Progressive Art Brunch Sunday, February 23 Edition
Progressive Art Brunch Sunday, February 23 Edition
This Sunday, February 23, from 11 AM to 4 PM, is a new Progressive Art Brunch edition. Visit our current exhibition, Guapísimas: A Personal Journey Through Cultural Exchange and Transformation by Pepe Lopez Reus. This exhibition offers a compelling exploration of cultural syncretism, where tradition and modernity intersect in intricate and, at times, uneasy ways.
Established in 2017, Progressive Art Brunch (PAB) is modeled upon the concept of a Sunday afternoon brunch with friends. Traveling from venue to venue, visitors will experience the abundant flavors of the Miami Contemporary art scene. The event will highlight the current programming at each location and give participants a more intimate look at the exhibitions on view.
Member galleries represent diverse cultural offerings, each vetted for their unique programming and professionalism. Representing the Little River, Little Haiti, Downtown Miami, and Allapattah arts districts, this full day of art travel will offer a substantial visual reward.
Open to all visitors from 11—4 pm. Progressive Art Brunch brings together participating galleries several Sundays throughout the year. The event highlights the current programming at each venue and enables visitors a more intimate look at the exhibitions on view.
Michaela Yearwood-Dan (b. 1994, London, UK) is a multidisciplinary artist whose work spans paintings, works on paper, ceramics, and site-specific mural and sound installations. Through her practice, she seeks to create spaces that celebrate queer community, abundance, and joy. Yearwood-Dan’s distinctive visual language is shaped by a rich tapestry of influences, including Blackness, queerness, femininity, and healing rituals. Her work fluidly transitions across mediums, incorporating botanical motifs and introspective, diaristic reflections within expressive abstract forms and bold, dripping paint. Whether on the grand scale of her canvases or the more intimate scale of her ceramics and works on paper, her art often evokes a sense of warm, inviting domesticity. By resisting fixed definitions of identity, Yearwood-Dan explores the creation of spaces—physical, pastoral, and metaphorical—that embrace boundless ways of being.
Vibrant and lush, Yearwood-Dan’s work is both deeply personal and politically resonant. She employs color and materials for their symbolic significance, weaving in hues like the oranges, pinks, purples, and blues of lesbian and bisexual pride flags, as well as incorporating ceramic carnations and pansy petals, which carry queer historical connotations. Language and botanical imagery are recurring elements in her art: her abstract environments are alive with painted flora, while live houseplants emerge from wall-mounted ceramics. Within her paintings, she embeds fragments of text—drawn from song lyrics, poetry, or her own diary entries. These textual meditations, varying in scale and legibility, are at once insightful, humorous, confident, and probing. They invite viewers into a vivid, paradoxical world of play, contemplation, and connection, set against a backdrop of swirling forms and radiant color.
Yearwood-Dan’s work has been exhibited at prestigious venues such as the Contemporary Arts Center in Cincinnati, OH; the Scottsdale Museum of Contemporary Art in AZ; the Green Family Art Foundation in Dallas, TX; Palazzo Monti in Brescia, Italy; and the Museum of Contemporary African Art in Marrakesh, Morocco, among others. Her pieces are also held in the permanent collections of the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the Institute of Contemporary Art Miami in FL; the Crocker Art Museum in Sacramento, CA; the Jorge M. Perez Collection in Miami, FL; and the Columbus Museum of Art and the Pizzuti Collection in Columbus, OH.
In 2022, Yearwood-Dan created her first public mural installation for Queercircle in London, UK. She has also participated in numerous fellowships and residencies, including the Palazzo Monti Residency in Brescia, Italy, and Bloomberg New Contemporaries in partnership with Sarabande: The Lee Alexander McQueen Foundation in London, UK. Through her expansive and inclusive practice, Yearwood-Dan continues to redefine the possibilities of art as a space for connection, reflection, and celebration.
Biography
Born
London, UK, 1994
Education
BA Fine Art Painting, University of Brighton, Brighton, UK, 2016
Resides
Lives and works in London, UK
Solo Exhibitions
2023
Marianne Boesky Gallery, ‘Michaela Yearwood-Dan. Some Future Time Will Think of Us’, New York NY
2022
Queercircle, ‘Michaela Yearwood-Dan. Let Me Hold You’, London, UK Tiwani Contemporary, ‘Michaela Yearwood-Dan. The Sweetest Taboo’, London, UK
Group Exhibitions
2024
Walker Art Gallery, ‘Conversations’, Liverpool, UK
York Art Gallery, National Treasures Project, ‘Monet in York. ‘The Water-Lily Pond”, York, UK
Dallas Museum of Art, ‘When You See Me. Visibility in Contemporary Art/History’, Dallas TX
Dulwich Picture Gallery, ‘Soulscapes’, London, UK
2023
Marquez Art Projects, ‘Works from the Marquez Family Collection’, Miami FL Pond Society, ‘Public Private Part II’, Shanghai, China Southampton Arts Center, ‘Change Agents. Women Collectors Shaping the Art World’, Southampton NY Marianne Boesky Gallery, ‘Purple Prose. Queer Illiteralism & A Flowering Cacophony’, New York NY CICA Center of International Contemporary Art, Vancouver, ‘New British Abstraction’, Vancouver, Canada Gagosian Gallery, ‘Rites of Passage’, London, UK Green Family Art Foundation, ‘Considering Female Abstractions’, Dallas TX Contemporary Arts Center, ‘Ecologies of Elsewhere’, Cincinnati OH
Residencies and Awards
2022
Anderson Ranch Arts Center, Visiting Artist, Aspen CO
2021
Palazzo Monti Residency, Brescia, Italy
Bibliography
Publications
2024
Dulwich Picture Gallery (ed.), ‘Soulscapes’, London: Dulwich Picture Gallery, 2024, pp. 106-107, ill. (exh. cat.) Lynne, Jessica, Parker, Rianna, Jade, ‘Image and Belief. An Unfinished History of Black Artists’, London: Frances Lincoln, 2024, ill. Chiu, Alfonse, ‘Reinventing Abstraction’, on: www.artbasel.com, 15 February 2024, ill.
2023
Blanc Franard, Louis, Carey-Williams, Matt, Yuan, Viahsta, ‘New British Abstraction’, Vancouver: Center of International Contemporary Art, 2023, ill. (exh. cat.) Bailey, Stephanie, ‘How Artists are Redefining Identity Through Painting in the 21st Century’, on: artbasel.com, 6 July 2023, ill.
Press
2024
Chen, Min, ‘Fog Design + Art Fair Celebrates 10 Years with Swift Sales and Artist-First Programming’, on: news.artnet.com, 19 January 2024, ill. Castelo III, Sean, ’12 Global Artisans Do a Creative Makeover of this Iconic Luxury Bag’, on: mega-onemega.com, 22 January 2024, ill. de Klerk, Amy, ‘The latest Lady Dior Art Project is here’, on: harpersbazaar.com,10 January 2024, ill. Chiu, Alfonse, ‘Reinventing Abstraction’, on: www.artbasel.com, 15 February 2024, ill.
2023
Steer, Emily, ‘Meet 8 Artists Who Broke Big in 2023—From Sculptor Mire Lee to Abstract Painter Rachel Jones’, on: news.artnet.com, 22 December 2023, ill. Alleyne, Allyssia, ’10 Black British Artists Working in Abstraction’, on: artsy.net, 12 October 2023, ill. Bailey, Stephanie, ‘How Artists are Redefining Identity Through Painting in the 21st Century’, on: artbasel.com, 6 July 2023, ill. Kinsella, Eileen, ‘Rising Artist Michaela Yearwood-Dan’s Lavish Flora-Filled Visions Make Beauty Political’, on: news.artnet.com, 27 April 2023, ill. ___’Michaela Yearwood-Dan: Some Future Time Will Think of Us’, on: brooklynrail.org, 14 April 2023, ill. Hendy, Eloise, ‘Artist Michaela Yearwood-Dan on finding joy through art and reclaiming beauty’, on: theglossarymagazine.com, 9 March 2023, ill. Villa, Angelica, ‘Closely Watched Female Painters Continue to Rise in Christie’s London Sales’, on: artnews.com, 1 March 2023, ill. Jacobson, Andrew S., Carollo, Elisa, ‘State of the Market: Frieze Art Fair Los Angeles’, on: washingtoninformer.com, 21 February 2023, ill. ___’Frieze Los Angeles 2023 – What the Dealers Had to Say’, on: artlyst.com, 20 February 2023, ill. Schulz, Madeleine, ‘Michaela Yearwood-Dan. We’re not so sure where we’re going, and baby that’s alright’, in: Flaunt, Issue 185, 17 February 2023, ill. ___’A Ceramic Renaissance: Clay and Sculptural Works at Frieze Los Angeles 2023′, on: frieze.com, 2 February 2023, ill. Kakar, Arun, ‘6 Collectors on the Artists, Shows, and Trends to Watch in 2023’, on: artsy.net, 9 January 2023, ill. Avram, Danielle, ‘Dallas’ Green Family Art Foundation makes a splash with ‘Black Abstractionists”, on: dallasnews.com, 6 January 2023, ill. ___’13 Artists Poised to Break Out Big in 2023, According to Naomi Beckwith, Marilyn Minter, and Other Art-World Insiders’, on: news.artnet.com, 2 January 2023, ill.
Podcasts
2024
Cerebral Women, ‘A Conversation with Michaela Yearwood-Dan’, episode 182, January 2024
2022
Diament, Robert, Tovey, Russell, ‘Michaela Yearwood-Dan’, Talk Art, 15 April 2022, podcast, on: shows.acast.com
2020
Katy Hessel, The Great Women Artists Podcast, episode 28, 10 June 2020
Greco-Buddhist Art: The Fusion of Hellenistic and Buddhist Traditions
Greco-Buddhist art, also known as Gandhara art, represents one of art history’s most intriguing and innovative cultural syntheses. Flourishing between the 1st century BCE and the 5th century CE in the Gandhara region (modern-day Pakistan and Afghanistan), this artistic tradition emerged at the crossroads of the ancient world, where Greek, Persian, Indian, and Central Asian influences converged. Greco-Buddhist art is renowned for its unique portrayal of the Buddha in human form, blending Hellenistic artistic techniques with Buddhist spiritual themes.
Historical Context
The origins of Greco-Buddhist art can be traced back to Alexander the Great’s conquests in the 4th century BCE, which brought Greek culture and artistic traditions to Central Asia and the Indian subcontinent. After Alexander’s death, the region became part of the Seleucid Empire and later the Greco-Bactrian and Indo-Greek kingdoms. These Hellenistic states maintained Greek cultural practices, including art and architecture, while interacting with local traditions.
The rise of the Kushan Empire in the 1st century CE further facilitated the fusion of Greek and Indian cultures. The Kushans, who ruled over a vast territory stretching from Central Asia to northern India, were great patrons of Buddhism and art. Under their rule, Gandhara became a thriving center of Buddhist culture and artistic innovation.
Characteristics of Greco-Buddhist Art
Greco-Buddhist art is distinguished by its unique blend of Hellenistic and Indian elements. Key characteristics include:
Anthropomorphic Representation of the Buddha: One of the most significant contributions of Greco-Buddhist art is the first known human depictions of the Buddha. Before this, Buddhist art was aniconic, using symbols like the Bodhi tree, footprints, or the Dharma wheel to represent the Buddha. Under Greek influence, artists began to portray the Buddha as a human figure, often resembling a Greek god with wavy hair, a serene expression, and draped robes.
Realism and Naturalism: Hellenistic artistic techniques emphasized realism, evident in the detailed facial features, muscular definition, and flowing drapery of Gandhara sculptures. The Buddha and Bodhisattvas are depicted with grace and idealized beauty reminiscent of Greek statues.
Architectural Influence: Gandhara art also incorporated Greek architectural elements, such as Corinthian columns, into the design of stupas and monasteries. The combination of Greek and Indian styles created a unique aesthetic that reflected the cultural syncretism of the region.
Narrative Reliefs: Gandhara artists excelled in creating narrative reliefs depicting scenes from the Buddha’s life and Jataka tales (stories of his previous lives). These reliefs often featured intricate details and a sense of movement, influenced by Roman and Greek storytelling traditions.
Iconography: The iconography of Greco-Buddhist art includes not only the Buddha but also Bodhisattvas, deities, and mythological figures. The Greek god Heracles, for example, was reinterpreted as Vajrapani, a protector of the Buddha.
Key Sites and Artifacts
Taxila: An ancient city in modern-day Pakistan, Taxila was a major center of Gandhara art. Excavations have revealed numerous stupas, monasteries, and sculptures that showcase the fusion of Greek and Indian styles.
Hadda: Located near Jalalabad in Afghanistan, Hadda is known for its stunning stucco sculptures, which display a high degree of Hellenistic influence.
Peshawar Museum: This museum in Pakistan houses one of the finest collections of Gandhara art, including sculptures, reliefs, and artifacts that highlight the region’s artistic achievements.
Buddhist Stupas: The Great Stupa at Dharmarajika (Taxila) and the Butkara Stupa (Swat Valley) are notable examples of Gandhara architecture featuring Greek-inspired decorative elements.
Cultural and Religious Significance
Greco-Buddhist art played a pivotal role in the spread of Buddhism across Asia. The realistic and relatable depictions of the Buddha made Buddhism’s teachings more accessible to diverse audiences. As Buddhism traveled along the Silk Road, Gandhara art influenced the development of Buddhist art in Central Asia, China, and eventually Japan, leaving a lasting cultural legacy.
The synthesis of Greek and Indian traditions in Gandhara art is a testament to the broader cultural exchanges along the Silk Road. It serves as a powerful reminder of the interconnectedness of ancient civilizations and their ability to create something entirely new through dialogue and collaboration, enlightening us about the rich history of cultural exchange.
Legacy and Influence
The legacy of Greco-Buddhist art extends far beyond the Gandhara region. Its influence can be seen in the Buddhist art of Central Asia, where the fusion of Greek and Indian styles continued to evolve. The iconic Buddha statues of Bamiyan in Afghanistan, though tragically destroyed in 2001, were a testament to the enduring impact of Gandhara art, underscoring its lasting influence.
In East Asia, the Hellenistic elements introduced by Gandhara art were adapted and transformed, contributing to the development of distinct regional styles. For example, the serene and elongated Buddha figures of Chinese and Japanese art owe a debt to the naturalism and grace of Gandhara sculptures.
onclusion: Greco-Buddhist art stands as a remarkable example of cultural synthesis, where the artistic traditions of Greece and India merged to create something entirely new and enduring. Through its realistic depictions of the Buddha, innovative architectural designs, and narrative reliefs, Gandhara art enriched the visual language of Buddhism and facilitated its spread across Asia. Today, it remains a powerful reminder of the creative potential that arises when cultures meet and interact.
Further reading
Behrendt, K. A. (2004). The Art of Gandhara in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art. (A detailed exploration of Gandhara art and its Hellenistic influences.)
Nehru, L. (1989). Origins of the Gandharan Style: A Study of Contributory Influences. Delhi: Oxford University Press. (Examines the cultural and historical factors that shaped Gandhara art.)
Taddei, M. (1993). The Art of Gandhara: A Guide to the Collections of the National Museum of Oriental Art. Rome: Istituto Italiano per l’Africa e l’Oriente. (A comprehensive guide to Gandhara art and its key artifacts.)
Boardman, J. (1994). The Diffusion of Classical Art in Antiquity. Princeton: Princeton University Press. (Discusses the spread of Greek artistic traditions, including their influence on Gandhara art.)
Errington, E., & Cribb, J. (1992). The Crossroads of Asia: Transformation in Image and Symbol. Cambridge: Ancient India and Iran Trust. (Explores the cultural exchanges that shaped Gandhara art and its legacy.)
Vilmos Huszár (Huszár Vilmos): Innovador del Arte Moderno y el Diseño
Nació: el 5 de enero de 1884, en Budapest, Hungría Murió: el 8 de septiembre de 1960 (76 años), Hierden, Países Bajos Período: De Stijl
Vilmos Huszár (1884-1960), conocido en su Hungría natal como Huszár Vilmos, fue un pintor y diseñador húngaro cuya obra se enmarca dentro de los movimientos de vanguardia de principios del siglo XX. Su contribución al arte moderno y al diseño gráfico es fundamental para comprender la evolución del arte abstracto y la integración del arte en la vida cotidiana a través del diseño. Huszár fue un pionero en la exploración de formas geométricas, colores vibrantes y composiciones dinámicas, elementos que lo conectan con movimientos como De Stijl y el constructivismo.
Contexto Histórico y Formación
Nacido en Budapest, Huszár se formó en la Academia de Bellas Artes de Hungría, donde desarrolló un interés temprano por las corrientes artísticas modernas. A principios del siglo XX, Europa estaba experimentando una revolución cultural y artística, con movimientos como el cubismo, el futurismo y el expresionismo desafiando las convenciones tradicionales. Huszár, como muchos de sus contemporáneos, buscaba romper con el pasado y explorar nuevas formas de expresión.
En 1906, se trasladó a los Países Bajos, donde se estableció y desarrolló gran parte de su carrera. Este cambio geográfico fue crucial para su desarrollo artístico, ya que lo puso en contacto con otros artistas y diseñadores que compartían su visión de un arte más funcional y menos decorativo. Fue en los Países Bajos donde Huszár se unió al movimiento De Stijl, fundado por Theo van Doesburg en 1917, y se convirtió en uno de sus miembros más destacados.
De Stijl y la Abstracción Geométrica
El movimiento De Stijl, también conocido como neoplasticismo, buscaba reducir el arte a sus elementos más básicos: líneas rectas, formas geométricas y colores primarios (rojo, azul y amarillo), junto con el blanco, el negro y el gris. Huszár adoptó estos principios y los llevó a nuevas alturas en su obra. Su pintura se caracteriza por composiciones equilibradas y armoniosas, donde las formas geométricas interactúan de manera dinámica en el espacio pictórico.
Una de sus obras más icónicas es Composición en Rojo, Azul y Amarillo (1920), donde utiliza rectángulos y líneas negras para crear una sensación de movimiento y profundidad. Esta obra refleja la influencia de Piet Mondrian, otro miembro destacado de De Stijl, pero también muestra la capacidad de Huszár para imprimir su propio estilo, con un enfoque más dinámico y experimental.
Diseño Gráfico y Aplicado
Además de su trabajo como pintor, Huszár fue un diseñador innovador. Creó carteles, tipografías y diseños para muebles y interiores, siempre con el objetivo de integrar el arte en la vida cotidiana. Su enfoque en el diseño aplicado refleja la filosofía de De Stijl, que buscaba eliminar la barrera entre el arte y la vida, creando un entorno visualmente coherente y funcional.
Uno de sus proyectos más notables fue el diseño de la portada de la revista De Stijl, donde combinó tipografía y elementos gráficos de manera innovadora. Su trabajo en este ámbito influyó en el desarrollo del diseño gráfico moderno, sentando las bases para la estética minimalista y funcional que dominaría el siglo XX.
Legado y Influencia
Aunque Huszár no es tan conocido como otros miembros de De Stijl, como Mondrian o Van Doesburg, su contribución al movimiento y al arte moderno en general es innegable. Su capacidad para combinar la abstracción geométrica con un enfoque práctico en el diseño lo convierte en una figura clave en la historia del arte y el diseño.
Huszár también fue un puente entre las tradiciones artísticas de Europa Central y Occidental. Su obra refleja una síntesis de influencias húngaras y holandesas, lo que la hace única en el contexto de la vanguardia europea. Además, su enfoque en la integración del arte y el diseño anticipó tendencias que se desarrollarían plenamente en la Bauhaus y otros movimientos posteriores.
Vilmos Huszár fue un artista y diseñador visionario cuyo trabajo trascendió las fronteras geográficas y disciplinares. Su compromiso con la abstracción geométrica y su enfoque en el diseño aplicado lo convierten en una figura fundamental del arte moderno. A través de su obra, Huszár no solo contribuyó a la evolución del arte abstracto, sino que también ayudó a redefinir el papel del arte en la sociedad, demostrando que el arte y el diseño pueden ser herramientas poderosas para transformar el mundo que nos rodea. Su legado sigue inspirando a artistas y diseñadores en la actualidad, recordándonos la importancia de la innovación y la experimentación en la creación artística.
Lecturas complementarias
Libros sobre De Stijl y Vilmos Huszár:
De Stijl: 1917-1931 por Hans Ludwig C. Jaffé (un estudio clásico sobre el movimiento).
Theo van Doesburg: Painting into Architecture, Theory into Practice por Gladys Fabre (incluye información sobre los colaboradores de De Stijl, incluido Huszár).
Vilmos Huszár por Krisztina Passuth (si está disponible, es una monografía dedicada al artista).
Catálogos de exposiciones:
Busca catálogos de exposiciones dedicadas a De Stijl o a Huszár en museos como el Gemeentemuseum en La Haya (ahora Kunstmuseum Den Haag) o el Stedelijk Museum en Ámsterdam.
Artículos académicos:
Revisa bases de datos como JSTOR, Google Scholar o Academia.edu para artículos sobre Huszár y su papel en De Stijl.
Algunos artículos clave pueden incluir análisis de sus obras más famosas o su contribución al diseño gráfico.
Recursos en línea:
Sitios web de museos que albergan obras de Huszár, como el Rijksmuseum en Ámsterdam o el Museo de Bellas Artes de Budapest.
La página web del movimiento De Stijl (si existe una dedicada específicamente al movimiento).
Revistas especializadas:
Publicaciones como The Burlington Magazine o Art History pueden tener artículos sobre Huszár y su contexto artístico.
Palm Beach Modern + Contemporary (PBM+C), presented by Art Miami, returns for its eighth edition opening with an exclusive invitation-only VIP Preview on Thursday, March 20 and running through Sunday, March 23, 2025 at the Palm Beach County Convention Center.
South Florida’s premier and most prestigious winter art fair, PBM+C takes place during the height of season and is the only “can’t miss” event for all serious collectors, curators, museum directors and interior designers, providing an intimate look at the most important works available for acquisition at the forefront of the international contemporary, modern, classical modern, post-war and pop eras.
PBM+C is the most important fair each winter as it brings a world-class, internationally respected group of galleries and their artists to the discerning and ever growing high net worth audience that has migrated South.
The Fair will coincide with the world-renowned Palm Beach International Boat Show, located along the waterfront and Flagler Drive in Downtown West Palm Beach, FL. The show will feature more than $1.2 billion worth of yachts and accessories, including hundreds of boats ranging from 8-foot inflatables to super yachts nearly 200 feet in length.
GENERAL ADMISSION
Friday, March 21 11am – 7pm
Saturday, March 22 11am – 7pm
Sunday, March 23 11am – 6pm
Address: Palm Beach County Convention Center, 650 Okeechobee Blvd, West Palm Beach, FL 33401, USA
Invitations for Palm Beach Modern + Contemporary 2025
Are you eager to secure an invitation for Palm Beach Modern + Contemporary 2025? Thanks to our esteemed partnerships with art fairs and salons worldwide, ArtMajeur by YourArt is regularly bestowed with a select number of unique invitations for discerning collectors and ardent art enthusiasts. This is your chance to gain exclusive access to premier art fairs and shows globally, courtesy of ArtMajeur by YourArt’s limited invitations. Request your complimentary invitation for Palm Beach Modern + Contemporary 2025 on ArtMajeur by YourArt today! Please note, these invitations are a rare commodity, swiftly distributed by art fairs. However, don’t hesitate to reach out, and we’ll do our utmost to secure an invitation or provide you with the necessary access details.
How can I request free invitations to attend Palm Beach Modern + Contemporary 2025?
If you’re an art collector or enthusiast keen on exploring one of the many art fairs and shows partnered with ArtMajeur by YourArt Galerie worldwide, please submit your request for a free invitation. Ensure that you specify the event you’re interested in attending. You can reach out through our website’s contact form or email.
What happens after I submit my invitation request?
Once you’ve submitted your request, we’ll promptly check our inventory for available Palm Beach Modern + Contemporary 2025 invitations. If we have one for your chosen event, we’ll send it directly to you. If not, we’ll immediately contact the event organizers to secure additional invitations.
Is receiving an invitation guaranteed after I apply?
While we strive to fulfill all requests, the reality is that invitations are limited. Therefore, we can’t guarantee an invitation to every applicant. Requests are honored on a ‘first-come, first-served’ basis, and we do our best to serve our community of art lovers and collectors.
What if the invitations are all claimed?
If we’re unable to grant you an invitation due to high demand, we’ll guide you through the event, including information on purchasing tickets for Palm Beach Modern + Contemporary 2025. We’ll also provide details on any preferential access or discounts available to our community.
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We recommend promptly submitting your request to increase your chances, as invitations are distributed based on availability. Additionally, staying updated on invitation availability and other exclusive offers is as simple as following ArtMajeur by YourArt Galerie on social media and subscribing to our newsletter.
Best Cities in South Florida to Buy and Sell Art: Miami, Fort Lauderdale, and Hialeah
South Florida is a vibrant hub for art lovers, collectors, and artists. The region has become a hotspot for buying and selling art with its diverse cultural influences, thriving art scenes, and world-class galleries. Among the many cities in South Florida, Miami, Fort Lauderdale, and Hialeah stand out as the best destinations for art enthusiasts. Each city offers a unique blend of artistic expression, cultural diversity, and opportunities for established and emerging artists. Let’s explore why these three cities are the top choices for buying and selling art in South Florida.
1. Miami: The Global Art Capital
Miami, the undisputed crown jewel of South Florida’s art scene, is a city that has earned global recognition for its international flair and cutting-edge creativity. It has become a destination of choice for art collectors, dealers, and enthusiasts from around the world.
Why Miami?
Art Basel Miami Beach: This world-renowned art fair, held annually in December, attracts top galleries, artists, and collectors from around the globe. It’s a must-visit event for anyone serious about buying or selling art.
Wynwood Arts District: Once an industrial neighborhood, Wynwood has transformed into a mecca for street art, galleries, and creative spaces. The Wynwood Walls mainly showcase large-scale murals by internationally acclaimed artists.
Design District: This upscale area is home to luxury boutiques, high-end galleries, and public art installations, making it a prime location for contemporary art collectors.
Pérez Art Museum Miami (PAMM): As one of the leading contemporary art museums in the U.S., PAMM offers a platform for both established and emerging artists, making it a key player in Miami’s art market.
Best for:
High-end contemporary art.
International collectors and galleries.
Artists looking for global exposure.
There are numerous emerging local, national and international artists working across diverse mediums and styles.
Some galleries specialize in different themes, such as Cuban art, geometric abstraction, figurative art, and more.
2. Fort Lauderdale: The Cultural Gem
Fort Lauderdale, often overshadowed by Miami, has quietly developed into a thriving art destination. With its laid-back vibe and growing cultural scene, it’s an excellent place to buy and sell art.
Why Fort Lauderdale?
Las Olas Boulevard: This iconic street has galleries, boutiques, and cafes, making it a popular spot for art lovers. The monthly Art Walk event draws crowds looking to explore local talent.
NSU Art Museum Fort Lauderdale: This museum boasts an impressive collection of contemporary art, including works by renowned artists like William J. Glackens and David Wojnarowicz.
Fat Village Arts District: Located in downtown Fort Lauderdale, this emerging arts district is home to studios, galleries, and creative spaces. It’s a great place to discover up-and-coming artists.
Annual Events: Fort Lauderdale hosts several art festivals, such as the Las Olas Art Fair and the Fort Lauderdale International Boat Show, which often feature art exhibits.
Best for:
Mid-range and emerging art.
Local collectors and art enthusiasts.
Artists seeking a supportive community.
3. Hialeah: The Hidden Art Haven
Hialeah, often overlooked in favor of its more famous neighbors, is a hidden gem in South Florida’s art scene. With its rich cultural heritage and growing artistic community, Hialeah offers unique opportunities for buying and selling art.
Why Hialeah?
Cultural Diversity: Hialeah’s vibrant art scene reflects its strong Cuban and Latin American influences. This cultural richness makes it an exciting place to discover unique and eclectic works.
Local Galleries and Studios: While Hialeah may not have the same number of galleries as Miami or Fort Lauderdale, it is home to several local studios and art spaces that showcase the work of talented local artists.
Affordable Art: Hialeah’s art market is more accessible than Miami’s, making it an excellent place for first-time buyers or those looking for affordable yet high-quality pieces.
Community Events: Hialeah hosts various cultural festivals and art events throughout the year, such as the Hialeah Art Walk, which highlights local talent and fosters community engagement.
Best for:
Affordable and culturally diverse art.
Local artists and collectors.
Buyers looking for unique, under-the-radar pieces.
Why South Florida is a Hotspot for Art
South Florida’s art scene thrives thanks to its unique combination of factors:
Cultural Diversity: The region’s multicultural population brings various artistic influences from Latin America to the Caribbean and beyond.
Tourism: Millions of visitors flock to South Florida yearly, many eager to explore its art galleries and cultural events.
Supportive Communities: Cities like Miami, Fort Lauderdale, and Hialeah have invested in creating spaces and events that support local artists and attract international talent.
Tips for Buying and Selling Art in South Florida
Do Your Research: Whether you’re buying or selling, it’s essential to understand the local art market. Visit galleries, attend art fairs, and network with artists and collectors.
Explore Emerging Neighborhoods: While Miami’s Wynwood and Design District are well-known, don’t overlook emerging areas like Hialeah or Fort Lauderdale’s Fat Village.
Attend Art Events: Art Basel Miami Beach, the Las Olas Art Fair, and local art walks are excellent opportunities to discover new talent and connect with the art community.
Work with Local Galleries: Galleries can provide valuable insights and help you navigate the art market, whether buying or selling.
Miami, Fort Lauderdale, and Hialeah each offer unique opportunities for buying and selling art in South Florida. From Miami’s global art fairs and high-end galleries to Fort Lauderdale’s cultural charm and Hialeah’s affordable, diverse offerings, these cities cater to a wide range of tastes and budgets. Whether you’re a seasoned collector or a first-time buyer, South Florida’s vibrant art scene has something for everyone. So, explore these cities, immerse yourself in their creative energy, and discover the art that speaks to you.
Similitudes y diferencias entre el arte constructivista, suprematista, concreto y Neoplasticismo (De Stijl)
El arte del siglo XX estuvo marcado por una serie de movimientos que buscaron romper con las tradiciones figurativas y explorar nuevas formas de expresión basadas en la abstracción, la geometría y la pureza de las formas. Entre estos movimientos destacan el constructivismo, el suprematismo, el arte concreto y el Neoplasticismo (también conocido como De Stijl). Aunque comparten ciertos principios, como el uso de formas geométricas y la abstracción, cada uno de ellos tiene características únicas que los distinguen. Este ensayo explora las similitudes y diferencias entre estos cuatro movimientos artísticos.
Similitudes
Abstracción geométrica: Todos estos movimientos rechazan la representación figurativa y se centran en formas geométricas puras, como líneas, cuadrados, círculos y rectángulos. La geometría se convierte en el lenguaje universal de estos estilos, permitiendo una expresión artística que trasciende las barreras culturales y lingüísticas.
Uso del color: En general, estos movimientos utilizan colores primarios (rojo, azul y amarillo) junto con colores neutros (blanco, negro y gris). El color se aplica de manera plana, sin gradaciones ni sombreados, lo que refuerza la pureza visual de las obras.
Influencia de la modernidad: Estos movimientos surgieron en un contexto de rápidos cambios tecnológicos, industriales y sociales. La industrialización, la Primera Guerra Mundial y las revoluciones políticas influyeron en la búsqueda de un arte más racional, universal y alejado de las tradiciones del pasado.
Rechazo del arte tradicional: Todos estos estilos se oponen al arte figurativo y a las convenciones académicas, buscando crear un arte que reflejara la modernidad y la abstracción pura.
Diferencias
Origen y contexto histórico:
Constructivismo: Surgió en Rusia alrededor de 1915, vinculado a la Revolución Rusa. Artistas como Vladimir Tatlin y Alexander Rodchenko buscaban un arte utilitario que sirviera a la sociedad y al nuevo orden social comunista.
Suprematismo: También surgió en Rusia, liderado por Kazimir Malévich alrededor de 1915. A diferencia del constructivismo, el suprematismo se centraba en la espiritualidad y la pureza de las formas, sin un propósito social o utilitario.
Arte concreto: Surgió en Europa en la década de 1930, principalmente en Suiza y los Países Bajos. Artistas como Theo van Doesburg y Max Bill buscaban un arte completamente autónomo, basado en principios matemáticos y geométricos. El arte concreto no solo tuvo un impacto significativo en Europa, especialmente en Suiza y los Países Bajos, sino que también encontró un terreno fértil en América Latina, particularmente en Uruguay, Argentina y Brasil. Estos países desarrollaron sus propias variantes del arte concreto, adaptando sus principios a sus contextos culturales y sociales.
Neoplasticismo (De Stijl): Surgió en los Países Bajos en 1917, liderado por Piet Mondrian y Theo van Doesburg. Este movimiento buscaba un equilibrio universal a través de la simplificación de formas y colores, influenciado por ideas filosóficas y espirituales.
Propósito y filosofía:
Constructivismo: Tenía un enfoque social y político, buscando integrar el arte con la arquitectura, el diseño industrial y la propaganda. El arte debía ser útil y servir a la sociedad.
Suprematismo: Se centraba en la espiritualidad y la sensibilidad pura, sin preocuparse por la utilidad o el contexto social. Malévich buscaba expresar “la supremacía de la sensibilidad pura en el arte”.
Arte concreto: Se enfocaba en la creación de obras autosuficientes, basadas en principios matemáticos y geométricos. El arte no debía hacer referencia al mundo natural.
Neoplasticismo: Buscaba un equilibrio universal a través de la simplificación de formas y colores. Mondrian creía que el arte podía reflejar la armonía del universo.
Formas y composición:
Constructivismo: Utilizaba formas geométricas en composiciones dinámicas y tridimensionales, a menudo integradas en diseños funcionales o arquitectónicos.
Suprematismo: Se caracterizaba por formas geométricas flotantes en un espacio infinito, como en la famosa obra “Cuadrado negro sobre fondo blanco” de Malévich.
Arte concreto: Se basaba en formas geométricas precisas y composiciones matemáticas, sin referencia al mundo exterior.
Neoplasticismo: Utilizaba una retícula de líneas verticales y horizontales, junto con bloques de color primario, para crear un equilibrio visual y espiritual.
Materiales y técnicas:
Constructivismo: Empleaba materiales industriales como metal, vidrio y madera, reflejando la influencia de la industrialización.
Suprematismo: Se centraba en la pintura, utilizando formas geométricas simples sobre fondos planos.
Arte concreto: Se enfocaba en la pintura y la obra gráfica, con un énfasis en la precisión matemática.
Neoplasticismo: Utilizaba principalmente pintura, aunque también influyó en el diseño arquitectónico y de mobiliario.
Filosofía detrás de cada movimientoCada uno de estos movimientos artísticos tiene una filosofía única que refleja su contexto histórico y sus objetivos estéticos. Mientras el constructivismo se enfoca en la utilidad social y la integración del arte con la industria, el suprematismo busca la espiritualidad y la pureza de las formas. Por su parte, el arte concreto se centra en la autonomía del arte y la precisión matemática, y el Neoplasticismo (De Stijl) persigue un equilibrio universal a través de la simplificación geométrica.
1. Arte Constructivista
Filosofía: El constructivismo surgió en Rusia después de la Revolución de 1917 y estuvo fuertemente influenciado por las ideas socialistas y comunistas. Los artistas constructivistas, como Vladimir Tatlin y Alexander Rodchenko, creían que el arte debía tener un propósito social y utilitario. Rechazaban el arte “por el arte” y buscaban integrar el arte con la vida cotidiana, la industria y la tecnología.
Conceptos clave:
El arte como herramienta para la construcción de una nueva sociedad.
Uso de materiales industriales (metal, vidrio, madera) para reflejar la modernidad.
Integración del arte con la arquitectura, el diseño y la propaganda.
Rechazo de la estética tradicional en favor de la funcionalidad.
Fuentes y referencias:
Lodder, Christina. Russian Constructivism. Yale University Press, 1983.
Tatlin, Vladimir. The Monument to the Third International (análisis en Art in Theory 1900-2000, editado por Charles Harrison y Paul Wood).
Khan-Magomedov, Selim O. Pioneers of Soviet Architecture: The Search for New Solutions in the 1920s and 1930s. Thames & Hudson, 1987.
2. Arte Suprematista
Filosofía: El suprematismo, liderado por Kazimir Malévich, surgió en Rusia en 1915. Malévich buscaba liberar el arte de la representación del mundo físico y enfocarse en la “supremacía de la sensibilidad pura”. Creía que las formas geométricas simples (como el cuadrado, el círculo y la cruz) podían expresar emociones y conceptos universales.
Conceptos clave:
El arte como expresión de la espiritualidad y la pureza.
Uso de formas geométricas básicas sobre fondos planos.
Rechazo total de la representación figurativa.
Búsqueda de un arte que trascendiera la realidad material.
Fuentes y referencias:
Malévich, Kazimir. The Non-Objective World: The Manifesto of Suprematism. Publicado originalmente en 1926.
Drutt, Matthew (ed.). Kazimir Malevich: Suprematism. Guggenheim Museum Publications, 2003.
Shatskikh, Alexandra. Black Square: Malevich and the Origin of Suprematism. Yale University Press, 2012.
3. Arte Concreto
Filosofía: El arte concreto surgió en Europa en la década de 1930, impulsado por artistas como Theo van Doesburg y Max Bill. Este movimiento se basaba en la idea de que el arte debía ser completamente autónomo, sin referencia alguna al mundo natural. Las obras de arte concreto se construían a partir de principios matemáticos y geométricos, buscando la precisión y la claridad.
Conceptos clave:
El arte como una entidad independiente, no representativa.
Uso de formas geométricas y colores planos.
Composición basada en reglas matemáticas.
Rechazo de cualquier simbolismo o narrativa.
Fuentes y referencias:
Bill, Max. Max Bill: Pinturas, esculturas, diseño. Catálogo de exposiciones, Fundación Juan March, 2015.
Van Doesburg, Theo. Manifesto of Concrete Art (1930), disponible en Art in Theory 1900-2000.
Seuphor, Michel. Abstract Painting: 50 Years of Accomplishment, from Kandinsky to the Present. Abrams, 1962.
4. Neoplasticismo (De Stijl)
Filosofía: El Neoplasticismo, también conocido como De Stijl, fue un movimiento holandés fundado en 1917 por Piet Mondrian y Theo van Doesburg. Este movimiento buscaba un equilibrio universal a través de la simplificación de formas y colores. Mondrian creía que el arte podía reflejar la armonía del universo mediante el uso de líneas rectas, ángulos rectos y colores primarios.
Conceptos clave:
Búsqueda de un arte puro y universal.
Uso de una retícula de líneas verticales y horizontales.
Colores limitados a rojo, azul, amarillo, blanco, negro y gris.
Rechazo de la simetría en favor del equilibrio dinámico.
Fuentes y referencias:
Mondrian, Piet. Plastic Art and Pure Plastic Art (1937), disponible en Art in Theory 1900-2000.
Jaffé, Hans L. C. De Stijl: 1917-1931. Thames & Hudson, 1986.
Harrison, Charles, y Paul Wood (eds.). Art in Theory 1900-2000: An Anthology of Changing Ideas. Blackwell Publishing, 2003.
Arnason, H. H., y Elizabeth C. Mansfield. History of Modern Art: Painting, Sculpture, Architecture, Photography. Pearson, 2012.
Chilvers, Ian. The Oxford Dictionary of Art and Artists. Oxford University Press, 2009.
Conclusión: El constructivismo, el suprematismo, el arte concreto y el Neoplasticismo comparten un interés común por la abstracción geométrica y la pureza de las formas, pero difieren en sus orígenes, propósitos y enfoques filosóficos. Mientras el constructivismo buscaba un arte utilitario y social, el suprematismo se centraba en la espiritualidad y la sensibilidad pura. Por su parte, el arte concreto y el Neoplasticismo compartían un interés por la autonomía del arte, aunque el primero se basaba en principios matemáticos y el segundo en la búsqueda de un equilibrio universal. Juntos, estos movimientos representan una de las épocas más innovadoras y revolucionarias en la historia del arte.
Arte Concreto en América Latina
1. Uruguay
En Uruguay, el arte concreto tuvo un desarrollo notable a partir de la década de 1940. El Grupo de Arte No Figurativo, fundado en 1952 por artistas como José Pedro Costigliolo y María Freire, fue uno de los principales impulsores del movimiento. Este grupo se inspiró en las ideas del arte concreto europeo, pero también buscó crear una identidad propia, enfocándose en la pureza de las formas y los colores.
Características clave:
Uso de formas geométricas y colores planos.
Exploración de la abstracción pura, sin referencia al mundo natural.
Influencia de las ideas de Max Bill y el arte concreto europeo.
Artistas destacados:
José Pedro Costigliolo.
María Freire.
2. Argentina
En Argentina, el arte concreto tuvo un impacto profundo, especialmente en Buenos Aires. El movimiento se desarrolló a partir de la década de 1940, con grupos como la Asociación Arte Concreto-Invención (fundada en 1945) y el Movimiento Madí (fundado en 1946). Estos grupos buscaban romper con las tradiciones artísticas y explorar nuevas formas de expresión basadas en la geometría y la abstracción.
Características clave:
Énfasis en la innovación y la experimentación.
Integración del arte con la arquitectura y el diseño.
Uso de materiales industriales y técnicas modernas.
Artistas destacados:
Gyula Kosice (fundador del Movimiento Madí).
Tomás Maldonado (miembro de la Asociación Arte Concreto-Invención).
Raúl Lozza.
3. Brasil
En Brasil, el arte concreto se desarrolló a partir de la década de 1950, con un enfoque en la integración del arte con la arquitectura y el diseño. El Grupo Ruptura, fundado en 1952 en São Paulo, fue uno de los principales exponentes del movimiento. Este grupo buscaba crear un arte que reflejara la modernidad y el progreso del país.
Características clave:
Uso de formas geométricas y colores vibrantes.
Influencia del diseño gráfico y la publicidad.
Integración del arte con la vida urbana y la industria.
Artistas destacados:
Waldemar Cordeiro (líder del Grupo Ruptura).
Hélio Oiticica (aunque posteriormente se alejó del arte concreto).
Lygia Clark (inicialmente vinculada al arte concreto).
Filosofía del Arte Concreto en América Latina
En América Latina, el arte concreto no solo adoptó los principios europeos de abstracción geométrica y autonomía del arte, sino que también se adaptó a los contextos locales. Los artistas latinoamericanos buscaron crear un arte que reflejara la modernidad y el progreso de sus países, al mismo tiempo que exploraban cuestiones de identidad cultural y social.
Conceptos clave:
El arte como expresión de la modernidad y el progreso.
Integración del arte con la arquitectura, el diseño y la vida urbana.
Búsqueda de una identidad artística propia, alejada de las tradiciones europeas.
Fuentes y lecturas complementarias:
Arte Constructivista:
Lodder, Christina. Russian Constructivism. Yale University Press, 1983.
Khan-Magomedov, Selim O. Pioneers of Soviet Architecture: The Search for New Solutions in the 1920s and 1930s. Thames & Hudson, 1987.
Tatlin, Vladimir. The Monument to the Third International (artículo y análisis en Art in Theory 1900-2000, editado por Charles Harrison y Paul Wood).
Arte Suprematista:
Malévich, Kazimir. The Non-Objective World: The Manifesto of Suprematism. Publicado originalmente en 1926, disponible en ediciones modernas.
Drutt, Matthew (ed.). Kazimir Malevich: Suprematism. Guggenheim Museum Publications, 2003.
Shatskikh, Alexandra. Black Square: Malevich and the Origin of Suprematism. Yale University Press, 2012.
Arte Concreto:
Bill, Max. Max Bill: Pinturas, esculturas, diseño. Catálogo de exposiciones, Fundación Juan March, 2015.
Van Doesburg, Theo. Manifesto of Concrete Art (1930), disponible en Art in Theory 1900-2000.
Seuphor, Michel. Abstract Painting: 50 Years of Accomplishment, from Kandinsky to the Present. Abrams, 1962.
Neoplasticismo (De Stijl):
Mondrian, Piet. Plastic Art and Pure Plastic Art (1937), disponible en Art in Theory 1900-2000.
Jaffé, Hans L. C. De Stijl: 1917-1931. Thames & Hudson, 1986.
Unveiling the Deering Estate: The History and Natural Beauty of this Florida Historical Site.
Nestled along the southwestern edge of Biscayne Bay Aquatic Preserve, the Deering Estate is Miami’s premier landmark that showcases the best of South Florida’s historic architecture and natural environment.
As a 21st Century museum destination for tourists and local residents, a variety of signature events, programs, tours and classes are offered throughout the year, as well as opportunities for field trips. Including a variety of fun and festive events such as our historic ghost tours in the fall and various outdoor activities in the summer.
Exploring Florida’s Historic Landmarks at Deering Estate
The oldest existing buildings on the estate are those built by the Richmond family and Charles Deering. In 1896, Samuel H. Richmond built a pioneer home for his family on the estate as part of the settlement of the Town of Cutler. In 1900, an addition to the home was built and then opened to the paid public as The Richmond Hotel – the first hotel between Coconut Grove and Key West. The graceful Mediterranean revival–style Stone House, built by Charles Deering to showcase his valuable art collection, was constructed in 1922.
From 1913-1918, Charles Deering purchased the land and renovated the Richmond Inn, the area’s only hotel. Adding a pump station, carriage and car garage, generator house, and boat turning basin as support structures. Deering’s winter residence became a self-sustaining homestead for he and his wife, Marion. Over the next few years, Deering invited renowned botanists, David Fairchild and John Kunkel Small, to implement a restoration of the area’s natural environment. In 1922, he also contracted the notable Coral Gables’ architect Phineas Paist to build the Stone House, a 13,000 square foot Mediterranean Revival home capable of housing the massive art and furnishings collection he was relocating from his homes in Spain, New York and Chicago.
In 1916, Deering purchased and renovated the Richmond Inn, the area’s only lodging facility, and established it as a winter home for himself and his wife Marion, adding additional support structures to establish a self-sustaining homestead. Over the few next years, Deering brought in renowned botanists David Fairchild and John Kunkle Small to implement a restoration of the area’s natural environment. Deering contracted the notable Coral Gables architect Phineas Paist to build a fireproof structure capable of housing the massive art collection he was removing from his homes in Spain, New York and Chicago. By 1922, the Stone House was completed and was being filled with the tapestries, paintings, books and antique furnishings he had spent decades collecting while the tropical hardwood hammock and endangered pine rocklands returned to fill in the land around his homes.
The Preservation of a Florida Historical Site
Charles Deering died in 1927, but the estate remained with his heirs until 1986 when it was purchased by the State of Florida and added to the National Registry of Historic Places. Most of Deering’s original art collection was donated to the Art Institute of Chicago and the Libraries at Northwestern University by his daughters. Today, the Deering Estate is managed by Miami-Dade County’s Parks, Recreation and Open Spaces Department and supported by the Deering Estate Foundation, Inc. Some original items can be seen in the homes today, as well as the tropical hardwood hammock and endangered pine rocklands are preserved to transport our guests to the past. You are able to rent the space for weddings and other private events, as well as book tours of the property including our seasonal ghost tours of the historic grounds.
Ebb and Flow draws us into the intricate tides of womanhood—a journey that encompasses birth, growth, transformation, and inevitable change, each phase contributing to an expansive tapestry of experiences across time and culture. Featuring artists who evoke themes of motherhood, identity, memory, and self-agency, this exhibition not only explores the individual narratives that define womanhood but also questions the broader societal currents that shape our understanding of the human experience. The artworks in this show span multiple disciplines, each one engaging with the cycles of life, the societal gaze, and the shared heritage that binds us across generations and geographies.
Historically, the feminine body has been both celebrated and constrained—a symbol of creation, vitality, and regeneration, yet confined by societal expectations. This exhibition illuminates the body not merely as a physical entity but as a vessel of cultural and ancestral memory. The resulting dialogue reveals womanhood as a continuum where personal and collective histories intertwine, producing a shared language of resilience and transformation.
The cyclical rhythms of life—birth, growth, aging, and renewal—resonate as an unbroken yet nonlinear continuum within these works. In tactile and sensory expressions, the exhibition bridges personal introspection with collective memory. By transforming body casts into archival forms, these works trace an embodied history rooted in time, shifting with each stage of life yet always drawing upon its cultural roots. Threads of ritual and spirituality—whether linked to Yoruba deities or Indigenous preservation practices—underscore the notion of womanhood as a continuum, a lineage carried forward through shared wisdom, reverence, and resistance.
In Ebb and Flow, the silent narratives within domestic and natural spaces are elevated, reminding us of the roles women inhabit as caretakers, nurturers, and storytellers. As rituals of the home and body are revisited, gestures like folding, weaving, and molding become acts of preservation. Centering these quiet moments, the exhibition challenges viewers to contemplate resilience and strength passed through generations. Each piece serves as a point on a larger map of human experience, revealing cycles of womanhood as both personal and universal—a journey of discovery, loss, and renewal. The exhibition invites a communal reflection on the ebb and flow of life itself—a reminder that the continuum of womanhood, like the tides, is eternal, transcendent, and shared.
Exhibiting Artists:
Amanda Covach, Amy Gelb, Ana Albertina Delgado, Coralina Rodriguez Meyer, RPM Projects, Ivonne Ferrer, Lisu Vega, MaiYap, Marina Font
Acknowledgment
This exhibition, curated by guest curator Pamela ‘Zee’ Lopez del Carmen and The Frank’s chief curator Sophie Bonet, is the culmination of over a year of dedicated research, numerous studio visits, and countless conversations. Special thanks to artist MaiYap, whose initial approach and desire to create a show on human reproductive cycles and menopause inspired and sparked the journey that led to Ebb & Flow: Exploring the Womanhood Continuum.
Hours & Information
The Frank C. Ortis Art Gallery is open to the public Tuesday – Saturday from 11:00 AM to 5:00 PM.Admission to The Frank is free all year excluding summer exhibitions, which require a $5 fee for entrance (currently only accepting card payments)
Address The Charles F. Dodge City Center 601 City Center Way Pembroke Pines, FL 33025
Dallas Art Fair 2025 April 10, 2025 April 13, 2025
Dallas Art Fair 2025 April 10, 2025 April 13, 2025
Discover the galleries from around the world coming to the Dallas Art Fair this April, including newcomers like Tokyo’s Koki Arts and London’s LBF Contemporary, alongside international veteran Perrotin and more.
This April, the Dallas Art Fair will once again be welcoming the global art world to its Southern hub for a week of impressive art, inspiring conversations, new connections, and memorable celebrations. The seventeenth edition will see an impressive 90 exhibitors, including Texas-local hotspots Martha’s Contemporary (Austin), Inman Gallery (Houston), and Conduit Gallery (Dallas). Others will travel from as far as Cape Town, Seoul, Bogotá, and Sydney. Its most international iteration yet, the 2025 Dallas Art Fair will host over fifty cities from more than twenty countries, connecting collectors, gallerists, and artists from around the world.In the seventeen years since the first edition of the fair, the Dallas Art Fair has grown significantly into the leading, global art fair of the region, offering a welcoming space for established and emergent collectors alike, without compromising its curatorial strength. Below, we highlight five galleries—newcomers and veterans—that are gearing up for their presentation this spring, including Alexander Berggruen, Josh Lilley, Koki Arts, LBF Contemporary, and Perrotin.
Alexander Berggruen (New York, USA)The New York-based gallery Alexander Berggruen will be returning to the Dallas Art Fair this year. Focusing on 20th century and contemporary art, the gallery is known for its speciality in American and European post-World-War-II movements from Abstract Expressionism to Color Field, Pop, Minimalism, Conceptual Art, The Pictures Generation, and Contemporary. “We are excited to return to the Dallas Art Fair for a third time this year with a group of seven artists: Ted Gahl, Paul Kremer, Vicente Matte, Kevin McNamee-Tweed, Alexandria Mento, Azadeh Nia, and Kaifan Wang,” says Alexander Berggruen, Founder and Director. “Over the past two years, we have been honored to be welcomed by the Dallas art community, which includes engaged collectors, advisors, and institutions such as the Dallas Museum of Art. We are grateful to contribute to the city’s energetic cultural landscape at the fair.”
Josh Lilley (London, UK)
A longstanding participant in the Dallas Art Fair, the London-based Josh Lilley Gallery will return with a group booth of works by Celeste Rapone, Sula Bermúdez Silverman, and Tom Anholt. Known for its curatorial acumen, the gallery has a continuing lineage of significant introductory presentations including artists like Derek Fordjour, Analia Saban, Kathleen Ryan, and Alex Da Corte.
“We’ve been doing the Dallas Art Fair since 2014, and from the beginning, we were struck by the enthusiasm and energy of Dallas collectors, and the willingness to form meaningful working relationships going forward,” says Josh Lilley. “The world-class museums in the Dallas-Fort Worth area, and the gallery’s support for TWO x TWO and their live auction since 2019, has meant that we’ve been able to prioritise the fair and continue to share high quality work by artists across our programme with our friends and supporters in the city.”
Koki Arts (Tokyo, Japan)Joining the Dallas Art Fair for the first time, Tokyo’s Koki Arts has for the past decade and a half introduced emerging and established artists alike to the Japanese and American art scenes.“Dallas’ growing and engaged art scene, and hearing great things from past exhibitors, makes us excited to participate in the Dallas Art Fair this year. We are excited to meet the city’s community and make new connections,” shares Koki Ishibashi, Founder and Director at Koki Arts.For their booth presentation, Koki Arts will present artists Akiko Mashima, Ryoichi Nakamura, Evan Nesbit, and Russell Tyler.
LBF Contemporary (London, UK)From London, LBF Contemporary—founded in 2023 by Louis and Lena Blanc-Francard—will similarly be making its way to Dallas for the first time. LBF Contemporary boasts a new model of gallery that focuses on the longevity of artists’ global ecosystems, creating an international platform of opportunities for emerging and mid-career artists. The gallery will be presenting a solo booth by the London-based artist H.E. Morris.“Dallas is a dynamic, rapidly evolving art hub and we see tremendous potential in growing our presence here,” says Louis Blanc-Francard. “The US is a key market for us and while we’ve long been engaged in New York, Miami, and Los Angeles, we are particularly drawn to Dallas’s vibrant energy and passionate community of collectors. The local museums and institutions have an open, forward-thinking approach and we look forward to fostering deeper institutional conversations within this exciting cultural landscape.”
Perrotin (Hong Kong; Las Vegas, Los Angeles, New York, USA; Paris, France; Seoul, South Korea; Shanghai, China; Tokyo, Japan)Returning for its tenth year at the Dallas Art Fair, Perrotin will present a curated selection of recent works from the gallery’s program, including a spotlight on Genesis Belanger, Gabriel Rico, and Texas-native Emily Mae Smith.“We are excited to return to the Dallas Art Fair, our tenth year participating in the fair,” says Peggy LeBoeuf, Senior Director at Perrotin. “In addition [to Belanger, Rico, and Smith], we will present works by Jean-Marie Appriou, Julia von Eichel, Charles Hascoët, Leslie Hewitt, Gabriel de la Mora, Jean-Michel Othoniel, and more. Iván Argote will join us in town, following his recent presentation of his bronze Wildflowers series at Dallas’ Katy Trail, which closes in March, and will have a solo presentation at the Dallas Contemporary in Fall 2025. We are proud to bring our artists to the continually growing market in Dallas, and are looking forward to continuing our engagement with the arts community throughout the city.”
Dallas Art Fair 2025 April 10, 2025 April 13, 2025
The full list of 90 exhibitors participating in the Dallas Art Fair from April 10–13, 2025 can be found below. Stay tuned for more Downloads in the lead up to the Dallas Art Fair!
2025 Dallas Art Fair Exhibitors: 193 Gallery (Paris, Venice) Alexander Berggruen (New York) Alisan Fine Arts (Hong Kong, New York) Anat Ebgi (Los Angeles, New York) Andrew Reed Gallery (Miami, New York) Asya Geisberg Gallery (New York) Beatriz Esguerra Art (Bogotá, Miami) Berry Campbell (New York) Bienvenu Steinberg & C (New York) Blouin Division (Montreal, Toronto) Carl Freedman Gallery (Kent) Carvalho Park (Brooklyn) Colector (Dallas, Houston, Monterrey) Conduit Gallery (Dallas) Cris Worley Fine Arts (Dallas) Cristin Tierney Gallery (New York) David B. Smith Gallery (Denver) DIMIN (New York) Duarte Sequeira (Braga, London, Seoul) Erin Cluley Gallery (Dallas) EUROPA (New York) Fabienne Levy Gallery (Geneva, Lausanne) Franklin Parrasch Gallery (New York) Galería Ethra (Mexico City) Galerie Camille Pouyfaucon (Paris) Galerie Christian Lethert (Cologne) Galerie Nicolas Robert (Montreal, Toronto) Galleri Urbane (Dallas) Gazelli Art House (Baku, London) Gerald Peters Gallery (New York, Santa Fe) Gio Marconi (Milan) Hales Gallery (London, New York) Hesse Flatow (Amagansett, New York) Hollis Taggart (New York) Inman Gallery (Houston) Ivester Contemporary (Austin) Jack Barrett Gallery (New York) JDJ (New York) Jody Klotz Fine Art (Abilene) Josh Lilley Gallery (London) Kerlin Gallery (Dublin) Koki Arts (Tokyo) LBF Contemporary (London) Library Street Collective (Detroit) Louis Stern Fine Arts (Los Angeles) Luce Gallery (Turin) Luis De Jesus Los Angeles (Los Angeles) Make Room (Los Angeles) Martha’s (Austin) McClain Gallery (Houston) Mickey (Chicago) Modern Animals (Zurich) Morgan Lehman Gallery (New York) Mrs. (Queens) Nature of Things (Dallas) Nicholas Metivier Gallery (Toronto) NICODIM (Bucharest, Los Angeles, New York) Nino Mier Gallery (Brussels, New York) OMR (Mexico City) OSMOS (New York, Stamford) Pablo’s Birthday (New York, Verbier) Patel Brown (Montreal, Toronto) Pencil on Paper Gallery (Dallas) Perrotin (Hong Kong, Las Vegas, Los Angeles, New York, Paris, Seoul, Shanghai, Tokyo) PIERMARQ* (Sydney) Piero Atchugarry Gallery (Garzón, Miami) Ronchini Gallery (London) Saenger Galeria (Mexico City) Sapar Contemporary (New York) Sears Peyton Gallery (Los Angeles, New York) Secci (Milan, Pietrasanta) SOCO Gallery (Charlotte) Sputnik Modern (Dallas) SPY Projects (Los Angeles) Sundaram Tagore Gallery (London, New York, Singapore) TAFETA (London) Taubert Contemporary (Berlin) Tezukayama Gallery (Osaka) The Sunday Painter (London) Tops Gallery (Memphis) Turley Gallery (Hudson) Turner Carroll Gallery (Santa Fe) Ulterior Gallery (New York) Valley House Gallery (Dallas) Vielmetter Los Angeles (Los Angeles) WHATIFTHEWORLD (Cape Town) William Campbell Gallery (Fort Worth) Wolfgang Gallery (Atlanta) Yossi Milo (New York)
