak.

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North Beach

A. Faena Hotel

3201 Collins Avenue

Collector and hotelier Alan Faena’s newest complex fuses a freshly minted hotel with an ambitious art space called Faena Forum, designed by Rem Koolhaas’s OMA. While the Forum won’t open until spring 2016, its programming kicks off—and into the streets, during the first week of December, when assume vivid astro focus installs a kaleidoscopic roller-disco on the beach. It’s open to the public, who can take a spin to DJ sets.

Rendering of assume vivid astro focus’s roller rink. Courtesy of FAENA ART.

B. EDITION Hotel

2901 Collins Avenue

While it might be best known for the long lines that amass outside its club (cool-kid magnet BASEMENT), EDITION hosts a set of diamond-in-the-rough projects in its poolside bungalows. If you can find them through the long marble lobby and stand of towering potted banana plants, Louis B. James (Bungalow 262) shows virtual reality-laced works by Jeremy Couillard, and Harper’s Books (Bungalow 252) hosts a signing with artist Sue Williams of her new, gorgeous monograph on December 2nd.

C. NADA

The Fontainebleau Miami Beach, 4441 Collins Avenue

Making a move from the charmingly retro Deauville Beach Resort way uptown to the high-gloss Fontainebleau marks a big shift for the New Art Dealers Alliance (NADA) fair, which is focused on younger galleries. From L.A.’s Anat Ebgi to Berlin’s SANDY BROWN to New York’s Karma, its exhibitors are known for bringing an inspired mix of new work into the fold.

D. PULSE

Indian Beach Park, 4601 Collins Avenue

A couple of blocks north is another fair that’s carved a place for itself on the main drag. From mainstay galleries like Yancey Richardson to groundbreaking nonprofits like Visual AIDS and RxArt, most booths here mount focused presentations of works of two to three artists. Don’t miss the fair’s curated section, PLAY, surfacing innovative video and new media selections from idiosyncratic New York-based curator Stacy Engman.

E. Miami Project and Art on Paper

Deauville Beach Resort, 6701 Collins Avenue

Take a cab a few minutes north, and you’ll find satellite fairs Miami Project and Art on Paper, taking NADA’s place at the Deauville Beach Resort. Also filling this hub is a dynamic selection of performance, installation, and new media interventions from SATELLITE, a multipart curatorial effort. We’re especially excited that Brooklyn bar and concert venue Trans Pecos is setting up shop there with sets by Fade to Mind and Michael Beharie, among others.

F. Sandbar Lounge

6752 Collins Avenue

Insider tip: Across the street, visit Sandbar Lounge, a sand-covered dive bar for a drink and game of pool after a long day trekking up the beach.

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Design District

As you pass across the causeway that traverses Biscayne Bay, Downtown Miami’s skyline comes into focus. Behind it lie some of the city’s most dynamic cultural spaces. You might first land in the city’s Design District, just north of highway 195, where boxy warehouses and parking garages have, in recent years, been converted into sharp design shops, art galleries, and restaurants.

A. ICA Miami

4040 NE 2nd Avenue

While its new Aranguren & Gallegos Arquitectos-designed building begins construction, the one-year-old ICA brings a strong assortment of contemporary exhibitions to its temporary home. This season surfaces a solo exhibition by radical video artist Alex Bag, which Diana Nawi is keenly anticipating. For his part, Emmett Moore is looking forward to future programming: “I’m excited to see the new ICA building. They’ve managed to put on some great shows in their temporary space so I can only imagine what’s in store.”

B. de la Cruz Collection Contemporary Art Space

23 NE 41st Street

Around the corner, visit one of Miami’s acclaimed private art collections, brought into the public sphere by Rosa and Carlos de la Cruz. This year, the group show “You’ve Got to Know the Rules…To Break Them” promises irreverent highlights from the couple’s encyclopedic holdings of today’s most influential work.
Insider tip: “The private collections in Miami are amazing troves of contemporary art,” says Diana Nawi.

Installation view of “Beatriz Monteavaro: Nochebuena.” Courtesy of Locust Projects.

C. Locust Projects

3852 North Miami Avenue

Since its founding in 1998, this artist-run nonprofit space has produced a steady stream of experimental projects. This month, it’s a platform for ambitious work by a bevy of young artists—sculptor Martha Friedman, choreographer Silas Riener, installation artist Beatriz Monteavaro, and conceptual artist Martine Syms.

Insider tip: And as you traverse the city, look out for Syms’s NITE LIFE—graphic prints, emblazoned with phrases like “Darling It Won’t Be The Same Always” plastered on city buses and bus stops. They resemble mid-1900s “Chitlin’ Circuit” posters, which advertised shows at venues where black musicians could perform freely and securely during segregation.

D. Jeffrey Deitch and Larry Gagosian’s “UNREALISM” at the Moore Building

191 NE 40th Street

Sometime rivals Jeffrey Deitch and Larry Gagosian embark on their first collaboration over four floors (about 28,000 square feet) of this Design District architectural gem. Their joint curatorial project, “UNREALISM,” brings together artists—from John Currin to Elizabeth Peyton to Jamian Juliano-Villani—representing a renaissance in figuration.

Larry Bell’s 6 x 6 An Improvisation. Copyright of Larry Bell. Photo by Alex Marks, 2014. Courtesy of Chinati Foundation.

E. Larry Bell’s 6 x 6 An Improvisation at the Melin Building

Suite #200, Melin Building, 3930 NE Second Avenue

White Cube brings Larry Bell’s 6 x 6 An Improvisation—an ethereal installation built from towering, reflective glass panels—to Miami. The Light and Space pioneer’s masterwork promises a quiet, contemplative reprieve from the teeming fairs and sprawling collection shows.

F. Mandolin

4312 NE 2nd Avenue

Insider tip: For lunch or dinner, try one of Nina Johnson-Milewski’s favorites, Mandolin: “It’s such a lovely atmosphere, owned and operated by the nicest people.” It also serves some of the city’s best seafood, on a hidden patio dotted with sky blue chairs and fresh flowers.

G. Michael’s Genuine

130 NE 40th Street

Insider tip: Or for heartier fare in an equally unhurried environment, grab a seat at Michael’s Genuine, opened by James Beard-honored Michael Schwartz. It’s one of Jorge Perez’s favorites. You’ll have no regrets after devouring the Harris Ranch black angus burger (don’t dare skimp on the brioche bun).

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Little Haiti / North Miami

In the 1800s, this area, north of downtown Miami, was covered with lemon groves, from which it drew its first nickname, “Lemon City.” Today, it’s defined by its Haitian immigrant population and burgeoning art scene.

A. Gallery Diet

6315 NW 2nd Avenue

Founded by impresario Nina Johnson-Milewski in 2007, this Miami mainstay recently moved north from Wynwood to a four-building, 15,000 square-foot compound in the heart of Little Haiti. “I’m loving our new home,” says Johnson-Milewski. “For the first time in nearly ten years I have windows and outdoor space. Who knew Vitamin D was so essential?” “Trees in Oolite,” the gallery’s first design exhibition, uses this fresh air to its full advantage. In the complex’s courtyard, brutalist furniture by Emmett Moore, Katie Stout, and Snarkitecture sits among lush mango, avocado, and oak trees. Inside, don’t miss Ann Craven’s solo show of lush skyscapes she painted en plein air in Maine, with the moon and the occasional candle as her only light sources.

B. Spinello Projects

7221 NW 2nd Avenue

This experimental space is up to its old boundary-pushing tricks during fair week with “Littlest Sister,” a conceptual exhibition that calls itself a “faux” art fair, with the tagline “Smallest Art Fair, Biggest Balls.” The project gathers “booths” by 10 women-identified artists, all unrepresented and working in painting, installation, new media, and performance.

C. Michael Jon Gallery

255 NE 69th Street

This gallery’s roster is chock full of up-and-coming artists from across the country—Paul Cowan, Math Bass, and JPW3, to name a few. This month, Sofia Leiby brings bright, active paintings that resemble letters and words breaking out of alphabetic confines and wiggling their way to abstraction.

D. Fiorito

5555 NE 2nd Avenue

Insider tip: Travel south past Little Haiti Park and you’ll find Fiorito, a small Argentinian restaurant that’s “a good local spot for a low key dinner,” says Emmett Moore. “I have dreams about their grilled octopus.”

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Wynwood

Haas & Hahn mural in progress at Wynwood Walls. Courtesy of Wynwood Walls. Photo by Martha Cooper.

Wynwood has become the poster child for the rampant expansion of Miami’s art scene to the mainland, and likewise into the city’s streets. Over the last six years, murals have spread across the concrete walls of the district’s abandoned factories and warehouses. Galleries and private collections have followed suit, marking a cultural renaissance for this formerly industrial neighborhood, nicknamed “Little San Juan” for its still-vibrant Puerto Rican community.

A. Wynwood Walls

2520 NW 2nd Avenue

Pioneered by vociferous street art advocate Jeffrey Deitch, along with late real estate developer Tony Goldman, the murals that make up Wynwood Walls were some of the first carrots to draw the international art set to Wynwood in 2009. Every year, new murals are added to the colorful cohort that includes street art’s most influential names—and some of its undisputed masterworks—from Aiko to Shepard Fairey to Futura to Os Gemeos. This year, 14 new murals and installations (by Fafi, Crash, Logan Hicks, and more) are unveiled.

B. Rubell Family Collection

95 NW 29th Street

Amassed by charismatic patrons Donald and Mera Rubell, this expansive collection is housed in a monumental 45,000-square-foot space that was once owned by the Drug Enforcement Agency. This year, they present “NO MAN’S LAND,” focused on the influential output of female artists ranging from Michele Abeles and Jenny Holzer to Shinique Smith.

Insider tip: Don’t miss Jennifer Rubell’s Devotion, one of the artist’s signature interactive food-based installations that, this year, explores buttering bread as an act of intimacy and interpersonal connection, on December 3rd from 9–11 a.m.

C. The Margulies Collection at the WAREhOUSE

591 NW 27th Street

Housed in a repurposed Wynwood warehouse, this must-see private collection belongs to Miamian Martin Z. Margulies. This year, don’t miss new exhibitions of work by Anselm Kiefer and Susan Philipsz, as well as recent acquisitions of pieces by Mark Handforth, Lawrence Carroll, and more.

D. Spencer Finch’s Ice Cream Truck

3401 NE 1st Avenue

Insider tip: While strolling through the neighborhood, drop by artist Spencer Finch’s ice cream truck. “His solar-powered truck will provide anyone in the area with edible frozen works of art free of charge,” explains Jorge Perez.

Mana Wynwood’s facade. Image courtesy of Mana Contemporary.

E. Mana Wynwood

318 NW 23rd Street

This year, Mana Contemporary unveils a 30-acre campus—every corner devoted to contemporary art and culture—that rivals its much talked-about New Jersey compound. Large-scale exhibitions highlighting three influential private collections (the Frederick R. Weisman Art Foundation, the Jorge M. Pérez Collection, and the Tiroche DeLeon Collection) herald this new mainstay on the Wynwood circuit.

F / G. Art Miami and CONTEXT Art Miami

3101 NE 1st Avenue

These sister art fairs, the 26-year-old Art Miami and the four-year-old Context, are must-see stops in Wynwood.

H / I. Panther Coffee, Gramps

1875 Purdy Avenue; 176 NW 24th Street

Insider tip: For a caffeine boost, pass through a the doors of a Barry McGee mural-swathed building to Panther Coffee. Or for a stiff drink among creative Miamians, try Gramps, “pretty much the only bar I got to,” says Emmett Moore. “It has a lot of the qualities of old Miami dive bars with some silly artsy stuff mixed in.”

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Park West/Downtown

Taking the southern route from Miami Beach to the mainland, across the MacArthur Causeway, you’ll land in Park West, with Downtown Miami just south of you. Here, skyscrapers house big business and club culture alike. In recent years, the adjacent waterfront, formerly monopolized by the run-down Millennium Park, has transformed into Museum Park, an impeccably manicured landscape of gardens and cultural centers.

A. The Perez Art Museum Miami (PAMM)

1103 Biscayne Boulevard

This stunning museum, which opened its Herzog & de Meuron-designed doors in 2013, recently brought star curator Franklin Sirmans on as director to helm its ambitious program. This fall, don’t miss Nari Ward’s mid-career retrospective, “Sun Splashed,” curated by Diana Nawi, and Miami-based artist Nicolas Lobo’s “The Leisure Pit,” which showcases large-scale concrete sculptures, festooned with the occasional flip-flop, that he forged in a swimming pool.

B. Cisneros Fontanals Art Foundation

1018 North Miami Avenue

This stunning building, its facade covered in over one million tiles that together resemble a verdant junglescape, houses patron Ella Fontanals-Cisneros’s comprehensive collection of primarily Latin American art. Up now, don’t miss Cuban artist Gustavo Pérez Monzón’s “Tramas.”

C / D / E. The Corner, NIU Kitchen, and Zuma

1035 N. Miami Avenue; 134 NE 2nd Avenue; 270 Biscayne Boulevard Way

Insider tip: For a cocktail (we recommend their Hurricane, complete with passion fruit shrub and pineapple) pop into The Corner, Diana Nawi’s “go-to bar.” For dinner, head south to NIU Kitchen’s beautiful nook for delicious Catalan fare. Or for a more dramatic dining experience, make a reservation at Zuma for elegant Japanese plates enjoyed from a perch overlooking the water.

Photo by Gesi Schilling.

—Alexxa Gotthardt

A Short List of Miami Art Week Events

Gagosian, Stallone and even Edvard Munch are bringing it this year

Isaac Julien’s Stones Against Diamonds (Ice Cave) at Art Basel in Miami Beach 2015. (Photo: Courtesy of Rolls-Royce Motor Cars)

ven Isaac Julien’s Stones Against Diamonds (Ice Cave) at Art Basel in Miami Beach 2015. (Photo: Courtesy of Rolls-Royce Motor Cars)

Miami Art Week gets a bad rap for being a nonstop rager, what with the Cristal, the caviar and the unicorn rides (trust me, Peter Brant can make that happen). But, in salute to the fact that what’s on view (I’m talking about art, not bikini models) can be just as intoxicating, we picked out just a handful of events that put the emphasis on art.
For a huge and updating list of events, see observer.com/art

MONDAY NOVEMBER 30

Isaac Julien | Commission for Rolls-Royce Art Programme in Miami for Art Basel in Miami Beach
Opening
Jewel Box, National YoungArts Foundation
2100 Biscayne Boulevard
And we’re off! Rolls-Royce, the choice car of haughty old Englishmen and ’90s rappers, has commissioned a new work by influential British artist Isaac Julien titled Stones Against Diamonds (Ice Cave) to be shown at the YoungArts Jewel Box as part of Art Basel Miami Beach 2015. Covering 15 screens, Mr. Julien’s tour-de-force was shot inside isolated glacial ice caves in the Vatnajökull region of Iceland. The artist interpreted this remote landscape as a metaphor for the subconscious, a place of rich beauty that can only be accessed through psychoanalysis and artistic reflection. Damn that’s deep! So if you’re rollin’ through Miami’s Wynwood District this year in your souped up KIA, maybe stop into this exhibit for a much-needed ego (and id) check.

A moon painting by Anne Craven. (Photo: Courtesy of Maccarone, New York)

A moon painting by Anne Craven. (Photo: Courtesy of Maccarone, New York)

Gallery Diet
Ann Craven’s I Like Blue 
Opening reception
6315 NW 2nd Avenue
5-8 p.m.
A teacher’s influence lasts a lifetime. Prime example: One of painter Ann Craven’s former students from a class in 2004 eventually decided to open a gallery in the Basel host-city of Miami. That student was Nina Johnson-Milewski, owner/director of Contemporary art collector favorite, Gallery Diet. Cut to 2015, and that student is about to open a show of her former teacher’s work at her new location in the up-and-coming neighborhood of Little Haiti. Ms. Craven’s painterly goodness is reason enough to see this show—she has serious chops—but this will also be the best place to find crusty die-hard Miami locals, the art lovers who run this city for more than just one week out of the year.

TUESDAY DECEMBER 1

Jarry Deigosian.

Jarry Deigosian.

“Unrealism”
Organized by Gagosian Gallery and Jeffrey Deitch
Moore Building
3841 NE 2nd Avenue, Miami
Opening reception 5-8 p.m.
This is kind of like when the Penguin and the Riddler teamed up for the very first time: it was fearsome yet wildly entertaining. But what has finally brought former art world foes Larry Gagosian and Jeffrey Deitch together under one Design District roof? Figurative painting, of course. You just know it will be a humdinger, too, with works from both the older guard like John Currin, Elizabeth Peyton and David Salle and the very new guard, which includes young hotshots like Jamian Juliano-Vilani and Ella Kruglyanskaya. It’s all part of the evil duo’s diabolical plot to reallocate collector funds to their secret offshore lair, part of a grander scheme to take over the world… Can nothing stop them?

Yo! Adrian, Picasso, et al.

Yo! Adrian, Picasso, et al.

Galerie Gmurzynska ‘dinatoire’ for Germano Celant and Sylvester Stallone
Villa Casa Casuarina
1116 Ocean Drive
8:30 p.m. Private
Guest curator Germano Celant organized the Art Basel Miami booth for this Zurich gallery with some top-notch artists (Picasso, Dubuffet, you know, the usual masterworks) and there’s a party in honor of this fact. It will be held at the sumptuous Villa Casa Casuarina, better known as the former castle-like home of the late fashion designer Gianni Versace, a.k.a. the Versace Mansion. Oh and the star of such mega-hits as Stop or My Mom Will Shoot! and Rhinestone should be making the scene…Mr. Stallone is an accomplished painter himself, f.y.i. Sadly, the event is invite only, but if you Netflix Rocky in your hotel while drinking little bottles of booze from your mini-fridge, you can convince yourself it’s more or less the same thing.

THURSDAY DECEMBER 3

NADA Miami Beach 2012 Photo by Andrew Russeth)

NADA Miami Beach 2012 (Photo: Courtesy of Andrew Russeth)

NADA Miami Beach art fair
Private preview
Fontainebleau Miami Beach 
4441 Collins Avenue
10 a.m.-2 p.m.
The market for emerging art is as dead as Dean Martin, right daddio? Wrong. That’s exactly what these fat cats want you to think so they can get all the primo goodies for themselves. Well, we can’t let that happen, can we? This is what you do: set four alarm clocks the night before. Print out your list of potential emerging art targets. I suggest you wear something that you can move well in (a track suit maybe) and show up to the Fontainbleau a few hours early. You might even want to wear some elbow and kneepads. The Horts are not afraid to throw an elbow or two when jockeying for position in front of the Canada gallery booth, and you shouldn’t be either. Okay, deep breath… Let’s do this.

FRIDAY DECEMBER 4

8d609ec7922ef783ea8a71772a967092 A Short List of Miami Art Week Events

Miami meet Munch.

Edvard Munch Art Award
Shelbourne Hotel South Beach
1801 Collins Avenue
By invitation, or Art Basel First Choice
VIP card
Now this is a big deal. The Edvard Munch Art Award is back after an almost 10-year hiatus, and the winner will be announced in Miami during Basel Week (yes, that thud is the sound of  Munch rolling over in his grave.) The 500,000 NOK award (roughly $58,000) is given to “an emerging visual artist, no older than 40 years of age, who has demonstrated exceptional talent within the last five years.” The award also includes a solo exhibition at the Munch Museum in Oslo, Norway. Not a bad haul. That, plus the fact that the reception should be filthy with good-looking Scandinavian models, has us considering this party a rather hot ticket.

–HAMPTONS MAGAZINE
What to Expect at Art Basel in Miami Beach This YearBy Matt Stewart | November 20, 2015 | Culture
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Art & Culture

The Fabulous 5.5: Art Basel Planning Guide #2

November 17, 2015

Top Art Basel Bar Escapes 2015

Walking around during Art Basel exhausts everyone. Feet hurtin’, eyes burnin’, throat in need. Like a European museum tour, it doesn’t take long for one to burn out. If you are of age, liquid respite beckons.

Who has what it takes near the venues?

Consider these 5 places to escape, and a few semi-non-suggestions.

 

Do Not Sit5. Do Not Sit On the Furniture is not a command, but a location at 423 16th Street and the premier beach club for the subterranean set. It’s dark, tight, and a global DJ hideout/paradise. It’s designed like Europe — unpretentious and built for dance.

Regent4. The Regent Cocktail Club: On the corner of 17th and James right in the thick of all things on the Beach rests the regent in the rear of the Gale. No place on the Beach feels this much like the famous old-time, pricey, classy New York City barrooms like the King Cole in the St. Regis or Bemelman’s at the Carlyle. If Cleaveland Jones and his Trio are playing like they often do on Thursday nights, settle in for a few delightful, stirring Brazilian-tinged sets. They got skills.

Radio Bar3. Radio Bar South Beach: All those burnt sienna, earthy tones minus any vestiges of natural light make for a good post-modern, post-apocalyptic vibe. It’s both contemporary and sci-fi Twilight Zone – if something happens outside, you might drink your way through it. Easter Island mugs, a pool table, and stylish cocktails contribute. 814 1st Street and looking very different outside from inside.

Broken Shaker2. Broken Shaker: The old Indian Creek Hotel became the Freehand Hostel and these Bar Lab dudes, Gabriel Orta and Elad Zvi got semi-famous and started making freaky cocktails and suddenly, yeah like, you know, the place got very hip. Amid the gorgeous patio garden are serious cocktails making waves like this one a while back: Kale and Pineapple Caipirinha. 2727 Indian Creek Drive. You can also chill upstairs at 27.

Repour1. Repour: Established in 2015, Repour has developed serious rapport going as far as the bar in Miami Beach least likely to reveal photos showcasing it. Laid back on the beach, lots of handwritten stuff, rarely overcrowded, and beautiful drinks make this locally popular spot in the lobby of the Albion a champion.

.5 Less than worthy: Take your pick. Cool bad-secret is out backroom Bodega, gorgeous view/too tight dresses at Juvia, UFC/NRA/armed to the teeth/hidden entrance Foxhole, no one can stand it but Anthony Boudain Club Deuce, but none of which could ever be worse than rock-bottom Clevelander (except maybe Mangos).

 

MIAMI NEW TIMES

Art Basel Miami Beach 2015 Party Guide

Art Basel Miami Beach 2015 Party Guide

Photo by Nate “Igor” Smith/drivenbyboredom.com

Spring break forever.

Yes, art world, Art Basel in Miami Beach is almost here. And you can pretend all you want that you’re coming to Miami exclusively for the high-brow art and lectures, but nobody’s going to judge you if you manage to get some serious partying done while you’re in town. This is Miami, and if there’s one thing we’re really good at, it’s partying.

And rest assured, there will be tons of parties during Miami Art Week. From the completely free to invite-only, here is the most complete collection of musically driven, nightlife events — with a dash of art thrown in, because, you know, we aren’t savages. And thanks to a generous 5 a.m. closing time — 24 hours in Miami’s Park West district — there’s plenty of time for you to make an Art Basel mistake. (Good news is that mistake probably has a flight back to New York to catch on Sunday.)

Check back often for updates, because we will continue to update this list as more events get announced. Don’t see your event listed here? Send us an email.

Tuesday, December 1

Slap & Tickle Art Basel with Dave1. 10 p.m. Tuesday, December 1, at Bardot, 3456 N Miami Ave, Miami; 305-576-5570; bardotmiami.com. Tickets cost $15 to $20 plus fees via showclix.com.

Favela Beach with Mr. Brainwash, Jus-Ske, Ruen, and Reid Waters. 11:30 p.m. Tuesday, December 1 at Wall Lounge, 2201 Collins Ave., Miami Beach; 305-938-3130; wallmiami.com. Tickets cost $50 to $70 via wantickets.com.

Wednesday, December 2

Behrouz & Friends Art Basel Edition with Damian Lazarus, Behrouz, and Bedouin, Wall Lounge, 2210 Collins Ave., Miami Beach. Tickets $50 via wantickets.com.

A Very Superfine! Kickoff Party with Baio (of Vampire Weekend) and Lauv, presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $25 via superfine.design/tickets.

Thursday, December 3

PAMM presents “Dimensions” by Devonté Hynes (Blood Orange) and Ryan McNamara, Pérez Art Museum Miami, 1103 Biscayne Blvd., Miami. Open only PAMM Sustaining and above level members as well as Art Basel Miami Beach, Design Miami, and Art Miami VIP cardholders.

Life and Death Art Basel with Tale Of Us, Mind Against, Thugfucker, and special guest Richie Hawtin, Mana Wynwood, 318 NW 23rd St., Miami. Doors 9 p.m.; tickets $15 to $66 via residentadvisor.net.

Connan Mockasin, Bardot, 3456 N. Miami Ave., Miami. Doors 10 p.m.; tickets $15 to $20 via showclix.com.

A Jetset Jubilee with Aeroplane with a super special guest (TBA), presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $25 via superfine.design/tickets.

Immortal Technique with Hasan Salaam, DJ Static, and El B. 7 p.m. at Churchill’s Pub, 5501 NE Second Ave., Miami; 305-757-1807; churchillspub.com. Tickets cost $25 plus fees via eventbrite.com. Ages 18 and up.

Friday, December 4

When Pigs Fly presented by Link Miami Rebels with artists TBA, Trade, 1439 Washington Ave., Miami Beach. Tickets $15 to $35 via residentadvisor.net.

tINI and Bill Patrick, Heart Nightclub, 50 NE 11th St., Miami. Tickets $20 to $30 via residentadvisor.net.

Safe Off/Basel 2015 with Martyn, the Black Madonna, and Diego Martinelli, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $18.35 to $21.15 via residentadvisor.net.

Miami Nice Art Basel, All-White Yacht Party, South Beach Lady, Hyatt Dock, 400 SE Second Ave., Miami. Tickets $60 via wantickets.com.

Jamie xx and Four Tet, presented by III Points and Young Turks, at Mana Wynwood, 318 NW 23rd St., Miami. Doors 9 p.m. Tickets $25 to $400 via showclix.com.

Miami Hearts Design, hosted by Karelle Levy with a KRELwear living installation, with Afrobeta and Millionyoung, presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $15 via superfine.design/tickets.

Avey Tare (Animal Collective) DJ set with Byrdipop and Uchi (live), Bardot, 3456 N. Miami Ave., Miami. Doors 10 p.m.; tickets $15 to 20 via showclix.com.

Nakid Magazine Issue Release Party celebrating Jen Stark. 10 p.m. Friday, December 4, at Libertine, 40 NE 11th St., Miami; 305-363-2120; libertinemiami.com. Admission is $10.

Saturday, December 5

Danny Howells, Do Not Sit On the Furniture, 423 16th St., Miami Beach. Doors 10 p.m.; tickets $20 via residentadvisor.net.

Crew Love Art Basel with Soul Clap, PillowTalk (live), Nick Monaco, Navid Izadi, Jeremy Ismael, and Miami Players Club, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $15 to $35 via residentadvisor.net.

Big Times in Little Haiti with Jeffrey Paradise (of Poolside), Gilligan Moss, and Krisp, presented by Superfine! House of Art and Design, the Citadel at 8300 NE Second Ave., Miami. Tickets $25 via superfine.design/tickets.

David Squillace. 11:30 p.m. Saturday, December 5, at Wall Lounge, 2201 Collins Ave., Miami Beach; 305-938-3130; wallmiami.com. Tickets cost $40 to $70 via wantickets.com.

Sunday, December 6

The Visionquest Experience with Visionquest (Lee Curtiss, Ryan Crosson, Shaun Reeves), DJ Three, Behrouz, and more, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $20 to $30 via residentadvisor.net.

Dark Basel with Necro and Madchild. 7 p.m. at Churchill’s Pub, 5501 NE Second Ave., Miami; 305-757-1807; churchillspub.com. Tickets cost $20 plus fees via eventbrite.com. Ages 18 and up

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Market News

NADA Miami Beach Will Move to the Fontainebleau Hotel

The Fontainebleau lobby.COURTESY FONTAINEBLEAU MIAMI BEACH

The Fontainebleau lobby.

COURTESY FONTAINEBLEAU MIAMI BEACH

NADA Miami, the New Art Dealers Alliance’s fair during Art Basel Miami Beach in December, will be moving to the Fontainebleau Hotel on Collins Avenue for its 2015 edition. NADA opened in Miami in 2003, and in 2009 moved to the Deauville Beach Resort, in North Miami Beach, where the fair remained through last year.The de la Cruz Collection is doing a survey show loaded with art stars working in abstraction.

==
The ICA Miami

ALEX BAG

On view December 1, 2015 – January 31, 2016

ICA Miami will present a solo exhibition dedicated to video and performance artist Alex Bag during Art Basel Miami Beach in 2015. On view in ICA Miami’s Atrium Gallery, The Van (Redux)* centers around one of Bag’s key videos, The Van, 2001, and features a dramatic new site-specific installation. This exhibition marks the first major U.S. presentation of the artist’s work since 2009.

 

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The Rubell Family Collection

Genzken I Schauspieler
Isa Genzken, Schauspieler, 2013

NO MAN’S LAND

Women Artists from the Rubell Family Collection

December 2, 2015, through May 28, 2016

 

The Rubell Family Collection/Contemporary Arts Foundation is pleased to announce its upcoming exhibition, NO MAN’S LAND: Women Artists from the Rubell Family Collection, on view in Miami from December 2nd, 2015 through May 28th, 2016. This exhibition will focus on and celebrate work made by more than a hundred female artists of different generations, cultures and disciplines. These artists will be represented by paintings, photographs, sculptures and video installations that will entirely occupy the Foundation’s 28-gallery, 45,000-square-foot museum. Some galleries will contain individual presentations while others will present thematic groupings of artists. Several installations have been commissioned specifically for this exhibition.

In order to present the exhibition’s scope and diversity the Foundation will rotate artworks on view throughout the course of the exhibition, presenting different artists at different times. All of the artworks in the exhibition are from the Rubells’ permanent collection.

Other exhibitions organized by the Foundation include 30 Americans, which is currently on view at the Detroit Institute of Art through January 18, 2016 and 28 Chinese which is currently on view at the San Antonio Museum of Art through January 3, 2016. 30 Americans has now been presented at 9 institutions and seen by over one million people.

A fully illustrated catalog with essays will accompany the exhibition. A complimentary audio tour will also be available.

To celebrate the opening of NO MAN’S LAND, Jennifer Rubell will be presenting Devotion, her 12th annual large-scale, food-based installation on December 3, 2015 from 9 to 11 a.m. Devotion will explore the everyday gesture as a medium for the expression of love. Using bread, butter, and a couple engaged to be married as her media, Rubell will transform the simple act of cutting and buttering bread into a poetic exploration of repetition as devotion

 

List of artists:

Michele Abeles
Nina Chanel Abney
Njideka Akunyili Crosby
Kathryn Andrews
Janine Antoni
Tauba Auerbach
Alisa Baremboym
Katherine Bernhardt
Amy Bessone
Kerstin Bratsch
Cecily Brown
Iona Rozeal Brown
Miriam Cahn
Patty Chang
Natalie Czech
Mira Dancy
DAS INSTITUT
Karin Davie
Cara Despain
Charlotte Develter
Rineke Dijkstra
Theo Djordjadze
Nathalie Djurberg
Lucy Dodd
Moira Dryer
Marlene Dumas
Ida Ekblad
Loretta Fahrenholz
Naomi Fisher
Dara Friedman
Pia Fries
Katharina Fritsch
Isa Genzken
Sonia Gomes
Hannah Greely
Renée Green
Aneta Grzeszykowska
Jennifer Guidi
Rachel Harrison
Candida Höfer
Jenny Holzer
Cristina Iglesias
Hayv Kahraman
Deborah Kass
Natasja Kensmil
Anya Kielar
Karen Kilimnik
Jutta Koether
Klara Kristalova
Barbara Kruger
Yayoi Kusama
Sigalit Landau
Louise Lawler
Margaret Lee
Annette Lemieux
Sherrie Levine
Li Shurui
Sarah Lucas
Helen Marten
Marlene McCarty
Suzanne McClelland
Josephine Meckseper
Marilyn Minter
Dianna Molzan
Kristen Morgin
Wangechi Mutu
Maria Nepomuceno
Ruby Neri
Cady Noland
Katja Novitskova
Catherine Opie
Silke Otto-Knapp
Laura Owens
Celia Paul
Mai-Thu Perret
Solange Pessoa
Elizabeth Peyton
R.H. Quaytman
Aurie Ramirez
Magali Reus
Marina Rheingantz
Bridget Riley
Cristina Lei Rodriguez
Pamela Rosenkranz
Amanda Ross-Ho
Jennifer Rubell
Analia Saban
Lara Schnitger
Collier Schorr
Dana Schutz
Beverly Semmes
Mindy Shapero
Nancy Shaver
Cindy Sherman
Xaviera Simmons
Lorna Simpson
Shinique Smith
Lucie Stahl
Jessica Stockholder
Sarah Sze
Aya Takano
Fiona Tan
Mickalene Thomas
Rosemarie Trockel
Kaari Upson
Hannah Van Bart
Paloma Varga Weisz
Marianne Vitale
Kara Walker
Mary Weatherford
Meg Webster
Carrie Mae Weems
Jennifer West
Sue Williams
Haegue Yang
Anicka Yi
Lisa Yuskavage

 

EXHIBITION SPONSORS:

2015 16 sponsors 2

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THE MARGULIES
COLLECTION
AT THE WAREHOUSE
OPENS TO THE PUBLIC
WITH NEW EXHIBITIONS
OCTOBER 28, 2015 THROUGH APRIL 30,, 2016

2015-2016

What are the new acquisitions on exhibition this year?
Anselm Kiefer, Susan Philipsz, Meuser, Lawrence Carroll, Mark Handforth, Liat Yossifor

Who are the artists new to the Warehouse collection?
Susan Philipsz, Mark Handforth, Liat Yossifor

What artists have permanent installations at the Warehouse?
Pier Paolo Calzolari, Anthony Caro, Willem de Kooning, Donald Judd, Olafur Eliasson, Peter Fischli and David Weiss, Flavin, Michael Heizer, Donald Judd, Amar Kanwar, Kiefer, Jannis Kounellis, Sol LeWitt, Joan Miró, Isamu Noguchi, Michelangelo Pistoletto, George Segal, Richard Serra, Tony Smith, Franz West

Checklist of Artists in this year’s Exhibitions
Magdelena Abakanowicz, Ronald Bladen, Martin Boyce, Pier Paolo Calzolari, Anthony Caro, John Chamberlain, Willem de Kooning, Willie Doherty, Ursula Schultz Dornburg, Olafur Eliasson, Peter Fischli and David Weiss, Dan Flavin, Kendall Geers, Antony Gormley, Mark Handforth, Michael Heizer, Pieter Hugo, Hans Josephsohn, Amar Kanwar, Anselm Kiefer, Jannis Kounellis, Sol LeWitt, Richard Long, Meuser, Domingo Milella, Jackie Nickerson, Joan Miró, Isamu Noguchi, Michelangelo Pistoletto, George Segal, Richard Serra, Tony Smith, Simcha Shirman, Alec Soth, Michael Spano, Franz West, Pavel Wolberg, Manabu Yamanaka

 ==

NYTimes
Miami’s art museums are grabbing headlines with splashy staff hires and well-heeled additions to their boards. Yet when it comes to actual artwork, the city’s marquee collectors — and their personally run exhibition spaces — continue to steal the show. The latest example of “The Miami Model”? A sprawling retrospective from the German blue-chip artist Anselm Kiefer that fills nearly a quarter of the 45,000-square-foot Margulies Collection at the Warehouse — a garment factory transformed into a showcase for art holdings of the real estate developer Martin Margulies.The exhibit opens Wednesday, but “it will be up forever,” Mr. Margulies said. “If you think I ever want to go through this again … .” he trailed off, motioning to the flurry of activity throughout the Warehouse this week. Mr. Kiefer directed a small army of art handlers whirring about on hydraulic lifts, racing to install an array of 25,000-pound detritus-filled sculptures, 10-feet-high neo-runic paintings, and charcoal wall inscriptions, just hours before a dinner benefiting the Lotus House homeless shelter. The works include the new sculpture, “Ages of the World,” a 17-foot stack of 400 unfinished canvases, lead books, rubble and dried sunflowers.Mr. Margulies played down the show being any kind of aesthetic shot across the bow of the Pérez Art Museum Miami, despite his public feud with that institution over its continuing to receive millions in tax dollars from a struggling community rather than relying solely on private contributors. Instead, Mr. Margulies hoped visiting schoolchildren would learn from Mr. Kiefer’s handiwork: Don’t let meager materials limit your vision. “They should realize this is the creative process of an artist.”Mr. Kiefer, 70, remains a controversial figure within the art world, alternately lionized and denounced for artwork invoking both World War II Germany and the kabbalah. Some see transcendent statements, others a reduction of the Jewish experience to kitsch. Both factions will find plenty of grist at the Warehouse, where Mr. Kiefer’s works refer to everything from the poet and Nazi labor camp survivor Paul Celan to the Old Testament’s Lilith.“Important work always creates polarization,” Mr. Kiefer explained. “The victims understand. Those people who see in me a glorifier of fascism — when you look into them, you find they have something to hide themselves.” As for the distinction between having his work shown in a “private” versus public museum, Mr. Kiefer hoped the former would proliferate. Collectors should be free to bypass museum curators, he said, and lavishly pursue their own tastes. He compared the phenomenon with the early 20th-century construction of public libraries by moguls like Andrew Carnegie: “I think it was J. P. Morgan who said, ‘If you die rich, it’s a mistake.’ ” BRETT SOKOL
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The de la Cruz Collection

The de la Cruz Collection presents their 2016 exhibition “You’ve Got to Know the Rules…to Break Them.” Rosa and Carlos de la Cruz have selected a group of artists from their personal collection who have been associated with defining 21st century practice. Self-aware of the influence that technology and the rise of consumerism has had on their work, artists exhibited follow the cool forms of Minimalism, Conceptualism and Abstract Expressionism, while injecting their works with subtle negations of their own process. Looking at traditional techniques behind painting and sculpture, these works co-exist timelessly as strategies of stylistic appropriation raise questions of subjectivity and originality.

“You’ve Got to Know the Rules…to Break Them” contextualizes New American Abstraction with German Neo-Expressionism, revealing earnest explorations of the artists technical acumen.Through experimentation, they antagonize accepted practices by drawing upon a variety of themes including cultural, historical and sociopolitical modes.

Per contra, the third floor contains a study in portraiture and memory with the works of Félix González-Torres, Ana Mendieta and Rob Pruitt. By transforming everyday objects and using energetic gestures and repetition, González-Torres, Mendieta and Pruitt accept diverse ideologies and reject the notion that art has a single vantage point.

By merging a variety of styles and mediums, the works selected for this year’s exhibition mirror contemporary culture while allowing an open-ended conversation of various interpretations and possibilities. Artist in the exhibition: Allora & Calzadilla, Tauba Auerbach, Walead Beshty, Mark Bradford, Joe Bradley, Dan Colen, Martin Creed, Aaron Curry, Peter Doig, Jim Drain, Isa Genzken, Félix González-Torres, Mark Grotjahn, Wade Guyton, Rachel Harrison, Arturo Herrera, Evan Holloway, Thomas Houseago, Alex Israel, JPW3, Alex Katz, Jacob Kassay, Martin Kippenberger, Glenn Ligon, Michael Linares, Nate Lowman, Adam McEwen, Ana Mendieta, Albert Oehlen, Gabriel Orozco, Jorge Pardo, Manfred Pernice, Sigmar Polke, Seth Price, Rob Pruitt, Sterling Ruby, Analia Saban, Josh Smith, Reena Spaulings, Rudolf Stingel, Cosima von Bonin, Guyton/Walker, Kelley Walker, Christopher Wool.

===

Mana Contemporary Announces Its 2015 Miami Art Week Program

Presenting exhibitions from three of the most prestigious private art collections in the United States.

Nov 03, 2015, 16:01 ET from Mana Contemporary

MIAMI, Nov. 3, 2015 /PRNewswire/ — Mana Contemporary is pleased to announce its second edition of programming during Miami Art Week, taking place from December 3 to 6, 2015. Held at Mana’s 30-acre campus in the Wynwood arts district, this event will inaugurate the central 140,000-square-foot building’s new role as the Mana Wynwood Convention Center.

Mana Contemporary will present a diverse roster of exhibitions and programs, including:

Made in California: Selections from the Frederick R. Weisman Art Foundation
Made in California—a phrase popularized in Ed Ruscha’s groundbreaking text/image works—will be a must-see exhibition during Miami Art Week. Frederick R. Weisman was a pioneering Los Angeles collector of California art as it emerged as a center for contemporary art in the 1960s. He built a collection that includes many of the artists that rose to prominence under the legendary Ferus Gallery, and who went on to define art movements such as Light and Space, Finish Fetish, Postmodernism, and beyond. Under the direction of Mrs. Billie Milam Weisman, the foundation continues to amass a substantial collection of Los Angeles and California art. On view will be works by John Baldessari, Mary Corse, Ron Davis, Sam Francis, Joe Goode, Tim Hawkinson, Robert Irwin, and Ed Ruscha, among many others.

A Sense of Place: Selections from the Jorge M. Pérez Collection
Co-curated by Patricia Hanna and Anelys Alvarez
Including a selection of over 60 works from the collection of Jorge M. Pérez, A Sense of Place is an exhibition that explores cultural identity by way of the collection’s recent acquisitions of works by artists from Latin America. Despite the fact that these artists are working in a globalized world, where technology and communication transcend physical boundaries, many of these artists continue to construct personal and cultural identities by exploring ideas that are specific to their contexts of origin. The show will examine the idea of building cultural identity, and how artists use abstraction, architecture, politics, and memory to carve out a sense of place, and how those concerns are reflected in Pérez as a collector and Miami as a developing city. Pérez, named one of the most influential Hispanics in the U.S. by TIME magazine, is considered a visionary for incorporating the arts into his South Florida real estate developments.

Everything you are I am not: Latin American Art from the Tiroche DeLeon Collection
Curated by Catherine Petitgas
Everything you are I am not presents a selection of key works of Latin American contemporary art from the Tiroche DeLeon Collection. Borrowed from a piece in the collection by Argentine artist Adrian Villar Rojas, the title of the exhibition alludes to the common practice among contemporary artists from the region to subvert the canons of mainstream art to produce thought-provoking, often humorous works. With 55 pieces by 30 artists, the exhibition will explore several different facets of this approach. The Tiroche DeLeon Collection was established in January 2011 by Serge Tiroche and Russ DeLeon with a focus on the up and coming art scenes of Asia, Latin America, Africa, the Middle East, and Eastern Europe. London-based Petitgas is one of the world’s most respected collectors of Latin American art, as well as a writer, lecturer, and art historian.

Mana Urban Arts x Bushwick Collective
Mana Urban Arts Project is collaborating with Bushwick Collective to bring live graffiti painting by 50 influential artists to Mana Wynwood’s RC Cola factory. Renowned artists include: Ghost (New York), GIZ (New York), Pixel Pancho (Italy), Case Maclaim (Germany), and Shok-1 (England). The industrial space adjacent to Interstate 95 will transform into a vibrant scene featuring a skateboarding exhibition, breakdancing, DJ performances, and live music.

ALSO ON VIEW AT MANA WYNWOOD

PINTA Miami
PINTA Miami is the only curated boutique art fair with a specific geographic focus that looks to be an international platform for Ibero-American art identities and issues. The fair will showcase the best of abstract, concrete, neo-concrete, kinetic, and conceptual art movements. PINTA has updated its format to present a fully curated fair, featuring an international team of recognized curators chosen to direct each of the five newly designated sections of the fair.

SPECIAL EVENTS

VIP Preview Reception
An exclusive preview dinner will feature a performance by the Miami Symphony Orchestra.

III Points Music Festival
In partnership with III Points, Mana Contemporary will present a series of after-hours music events in Mana Wynwood’s 36,000-square-foot sound stadium.

SHOW INFORMATION

Mana Contemporary
December 3-6, 2015
Mana Wynwood Convention Center
318 NW 23rd Street
Miami, FL 33127
www.manacontemporary.com

Preview Reception
Tuesday, December 1: 6pm9pm: By invitation only

Public Hours
Thursday, December 3: 11am – 8pm
Friday, December 4: 11am – 8pm
Saturday, December 5: 11am – 8pm
Sunday, December 6: 11am6pm

Admission
Admission to Mana Contemporary’s events at Mana Wynwood is complimentary, unless otherwise noted. For tickets and information regarding PINTA Miami, please visit pintamiami.com.

 

Art Basel is just a month away. Last year the fair attracted 73,000 visitors to the Miami Beach Convention Center and this year’s 14th edition looks to be even bigger and better, with 267 galleries from 32 countries exhibiting from December 3rd to the 6th — plus the former head of NYC’s Armory Show, Noah Horowitz, is now running the fair.

Rendering of the new Miami Beach Convention Center
Work on the $615 million renovation of the convention center is scheduled to begin as soon as AB/MB ends, so look for big changes next year. The $20 million re-do of Lincoln Road is also moving along with NYC’s James Corner Field Operations, the firm that did The High Line, winning the contract to update the original Morris Lapidus design from the 1950s.

All the AB/MB side-sectors return, including SURVEY with 14 booths showing “historically informed” works; NOVA, where you’ll find 34 younger galleries showing new works; and sixteen POSITIONS galleries focusing on emerging artists, including Villa Design Group‘s installation of 10 doorways derived from the scene of the 1997 murder of Gianni Versace on Ocean Drive and, “Polyrhythm Technoir,” a filmed “allegory to contemporary electronic music” by Henning Fehr, Danji Buck-Moore and Phillip Ruhr, presented by Galerie Max Mayer.

UNBUILTYves Behar is the recipient of the 2015 Design Miami “Design Visionary Award” and he’ll be honored with a special exhibit in the D/M venue behind the convention center from December 2 through 6. A student team from Harvard was chosen to design the fair’s entrance pavilion for their submission, “UNBUILT,” a collection of foam models of unrealized design projects. Expect thirty five exhibitors including Firma Casa from Brazil, showing new works by the Campana Brothers, and Italian gallery Secondome,with hand-crafted limited editions.

Several changes and new editions are coming to the numerous — 18 and counting — satellite fairs: Miami Project and Art on Paper move into the Deauville Beach Resort (6701 Collins Avenue, Miami Beach), the former site of the NADA fair; while the 13th edition of NADA heads down the street to the Fontainebleau (4441 Collins Avenue, Miami Beach).

The Miami Project is also launching a new spin-off this year called SATELLITE that will show various “experimental” projects in unoccupied properties up near their 73rd Street base. One of those, “Artist-Run,” will fill the rooms in the Ocean Terrace Hotel (7410 Ocean Terrace, Miami Beach) with different installations from 40 artist-run spaces, curated by Tiger Strikes Asteroid. It’s open from December 2nd to 6th, with a VIP/media event on December 1st from noon to 10 p.m. ALSO: Trans-Pecos, the music venue out in Queens, New York, and Sam Hillmer from the band Zs, are putting together a 5-day music program in the North Beach Amphitheater, emphasizing “musical practitioners with some form of art practice.”

Grace HartiganX Contemporary also joins the crowd with their inaugural edition in Wynwood running from December 2nd through Sunday, and a VIP opening on December 1st from 5 to 10 p.m. Twenty eight exhibitiors will be on hand, plus special projects including “Grace Hartigan: 1960 – 1965” presented by Michael Klein Arts; a look at the “genesis of street art” curated by Pamela Willoughby; and “Colombia N.O.W.” presented by TIMEBAG.

Kate Durbin’s “Hello Selfie” / Courtesy of the Artist/Photographer Jessie AskinazPULSE Miami Beach returns to Indian Beach Park (4601 Collins Avenue, Miami Beach) starting with a big “Opening Celebration” at 4 p.m. on December 1st featuring a panel discussion put together by Hyperallergic, an interactive piece by Kate Durbin called “Hello, Selfie!” and a live performance by Kalup Linzy. On December 5th, PULSE celebrates the City of Miami via a talk at 5 p.m. on “Future Visions of Miami” and a “Sunset Celebration” from 5 to 7 p.m. Fair visitors can check out “TARGET TOO,” an installation referencing items sold at the stores, originally on view in NYC last March. There’s a complimentary shuttle from the convention center, and the fair is open daily from 10 a.m. to 7 p.m. through Saturday.

Wynwood WallsWynwood Walls (2520 NW 2nd Avenue, Miami) has a lot planned this year including “Walls of Change” with 14 new murals and installations and the debut of a new adjacent space called “The Wynwood Walls Garden.” The walls are by Case, Crash, Cryptik, el Seed, Erenest Zacharevic, Fafi, Hueman, INTI, The London Police, Logan Hicks and Ryan McGinness. Over in the “garden,” the Spanish art duo Pichi & Avo are doing a mural on stacked shipping containers and in the events space, Magnus Sodamin will be painting the floors and walls. The VIP opening is on December 1st in the early evening, but then it’s open to the public from 11 p.m. to 2 a.m. Goldman Properties’ CEO Jessica Goldman Srebnick talks about how art transformed the Wynwood neighborhood in THIS Miami New Times piece. We also hear that New York developer (and owner of Moishe’s Moving, Mana Contemporary etc.) Moishe Mana is planning a new mixed-use development on his 30 acres of land in the middle of Wynwood.

The Patricia & Phillip Frost Art Museum at FIU (10975 SW 17th Street. Miami) will have 5 exhibitions featuring 4 Miami-based artists: Carola Braco, Rufina Santana, Carlos Estevez and Ramon Espantaleon. Plus there will be a show called “Walls of Color” with murals by the post-war NY artist Hans Hofmam and, this year, the annual “Breakfast in the Park” on Sunday, December 6th, 9:30 a.m. to noon, honors American sculptor Alice Aycock.

Pauchi Sasaki’s speaker dressThe Mandarin Oriental Miami (500 Brickell Key Drive, Miami) and Peru’s gallery MORBO host an exhibition called “Pure Abstraction” by Peruvian artist Alex Brewer, aka HENSE, in the hotel’s Peruvian restaurant, La Mar by Gaston Acurio. There’s a VIP preview in the restaurant on December 3rd featuring a violin performance by Pauchi Sasaki who’ll be wearing her dress made from speakers.

A previous food installation by Jennifer RubellThe Rubell Family Collection (95 NW 29th Street, Miami) will present a big exhibition called “No Man’s Land” featuring women artists from their extensive collection. It’s up from December 2nd until the end of May and will include paintings, sculptures, photos and videos by over 100 female artists. Because of the large number of works, artworks will be rotated throughout the course of the show. Jennifer Rubell will present her twelfth large-scale, food-based installation,”Devotion,” on December 3rd, 9 to 11 a.m. She’ll be using “bread, butter, and a couple engaged to be married” as her media.

Robert Smithson’s “Spiral Jetty” from the air.

“Our Hidden Futures” is the overall theme for this year’s AB/MB film program. Over 50 films and videos will be screened on the giant projection wall outside of the New World Center (500 17th Street, South Beach), plus over 80 more can be accessed in the convention center film library. The Colony Theater (1040 Lincoln Road, Miami Beach) will be showing director James Crump’s Troublemakers: The Story of Land Art on Friday, December 4, 8:30 p.m., followed by a panel discussion with Crump and Basel film curator Marian Masone. The evening screenings in SoundScape Park include short films with program themes ranging from “Speak Easy” to “Vanishing Point.”

Rachel in the Garden (2003), by John Currin; © John Currin. Photography by Rob McKeever. Courtesy Gagosian Gallery

Jeffrey Deitch and Larry Gagosian are co-presenting an exhibition of figurative painting and sculpture in the Moore Building (3841 NE 2nd Avenue, Miami). The opening is on Tuesday, December 1st, but it will be on view all week. According to the NYT, artists featured in the group show will include Urs Fischer, Elizabeth Peyton, John Currin and David Salle.

Since 2005, the KABINETT sector of AB/MB has invited galleries to display curated installations. This year, there are 27 exhibitions including a new work by L.A. artist Glenn Kaino called “The Internationale” that re-interprets the iconic Pierrot character — and his “only friend,” the moon — interacting with visitors via “seminal texts on post-colonial theory.” Galerie Krinzinger will be showing Chris Burden’s “Deluxe Photo Book 1971 -1973,” documenting the first three years of his performances. And Galerie Lelong will present a selection of shaped, “erotic” canvases by the Puerto Rico-based artist Zilia Sanchez.

CONTEXT Art Miami, the sister fair to Art Miami, will feature 95 international galleries this year, along with several artist projects and installations including 12 listening stations dedicated to sound art; areas dedicated to art from Berlin and Korea; solo exhibitions by Jung San, Satoru Tamura, Mr. Herget and four others; and a “fast-track” portrait project of workers at Miami International Airport. Context and Art Miami — which is celebrating its 26th year — open with a VIP preview benefiting the Perez Art Museum Miami on Tuesday, December 1, 5:30 to 10 p.m., at 2901 NE 1st Avenue in Midtown, Miami. The fair is open to the public from December 2nd through the 6th.

“Coven Services” (2004) by Alex Bag

ICA Miami (4040 NE 2nd Avenue, Miami) presents a new theatrical performance called “Artist Theater Program” by Erika Vogt, Shannon Ebner and Dylan Mira on Thursday, December 3rd at 4 p.m. Ebner also has a concurrent show, “A Public Character,” on view in the museum during AB/MB and up until January 16, 2016. This is the inaugural program in the museum’s new performance series. Also opening on December 1st is a major survey of works by the video and performance artist Alex Bag, including her interactive installation “The Van.” The museum recently announced the appointment of Ellen Salpeter, Deputy Director of NYC’s Jewish Museum, as its new director and they’ve just broken ground on a new, permanent home in the Design District. The 37,500 -square-foot building was designed by the Spanish firm Aranguren & Gallegos Arquitectos and is scheduled to open in 2017.

Installation by Alan SonfistMiami’s “art hotel” The Sagamore (1671 Collins Avenue, South Beach) has a new installation by environmental/landscape sculptor Alan Sonfist on view all week, along with their incredible Cricket Taplin Collection of contemporary art. The hotel’s annual VIP brunch — featuring a new Electronic Arts Intermix installation — is on Saturday, December 5th, 8:30 a.m. to 1 p.m.

“Subway Station” by Louis Lozowick

The INK Miami Art Fair celebrates their 10th anniversary and maintains their exclusive focus on printmaking and works on paper. They’re back in the Suites of Dorchester (1850 Collins Avenue, South Beach) from Wednesday, December 2nd, through Sunday. Highlights include a lithograph by Louis Lozowick called Subway Station, NYC (1936) at Susan Teller Gallery’s booth and A World in a Box (2015) by Mark Dion published by Graphicstudio/U.S.F.

New York-based branding and event collective FAME is popping-up in Miami from December 2 to 6 with their ” Superfine! House of Art & Design” (8300 NE 2nd Avenue, Miami) in Little Haiti. They’re promising “the arty party of the year” with a big opening night December 2nd, 6 to 10 p.m, featuring a gigantic chandelier installation by Diego Montoya and music all week from Gilligan Moss, Lauv and more TBA. Plus, Afrobeta plays on Friday at a party hosted by PAPER fave, textile artist Karelle Levy.

The fourth edition of UNTITLED Miami is on the beach at Ocean Drive and 12th Street from December 2 to 6, with a big VIP preview on December 1st from 4 to 8 p.m. They’ve got 119 international galleries along with non-profit orgs from 20 countries. New this year will be an UNTITLED radio station broadcasting via local Wynwood Radio with interviews, performances and playlists by artists, curators etc.

Mega Guide to Art Basel Miami Beach 2015: Part 3

 

Things are really starting to come together at Argentine developer Alan Faena’s new residential and arts district between 32nd and 36th Streets on Collins Avenue. By the time AB/MB rolls around, the Faena Hotel Miami Beach should be up and running, and construction is now complete on the Foster + Partners residential tower. The Faena Forum (above), designed by OMA Rem Koolhaas, should be open in April 2016. For Basel Miami 2015, they’ve planned a series of cool events including: A roller-disco installation by assume vivid astro focus that will be open to the public daily on the beach and feature local and international DJs; a “theater curtain” installation called “A Site To Behold” by Spanish artist Almudena Lober that lets visitors play alternate roles of “actor” and “performer”; and a site-specific “sand and light” installation by Jim Denevan.

The Perez Art Museum Miami (aka PAMM) — designed by Pritzker Prize-winning architects Herzog & de Meuron — had it’s big debut in 2013 in downtown Miami’s Museum Park. On December 3rd, 2015, 9 p.m. to midnight, they’ll be premiering a collab performance by Devonte Hynes of Blood Orange and Ryan McNamara called “Dimensions” that includes elements of dance, music and sculpture. Also, during this open house for members and VIPs, you can check out their current exhibitions including Nari Ward’s “Sun Splashed,” Firelei Baez’ “Bloodlines,” and a show of Aboriginal Australian abstract painting.

Moishe Mana’s Mana Contemporary (318 NW 23rd Street, Miami) in Wynwood plans several exhibitions during AB/MB including “Made in California,” featuring selections from L.A. collector Frederick R. Weisman’s Art Foundation; “A Sense of Place,” with over 60 works from the collection of Jorge M. Perez; and “Everything You Are Not,” key works of Latin American art from the Tiroche DeLeon collection. All are up from December 3rd thru the 6th, with a VIP preview on December 1st. Mana Urban Arts is also doing a collab with The Bushwick Collective at the former RC Cola Plant (550 NW 24th Street, Miami) that includes over 50 artists — so far the list includes Ghost, GIZ, Pixel Pancho, Case Maclaim and Shok-1 — plus skateboarding, DJs, live music etc.

Lots of music events and parties are starting to come in, including a show with Jamie xx and Four Tet on Friday, December 4th, in the Black Room at Mana Wynwood (318 NW 23rd Street, Miami), presented by III Points and Young Turks. Tickets are available HERE. At the same venue, Life & Death records presents Tale of Us, Mind Against, Thugfucker and “special guest” Richie Hawtin on December 3rd. Tickets are HERE. We also hear that Danny Howells will be spinning at Do Not Sit On The Furniture (423 16th Street, Miami Beach) on Saturday, December 5th; and Marco Carola and Stacey Pullen are at Story (136 Collins Avenue, South Beach) on Saturday, December 5th.

Photo via

Two young London-based artists, Walter & Zoniel, will set up a large, hand-built camera in the Delano Hotel (1685 Collins Avenue, South Beach) from December 2nd to the 5th for a performance piece called “Alpha-Ation.” They’ll be creating exclusive, hand-colored portraits of “high-profile” figures all week and have already shot Lindsay Lohan and Tinie Tempah. The work is presented by the UK gallery Gazelli Art House. There’s also an invite-only reception with the artists at the Delano on Saturday night.

Hans Ulrich Obrist

AB/MB’s Conversations and Salon series brings together artists, curators, gallerists, historians, critics and collectors for 23 talks and panels all week. Jenny Holzer and Trevor Paglen kick things off on December 3rd, 10 to 11 a.m., in the Hall C auditorium. Other “conversations” include London’s Serpentine co-director Hans Ulrich Obrist on Friday morning and Genius Grant winner Nicole Eisenman on Sunday. In the Salon series, Obrist will also moderate a conversation between artist Alex Israel and author Bret Easton Ellis on “the evolution of the L.A. art scene.”

L.A. painter and installation artist Lisa Solberg will preview her latest project, “Mister Lee’s Shangri-La,” at Soho Beach House (4385 Collins Avenue, Miami Beach) on Saturday, December 5th. The work — “an immersive exotic dance club sheltered inside a greenhouse” — will then be on view at MAMA Gallery (1242 Palmetto Street, Los Angeles) in L.A. as of December 19th.

Photo by Julian Mackler/BFA.com

Adrien Brody isn’t just a great actor. He’ll be showing several of his paintings during AB/MB in a show called “Hot Dogs, Hamburgers and Handguns” at Lulu Laboratorium (173 NW 23rd Street, Miami) in Wynwood. The show was curated by Spanish-American artist Domingo Zapata and the big opening party starts at 10p.m. on December 2nd.

Calypso St. Barth Beach Boutique pops-up in the Soho Beach House (4385 Collins Avenue, Miami Beach) all week from 11 a.m. to 6 p.m. daily. They’ll also be hosting VIP events for artists including Jen Stark and Mira Dancy.

The National YoungArts Foundation‘s (2100 Biscayne Blvd., Miami) current show, “The Future Was Written,” features an interactive work by Daniel Arsham that asks visitors to use any of 2,000 chalk objects to draw on the gallery walls. On view until December 11th.

Chrome Hearts celebrates their new collaborators, Laduree and Sean Kelly Gallery, on December 2nd, 8 to 11 p.m., in the Chrome Hearts (4025 NE 2nd Avenue, Miami) shop in the Design District with a private, VIP party featuring works by Sean Kelly artists including Marina Abramovic, Los Carpinteros, Jose Davila, Robert Mapplethorpe and many more. Also there’s a special performance by Abstrakto and DJ set from Atlanta de Cadenet Taylor.

The MoMA Design Store and online skate deck site, The Skateroom, will open a pop-up in the Delano Hotel (1685 Collins Avenue, South Beach) from November 30th to December 6th. The “immersive installation” will sell limited-edition skateboard decks featuring Andy Warhol artworks including his Campbell’s Soup cans, Guns, Car Crash etc. A portion of the proceeds will go to Skateistan, a non-profit org that uses skateboarding to empower youth. The private VIP opening is December 2, 8 to 11 p.m.

Louis Vuitton (140 NE 39th Street, Miami) will be presenting “Objets Nomandes” — a new collection of foldable furniture and travel accessories — in their new store in the Design District during AB/MB, as of December 3rd. The pieces are collabs with international designers including the Campana Brothers, Maarten Baas and Nendo. You can also check out the world-exclusive unveiling of a lounge chair designed by Marcel Wanders.

ArtCenter/South Florida has an “off-site” installation called “D.O.A.” by the Israel-based artist Dina Shenhav over in Miami’s Little River District at 7252 NW Miami Court. Shenav will create a hunter’s cabin filled with “hunter” paraphernalia sculpted from yellow foam. Up from November 29th until the end of January.

Mega Guide to Art Basel Miami Beach 2015: Part 4

Gary Pini

One of our fave AB/MB sectors, PUBLIC, just announced this year’s list of 26 artists who’ll be doing site-specific installations and performances all week in Collins Park. Several caught our eye: a jemstone-encrusted “Healing Pavilion” enhanced with “metaphysical properties” by Sam Falls; a group of tall chairs from the original production Robert Wilson’s “Einstein on the Beach;” a giant set of red lips by Sterling Ruby; and a monumental deer lawn ornament by Tony Tasset. Opening night is Wednesday, December 2nd, 7 to 9 p.m., and it features a female tai chi master, male bodybuilders, men on skateboards, a dandy hobo and an evening performance by Yan Xing.

Tony Tasset, Deer, 2015Photo cred. Kavi GuptaSCOPE returns to South Beach from December 2 to 6 (VIPs get in on the 1st) with 120 exhibitors from 22 countries, plus several special sections including Juxtapoz Presents, the Breeder Program for new galleries and FEATURE, showcasing photography. For a fourth year, the fair collabs with VH1 on a music series featuring up-and-coming artists. There’s also an invite-only party with recording artists Mack Wilds and Lil’ Dicky on Friday night at Nikki Beach, sponsored by SCOPE, VH1 and BMI.

As usual, there are lots of cool things happening at The Standard Miami (40 Island Avenue, South Beach) during the week including: The Standard X The Posters launch of their collab poster by Miami-based artist Jim Drain to celebrate the hotel’s 10th anniversary (available in the hotel’s gift shop), a VIP-only cocktail party hosted by Andre Saraiva, a book signing with Cheryl Dunn for her “Festivals Are Good,” a “chopped art” party with the Bruce High Quality Foundation and, of course, there’s the annual Lazy Sunday BBQ hosted this year by Creative Time on December 6th.

The design team of George Yabu & Glenn Pushelberg return to the BASEMENT nightclub in the Miami Beach EDITION Hotel (2901 Collins Avenue, Miami Beach) for an invite-only party with London’s Horse Meat Disco crew and special guest Giorgio Moroder on Thursday, December 3rd. They’re also hosting a private luncheon in the hotel’s Matador Room on Friday and launching a biannual “bookazine” called YP: Transformation, with the first issue available exclusively in the EDITION Hotel during AB/MB.

The EDITION also hosts pop-up exhibitions by NYC galleries in two of their fab bungalows: Half Gallery and HarperCollins Publishers will feature paintings by Daniel Heidkamp, an installation by Tom Sachs and book signings by Justin Adian, Sylvie Fleury and Sue Williamson; Salon 94 will have an installation by Jeremy Couillard.

JJeremy Couillard, Bowery Video Wall, 2014PULSE Miami Beach (4601 Collins Avenue, Indian Beach Park) just announced their 2015 series of special projects including: a neon installation by Texas artists Alicia Eggert and Mike Fleming, a sculpture called “Trees” by Gordon Holden, a faux apartment building by Chris Jones, “Over and Under” by Francis Trombly and a small architectural piece inspired by Corbusier by New York artist Jim Osman. The fair’s PLAY section for video and new media will be curated by Stacy Engman.

Francis Trombly, Over and Under, 2015Bortolami Gallery is opening a year-long exhibition called “Miami” by the French conceptual artist Daniel Buren on December 1st in the M Building (194 NW 30th Street, Miami). The show marks the 50th anniversary of his works with fabric and the 8.7 cm stripe. By periodically installing new works, Buren will also alter the exhibition during the year.

Daniel BurenSpanish luxury fashion house LOEWE (110 NE 39th Street, Miami) opens a group show called “Close Encounters” on Wednesday, December 2nd, 6:30 to 9 p.m. The artists are Anthea Hamilton, Paul Nash, Lucie Rie and Rose Wylie; and the hosts for the evening are Jonathan Anderson, creative director of Loewe, with Don and Mira Rubell. Invite only.


Anthea Hamilton, Dance, 2012

Previewing their upcoming South Beach studio, SoulCycle will pop-up poolside at the 1 Hotel (2341 Collins Avenue, South Beach) starting on Tuesday, December 1st. They plan to open permanently in the hotel in January 2016.

Absolut Elyx, Sean Kelly Gallery, Paddle8 and Water For People celebrate WATER, “the most important drink in the world,” with a private charity auction and party at the Delano Hotel (1685 Collins Avenue, South Beach) on Thursday, December 3rd, 7 to 10 p.m. Look for a live performance by the Swedish singer Elliphant and a DJ set by Jasmine Solano.

ElliphantPhoto Cred. Corey OlsenRicardo Barroso and Eva Longoria celebrate the launch of “Ricardo Barroso Interiors” at Casa Tua (1700 James Avenue, South Beach) on December 3rd. The book includes 240 color photographs of his past and present work, with an accompanying text by Barroso and Fionn Petch and a foreword by Longoria. Invite only.

Ricardo BarrosoMolteni (4100 NE 2nd Avenue, Miami) celebrates their 80th anniversary on December 3rd, 7 to 10 p.m., with a VIP soiree featuring “Amare Gio Ponti,” the first film about the legendary Italian architect and designer.

https://player.vimeo.com/video/142146817
Libertine, one of the new clubs in downtown Miami’s 24-hour party district, hosts a release party for Nakid Magazine‘s latest issue and their cover artist Jen Stark on Friday night, December 4th. Stark recently collab’ed with Miley Cyrus on MTV’s VMA Awards and has a new installation at Miami International Airport.

Jen StarkCorona brings their “Electric Beach” to the Clevelander Hotel (1020 Ocean Drive, South Beach) on December 5th, 3 to 8 p.m., with a live performance by Chilean artist DASIC, and tons of music from Craze, Astronomar, Ape Drums and TJ Mizell.

DasicBrown Jordan and Sunbrella are getting together to showcase photographs by Gray Malin at a sneak-peek preview of Brown Jordan’s new store in the Design District. The invite-only opening is on Thursday, and the store should be open at the beginning of the new year. Some of the photos from the show will be on view there permanently and others are from Malin’s personal collection.

Gray Milan, A La Plage, 2012The Surf Lodge pops-up all week at The Hall South Beach Hotel (1500 Collins Avenue, South Beach) with a series of invite-only artist dinners, events and performances.

MoMA/Hammer/LA/Cologne/Met Museum/Belgian Congo Copal 11.1.2015

MoMA/Hammer/LA/Cologne/Met Museum/Belgian Congo Copal 11.1.2015

Critique by Vincent Galen Johnson,  Lives and Works in Los Angeles, California

Vincent Johnson <vincentjohnsonart@gmail.com>

12:07 PM (0 minutes ago)

to Lanyartist

Updated 10:27AM Sunday 11.1.2015 re MoMA

Updated 9:56AM Sunday 11.1.2015 – re Belgian Congo Copal resin painting medium

Updated 8:57AM Sunday 11.1.2015

At the Hammer museum I saw something most interesting: In the traveling retrospective of a female Art Center MFA alum, I noticed that MoMA had acquired a six-part handwriting-as-drawing that is a work of Text-based art, culled from literature. The work had been in the artist’s graduate thesis show. I’m aware of museums seeking out the earliest examples of an artist’s work, and note that most of the work in the exhibition was not in major collections, public or private, but from the artist’s four powerhouse galleries, including Buchholtz, which means she passed the test of one of the supreme German cultural monocle examinations.

Many years ago, in reverie of the Buchholtz gallery’s presence, an artistic intervention by HAHA, made his apartment the site and space of exhibition, but through a glass window. You can read about this online.

The current Hammer retrospective artist’s career seems to have surged mostly recently, mostly upon her video works and digital media works, some of which prominently feature black characters.

Next month, another female Art Center MFA alum will have a video art retrospective, this will be at LACMA. The museum reports that the exhibition will occupy 20,000 sq. ft., the largest amount of floor space ever dedicated to a female artist exhibition there. I’m looking forward to this artist’s exhibition, and seeing what I had not seen in the past. I recall artists saying that her work made them get a headache, yet even then her career was one of the most ascendant in LA, based largely in Western Europe, specifically in Cologne and Dusseldorf, where the Ludwig Forum and K21 are among the 30 modern and contemporary art museums in the Nordheim-Westfalia region, which has the largest collection of these types of museums in the world.

As I have said many times before, it is also where over 100,000 art collectors reside; it is where Text Zur Kunzt is published and numerous art magazines are published – that is – except for those that have decamped for Berlin. It is a complete artistic universe, from bookstores to massive artist studios.

The Ludwigs both held full German doctor’s degrees in art history, and opened 13 different modern and contemporary museums in Western Europe. Although Cologne looks like an Ugly American city, it is not; it was the intellectual and artistic center of Western Europe. It is where the early 1980’s wave of German painters held sway – Immendorf, Kiefer, Richter, Baselitz, all who showed immense canvases on West Broadway in Soho. When one attends an art opening in Cologne, it is to attend the height of German fashion exhibition too.

Now Kiefer and Richter are riding most high, with Kiefer just having had a stunning retrospective at the Royal Academy in London, and will follow-up with one from his personal collection this December in Miami in the private collection space owned by the Margulies. My partner and I saw the absolute blowout Kiefer show at the R.A., which is modeled after the French Academy. Inside on the walls of the R.A. London – up high, are representational sculptures of Leonardo, Michelangelo, and so on – you get the picture. What is transmitted as well is the former relationship between state power and culture production.

As for Richter, whose stellar retrospective I also saw in London, but at the Tate Modern, just a few years ago, his market has reached over $1.2 billion in the past five years alone. As I’ve pointed out before, Richter invented a style he called Capitalist Realism while he was a student at the Dusseldorf Academy. He worked as a photorealist painter, and sold his works for not much. At one point he said he felt that he had painted himself into a corner by working against the International Style – Abstraction. He was at one point challenged to produce major abstract works, and did just that. It is this work that is his most luxurious, most commanding, rewarding, visceral, powerful.

Last, Anselm Kiefer lives in a castle. He has a driver; he dresses in 19th century landed gentry garb. The Dusseldorf Art Academy is the school which we used to look upon and dream – where artists were made to make their own paint, paint box, brushes, and every tool of the artist, taught by the giants of the German art scene. That historic and rigorous skill set training has not entered the LA art academy program, but its power to produce artists has indeed.

By the way, the New Objectivity exhibition of German art has come to LACMA, enjoy. Across the street from the Met is a similar exhibition at the Neu gallery. It’s my understanding that the son of one of German’s most prominent collectors is building a loan collection to be lent long term to LACMA; it will be composed of about a dozen artists – all men of European blood, all towering figures LA and German contemporary art.

There are recently created documentary films of both Kiefer and Richter working in their studios. Kiefer works in France, in an abandoned 300,000 sq. ft. department store that is his studio. His paint materials are mined from the French soil by a team of professionals, who then turn this into materials for making paintings.

In this context, is most rewarding to see the paintings by African Diaspora artist rise into the major gallery spaces and sell for immodest pricing, from MacArthur Binion, Jack Whitten, Ed Clark, and many more.

What is still not happening (and believe me I am looking) is the recuperation of Black Women Artists of the same generation as Barkley Hendricks, or Sam Gilliam, or whomever is in this class of black artists who experienced 40-50 year career delays.

9:56AM 11.2015 UPDATE

I’ve said this before – that LA, et al is part of the re-formation of the 20th century Paris/German art world and its economic and cultural benefactors Picasso & Matisse et. al. v . Duchamp et al. in legal terms, this re-emergent artworld decimated by WWII has been re-calibrated and reborn, by an unknown multiplier that dwarfs all past histories. No more selling a painting for a dozen eggs or a flash of the Parisian skirt now naked – who is also an artist that pays a male artist’s benefactors bill for an extravaganza of drinking and meals with all your male artistic world friends. Today, as in centuries past, many artists and other creatives and collectors, whose family became rich from slavery also take part now in this artistic paradise game, pay attention especially European collectors whose nation was major in the slave trade. Did I forget to mention the artworld universe that is enabled ana re0-enabled and thrives by and is paid for in advance by the rewards of 400 years of American slavery? This is what is called a “Trust Fund”.

“Keep a watchful eye” on the collectors in Brussels, the city that stripped the Congo of its material resources for the West to build its spectacular core buildings and its Royal Congo Museum. Brussels is the home of Magritte and more importantly, the creator of institutional critique at the genius level, not the ignorant peasant complainer level, Marcel Broodthaers, whose 2016 MoMA retrospective is being worshiped even before it is here. Brussels created Art Deco from raping the Congo. The wood in living Brussels buildings is from the Congo. Note that Broodthaers is my hero as he destroyed the equivalent of ARTFORUM through his arguments with them. That’s all I will say for now.

Colored/Negro/Black/Africa-American Artists – please read how Thomas McEvilley crushed MoMA’s utopia argument re how Modernism was created, in his several texts, the lead of which were letters and responses published in ARTFORUM. THIS LATER BECAME BOOKS. You already know how ELVIS rode the backs of Negro musical achievement to create his ART; MOMA’s 1984 PRIMITIVISM exhibition is the same ASTRONOMICAL gigantic lie.

10:27AM 11.1.2015 UPDATE

The Met acknowledges this in its current landmark “Kongo” exhibition. What it does not say but knows is that the raw materials from the Kongo were used to created Art Deco Art, based upon defamed Kongo imagery and Kongo raw materials. It also does not say that key elemental objects in the history of 20th century Modernism were created using Belgian atrocity Kongo Copal resin in its paintings; this is my research project on this material and its use that I presented in 2014 in Chicago. This Copal was thought to be the centuries sought missing element that was used by Jan Van Eyck to create paintings that looked like you were looking through water. A Polish aristocrat NY society painter named Frederick Taubes, who worked with U. Ill. chemists and Belgian National Laboratories, created the visionary version of this most sought after material in the early 1940’s. Taubes has 27 paintings in the Met. He was the most highly regarded representational painter of the European tradition of his time in NYC. Through my research, I am of the belief that not only Picasso and Pollock, and Le Corbusier, but untold numbers of other artists used Belgian Congo Copal resin in their painting materials, (from the late 19th century to at least 1970) as it was scientifically considered by paint chemists to be the super product of the age, due to its hardness and glass-like quality. Its primary use was in commercial house paint as it was a superior binder. The Getty held a symposium on its use. It was used in linoleum. It was used in mid century LP records. It was used in Konk hair cream. It was used premier art supplies in Europe and America. I have patent documentation of the major American corporations that used it. If you were an unaware Colored/Negro in say 1950/1960, your floor was covered in this linoleum; it was in your hair, and was in the paint on your walls, it ws in uyour LP’s; and it was the standard material used in the US and Britain for the first half of the 20th century. You were literally living and breathing and dancing through the biochemistry of the Kongo experience. MoMA is fully aware of this use; so is the Met and the Getty, and the Art Institute of Chicago; but there is no statement or research being done to show that Belgian Congo Copal painting resin is at the core of the creation of MODERNISM, just as the Art from the Congo is core to the Met’s collection. Picasso used this upscale house paint called Ripolin. I contacted several sources who said that Yes, it’s most likely that the premier house paint in France also used the premier resin – that from the Belgian controlled and defiled Congo. Note that over ten million Congo people were murdered by Belgium so that it could have wealth similar to the other European nations that committed similar atrocities. Congo Copal resin was most prized. In the 1940’s the NYTimes reported it selling at 60,000 bottles a year. Note that when the Congo attempted to free itself from Belgian rule, its first president was murdered by USA/British and Belgian rule.

Currently, the most historic art supply stores and Colour Men (the precursor to what we call art supply stores – which still exist in Europe) still sell Congo copal painting medium. This includes Sennilier, the most famed artist supply store in ART HISTORY – located directly across from the Louvre, which created the oil stick for Picasso, and sold to Van Gogh, et. al. A creative friend of mines in Europe made me aware of this. LeFranc & Bourgeoise in Paris (now LeFranc & Cie also see this product.)  I also uncovered this use by Grumbacher – and confronted their paint chemist and publicity department. Grumbacher took over the manufacture of Congo Copal resin paint.

Pay attention: Belgian Congo Copal Painting Resin was the most opulent artist material of its time. This was 1890-1970 at a minimum. Several other major American art supply stores used this resin and knew how it was sourced, including the F.W. Weber art supply company that started in the 19th century in Philadelphia. The papers of Weber are in the Getty Research Institute’s collection. Both Taubes and his counterpart and adversary Ralph Mayers were primary in teaching artists how to use the best art materials of the period. Yale holds the papers and research materials of Ralph Mayers. Both Mayers and Taubes were well aware that the Belgian Congo – which used horrific means of 20th century slavery to extract raw the raw materials that created Belgium’s weath. If you look at photographs of the art supplies of the period you will see they are from the Belgian Congo. This is part of my research. American Artist Magazine was the primary information provider of artist materials use and research.

Mike Kelley’s New York Superman

NY OBSERVER

New York – Mike Kelley at Hauser and Wirth Through October 24th, 2015

September 19th, 2015

Mike Kelley, Kandor 10B (2011), via Art Observed
Mike Kelley, Kandor 10B (2011), via Art Observed

Mike Kelley’s Kandor series ranks among the artist’s more enigmatic projects: a series of sculptures, videos and installation work that works the origin mythologies of the Superman comics into the fabric of the artist’s own life and work.  The works are equally desolate and comical, peculiar and commanding in their execution, often rendered in glowing hues of purple, red and yellow, or countered by immense chunks of sculpted detritus, recreating the titular hero’s Fortress of Solitude.

Mike Kelley, City 5 (2007-09), via Art Observed
Mike Kelley, City 5 (2007-09), via Art Observed

These works make up the first show of the fall season at Hauser and Wirth’s Chelsea flagship, a powerful summary of one of Kelley’s last projects that offers a distinct perspective on his intertwined interests in pop mythologies, psychoanalytic tropes, and their intersection with the artist’s own life.  “It represents a flip of autobiography into a sort of mythology” Paul Schimmel noted at the press preview, an event that also marked the gallery’s first exhibition of the artist’s work.

Mike Kelley, Kandor 4 (detail) (2007), via Art Observed
Mike Kelley, Kandor 4 (detail) (2007), via Art Observed

Kandor, Superman’s home city and the capital of the planet Krypton, exists in the comic’s universe as a miniature, stolen back from the hero’s nemesis and preserved in a jar in his arctic hideout, a memento that stands as both a testament to his own identity apart from the human race, and his failures to save his planet from destruction when he was a child.  Recreated here, Kelley’s Kandors are a recurring formal container, explored as a rocky landscape, geometric cluster, or any number of variations that mirror the changes in artistic direction in the past century of the comic’s history.  Surrounding these works with sculpture, video and lenticular, wall-mounted works, Kelley’s fascination with the shrunken city seems to hint at a distinct interest in the parallels of heroism and dysfunction that seems to sit at the core of so much of his work.

Mike Kelley, Kandor 4 (detail) (2007), via Art Observed
Mike Kelley, Kandor 4 (detail) (2007), via Art Observed

At the center of the exhibition, however, is the massive Fortress of Solitude, turned from its frequent depiction as a glittering palace to resemble a bombed out cluster of stone and piping.  Viewers can climb inside its craggy facade to view one of the Kandor sculptures inside, giving its soft purple glow all the more affect given its stark surroundings.

Mike Kelley, Kandor 10B (detail) (2011), via Art Observed
Mike Kelley, Kandor 10B (detail) (2011), via Art Observed

Taken as a whole, the work presents a look deep into Kelley’s perception of his own work, where the core ideal seems locked away, preserved as an inspirational force in the face of the herculean efforts of his vocation.  Taken in the wake of the artist’s suicide in 2012, the exhibition is a harrowing investigation of Kelley’s interests in the psychological undertones of cultural touchstones, and the tragedy of his final years.

The exhibition is on view through October 24th.

Mike Kelley, Kandor 2B (2011), via Art Observed
Mike Kelley, Kandor 2B (2011), via Art Observed

Mike Kelley, Lenticular, via Art Observed
A Mike Kelley Lenticular, via Art Observed

– See more at: http://artobserved.com/2015/09/new-york-mike-kelley-at-hauser-and-wirth-through-october-24th-2015/#sthash.ebA45Ckr.dpuf

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ART NEWS
Reviews

Whatever Happened to the Man of Tomorrow? Mike Kelley’s Final, Superman-Inspired Works Land In Chelsea

Kandor 10B (Exploded Fortress of Solitude), 2011.© Mike Kelley Foundation for the Arts / Licensed by VAGA New York

One unexpected thing I witnessed during the opening of the New York art world’s fall season this week was Paul Schimmel—whom the Los Angeles Times once described as having “a more impressive record of exhibitions and acquisitions in the field of art” than any other American curator since 1950—taking some time to art historicize Brainiac, nemesis of Superman. This happened at a preview of an exhibition at Hauser & Wirth, the gallery where Schimmel is a partner. The show focused on work from Mike Kelley’s “Kandor” series, which the artist labored over fairly obsessively from 1999 up until taking his own life in 2012.

Kandor is the capital city of Krypton, Superman’s home planet. Krypton was destroyed by its own unstable core. Superman survived when his doomed parents sent him to Earth. Kandor itself survived the planet’s destruction because Brainiac shrunk the city to a size that would fit inside a glass bottle and stole it, which probably isn’t worth getting into any further here. Superman recovered the shrunken city, and placed it under a bell jar with its own atmosphere inside his secret sanctuary, the Fortress of Solitude, where, in the words of a 2010 artist statement by Kelley, “it functions as a constant reminder of [Superman’s] past and as a metaphor for his alienated relationship to the planet he now occupies.” That this description could serve as a broad thesis statement of Kelley’s mercurial career—and, in a sense, to the creative mind in general—is not lost on me.Hauser & Wirth’s current Chelsea location, on West 18th Street (they’re moving to West 22nd Street in 2018), is a big and cold building, and it resembles a hangar. In fact, to call it a Fortress of Solitude would not be a wholly inaccurate description, though that is also a touch too cute. Schimmel was standing in a darkened room inside this building in front of a large group that included a representative sample of many of the employed (and a lot of the unemployed) art writers currently based in New York. Everyone stood among a cluster of Kelley’s resin sculptures of Kandor in various forms (the design of the city, as Kelley points out in his artist statement, was never standardized, even in the comics). The sculptures are all of cities, but they resemble different clusters of sterilized sex toys—most of them phallic, some of them vaginal, they are materially uniform, and there are no details in the forms, just clusters of shapes. They were resting on pedestals, each eerily glowing on illuminated bases that vaguely lit up the room. Schimmel was talking.“Brainiac,” he said, “who I never thought I’d ever talk about in an art-historical framework, was trying to steal cities all throughout the universe. Remarkable. In a way, Brainiac was a stealer of cultures. And in some respects Superman himself had to partake in that moral dilemma of sort of taking and holding.” He stretched this to the matter at hand: “And Mike was like that with the history of art. He felt maybe like Picasso in that he could just sort of take it all in—whether it’s references to Flavin, or Clyfford Still, or Roy Lichtenstein, or to the original source material. Mike, at this extraordinary period in his life, had all these resources together.”Other art-historical reference points Schimmel raised when talking about this work were Mondrian, Constructivism, Surrealism, Joseph Cornell, and Matisse. He was a real trooper, though, about the nature of the work, always bringing his talk, in an endearingly clunky way, back to the comics. Gesturing to a green “Kandor” sculpture with stalagmite-like towers, Schimmel said, “You don’t really think about the kinds of meaning these lights and colors represent. This,” he motioned to the sculpture, “which is so beautiful, kind of like the Emerald City, is also the color of the very mineral, of the very source of Superman’s weakness! Kryptonite, which glows green, is in a sense the most beautiful, and also the most deadly.” And here again, driving the point home: “I think that says a lot about Mike and his relationship to signs and symbols. And his own moral dilemmas.”Since Kelley’s death, the “Kandor” series has been exhibited more frequently than the artist’s other, more iconic work, like Deodorized Central Mass with Satellites (1991)—little clouds of sewn-together stuffed animals that emit the smell of disinfectant—and the remarkable video-heavy series, “Day Is Done,” which includes nightmarish recreations of images from high-school yearbooks. It is “Kandor” that has been revisited as a kind of period at the end of Kelley’s sentence. “Kandor” comprised Kelley’s final gallery show in his lifetime, at Gagosian in London, which garnered a review from the Guardian with the headline “It Came From Planet Bunkum.” Months after his death, a retrospective of the “Kandor” works—many of them now on view at Hauser & Wirth—opened at the Watermill Center in the Hamptons. “Kandor” was given significant real estate in Kelley’s traveling career retrospective, with a stop in New York at MoMA PS1 last year, where the “Kandor” works were installed at the beginning of the exhibition, acting as an introduction. Hauser & Wirth’s size allows for a fairly elaborate installation—including Kelley’s re-creation of the Fortress of Solitude, rendered cave-like rather than blanketed in crystal ice, as it often is portrayed in the comics. Visitors to the gallery can walk into the cave and people of average height can stand up in it comfortably, though one has to wear little white booties to do so, which dampers the installation’s intensity a bit.The room with the cave also includes Kelley’s video Extracurricular Activity Projective Reconstruction #36 (Vice Anglais). In the video, a gang of baroque thugs—one of them is dressed something like the Riddler, from the Batman comics, another is a more colorful Alice Cooper, wearing a codpiece—kidnap a bride on her wedding day, take her to the Fortress of Solitude and chain her to a wall in order to sexually humiliate her. It’s difficult to watch, but maybe harder to look away from, like a car wreck.It was funny listening to Schimmel perform his awkward verbal gymnastics, attempting to weave a three-cornered argument that included the whacky DC comic-book universe, Kelley’s artistic practice, and elements of the artist’s autobiography, but looking at the “Kandor” works makes me incredibly sad. This may have something to do with their proximity to Kelley’s suicide, or it might be because I don’t believe the work stacks up to the rest of Kelley’s career. Curators and dealers seem to be pushing for Kandor as a major part of Kelley’s legacy—or maybe the work is just easier to get on loan—but either way I find so much of it to be mediocre. “Kandor” seems to me to be the product of a man endlessly tinkering with an idea but never really getting it to arrive anywhere beyond Kelley’s general metaphor of alienation that I quoted above.In other works, Kelley mined his memory for the depths of this alienation. In Educational Complex (1995), for instance, he created what appears to be a fairly dull maquette of an office building, but the structure is, in fact, a scale model of all the schools Kelley ever attended as well as his childhood home, reconstructed from memory, with various gaps. What begins as a little underwhelming architectural mock-up is actually an exhausting psychological exercise—an artistic return of the repressed. He took this idea even further in his final piece, which he worked on at the same time as “Kandor,” Mobile Homestead (2012)—a replica of the house he grew up in, located on the grounds of the Museum of Contemporary Art Detroit, not far from the location of the real home, in Westland, Michigan. The house itself serves as a community center. Beneath it is an underground bunker that can only be reached through a complicated network of tunnels and which Kelley, before his death, intended to use as a private studio, literalizing the idea of mining the depths of one’s memory for the sake of art. I would have liked to see the work he would have made there.“Kandor,” on the other hand, is mildly pleasing on an aesthetic level, but cautiously avoids any actual meaning. Kelley at his best offers a glimpse into the mind of someone who never felt like he belonged anywhere, of an artist who is acutely aware of how hard it is to have to wake up everyday and simply exist in the world. I look at “Kandor” and can only think of Kelley working away, trying to distract himself from this very fact, preferring instead to just be left alone forever.

Copyright 2015, ARTnews Ltd, 40 W 25th Street, 6th Floor, New York, N.Y. 10010. All rights reserved.

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NY OBSERVER

Enter a Dark Comic Book in the Final Works of Art World Superhero Mike Kelley

img 2997 e1441912267982 Enter a Dark Comic Book in the Final Works of Art World Superhero Mike Kelley

Superman never felt fully at home on Earth. A refugee from the planet Krypton, sent away from his dying planet as an infant, his alien physiology gave him superpowers on Earth but prevented him from relating to its inhabitants.

So, when Superman discovered that the Kryptonian capital, Kandor, was in fact not lost but had been shrunken and bottled by a villainous foe named Brainiac, he rescued the city and its people and stashed it away in his Fortress of Solitude, where it remained a safe but haunting reminder of his past.

City 7, (2007-2009). (Photo: Alanna Martinez)

In the last series works by the late, great Los Angeles contemporary artist Mike Kelley, Kandor is explored extensively, from its varied depictions in the Superman comics to the ways its narrative overlaps and contrasts with Kelley’s own autobiography—which is also filled with bouts of deep loneliness and isolation.

The first appearance of Kandor in Action Comics #242, (1958). (Photo: Via iFanboy)

“Mike Kelley: Kandors” at Hauser & Wirth’s Chelsea gallery space contains just over 20 artworks, including sculptures, illuminated lenticular paintings—in these, images appear and disappear as the viewer moves around the artwork—large-scale installations, and video, some of which were included in his posthumous retrospective at MoMA PS1 in 2013-2014.

In the first room are Kelley’s glowing, jewel-like sculptural variations of Kandor. The works were all created using molds and, while they are editioned works, each version is slightly different depending on the material used to create the surface texture.

Inside the Exploded Fortress of Solitude. (Photo: Hauser & Wirth)

Kandor’s first appearance in the Superman narrative came in the 1958 issue of Action Comics #242, drawn by Al Plastino. It appeared in the comics many times, but was always rendered differently by the various artists who contributed to the series. Kelley’s inspiration for the Kandor sculptures and lenticular paintings were the inconsistencies of the source material, ever-changing representations of the futuristic alien metropolis.

Exploded Fortress of Solitude. (Photo: Hauser & Wirth)

City 17, (2011). (Photo: Hauser & Wirth)

But Kelley was equally interested in the flip side: themes of sex, debauchery, and social disorder appear in the last gallery of the show, with the climactic large-scale installation Exploded Fortress of Solitude, a set based on Superman’s arctic safe space. In the video, a striking departure from the rest of the show, a band of miscreants sexually abuse and beat one another inside a blackened Fortress of Solitude, where a bottled Kandor glows fiery magenta in the background.

Kelley had even bigger plans for Kandors. Originally, he had planned a project in 1999 called Kandor-Con 2000 for the group exhibition “Zeitmenden: Ausblick” at the Kunstmuseum Bonn. His vision was to create crowd-sourced versions of the city based on fans’ input via the internet, to build digital and physical versions to show at the museum, and even hold a convention for the fans at the opening.

Kelley committed suicide in 2012.

“Mike Kelley” is open through October 24 and Hauser & Wirth New York, 511 West 18th Street.

 

 

 

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NYTIMES

Review: Mike Kelley Uncorks Superman’s Kandor City in a Bottle

By KEN JOHNSONSEPT. 10, 2015
Photo
The artist Mike Kelley produced more than 100 sculptural variations on the motif of Kandor, the capital of Superman’s home planet, Krypton. Thirty of them are on display in a new exhibit at Hauser & Wirth. Credit Hiroko Masuike/The New York Times

 

During his last decade, Mike Kelley (1954-2012), one of the most influential artists of his generation, devoted an extraordinary amount of time and effort to a theme from Superman comics: the city of Kandor, capital of Superman’s home planet, Krypton. Before Krypton was destroyed by a chain reaction in its radioactive core, the space archvillain Brainiac shrank Kandor and put it and its live inhabitants into a bottle. Years later, the grown-up Superman wrested the bottled city away from Brainiac. Unable to restore Kandor to its original size, he kept it in his Arctic Fortress of Solitude, along with all his other memorabilia.

Mr. Kelley produced more than 100 sculptural variations on the motif of Kandor. They typically consisted of renderings of a futuristic city in colored resin covered by bell jars, which were connected by hoses to gas tanks or air compressors. (Because Earth’s atmosphere was toxic for the people in the bottle, a constant supply of Kryptonian air was required.) Illuminated by internal and ambient lights and presented on various platforms and pedestals, the Kandor works are materially sumptuous and metaphorically tantalizing.

Photo

The 2011 installation “Kandor 10B (Exploded Fortress of Solitude),” which has never been shown in the United States, is paired with a video, “Extracurricular Activity Projective Reconstruction #36 (Vice Anglais).” Credit All Rights Reserved, Mike Kelley Foundation for the Arts/Licensed by VAGA, New York NY, Hiroko Masuike/The New York Times

Why was Mr. Kelley so preoccupied by this story? A captivating exhibition of 30 Kandor works from 2007 to 2011 at Hauser & Wirth offers some answers and a few clues for speculative interpretation. Called, simply, “Mike Kelley,” the exhibition delivers a mordantly misanthropic vision of contemporary life with terrific theatrical élan.

The show begins with an installation in a dark room of eight Kandors cast in jellylike hues made to glow by lights built into their pedestals. Next comes a multipart piece called “Kandor 4,” which consists of a large, clear glass bottle connected to a big, red air compressor; three city models cast in red, yellow and blue urethane; and a video projected onto the wall showing a bottle with swirling colored gases inside. Nearby is a set of Kandor images lifted from comic books and made into back-lighted, lenticular panels in which the city appears and disappears depending on your viewing angle.

Then you come to the most impressive and revealing part of the show, an expansive 2011 installation titled “Kandor 10B (Exploded Fortress of Solitude),” which has never been shown in the United States. It’s paired with a video, “Extracurricular Activity Projective Reconstruction #36 (Vice Anglais),” depicting the darkly comical, sadomasochistic activities of some fancifully costumed people within and around the “Exploded Fortress.” (“Vice Anglais” refers to erotic flagellation.)

Some background is helpful. In the late 1990s, Mr. Kelley wanted to produce an event to be called “Kandor-Con” as part of a group exhibition at the Kunstmuseum Bonn in Germany in 1999-2000. He intended to create a website by which to connect with Superman fans from around the world, and he planned to have as many as possible come to the museum for a conference like Comic-Con. In a 2010 essay, he wrote, “I wanted to draw a comparison between the bell jar and the Net, presenting the Net surfer as a lonely, disembodied individual.” For financial reasons, that project never came to fruition, but had it succeeded, he wrote, “ ‘Kandor-Con 2000’ would then truly have functioned as a real celebration and meeting place for like-minded people.” Whatever else they’re about, the Kandor works have centrally to do with loneliness and isolation.

 

In his essay, Mr. Kelley claimed that he had no personal interest in the Superman mythos, which seems contradictory. It’s hard to believe that he didn’t in some ways identify with that Man of Steel. Because of his superhuman powers, Superman leads a split and lonely life. Among regular people, he disguises himself as an ordinary, ineffectual fellow. He has friends but none who know him deeply. As his true, superself, he’s even more isolated. When not preventing catastrophes, he keeps to himself in his Arctic retreat. As for Mr. Kelley, while he was an artist of nearly superhuman productivity and inventiveness, he was severely depressed, a virulently isolating condition that led him to take his own life. (In a video from 1999 not in this show, Mr. Kelley had an actor playing Superman reading passages from Sylvia Plath’s novel, “The Bell Jar.” Considering that Ms. Plath also committed suicide, that’s chillingly prophetic in retrospect.)

Mr. Kelley’s “Exploded Fortress of Solitude” is unlike Superman’s icy palace. All black inside and out, the “Fortress of Solitude” is a life-size bunker built of plastic foam carved and molded to resemble a construction of concrete blocks, stones and solidified lava. Some parts are cut away and scattered about the gallery, but the primary structure remains intact, and viewers can enter its dark, cavernous interior. Here you find one of the show’s most fully realized Kandor sculptures: a glowing, pink city of simplified modernist buildings on a powder-blue base, all under a bell jar over three feet tall. At the end of the cavern, a rough niche whose surface is covered by glittering pieces of costume jewelry alludes to treasures often discovered in mythic caves and in psychoanalytic spelunking.

A video projected on a nearby gallery wall was inspired by a high school yearbook photograph of a scene from an unidentifiable theatrical production. Mr. Kelley’s film projects what might have lurked in the repressed unconscious of that innocent image: a subterranean theater of lust and perversity, which he set within and around the “Exploded Fortress.” During the video’s 24 minutes, a menacing man in a green top hat and paisley dress repeatedly threatens to use an ear of corn to anally rape an anxious clown in a football uniform. A Sadean libertine administers a bloody whipping to the bared buttocks of a woman in a wedding dress, and, in an especially illuminating scene, he kneels to contemplate the glowing, bell-jar-covered Kandor inside the “Fortress.” Here, a personification of Dionysian excess draws close to a vision of Apollonian order, yet remains separated from it by its glass container.

In effect, that moment asks, How do we reconcile our capacities for high-minded idealism on the one hand, and our impulses for cruelty, disorder and destruction on the other? That Mr. Kelley offered no way to integrate those opposites is a large part of what makes his art so unsettlingly, pessimistically provocative. That he could not — or would not — envision a middle ground, a place where ordinary, messy life might flourish with all its complications and contradictions, was his tragedy.

Johnson Road Projects presents Los Angeles-based artist Vincent Johnson’s dazzling color photographs shot in Los Angeles and Detroit + essay

Johnson Road Projects Summer 2015 Exhibition: A Selection of Vincent Johnson’s Color Photography 2001-2015

Johnson Road Projects presents Los Angeles-based artist Vincent Johnson’s dazzling color photographs shot in Los Angeles and Detroit. The artist has lived in LA for several years and most recently gone to Detroit on three photography trips to capture remarkable and startling images of Detroit in transformation.

 DSC05981 copy 1

Neon Chain
Neon Chain

The Deville

Color TV by RCA - Los Angeles
Color TV by RCA – Los Angeles
Ritz Motel - Air Conditioned Rooms
Ritz Motel – Air Conditioned Rooms

V

Permanently Parked Ford Mercury - Detroit
Permanently Parked Ford Mercury – Detroit
Detroit Tire and Bush House.72dpi
Tire and House – Detroit
Mister Softie Truck Detroit.72dpi
Mister Softee Truck Detroit

Vincent Johnson’s Artist statement from 2005 on Photography:

My artistic practice is currently concerned with the production of an archive of digital photographic images of the remains of Los Angeles’ and Southern California’s vernacular architecture after the inception of the motel in the 1920’s through intriguing phase that delivered the fantasy of neon noir architecture of the 1940’s and 1950’s. Since the majority of this form of architectural history are in forlorn and neglected avenues of Los Angeles and beyond, I do not consider the project to be a form of cultural tourism, but an authentic investigation and concern that gives rise to a cultural document as history. On occasion I will also produce a photograph that documents the relationship between the 1950’s through the 1970’s car culture and California private residences.

I work in Los Angeles, which has an exceptional amount of interesting architectural artifacts from the First World War period onwards. Many portions of the Los Angeles that I depict come into existence when New York was attempting to wrest the thorn crown of painting from Paris and succeeded. In the course of producing my photographic archive, I have employed strategies of production such as those used by the flaneur and the derive, in day and at night, by car and on foot, primarily in a stark and challenging urban territory, the Anti-City that is Los Angeles. Similarly, I have also allowed myself to merely wander through this world as the American artist that I am, and fall into pictures and spaces that call for documentation.

It is my experience that driving a car in Los Angeles and seeing the world through its windows is a complex real-time cinematic event. There is a temporary encounter and an enduring intimacy through memory via the photographed subject – this produces the photograph, as versus a sustained relationship with a single but ever-changing street scene. Through auto travel one is given the privileged observer position of moving through the world as a real-time unedited film, a cinema-state; to take a number of photographs of it afterwards. Often, when I drive I look about and “remember” key images, photographs of urban sites from the mid-century and earlier that I will take pictures of in the future.

Despite the relative youth of Los Angeles cultural architectural properties from the mid-20th century and earlier, they are constantly vanishing from the physical landscape of the state, as the dead architecture and their signs are either demolished or their elegant features are almost erased. Part of my project is documentary in the recognition of this reality. At certain times and places in Southern California, merely by driving about, one can gain a very strong sense of the lifestyles of Los Angeles’ remarkable architectural past, in reinvented forms of openness to new possibilities, without external pressure, to fulfill the promise of the future.

Vincent Johnson

Lake Balboa, California
4.12.05

Parker Ito: Interviews and Articles

 

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 PARIS-LA MAGAZINE

EXHIBITION: PARKER ITO AT CHATEAU SHATTO

Parker Ito’s show at Chateau Shatto, A Little Taste of Cheeto in the Night, is a fully-immersive, claustrophobic, phantasmagoric experience. The artist transformed a vast, multi-roomed warehouse behind the gallery with architectural interventions, punching holes in the walls and ceiling. Double-sided paintings hang from silvery chains and LED light strands, and the floors are haphazardly carpeted in astro-turf and red plush. Custom-made slippers, screen-printed buckets, ceramic figurines and action figures litter the space, sometimes in precise constructions, and at other times lying about in wait for a crushing step. Photos simply don’t do the show justice; go and see it for yourself before it closes on April 26.

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Parker Ito

Sarah Nicole Prickett
Sebastian Kim

Parker Ito, Parker Cheeto, Olivia Calix, Deke McClelland Two, Julia Rob3rts, and Painter_John99@yahoo.com are all, as far as Los Angeles-based artist Parker Ito is concerned, real names used to make real art. Now known almost exclusively as Parker Ito, the 28-year-old artist is currently working on a series of shows that, collectively, he sees as the second exhibition in a Parker Cheeto trilogy. (The first, “Parker Cheeto: The Net Artist [America Online Made Me Hardcore],” took place at IMO gallery in Copenhagen last year.) He’s also planning an exhibit of his 101 “Parked Domain Girl” paintings (oil canvases based on a stock image of a smiling blond with a backpack); a show of sculptures about computer printers; and a “multichannel installation.” He doesn’t sleep very much, or very well. He doesn’t read. He hates discussing his work. If we hadn’t met in the flesh to do exactly that, I wouldn’t have even been sure that it was Ito speaking—he’s often had friends or assistants conduct interviews over e-mail on his behalf.

In September 2012, Ito had his commercial breakthrough show, “The Agony and the Ecstasy,” at Stadium gallery in New York. The room glinted and flashed with all-surface objects, unbelievable from every angle. Photographing them was a little like Insta-gramming the moon—impossible, but you couldn’t stop wanting to try. I wanted to buy one. This past February, The Agony and the Ecstasy (2012), a wall covering made from vinyl, enamel, and 3M Scotchlite fabric, sold at Sotheby’s for more than $94,000. Suddenly, a Parker Ito fingernail was out of my price range. Critic Jerry Saltz called him a mediocrity.

It should be easy enough to locate Ito’s work in a “post-internet” bubble and leave it there, but once you start looking, you quickly see he’s not too good for that, but too much. Cosmophagy, the word Susan Sontag used to describe “the devouring of the world by consciousness,” comes to mind. His oeuvre is compulsive, insatiable. No starving artist, Ito seems rather more bulimic, as if there’s no bad-for-you image or medium he won’t eventually chew up and spit back out. When I find out he’s a supertaster (meaning he experiences the sense of taste far more intensely than most), the metaphor is complete: Ito explains that the condition makes him unable to eat anything too complex or refined, and that, like his friend Harmony Korine and his idol Jeff Koons, he prefers the salty, bland, overly processed, borderline trashy and “fake.” I met up with him for a few hours in April when he was in New York, and we ate sushi.

PARKER ITO: Is there a Google search result for your hair? I searched your name and hair came up as a suggested thing.

SARAH NICOLE PRICKETT: Probably. I’ve had a lot of different hairstyles. You seem like someone who Googles everyone you meet.

ITO: Yeah, I do.

PRICKETT: What year did you first get a computer? People have different ages, I think. You have your biological age, the age on your birth certificate, and then you have a sexual age, and then a digital age. Maybe you have an emotional age.

ITO: Well, my taste buds are like a 7-year-old’s. [laughs] I remember the internet being a thing, and not having it at my house, and then getting AOL dial-up, and having my parents put a porn filter on the computer. But I can’t remember much in general. My memory’s gotten really bad lately.

PRICKETT: Short term or long term?

ITO: Both. I’m pretty good at remembering what I have to do, though.

PRICKETT: How many things do you have to do every day?

ITO: I don’t know, 10? I don’t write anything down.

PRICKETT: So, you have the memory of a really good waitress.

ITO: Maybe. And I’m good at remembering my ideas, or at least I think I am. I don’t keep a sketchbook.

PRICKETT: Do you remember your dreams?

ITO: When I used to take prescription drugs, I had really vivid dreams and I could remember them. But now I never do.

PRICKETT: What did you take drugs for?

ITO: I have agoraphobia, and it got really severe last year. Do you have it?

PRICKETT: No, I don’t, but I think agoraphobia seems like a perfectly sane response to the absolute disgustingness of the world at times.

ITO: I see the world as a pretty positive place. With agoraphobia, I’m only in fear of fear. Like, I’m afraid of having a panic attack, and panic attacks usually happen in public places, so I’m afraid of public places. I had a panic attack on an airplane last year. They were about to take off, and I was like, “I need to get the fuck off the plane, I’m having a panic—” And they were like, “Oh my God, do you need a stretcher?” And I was like, “No, just let me off the fucking plane.” After that I went on Xanax. A lot of Xanax. I was also on an antidepressant and a mood stabilizer. I was a fucking zombie. It was a really dark time in my life.

PRICKETT: Were you making art?

ITO: That was the only thing I could do. The only time I felt normal was when I was making stuff.

PRICKETT: Did it change the art you made in any perceivable way?

I‘M INTERESTED IN MAKING WORK THAT MIMICS THE MECHANISM OFTHE INTERNET …I’M TRYING TO MAKE SOMETHING SO COMPLICATEDTHAT IT CAN’T BE UNDERSTOOD, SO TOTAL THAT YOU CAN NEVER ZOOM ALL THE WAY OUT.  —Parker Ito

ITO: No, I don’t think so. Well, that was right around the time that my assistants started becoming very heavily involved, because I had left California to get away from my family. [laughs] I grew up in Orange County, and my family lives in Long Beach, and at the time, I was living with my dad. My parents were—are—going through a divorce, and I was right in the middle of everything. I flipped out, and I came to New York to live here for a month. It was the worst place to fucking go, but I was under the impression that being around my family was what was stressing me out, so I came here, and then I called and e-mailed my assistants and had them work remotely for a month. In May I flew back to Los Angeles for a show, and I hadn’t even seen the work; I hadn’t touched it. I just showed up for the opening, and there were 20 paintings that I had made.

PRICKETT: How many assistants do you have?ITO: About five. I have a very different relationship with my assistants than most artists. Most artists say, “My assistants made this, but the ideas are all mine.” But sometimes my assistants come up with ideas for stuff to make, and I just say, “Okay, we’ll make it.”PRICKETT: If your assistants make something for you, are their names on it?

ITO: Well, I don’t sign my work, so nobody would sign anything.

PRICKETT: Are they well-paid?

ITO: Twenty-five dollars an hour.

PRICKETT: That’s good. Do you remember that New York Times Magazine piece written by an assistant for Jeff Koons who made the Cracked Egg painting and got paid 14 dollars an hour?

ITO: Whoa. That’s shitty.

PRICKETT: I’m shocked that none of your assistants ask you for a percentage of sales. But I think I just don’t know how the world works.

ITO: My assistants like making things, but they don’t want to put up with all the bullshit of being an artist. And I try to be a really cool boss. For my two main assistants, who have been with me longer than anyone else, I bought monogrammed velvet slippers. I bought them the Jackson Pollock Crocs. I’m getting berets made for them, and they have sweatsuits printed with some paintings we did.

PRICKETT: Were you ever someone’s assistant?

ITO: No, I’d be a fucking horrible assistant. I can’t really do anything. [laughs]

PRICKETT: Were you a good student?

ITO: In art school, yes, I was a very good student. In high school, no. And before art school, at this junior college in Orange County, I was kicked out. I was put on academic probation because I failed this math class twice. I just never showed up.

PRICKETT: I bet everyone thinks they know what your adolescence was like because they watched The O.C. growing up.

ITO: Oh, yeah. But I watched Degrassi [The Next Generation].

PRICKETT: So you were an original fan of Drake?

ITO: Yeah. Jimmy.

PRICKETT: I saw that one of your shows was titled “Nothing Was the Same (John Boehner Ramesses III).” I’m Canadian, and I find it so funny, a famous rapper being from Canada. It’s incongruous. Drake is so drastically uncool. His record label, OVO, has a blogspot page.

ITO: I’m into that. My girlfriend is in Canada now.

PRICKETT: What’s her name?

ITO: Liv Barrett. She’s also my gallerist now. We live together in Hollywood. I don’t know what you know about Hollywood, but that’s where I live. So it’s all super-fucking-eccentric rich people with giant cowboy hats, and then bums shitting on trees.

PRICKETT: That’s amazing.

ITO: It’s a weird place.

PRICKETT: It is a weird place. L.A. is so heartless and disparate to me.

ITO: Yeah, there’s no center. I like living in L.A. a lot.

PRICKETT: You drive a car, I guess.

ITO: All the time. I drive a ’98 Honda Civic. It’s a piece of shit. I’ll go to an event with a collector and there’s valet parking, and they’re in a Rolls-Royce or something, and I’m behind them in a shitty Honda full of garbage.

PRICKETT: Do you remember the first time you thought you wanted to be an artist?

ITO: Yeah. [laughs]

PRICKETT: Was it when you were watching Degrassi?

ITO: It was a little before that. I was really into skateboarding for a long time. Then I realized that I probably wasn’t going to become a professional skateboarder. I’ve only wanted to have two jobs: a professional skateboarder and an artist. I’ve actually come back to skateboarding through art. I don’t know if you know who Rob Dyrdek is. He had a show called Rob & Big that was on MTV, and now he has a show called Ridiculousness, and he’s a pro skateboarder, and he’s collecting art now. He collects my work. Through Insta-gram, I became friends with Steve Berra, who runs the Berrics, the skate place and website. It’s one of the most influential things in skateboarding right now. And Steve said he wanted to give me a pro model, like a pro board.

PRICKETT: I guess if you have a pro board, you’re a pro skateboarder.

ITO: Technically, yeah. It’s like an honorary degree. But, yeah, I read a book on Basquiat when I was 18 or 19, and I decided I wanted to be an artist.

PRICKETT: You dress well. That’s a Basquiat thing. He wore, like, Commes des Garçons suits.

ITO: Yeah, yeah, and he painted in them.

PRICKETT: He painted in them?!

ITO: All I wanted my whole life was to buy whatever I wanted.

PRICKETT: Did you grow up with money?

ITO: Fuck, no. I’m from a super-middle-class family.

PRICKETT: Define middle class. What did your parents do?

ITO: My dad works for an oil company. My mom was a hairdresser, and now she does X-rays, mammograms, stuff like that. I worked in the oil fields before I became an artist. It’s a big paranoia of mine that people think I’m from money because I’m from Orange County. I spend a lot of money on clothes now, and I go to all these fucking parties for art.

PRICKETT: Well, and you’re successful, and it’s getting harder and harder to go to school and become a successful artist if you don’t have money to start with.

ITO: That’s the other thing. A lot of artists are just rich kids. But, no, I’m in a lot of debt from school. A lot of debt.

PRICKETT: How much?

ITO: Probably 60, 70 grand. I don’t really know, to be honest. When I was in school, I got them to give me a bunch of extra money so I could buy computer software, and then I downloaded all the software for free and used the money to go shopping online.

PRICKETT: What did you buy?

ITO: Just tons of clothes.

PRICKETT: The shirt you’re wearing now, the print has the Montreal Canadiens logo on it. Did you do that on purpose because I’m Canadian?

ITO: Oh, no. It’s vintage Nicole Miller from the ’90s. I collect shirts with all-over prints, and this one seems to be Canadian-themed. It would be funny if I did it on purpose.

PRICKETT: Do you collect any other things?

ITO: I have a lot of books, I guess.

PRICKETT: What kinds of books?

ITO: Art books, books with big pictures in them. I read comics a little bit. I like Dash Shaw and Paul Pope. In my work I use a lot of images from a comic Geof Darrow did with Frank Miller called Hard Boiled. There’s an image from it on my website.

PRICKETT: Who wrote the text on your website?

ITO: Glass Popcorn. He’s a rapper who lives in Tempe, Arizona. I think he’s 17, but he got popular on the internet when he was maybe 14. His favorite artists are me and Harmony Korine. That sounds weirdly egotistical.

PRICKETT: It’s not. I loved Spring Breakers [2012] more than anything, because it was all surfaces, and everything was reflective and refracted, and you could read that movie so many ways, and [Korine] wouldn’t argue with you about any of them. He’d never admit to having an opinion on his own work, although he did say it was the first real movie he’d made.

ITO: Harmony Korine is my good friend. He’s a real artist. My girlfriend and him had a conversation in Miami, and if I remember correctly—I was pretty fucked up at the time—he said he made Spring Breakers because he was interested in the way the light in Miami looked at particular times. It wasn’t about script or storytelling; it was about lighting.

PRICKETT: Lighting is everything. I won’t go to places with bad lighting. Partly it’s vanity, but it’s also that I seek certain times of the light. Sometimes in my apartment, at sunset, the whole window will burn orange, and it’s just my favorite—it’s ecstasy. So I think that’s a perfect reason to make a film. What do you feel is your primary reason to make art?

ITO: That I want to make this shit. I want to see this thing made. The work I’m making now is a continuation of my earlier work, which includes art I made under different names, art I made in collaboration with Body by Body [a collaboration between artists Cameron Soren and Melissa Sachs], a bunch of websites I made, a bunch of video work. But people only know the reflective paintings or the dot paintings because those are at auction. Right now, I’m building an exhibition that can’t be contained by a gallery. It’s planned to take place in the fall in L.A. in a warehouse where I’ll just work for months.

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ARTFORUM

Parker Ito

03.23.15

View of “Parker Ito: A Lil Taste of Cheeto in the Night,” 2015.

 

Crammed into 7,500 square feet of leased space behind Château Shatto Gallery in downtown LA, Parker Ito’s current exhibition is a stunning, vertiginous private museum multiplied hundreds of times. The show is over a year in the making, and it’s not finished yet: Ito will continue amending the paintings and installations on view until the exhibition is reprised as an “epilogue.” “A Lil Taste of Cheeto in the Night” is on view until May 2, 2015.

I WANT TO MAKE EXHIBITIONS where there is always a potential for the work to be shifting. There is a sensation that I’m chasing: an exhibition beyond the pacified white cube, something indigestible, something profuse. The question became how to make something that feels like my website, where I’m always making new work and adding things on. In a sense, my website is my masterwork: It’s like a grand edit of everything I’ve ever done, and it takes on a life of its own where things are infused in a bigger structure.

I came up with this two-year project of trying to make something so total and intricate it couldn’t be comprehended—where you could zoom in on the details endlessly, but never zoom out completely. “A Lil Taste of Cheeto in the Night” played out in several stages. It began with a prelude in the beginning of 2014: I hung eight paintings in an Atwater coffee shop. They were completely anonymous and ambient. After the exhibition, the paintings came back to my studio to be painted on some more, and they now hang in this show on the back of larger double-sided paintings.

Part one was at Smart Objects, a project space in Los Angeles, in May 2014. It was the first time I considered the whole building as a medium. I left the main space of the gallery empty. A nonsensical neon sign was hung facing out toward the street. There was a disused, three-story elevator shaft in the building and I broke through the wall to hang a bronze sculpture inside the shaft. Wallpaper was installed in the bathroom, and I hung a series of paintings throughout the second-floor apartment where the dealer lived. I painted a mural on the roof, too.

Part two was at White Cube in London last July. I considered this a trailer for “A Lil Taste of Cheeto in the Night.” This was an effort to make an exhibition that spilled beyond the confines of the designated exhibition space. Children of the gallery’s staff contributed to some of the paintings that were hung throughout the offices, and flower vases made by other employees were scattered around the show. There was also a video piece, which is an episode of another ongoing work, and the receptionists wore pairs of bespoke slippers for the duration of the show. We added live parrots for the documentation. The show was credited as the work of Parker Cheeto and my eight studio assistants. People thought it was a group show.

The content in the current LA exhibition goes through a process of absorption. There are numerous sculptures riffing off the iconography of the local company Western Exterminator; my works feature an iconic top-hatted man with a mallet that sits atop company buildings and vans. They’re something you see often in LA because you’re constantly on the freeway, and Western Exterminator has depots at several freeway locations—off the 101, the 405. I think about how part of being alive is having to constantly process so much information that you’re pushed to a space where you don’t really know what the thing is—it’s just floating. I wanted to be able to incorporate as many media, processes, and strategies, as many kinds of content, as I could grasp. With such a density of information, the chemistry between things becomes unpredictable. The exhibition reaches a point where there is no one-to-one correlation between a reference and its meaning. It’s like when people who don’t read Chinese get Chinese characters tattooed on their bodies. Often those phrases are mistranslated, but it doesn’t really matter to the person what the characters say. They’re mostly interested in the qualities being conveyed by this kind of typography. That’s how I think about content: It’s not equivalent; it’s a filter. I’m invested in the sensation of things.

— As told to Chris Kraus

NYTIMES T MAGAZINE

An Artist Whose Signature Style Is a Lack of One

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Handlers install a painting for the artist Parker Ito's new show, "A Lil Taste of Cheeto in the Night," which will be displayed through an ongoing installation process during its run.
Handlers install a painting for the artist Parker Ito’s new show, “A Lil Taste of Cheeto in the Night,” which will be displayed through an ongoing installation process during its run.Credit Elon Schoenholz

When Parker Ito was growing up in Seal Beach, a small city in Orange County, California, he watched David Copperfield DVDs assiduously. He dreamed of being a magician. “Then, I wanted to be a professional skateboarder,” the artist, 28, said from a folding chair set atop the barren rooftop of his Los Angeles studio in the El Sereno neighborhood. It was a few weeks before his new, knotty multimedia show, “A Lil Taste of Cheeto in the Night,” would open in a 7,800-square-foot warehouse in Downtown Los Angeles, adjacent to Château Shatto, the gallery co-owned by Ito’s girlfriend and art dealer, Liv Barrett.

In his busy workspace below, Ito’s studio assistants were perched on scaffolding as they studiously worked from photographs and printouts to render massive two-sided paintings, which were now hanging shambolically on chains from the rafters of the exhibition warehouse. The paintings dally between appropriated logos from the ’90s skateboarding brand Hook-Ups; images of Ito as a Joan of Arc figure; and representations of the Western Exterminator, an Angeleno billboard staple depicting a tophatted man scolding a mouse while holding a mallet behind his back.

Ito is well known for hiring skilled painters as his studio assistants and paying them a fair wage (and sometimes giving them full credit as the artists of an exhibition, as he did at the London gallery White Cube last year) to realize his concepts. Often, this rankles critics who prefer that the artist’s hand touches the work — the sort of question of fabrication that Donald Judd raised in the 1960s and that has critically dogged Jeff Koons’s practice.

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An installation view of "A Lil Taste of Cheeto in the Night."
An installation view of “A Lil Taste of Cheeto in the Night.”Credit Elon Schoenholz

Ito tries to remove as much of himself from the process as possible, aside from an approval procedure; and because of his assistants’ distinct abilities, the studio creates works that vary greatly in technique. The pieces through which he first achieved prominence while still a student at California College of the Arts in Oakland — paintings of “the parked domain girl,” a fresh-faced co-ed who appears as a placeholder on countless unconstructed web addresses across the Internet — come in all types, from one that apes the street-art wheatpaste style to one that is completely abstracted to one done as an anime.

In fact, for Ito, variety is the only constant. He even switches his name up, going by pseudonyms such as Deke McLelland Two, Creamy Dreamy and Parker Cheeto. The idea that most artists end up finding and perfecting a style, which they’re expected to maintain for the rest of their lives, frightens him. “I never wanted to be someone who had an ability to do anything,” Ito said. “I never wanted to be someone who could paint really well or draw really well. I always want my work to be changing and shifting, and I never want to be set in something, so I purposefully never learned to do anything. I really try to make everything at this point.”

“A Lil Taste of Cheeto in the Night,” his biggest show yet, which opened over the weekend, is the culmination of two years of Ito figuring out how to present his artwork in a yearlong series under one umbrella. Previously, there was a show done anonymously and semi-secretly in a cafe in Atwater Village, consisting solely of still life paintings of roses, followed by an exhibition at the cramped Echo Park gallery Smart Objects. The third iteration came last July, after Jay Jopling, the owner of the prominent London gallery White Cube (which represents Damien Hirst and Tracey Emin among others), dropped by Ito’s studio and offered him a show. Ito was hesitant, having made the decision to shun big galleries; he compromised by doing the show, but giving credit to his assistants — and Parker Cheeto, of course. “I was really trying to take a break this year,” he says. “I really wanted to carve my own path and avoid commercial galleries.”

Ito dislikes openings, so “A Lil Taste of Cheeto in the Night” did not have one. The exhibition’s announcement came in the form of a newsprint booklet containing a love letter written to Ito by Barrett. And Ito has painted Barrett into one of the show’s paintings (though he had to redo it in the weeks leading up to the show, because “her nose was all wrong,” Ito says).

Alongside 33 paintings, 19 bronze sculptures of the Western Exterminator in all forms are hung from chains or positioned on top of other works. Sloppy ceramics are scattered through the space, string lights are haphazardly threaded through holes in the ceiling like the nest of wires at the back of a computer desk, and several fake palm trees — the same kind used to mask cellphone towers — will be right at home when they are installed in the next few weeks of the ever-changing exhibition.

If anything, Ito is the type of artist that sends critics into fits. The New York Magazine art critic Jerry Saltz called him mediocre in one article, lumping him into the “zombie abstraction” dogpile in another, Ito having been caught up in the whole mess surrounding the art advisor Stefan Simchowitz’s price goosing and art flipping. The art-world gossip has affected the way critics approach Ito’s work. “It turns people off to my work before they even look at it,” says Ito. “It’s hard for me to know if people have even seen a lot of the stuff I’ve done.”

Ito is hoping that this show changes the perspective of how his work is seen, a daunting task in the art world. Ito can’t say for sure exactly where he falls in the art-making genres, but what he does know is that he will always be switching it up, keeping people guessing and trying to keep it interesting for himself through adaptation. “Even though I’ve made so many bodies of work that look totally different, people tell me there’s a feeling that, when they see my work, they know it’s mine,” he said. “So even my attempts to destroy myself, I’m still myself, I guess.”

“Part 3: A Lil Taste of Cheeto in the Night” runs through an undisclosed date in late April at 1317 S. Grand Ave., Los Angeles, chateaushatto.com.

Correction: January 28, 2015
An earlier version of this post omitted a credit for the pictures of Parker Ito’s artwork. They were taken by Elon Schoenholz.
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DIS MAGAZINE

Interview with Parker Ito

PARKER ITO | THE AGONY AND THE ECSTASY
STADIUM
548 W. 28th St. Suite 636
New York, NY 10001
SEPT 6 – OCT 6 2012

Parker Ito, as many of you already know, is a multi-media and Internet artist based in the Bay Area. Over the past few years he has become known for his uses and manipulations of found and stock imagery as well as continually re-configuring and jumbling all kinds of online identities, communities, systems and paths of communication. His current solo exhibition at Stadium in New York City titled The Agony and the Ecstasy, features new paintings and sculptures that defy the conventional binary between viewership in the gallery and documentation as it is presented online.

Courtney Malick: I have to start off by asking about the title of the exhibition, The Agony and
the Ecstasy, which of course conjures certain distinct references such as the novel (1961) of the same title about the life of Michelangelo and the subsequent film (1965) based on the book starring Charlton Heston.  Then there of also the famous song by Smoky Robinson.  Were any of these works in your mind in any way when deciding on a title for this show?

Parker Ito: I like movies, but only bad movies. And I don´t ever read books, only Wikipedia entries.  So my knowledge of these things is very superficial.  The Agony and the Ecstasy seemed to be a good title for an art show because it kind of encapsulates artistic struggle.  My artistic struggles are not so much about, ‘Oh, making art is really hard,’ but more like, ‘I need more money to go online shopping,’ ‘I have a crush on this girl, how do I get her attention on twitter?’ or ‘Do I look hot in this Facebook photo?!’ Online romances are sort of my thing and that´s probably the main theme of this show.  When I say “online romances” I don´t just mean girls either, I´m talking about romantic relationships with art via the Internet as well.

CM: Can you tell me a bit more about what you mean by ‘romantic relationships with art’?

PI:  Like people artworks seem to exist in some sort of in-between state. Sometimes people take really good photos and sometimes people look hotter offline. I heard a rumor that I’m hotter in person. More so now than ever things exist in multiple versions and one is not truer than the other. Most artworks seem to look better online and lots of art objects can be underwhelming and unromantic in person.

CM: Yes, that is definitely true for photos and other two-dimensional work. I am also really interested in the idea of the exhibition trailer that was included as a link in the press release that I received via e-mail.  This is a PR technique that I have never seen before.  Is it something that you conceived of as a preemptive extension of the exhibition or is it something that the gallery has done in the past?  Also, what was it that you wanted to convey in the trailer that you felt would intrigue people to come see the show in person?

PI: Maybe not in a blue chip sense, but more so with a lot of younger artists exhibition trailers seem to be pretty common now.  Mark Leckey made some pretty cool trailers for his exhibitions.  Hopefully people will get excited about coming to my show when they see the trailer.  That’s probably what I was thinking about most.  We live in a day in age of TL;DR though, so who wants to read a whole press release when you can watch a video and get more of a sense of what the show is about?  You do´t even have to watch the whole trailer, which is cool too, you can just scrub through it.


CM: I guess that is true to an extent, but I actually found a lot of things in the press release that intrigued me that I doubt I would have understood about the show based solely on the trailer. Most importantly the press release describes a lot about the conceptual background for this body of work, but I would really like to hear from you how it came about, especially as it relates or diverts from your previous work?

PI: Twenty-twelve was all about making beautiful things – my motto this year is ‘be pretty, make pretty things.’  That was the genesis of this body of work.  Then I got this idea to try and create artworks that were un-documentable, and then this basically shifted into trying to make art objects where the content of the work was the documentation and that had multiple, unique viewing experiences.  Reflective material offered all of these qualities and I just jumped into that head-first.  The timing was so perfect, as reflective material seems to be really trending in fashion right now. This makes me feel like I´m the artistic equivalent to hypebeast or something.

CM: I love the idea of documentation as content too and it is clearly foregrounded in this project. Can you say a bit about why you have chosen to set it up in this way?

PI: Yes this is the most important thing.  When buying a painting or a sculpture collectors always ask “which is the artists favorite?”  My answer would be that my favorite is all the of the paintings and sculptures together, with multiple documentation of each object collected on my website, then a link to my website posted on Facebook with at least 50 likes.  I think that´s probably most simple way to explain my reasoning.

CM: From what you have told me so far I am curious to know if you consider this project to be a formal one or if you see it as being rooted in the conceptual?  Perhaps in this case we cannot distinguish between the two?

PI: I´m not a conceptual artist, but I think this work is rooted in “konceptualism” and this is similar to when people spell the word “cool”, “kewl”, or “kool”.  I am passionate about the Internet and making work about the effects that Internet has had on traditional art objects is the most honest thing I can do, even if sometimes I do that under another name.  These paintings and sculptures are made flat, un-stretched.  Water and paint is sprayed on to the reflective material, which leads to very randomized results.  This reduces the whole process into something very systematic, which yields a very formal result.  But the qualities specific to the materials make the experience of viewing these works in person and in documented form very unique, and this is the more “konceptual” side of the project.

CM:  Wow, I’ve never thought of a kind of renewed or “off-brand” version of conceptualism.  It is interesting that you mentioned wanting to achieve a certain beauty with these works yet on the other hand you would be most pleased to see them reduced to a popular link on your Facebook page.  Again, the tension between agony and ecstasy or form and concept seems to arise.  Do you feel it is that dichotomy that the works embody that will continue to make them compelling in a non-visual sense once the gallery show is over?

PI: Most conceptual artists claim to be intellectuals. I am either a super anti-intellectual or a fake pseudo-intellectual. Just in the same way that my life is more conceptual than any art, therefore I do not need to make conceptual art. Multiplicity is an important part to the project – a gallery viewer could see these objects in person and think “wow these are extremely beautiful” and the works would just be reduced to pretty things on a wall. Someone could see a low res cell phone pic on Facebook that is extremely blown out and actually have no understanding at all of the formal characteristics of these works. So these objects both reject and accept their own beauty. The most interesting way to experience them is to live with them because one can view them in every lighting condition.

CM: Clearly one of the problemics your show addresses is the dichotomy that exists between experiences that take place online as opposed to offline.  Offline, in terms of an art exhibition, would traditionally mean the ‘separate-ness’ of the white cube of the commercial or museum gallery.  However, I am beginning to wonder if we can even make such a distinction any longer, as most of us spend each day with a smart phone in our hand at all times, through which we are continuously connected to the internet and various social media networks.  It is this perpetually connected condition that makes me wonder if the “unaffected”, (as it is referred to in the show’s press release), space of the gallery can any longer actually be considered as such?  Do you think that virtual and physical space necessarily operate differently?  And if so, do you think that there will eventually be a time when they will merge completely?

PI: Yea I mean this is already happening.  The best way to understand this is if you think about the new Apple OS and how the default track pad settings actually function in reverse from the previous settings.  This is because people are getting so used to being on smart phones all the time and scrolling the opposite way is actually more natural.  Or things like how Instagram filters just look like Instagram filters and don´t even reference film anymore.

CM: I know what you mean, particularly about Instagram’s self referential filter aesthetic.  It is clear to me that it is this condition that your show references, what I am wondering is whether you feel that by presenting something (these paintings) that cannot as easily transition from the real to the virtual realms, does this project represents a critical perspective on this hyper way of interacting via new technologies?

PI: No. I think I’m just being honest about the impact of the Internet on contemporary culture. I mean right now I’m writing this on my iPhone on an abbreviated version of gmail because my laptop is broken and I’m traveling. it takes me longer to type and the experience of handwriting my responses would be very different but it’s still “me.”

CM:Right, of course. I guess my last question would be if other than the documentation existing as the final state of this show that will be accessible on your website, do you have other plans for ways to extend or re-use the documentation “works” that will be the result of The Agony and the Ecstasy?

PI: I don’t really see an end because this work could be re-blogged forever and each time the work is photographed it is reactivated.

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ART REVIEW MAGAZINE – LONDON

Maid in Heaven / En Plein Air in Hell (My Beautiful Dark and Twisted Cheeto Problem)

White Cube Masons Yard, London, 16 July – 27 September

By Oliver Basciano

Parker Cheeto is Los Angeles-based Parker Ito. This show is attributed to a ton of names on White Cube’s website (which I assume are real; Cheeto / Ito is known to play with these things, though), including his assistants, various friends and an art logistics company in LA. I’m guessing however that this is mainly a Cheeto / Ito affair, because it is his face that is plastered floor-to-ceiling in the lower gallery. Back to those portraits shortly. Cheeto / Ito who is in his late twenties, has various other hip guises, including a Twitter account under the name of Joe Vex (@CreamyDreamy), from which he posts such bon mots as ‘i will never admit ive met someone before unless they admit it first :(’ and ‘i cant fuck you tonight cause im fucking you tonight’. I thought about trying to decipher all this. I looked at the press release, but it was just some story about going to a party in Miami and not recognising New York Yankees baseball star Alex Rodriguez. I looked online, but all I found were interviews in which our man said things like, ‘Harmony Korine is my good friend. He’s a real artist.’ In the end I came to the conclusion that I really couldn’t give a shit.

I came to the conclusion that I really couldn’t give a shit

Which is where I thought initially I’d leave this review. Then I became annoyed that I wasn’t giving a shit, because that’s the kind of Valley Girl attitude, signposted in interviews, those tweets and the party-boy persona displayed in the self-portraits, that Cheeto / Ito’s practice is a knowing expression of, and what is so infuriating about Maid in Heaven/En Plein Air in Hell (My Beautiful Dark and Twisted Cheeto Problem). On the ground floor of the gallery there are six paintings (which mix UV paint, oil, acrylic and screenprinting on each canvas), together with some garish wilting flowers in ceramic vases on the floor; chains hanging down from the ceiling; and a widescreen monitor, also floor-based. I have no idea what the flower and chain motifs (reiterated in a couple of the paintings) are there for. They evoke, respectively, works by Jeff Koons and Kanye West, figures to whom Cheeto / Ito nods in the show’s title. It is hard to determine the reasons for these references, other than their cool cultural cachet (incidentally, Cheeto / Ito can perhaps be seen to perform a similar role for brand White Cube). The paintings are kitsch when studied through the lens of any painterly critique, stylistically closer to tattoo or skate iconography than anything else. It appears, however, that the intention for them is to be looked at less in the terms of painting and more as advertisements for or signifiers of the Cheeto / Ito brand: scrawled across a couple are even the title and dates of this exhibition.

Can you guess what the video that was being shown on the monitor is like? A thoughtful meditation on neoliberal politics and the dispossessed. No, just kidding. You were correct first time: giflike animated characters, phone pics of Cheeto / Ito and his mates having a good time, the music videos of Kanye’s Bound 2 (2013), Robyn’s piss-poor Dancing On My Own (2010), all interrupted occasionally by an industrial noise track neither I nor Shazam recognised. Downstairs: red carpet; more chains; more flowers; more paintings, this time hanging from the ceiling at angles; and those floor-to-ceiling photographic portraits of the man himself looking cool / kind of hot and definitely being aware of both these things. Over the latter images are various lengthy handwritten notes, including a list of ‘Things not likely to be seen in a P.I. Painting’ (Candy Crush, outdoor gear and ‘Jewish Shit’ among them apparently).

Aside from being immensely boring, the problem with all this is that it’s Teflon-coated

Aside from being immensely boring, the problem with all this is that it’s Teflon-coated. There’s so much layered irony, self-awareness and knowing hints to ideas of vacuity (the artist as brand, from the show title’s evocation of Kanye and Koons onwards); so much celebrated meaninglessness, so much self-publicised lack of a shit given; that to critically hit it with those things just elicits a shrug. To play devil’s advocate, the artist may just be honestly reflecting the generational and cultural environment that surrounds him (poor chap); but if he’s just holding a mirror, with no commentary, with nothing at stake, just a mire of Gen-Y nihilism (and when the artist literally won’t put his name behind the work), it leaves the critic stuck, art criticism stuck and this critic wanting to hit the eject button.

This article originally appeared in the October 2014 issue

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BOMB MAGAZINE

Art : Interview

Away From Keyboard: Parker Ito

by Antonia Marsh

Parker Ito discusses AFK, IRL, and post-Web 2.0 arenas.


Parker Ito, The Agony and the Ecstasy series, Enamel on 3M Scotchlite and vinyl, 36 × 48 inches, 2012. All images courtesy of the artist.

Although his new paintings attempt to create an artwork that cannot be documented, it was documentation itself that was the aim of one emerging YIBA (Young Internet-based Artist). Parker Ito’s most well-known exhibition project, New Jpegs, took place at Johan Berggren Gallery in Malmo, Sweden in 2011; the artist generated content in the form of installation shots that were then manipulated through digital imaging software to create an entirely new body of work. This conversation between Ito’s practice in the digital realm and three-dimensional artworks that have the capacity to exist within physical space weaves throughout Ito’s work. JstChillin, an online curatorial project that lasted eighteen months, in its retrospective, stepped away from the screen and manifested itself in real space, while his project The Most Infamous Girl in the History of the Internet exists simultaneously as a series of paintings and a continuously re-blogged Internet meme.

With much of his earlier work available online via the artist’s website, and with three exhibitions this summer in New York, Chicago, and Toronto, the perceived notion that a digital environment exists separately from its physical counterpart is limiting. Musing over the oppositions of physicality and virtuality both in space and objects, Ito and I conclude that an artwork—and, by implication, an exhibition—cannot exist solely in real space, but must include an online presence in order to fully exist.

Antonia Marsh While some of your earlier projects such as JstChillin.org and PaintFX were web-based to begin with, they have also included live, real-time aspects. How do you understand this transition from an online environment to an IRL [“In Real Life”] environment?

Parker Ito Well, to begin with, I no longer believe in the relevance of the term “IRL.” Although perhaps somewhat dogmatic, I find its usage antithetical to my entire practice. For me the term “IRL” constitutes a relic of Web 1.0 net anxiety/novelty. “IRL” infers a division between a presumed “real world” and what happens online that I don’t think exists anymore. We live in a technologically hybrid reality where the space between the physical and the virtual is fluid.

AM Ok, so if we are to avoid the term “IRL,” what can it be substituted with? Does another term communicate better the position such projects exist in when taken offline?

PI Currently, we exist in a post-Web 2.0 arena, floating slightly before or in the midst of what I believe will be Web 3.0. A more custom, personal web, whose language will remain consistently abbreviated due to the ubiquity of smart phones and other mobile devices, defines Web 3.0. “AFK” or “Away From Keyboard” is the term I use the most often, but even the meaning of this term is shifting. In being constantly connected, “Log Off” is increasingly becoming a redundant action for users, so in fact we are very rarely “AFK.” However, overall I still see this as a more appropriate term, because fundamentally it acknowledges that the Internet is very real, realer than it’s ever been, which the term “IRL” seems to inherently reject.

AM Now that we are armed with the appropriate terminology, let’s return to art practice: for you, how is the authenticity of a web-based artwork or exhibition affected when it is taken offline?

PI In my opinion, through its constant documentation, an art object now exists as much online as it does offline. Whether professional or amateur, the capacity for posts on Facebook or links on Twitter to share artworks with a global audience has transformed contemporary art into a cyclical network of documentation. Art since the Internet has become continuously documented, shared and exchanged, which I now visualize as a kind of loop with no ending point or final resting place. All information flows in more than one direction. A lot of times the initiators of these loops are objects, or exhibitions that take place AFK, but this isn’t always true. A website, jpeg, etc. can be the starting point too. I think of the production of an artwork intended for physical exhibition or web-based exhibition simultaneously. I never produce a work that won’t be online. So whether or not it is intended for physical exhibition, its relation to operating in this media distribution loop is embedded in my artistic practice.


The Agony and the Ecstasy series, Enamel on 3M Scotchlite, plexi and aluminum, Dimensions variable, 2012.

AM So would you be inclined to argue that the online presence of an art object in fact legitimates its existence more so than its actual physical presence?

PI I would actually say that in the artist community that I’m most directly involved with, sometimes referred to as #YIBA (young, Internet-based artists), an artwork is most directly initiated into existence through its documentation as a non-object. For me, this initiation via non-objects equally exists in the realm of exhibition-making. What I mean by this is that until you post your show as an event on Facebook and begin actively generating responsive activity, such as “Likes,” it doesn’t really exist.

AM Are you therefore suggesting that the status of the art object has shifted so as to always maintain some sort of inherent online presence? In order to exist offline as a physical object, does an artwork have to exist virtually online at the same time?

PI There is a saying, “If it isn’t online, it doesn’t exist.” This is true now more than ever.

AM One of your most recent projects, an exhibition in Zurich, Switzerland entitled Anime Bettie Page Fucked by Steampunk Horse Warrior, had a considerable Internet presence. Was this a deliberate choice, perhaps an attempt to embody what we have been discussing about the necessity for an online presence in order for an exhibition to fully exist?

PI I initiated Anime Bettie Page Fucked by Steampunk Horse Warrior as part of Aventa Garden, a collaboration between Body By Body (Cameron Soren and Melissa Sachs) and myself as Deke 2. The exhibition spawned out of observations surrounding the way counter-cultures and sub-cultures have become increasingly popularized through their hybridization and increased prominence via the Internet. Contemporary popular culture is reliant on the Internet for its visibility; however, similarly, everything that is taken online has the potential to become “pop” almost immediately, including what might otherwise be considered counter-cultural.

In terms of using Web space to present exhibitions that occur offline, Anime Bettie Page Fucked by Steampunk Horse Warrior reflects what I’m most interested in at the moment. For the show, Aventa Garden (which describes itself as the leading American-Anime Deviant Art Studio Concept-Powerhouse) generated a lot of content, even though the actual exhibition only consisted of one projection, one painting, and some Mountain Dew cans stacked around a door. The gallery exhibition was just a tiny aspect of the show and in some sense is overshadowed by the extensive collating and archiving of documentation of the project’s process and supporting materials.

Thinking about this particular project enables a visualization of what we just discussed—this idea that art exists within a network. If a viewer were only to see the gallery component of this exhibition, they’d be missing out on a lot. On the website, email correspondence between the curators and the artists and craftsmen who helped us realize the exhibition are made available; as well as Google Chat conversations between Melissa, Cameron, and myself discussing the concept of the exhibition. We even documented our attempts to contact an ice block store to see if they could freeze a saxophone for us. As a result of this continuous amalgamation of information, the project feels somewhat never-ending, and we seem to be constantly updating the site with new tidbits.


Installation shot from New Jpegs with Ben Schumacher sculpture in foreground. The Most Infamous Girl in the History of the Internet, Oil on digital print on canvas, 36 × 48 each, 2012.

AM In relation to what we have been discussing, it might also be beneficial to talk about some of your earlier projects, like JstChillin.org and Paint FX …

PI It’s interesting that you bring up JstChillin and Paint FX, both highly collaborative projects that, while I initiated and remain associated with, equally exist as authorless projects, or belong to a collective rather than individual voice. Paint FX (Jon Rafman, John Transue, Tabor Robak, Micah Schippa, and myself) began in response to a returning interest in formalism and a general fetishism for glossy software. Paint FX had several offline shows where we printed jpegs from the site on paper and displayed them in a casual salon-hang. Over 700 images exist on PaintFX.biz, and I found selecting ten works for exhibition in a gallery space challenging, because it instigated a conversation about quality that I felt uncomfortable with. The element of constant, unhierarchical output was something that had always appealed to me about the project.

AM I agree, the Internet as an unhierarchical network offers the works on Paint FX a kind of utopian horizontality, however as soon as some kind of curatorial selection is implemented in order to choose which works might be taken offline, this horizontal organization is lost. In addition, in terms of curatorial modes of display, the salon-hang is historically associated with artistic hierarchies between genres of painting.

Frozen Saxophone, Ice, saxophone, Mountain Dew Game Fuel, Dimensions Variable, Aventa Garden, 2012.

PI When the project was placed into a gallery space, it suddenly felt contrived and static. I do believe there was potential for the project to work as an exhibition, although more attention to display was needed. Unfortunately Paint FX ended at the peak of its popularity, so for me the project still feels unresolved, and in some ways this lack of conclusion feels like failure. Although my role was less in production of work for the site and I functioned more as a facilitator for the project, in the end we were successful in branding a new aesthetic of shimmering software, which I am happy with.

JstChillin was a long-term project I started in collaboration with Caitlin Denny, an artist I studied with in California. In total JstChillin lasted two years, from Spring 2009 until Spring 2011, which is an unusually long time when considering the speed normally associated with the Web. This unconstrained timing allowed us to develop our own unique voice. For me, what was most successful about the project was our transformation of the online platform model into a constantly morphing project that constituted part social experiment, part networked performance and part gallery. Every two weeks we invited an artist to launch an exclusively commissioned project that was featured on the homepage. We intended to rebel against the online gallery “reblog” model that seemed to be dominating web-based exhibition spaces at the time.


The Most Infamous Girl in the History of the Internet, Oil on digital print on canvas, 36 × 48 inches, 2012.

AM What offline endeavors were programmed and how did these affect the rhythm and identity of JstChillin?

PI “Avatar 4D,” a one night performance event we curated in San Francisco in 2010 was the first AFK event we hosted and in a lot of ways was a major turning point for the project as well as for my own work. This was the first time I met a lot of the artists we had been working with in person, including Artie Vierkant, Chris Coy, and Jon Rafman. All three of these artists were included in New Jpegs, an exhibition I curated in Malmö, Sweden last year and then Jon and I started Paint FX together. JstChillin culminated with a retrospective over the last two years at 319 Scholes Gallery in New York, entitled READ/WRITE. The title of the exhibition is derived from a term coined by Lawrence Lessig, developed in order to describe the difference between Web 1.0, a read-only web, and Web 2.0, a read/write web.

Our approach to the show was loose in some ways, but was mostly focused on objects, and more than anything was really about the social component of a group of artists whose practices are defined by a high online presence.

But in short I view offline and online exhibiting as two unique experiences, and two unique perspectives, one is not more important than the other. They are both essential for contemporary art in the midst of smart phones, Instagram, Facebook, Twitter, Tumblr, [and beyond].

For more information about the work of Parker Ito, visit his website here.

Antonia Marsh is an art writer and curator from London.

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WIDEWALLS

Interview Highlights: Parker Ito

Sanja Lazic

Parker Ito is a very interesting guy. He is an artist without a signature, recognizable style or technique; he hates discussing his own artwork, reading and long sleeping. However, this 28-year-old American artist agreed to talk to Interview Magazine’s writer Sarah Nicole Prickett about almost everything, even his own art. From a status of an emerging artist, Ito gained wider recognition in 2012, thanks to his breakthrough show ‘The Agony and the Ecstasy’ at Stadium gallery in New York. Now, Ito’s works sell for head-turning figures, causing a lot of controversy over the actual value of his works.

Interview Highlights: Parker Ito

Art As A Cure

Ito admits suffering from agoraphobia, which caused a long period of taking prescription drugs. However, even if he calls it ‘a really dark time’ in his life, art was the only thing that kept him sane. ‘That was the only thing I could do. The only time I felt normal was when I was making stuff’, Ito remembers, ‘well, that was right around the time that my assistants started becoming very heavily involved, because I had left California to get away from my family. My parents were—are—going through a divorce, and I was right in the middle of everything. I flipped out, and I came to New York to live here for a month. It was the worst place to fucking go, but I was under the impression that being around my family was what was stressing me out, so I came here, and then I called and e-mailed my assistants and had them work remotely for a month. In May I flew back to Los Angeles for a show, and I hadn’t even seen the work; I hadn’t touched it. I just showed up for the opening, and there were 20 paintings that I had made’.

 

On His Assistants

Ito explains his relationship with his assistants (five of them) being different from the usual one. He even admits that some of the ideas for the work are theirs, even though they are not signed, explaining it by saying ‘I don’t sign my work, so nobody should sign anything. My assistants like making things, but they don’t want to put up with all the bullshit of being an artist. And I try to be a really cool boss. For my two main assistants, who have been with me longer than anyone else, I bought monogrammed velvet slippers. I bought them the Jackson Pollock Crocs. I’m getting berets made for them, and they have sweatsuits printed with some paintings we did’.

Interview Highlights: Parker Ito

No Signature

Ito’s work doesn’t seem to have the usual continuity as other artists do. He agrees with the statement that this lack of recognition helps him not be branded in a certain way. ‘I’m interested in making work that mimics the mechanism of the internet. In The Agony and the Ecstasy, I wanted to show the effect of the internet on traditional art objects, and how that affects the way we document and experience artwork. So it was about distribution through a network. Now I’m interested in embodying it. I want to be an internet for a network, right? And a network is something constantly shifting and never stable. So to do that, I can’t really have a signature style or be bound to a medium. It’s very hard because there’s a style that emerges anyway, or maybe it’s more a feeling than a style’, Ito concludes.

 

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