This year’s exhibition, “Together, at the Same Time”, brings together paintings, sculptures, and site-specific installations from our private collection. Our annual exhibitions represent the collection’s history and revisit works within the context of the moment.’
For more information, please visit delacruzcollection.org.
Wed, Nov 30, 2022
Organizer de la Cruz Collection
The Margulies Collection at the Warehouse invites you for coffee and art. You’ll enjoy the current exhibitions of the collection: ‘The Italians’, ‘The Bitter Years’, ‘New European and American Painters and Sculptors’, ‘New Media’, and ‘Ongoing’.
Admission $10.
For more information, please visit margulieswarehouse.com.
Mon, Nov 28, 2022
The Margulies Collection at the WAREhOUSE
Organizer Martin Z. Margulies and Katherine Hinds
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Please join us for the opening of our new exhibitions during Miami Art Week. Three new exhibitions will be on view: a solo show by artist Alexandre Diop, a presentation of new acquisitions, and highlights from the collection.
To learn more about the Rubell Museum, please visit rubellmuseum.org.
Free public access.
Mon, Nov 28, 2022
Organizer Rubell Museum
Marking its 20-year anniversary in Miami Beach, Art Basel reveals line-up of 283 leading galleries, the fair’s largest edition in Miami Beach to date
Art Basel celebrates its 20th anniversary edition in Miami Beach with 283 premier galleries – the largest show to date – including 26 first-time participants as well as multiple exhibitors returning after a pandemic hiatus. More than half of this year’s galleries have principal gallery locations in North and South America, joined by new and returning exhibitors from around the world, including Africa, Asia, and Europe.
The 26 newly participating galleries include: Alexandre Gallery (New York); And Now (Dallas); Edel Assanti (London); Berry Campbell (New York); José de la Mano (Madrid); Bridget Donahue (New York); Emalin (London); Herlitzka + Faria (Barrio Norte); K Art (Buffalo); Kristina Kite Gallery (Los Angeles); Paulo Kuczynski (São Paulo); Magenta Plains (New York); P21 (Seoul); Queer Thoughts (New York); Residency Art Gallery (Inglewood); Rolf Art (Buenos Aires); Meredith Rosen Gallery (New York); Chris Sharp Gallery (Los Angeles); Soft Opening (London); Sophie Tappeiner (Vienna); Stars (Los Angeles); Sultana (Arles and Paris); Super Dakota (Brussels); Rodeo (London and Piraeus); Watanuki Ltd. / Toki-no-Wasuremono (Tokyo); and Yavuz Gallery (Redfern and Singapore). The fair continues to offer differing models for participation, including joint booths by A Gentil Carioca (Rio de Janeiro and São Paulo) and Goodman Gallery (Cape Town, Johannesburg, and London) as well as Bridget Donahue (New York) and Hannah Hoffman (Los Angeles) in the Galleries sector; and Super Dakota (Brussels) and Helen Anrather (New York) in the Nova sector.
The 20th anniversary edition marks two decades of growth and impact by Art Basel as a cultural cornerstone in South Florida, across the Americas, and beyond.
‘It is truly exciting to celebrate our 20-year presence in Miami Beach,’ says Marc Spiegler, Global Director, Art Basel. ‘Over the last two decades our show has not only reinforced its pivotal position in the region – uniquely bridging the art scenes of North and South Americas, Europe, and beyond – but also played a galvanising role in the city’s profound cultural transformation. The increasingly diverse range of galleries and artistic voices represented will make our show richer in discoveries than ever before.’
‘20 years of Art Basel has shown us the very best version of our community. So much of our investment in our cultural assets and amenities is a result of Art Basel’s example,” says Dan Gelber, Mayor, City of Miami Beach.
Galleries
The fair’s main sector features 213 of the world’s leading galleries, exhibiting works across all mediums and representing the highest quality of paintings, sculptures, installations, and more. Several exhibitors will return to the fair following a hiatus, including Galeria Raquel Arnaud from São Paulo; Karma International from Zurich; Galerie Barbara Thumm from Berlin; Marlborough with exhibition spaces in Barcelona, Madrid, London, and New York; and Lia Rumma from Milan and Naples. Additionally, seven galleries that previously exhibited in the Survey or the Nova sector will transition into the main sector: Balice Hertling from Paris; Nicelle Beauchene Gallery from New York; blank projects from Cape Town; Chapter NY from New York; Commonwealth and Council from Los Angeles; Thomas Erben Gallery from New York; and Hannah Hoffman from Los Angeles. For the full list of exhibitors in Galleries, please visit artbasel.com/miami-beach/galleries.
Positions
Presenting solo exhibitions by emerging international artists, this year’s Positions sector will feature 19 solo presentations and welcomes 11 new participants. Highlights from the sector include new paintings by Tonia Nneji that continue her series ‘Uncommon Lands, Common Grounds,’ which investigates the role of commemorative religious fabrics in unfamiliar contexts, presented by Rele Gallery; first-time participant And Now’s presentation of materially abstract paintings by Leslie Martinez bridging queerness and border politics; and works by Ishi Glinsky, honoring Indigenous people’s connection to land through material exploration and reimagined production, at first-time participant Chris Sharp Gallery. For the full gallery list for Positions, please visit artbasel.com/miami-beach/positions.
Nova
Dedicated to galleries presenting new work by up to three artists, the Nova sector will feature 22 presentations from 23 galleries. Highlights include a solo presentation of new photographs and sculptures by John Edmonds, which continue his inquiry into human form and African art at Company Gallery; newcomer Yavuz Gallery’s exhibition of work by Pinaree Sanpitak, following her work’s inclusion in ‘The Milk of Dreams’ by Cecilia Alemani at the 2022 Venice Biennale; drawings and sculptures by Ukrainian artist Nikita Kadan, some of which have been realized in his current refuge shelter in Kyiv, at Galerie Jérome Poggi; newcomer K Art’s presentation of works by internationally-acclaimed artist Edgar Heap of Birds and emerging artists Erin Ggaadimitis Ivalu Gingrich, and Robyn Tsinnajinnie, whose works thread together a compelling narrative of Indigenous perspectives; and a dual installation by Los Angeles-based artists Anabel Juárez and Greg Ito, whose work explores the immigrant experience through a range of practices, from painting to large-scale sculpture and wall-based installation, on view at Anat Ebgi’s booth. The sector will also include a joint booth by: Super Dakota and Helena Anrather with a presentation of works by Julia Wachtel, investigating the construction of emotion and identity through media and mass culture. For the full gallery list for Nova, please visit artbasel.com/miami-beach/nova.
Survey
Featuring work created before 2000, the Survey sector includes 17 galleries, including nine newcomers to Art Basel Miami Beach. Highlights include a historical presentation of rare wood, marble, and bronze sculptures and works on paper by Cuban artist Agustín Cárdenas at Galerie Mitterrand; the second overseas solo exhibition of work by Japanese artist Ei-Q, including newly discovered photo-dessin and photo-collages, hosted by newcomer Watanuki Ltd./ Toki-no-Wasuremono; a debut art fair presentation of historic works from the 1970s to the 1990s by Milford Graves, with a range of mediums from multimedia sculptures to works on paper, at Fridman Gallery; Cristin Tierney’s booth of historic works by Dread Scott presenting a study of violence from the last 15 years of the 20th century; works from the two principal creative periods of Spanish artist Aurèlia Muñoz, whose work has been exhibited at the Museum of Modern Art in New York, and recently at the Guggenheim in Bilbao, at newcomer Jose de la Mano. For the full gallery list for Survey, please visit artbasel.com/miami-beach/survey.
Edition
The 2022 Edition sector will consist of 11 exhibitors, exemplifying the field of prints and editioned works. Exhibitors include Cristea Roberts Gallery (London); Crown Point Press (San Francisco); Gemini G.E.L. (Los Angeles); Carolina Nitsch (New York); Pace Prints (New York); Paragon (London); Polígrafa Obra Gràfica (Barcelona); Susan Sheehan Gallery (New York); STPI (Singapore); Two Palms (New York); and ULAE (New York). For further information, please visit artbasel.com/miami-beach/edition.
Information on the Meridians and Kabinett sectors will be released in the coming weeks, along with details on additional fair programming, including 20th anniversary highlights.
Museum Shows and Private Collections
Visitors to Art Basel Miami Beach will have the opportunity to experience South Florida’s world-class museums and private collections, including:
‘Las Mariposas Eternas – solo exhibition by Adrián Villar Rojas’
‘The Harvesters – solo exhibition by Jamilah Sabur’
‘Phraseology – by various artists’
‘Together, at the Same Time’
‘You Know Who You Are – recent acquisitions of Cuban art from the Jorge M. Pérez Collection.’
‘Michel Majerus: Progressive Aesthetics – first US museum survey’
‘Nina Chanel Abney: Big Butch Energy’
‘Hervé Télémaque: 1959-1964’
‘Ronny Quevedo – uleole allez’
‘The Italians’
‘The Bitter Years’
‘New European and American Painters and Sculptors’
‘New Media’
‘Leandro Erlich: Liminal’
‘Haitian Collection Exhibition: Curated with Kathia St. Hilaire’
‘William Kentridge: Ursonate’‘Scott Covert: I Had a Wonderful Life’
‘Malcolm Morley: Shipwreck’
‘Alexandre Diop’
Creativity and imagination are so important for our children’s early development.
Creativity is one of the fundamental building blocks for developing lateral thinking later in life. The ability to solve complex problems, create new, sustainable ways of living, and rethink how we build, create and nurture our world has become a core skill for the next generation.
Carlos Tirado’s Art Classes offers a place where children come to discover the wonders of art.
Our courses are developed in a supportive and enriching artistic environment for your children to thrive. A space where your child will experience in different media and begin to develop their fundamental artistic skills.
We provide your child a healthy balance of structured art lessons and self-guided creativity.
It is so joyful watching children find their own creative voice through the exploration of art. If you give children the right tools, their artistic growth will impress you. We can’t wait to see your child in our courses!
The objective of this art program is to teach students technique through a wide range of skills learned within each of the program’s 4 levels. Students will develop or reinforce their fine and gross motor skills as well as observation, critique, auto critique and creative confidence through the exploration of different mediums in each of their artworks.
The levels are as follows:
– First level: Drawing. The introductory level, will teach students to develop measuring and proportional techniques using pencil, color pencils and chalk pastels. Students will learn how to effectively create volume in their drawings to make outstanding art compositions.
– Second Level: Ink Pens. The importance of lighting is explored and emphasized with the use of ink pens on white paper to make detailed drawings, illustrations, sketches etc.
– Third Level: Watercolor Painting. Learn how to successfully paint with watercolors by exploring color combination, transparency, value and composition among other different skills through the use of this medium.
– Fourth Level: Oil Painting. Students will combine elements from previously learned techniques, through the slow-drying quality of oil paint on canvas, with the addition of texture experimentation, color theory, and paint layering skills.
These classes are aimed for all artists who are passionate about anime, cartoons, manga, and comic storytelling. The creative process behind this program begins with the human figure as the fundamental component to illustration.
Students will learn how to express emotions through their drawings by making and giving life to their own characters. They will then be able to put them in real life settings and create their own narrative comic strip through the use of ink, watercolors, crayons and acrylic paints.
Following the basic principals of our art program; geometry, proportions, volume and technique, students will learn the basics and fundamentals of ceramics while creating figurative, decorative and functional pieces in our class. Students will learn different methods of hand-building through the use of coil, pinch, and slabs among others.
The sculpture program will provide clay material, plaster, cement, wax and any other material needed to create outstanding 3D forms including but not limited to:
– Mud modeling / Plaster modeling.
– Portrait development and study of the face anatomy.
– Human figure.
– Abstract sculpture.
– Relief.
– Wheel throwing.
Our photography course introduces students into seeing the world through the lens of their camera and modify their thinking in a photographic frame.
The three level course, led by professional practicing photographers, will teach students to take full advantage and control of their camera. They will explore the secrets of exposure, lighting, lenses, filters and composition all needed to capture the perfect shot. Finally, students will demonstrate proficiency through the detailed composition training that will help them develop their own unique and independent photographic style.
This program expands from the traditional art form to today’s digitalized world.
During the weekly hour and a half class, students will learn the basic theories and fundamentals of art to elevate their quality of work in their digital paintings. They will be provided with the tools and techniques needed to make their drawings come to life on screen. Although this course implements many of the same techniques that work with drawing and painting, students will learn to apply them with softwares such as Adobe Photoshop and Illustrator to create the same effect on screen as they would on paper.
Fun and knowledge come into action in our SUMMER CAMP where you will learn techniques in drawing, clay, comics, craft and enjoy weekly special activities.
The Carlos Tirado’s Art Summer Camp is precisely the program for young artist to develop fine and gross motor skills while learning essential painting and drawing techniques from professionals who will bring out the best in them.
Our summer camp provides an encouraging and creative environment to develop outstanding works, portfolio development, and engagement with others who are just as passionate as them. Our camp combines both fun indoor and outdoor activities that will give them an unforgettable summer experience, while maintaining an educational routine.
Our camp adapts to both old and new aspiring artists! Our professional staff will provide guidance for anyone wanting to find their own artistic style and path through our fun and educative summer camp program.
Click to WhatsApp chat 9547093966
Ronaldbladenestate.com
1918 – 1936
Charles Ronald Wells Bladen was born on 13 July 1918 as the son of British immigrants in the Canadian city of Vancouver. After the daughter, Kathleen, he is the family’s second child. His father, Kenneth Bladen, was responsible for building up several steelworkers in Vancouver before working later as an expert in landscape gardening. His mother, Muriel Beatrice Tylecote, had studied at the Sorbonne in Paris and, as an active socialist, had taken part in the suffragette movement. Both parents later supported their son’s artistic interests.
The family moved several times within a relatively short period: in 1922 to the United States, to Hoquiam in Washington, and in 1926 to Aberdeen in the same state. In 1932, the family returned to Canada, living in Victoria British Columbia.
Already at the age of ten, Bladen was drawing intensively, making copies of works by Botticelli Titian, Picasso and Matisse, and creating free illustrations of Greek mythology. His talent was furthered in Aberdeen through participation in art courses at the high school while he was a pupil at junior high, and in Victoria through private art lessons given by the painter, Max Maynard. Apart from that, the young Bladen was enthusiastic about the sport, became a passionate dancer and baseball player, taking part also in tennis tournaments.
1937-1945
In 1937, Bladen began his studies at the Vancouver School of Art and continued them in 1938 to 1939, he attended additional courses in the figure study class of the painter, Allen Edwards.
In 1939, Bladen moved to San Francisco to continue his studies where, in the same year, he met the Mexican painter Diego Rivera, who was working on a large wall-painting commission. Up until 1943, Bladen studied painting and sculpture at the California School of Fine Arts, later renamed the San Francisco Art Institute, and attended evening courses at this school until 1945.
In 1941, when drafted into the Army, he was declared unfit for military service and obliged to work as a ship’s welder at the naval dockyards in Sausalito, California. For many years, this activity enabled him to earn his living as a toolmaker. This handicraft and aesthetic experience were to become important later on when constructing his sculptures.
Within a circle of friends, Bladen developed a growing interest in contemporary art, literature, music, and philosophy. He wrote poems, spent a lot of time in natural surroundings and experimented artistically with earth and plants that later lead on to a series of drawings, the Earth Drawings, which, together with the poems by Allen Ginsberg, he later published in the journal, The Ark. His spiritually and existentially oriented thinking led him to engage with East Asian philosophy.
Bladen had close contact with several writers and in 1945 joined the Libertarian Circle, a group of anarcho-pacifist artists around the writer, Kenneth Rexroth.
Bladen remained in the United States where, with interruptions, he lived in San Francisco until 1956 and then moved to New York.
1946 – 1955
In 1946, Bladen had his first solo exhibition at the Vancouver Art Gallery. At the same time, he was awarded a scholarship by the San Francisco Art Association which enabled him to undertake an eight-week journey to Tijuana in Mexico and New Orleans from June to August, as well as a stay of several months in New York until March 1947. There, in Peggy Guggenheim’s Gallery, he saw an exhibition with works by Jackson Pollock.
Within the Libertarian Circle, together with James Harmon, Philip Lamantia, Thomas Parkinson, Kenneth Rexroth, Sanders Russell, and Robert Stock, he founded the literary journal, The Ark, in 1947. Bladen designed the cover and made contributions in the form of drawings and linocuts.
In 1948, he met the actress Barbara Gross, whom he married a year later. Their son, Bran, born 1951, died shortly after of a kidney failure. The couple moved to San Carlos in California, buying a house on Winding Bay where Bladen set up a studio.
In 1951, Ronald Bladen was naturalized as a US citizen.
In 1955, he separated from his wife, Barbara Gross. Through his friend, Kenneth Rexroth, he got to know the poet, Michael McClure, at the end of the summer and moved back to San Francisco into McClure’s communal household with Joanna McClure, James and Beverly Harmon, Price Dunn and Larry Jordan. At this time a friendship arose with the writers, Allen Ginsberg, Jack Kerouac, and Henry Miller, as well as the painter, Al Held, who advised him to move to New York.
1956 – 1975
In 1956, Bladen moved to New York where he lived on Houston Street. Through Al Held, he got to know painters, George Sugarman and Nicholas and John Krushenick, who together founded the Brata Gallery co-operative in 1957.
Bladen continued to be active mainly as a painter. He made paintings in the style of Abstract Expressionism in which intensively colored patches of organic formations are integrated into almost landscape-like surface forms, similar in color.
In 1960, he took over Al Held studio a 5 West 21st Street, progressively restricted his painterly activity and began to occupy himself with collages made of folded paper and the first painted reliefs of plywood. As in previous years, to earn his living, he worked as a toolmaker.
In 1962, he exhibited his painted plywood reliefs for the first time at the Brata Gallery and the Green Gallery in New York. The following year he made his first free-standing, colored sculptures from plywood boards with metal struts. From this time on the Bladen dedicated himself exclusively to sculpture.
In 1964, he showed his first sculpture, White Z, at an exhibition in the Park Place Gallery in New York and got to know the sculptures, Connie Reyes, who later became his companion. He was awarded the National Medal of Arts by the National Endowment of the Arts. The first works include also Rambler, 1963/1964, and the Rockers, 1965, which Bladen understood as the artistic basis for all his further sculptures.
From 1956 on, Bladen enjoyed the growing attention of the New York art scene and beyond, so that subsequently he was represented with his austere sculptures, developed from geometric forms, at many famous exhibitions. His artistic stance, influenced by European Constructivism, American Hard-Edge Painting, and sculptures such as Isamu Noguchi and David Smith, in turn, had stimulating effect on a circle of younger artists including Carl Andre, Donald Judd, Sol LeWitt and Lawrence Weiner, who repeatedly called him the ‘father figure’ of Minimal Art.
In 1966, he showed a tripartite work made the previous year, Three Elements, at the exhibition, Primary Structures Younger American and British Artists, in the Jewish Museum in New York. This exhibition was very important for Minimal Art because it enabled a broader public to become acquainted with this new art movement for the first time. Together with other artists represented there, such as Carl Andre, Dan Flavin, Donald Judd, Sol Le Witt, Walter De Maria, Robert Morris, Tony Smith and Robert Smithson, since then Bladen has been assigned to this group working with an elementary frugality of forms, even though his conception, aiming at whole and the expressive power of the individual work, is distinguished from the serial and consistently matter-of-fact manner of artistic shaping and forming pursued by most of the other artists. This holds in a similar way for his sculptor- friends, Robert Grosvenor.
In 1967, at the Scale as Content exhibition in the Corcoran Gallery of Art in Washington, which brought together exclusively large sculptures by Bladen, Newman and Tony Smith, he showed his monumental sculpture, The X. set up in the hall, in the immediate neighborhood of Barnett Newman’s Broken Obelisk, which was positioned outside.
Bladen had his first solo exhibition as a sculptor in Hempstead, New York state, and was represented at a series of further groups exhibitions including also the show, American Sculptures of the Sixties, at the Los Angeles County Museum of Art. Articles appeared in several periodicals on his work, his position within contemporary sculpture along with extended interviews with him. On the basis of this positive resonance and associated purchases, Bladen was now able to devote himself exclusively to art. On the side, he taught at Hunter College in New York. Black Triangles arose between 1966 and 1967.
In 1968, Bladen was awarded the John Simon Guggenheim Memorial Foundation Fellowship, was represented at documenta 4 in Kassel, and was among the circle of artists presented to a European art public under the title, Minimal Art, West Berlin. He created Barricadeand a second version of Rockers, followed by Untitled (Curve) in 1969, Coltrane on 1970 and Boomerang in 1972.
At the beginning of the 1960s interest was growing in the United States in sculptures in public spaces. This turns toward ‘landmark signs’ and the clear, strongly expressive tectonics of Bladen’s works led him to receive numerous commissions from 1967 on. Thus The Cathedral Evening came about in 1969 for the Albany (New York), Vroom Sh-Sh-Sh in 1974 for Buffalo (New York), and Raiko I in 1975 for Galerie Schmela in Düsseldorf.
Since the mid-1960’s, Bladen’s works were represented by the Fischback Gallery in New York, Through its gallery director, Aladar Marberer, in 1973, he got to know the younger artist Bill Jenson, with whom he had a close friendship from then on. From 1974 to 1976, Bladen taught ass a guest lecturer at Columbia University in New York and was awarded the Mark Rothko Fellowship in 1975.
1976 – 1988
In 1976, Bladen was appointed teacher at the Parsons School of Fine Art, a post he held until 1978. An exchange with students gained generally in importance for him. He, therefore, accepted further teaching jobs, such as Artist in Residence in 1981/1982 at the Skowhegan School of Painting and Sculpture (Maine), and in 1982.1983 as a guest lecturer at Yale University in New Haven (Connecticut). In 1977, he was once again awarded the National Endowment of the Arts.
Bladen was mostly occupied with commissions which, since the 1970s, were often accompanied by preparatory models. Thus, in 1976, he created Cosmic Seed for Des Moines (Iowa), 1977, he created Kama Sutra for Central Park in New York, 1978 Oracle’s Vision for Springfield (Ohio), Black Lightning 1981 for Seattle and the campus of King Faisal University in Riyadh as well as Host of the Ellipse for Baltimore (Maryland). From 1985 on, the sculptor, Larry Deyab, assisted him in his work.
At the beginning of 1988, as recognition for his services to the summer academy in Skowhegan, Bladen was awarded the Skowhegan Trustees & Governor Award for Service to the Arts.
On February 1988, Ronald Bladen died in New York of cancer.
Solo exhibitions
1946
Ronald Bladen, Vancouver Art Gallery, Vancouver, January 22-February 10.
1951
Raymond & Raymond, San Francisco, fall.
1953
Six Gallery, San Francisco.
1954
Kelly Gallery, Vancouver, October (two weeks).
1956
Paintings by Ronald Bladen, Fine Arts Gallery, University of British Columbia, Vancouver, October 23-November 17.
Six Gallery, San Francisco.
1958
Ronald Bladen, Brata Gallery, New York, May 9-30.
1960
Ronald Bladen, Brata Gallery, New York, March 11-31.
1962/1963
Ronald Bladen, Green Gallery, New York, December 11, 1962-January 5, 1963.
1967
Ronald Bladen, Fischbach Gallery, New York, January 3-21.
Ronald Bladen: Sculpture, Emily Lowe Gallery, Hofstra University, Hempstead, February 21-March 23; In association with the Fischbach Gallery, New York.
1970
Ronald Bladen: A New Work, Fischbach Gallery, New York, January 3-21.
1971
Ronald Bladen: New Work, Fischbach Gallery, New York, April 10-28.
1972
Ronald Bladen: A Sculpture, Fischbach Gallery, New York, January 8-27.
Ronald Bladen, Fischbach Gallery, New York, opened on November 4.
Pasadena Art Museum, Pasadena.
Tyler School of Art, Philadelphia.
1977/1978
Ronald Bladen: Outdoor Sculpture Proposals, Hudson River Museum, Yonkers, November 19, 1977-January 31, 1978; In conjunction with the Public Arts Council of the Municipal Art Society, New York, Westchester County Department of Parks, New Rochelle, and Department of Parks and Recreation of the City of New York, New York.
1980
Ronald Bladen: Models & Drawings, Hamilton Gallery, New York, May 10-June 7.
1986
Ronald Bladen, Drawings & Wood and Aluminum Wall Sculpture, Washburn Gallery, New York, January 8-February 22.
1987
Ronald Bladen: “The Wall Sculptures”, CompassRose Gallery, Chicago, May 1-June 15.
1988
Ronald Bladen: Recent Sculpture, Washburn Gallery, New York, February 10-March 19.
1989
Ronald Bladen: The 1950s, Washburn Gallery, New York, February 7-March 12.
1990
Ronald Bladen. Paintings and Sculpture, Washburn Gallery, New York, March 7-April 7.
Ronald Bladen: Abstract Expressionist Paintings of the Late 1950s, CompassRose Gallery, Chicago, October 12-November 2.
1991/1992
Ronald Bladen: Early and Late, San Francisco Museum of Modern Art, San Francisco, May 30, 1991-August 18, 1991; Vancouver Art Museum, Vancouver, February 8, 1992-April 13, 1992.
1992
Washburn Gallery, New York.
1995/1996
Ronald Bladen: Drawings and Sculptural Models, Weatherspoon Art Gallery, University of North Carolina at Greensboro, Greensboro; Sculpture Center, Long Island City.
1998
Ronald Bladen Sculpture, Bielefeld Art Gallery, Bielefeld, June 7-September 6.
1999
Ronald Bladen: Selected Works, P.S.1 Contemporary Art Center, Long Island City, February 7-May 30.
2004
Ronald Bladen: From Expressionism to Minimalism, Selby Gallery, Ringling School of Art and Design, Sarasota, October 29-November 27.
Ronald Bladen: Paintings from the Fifties, Danese Gallery, New York, October 29- November 27.
2007
Ronald Bladen – Skulptur. Werke der Sammlung Marzona, Berlin State Museums, New National Gallery, Berlin, March 22-May 6.
2008
Ronald Bladen: Sculpture of the 1960s & 1970s, Jacobson Howard Gallery, New York, October 16-November 26, 2008.
2011
Ronald Bladen, Loretta Howard Gallery, New York, ????, 2011.
2012
Ronald Bladen Painting 1955-1962, Loretta Howard Gallery, New York, April 19-May 25, 2012.
2008
Ronald Bladen: Sculpture of the 1960s & 1970s, Jacobson Howard Gallery, New York, NY, October 16–November 26
2011
Ronald Bladen: Large Scale Sculpture, Loretta Howard
Gallery, New York, NY, February 17–April 2
2012
Ronald Bladen in Context, Ronald Bladen: New York Paintings
1955–1962, Loretta Howard Gallery, New York, NY
April 19–May 25, 2012
ANGLE/EDGE/PLANE: The Sculpture of Ronald Bladen
The Ewing Gallery of Art + Architecture, The University of Tennessee, Knoxville, TN
September 2019
Group exhibitions
Exhibition titles appearing in brackets represent descriptive titles for which official documentation is unavailable.
1944
Sixty-Fourth Annual Exhibition, Oil, Tempera on Panel and Sculpture, San Francisco Museum of Modern Art, San Francisco, September 21-October 15.
1945
Paintings by Bernard Bolter and Ronald Bladen, Reid Hyde, Hand Weaving, San Francisco.
1946
Sixty-Sixth Annual Exhibition, Oil, Tempera and Sculpture, San Francisco Museum of Modern Art, San Francisco, October 10-November 3.
1950
[Lucille Austen, Ronald Bladen, Henry Dietrich, and Eileen Reynolds], Raymond & Raymond, San Francisco, July 6-31.
1955
Invitational Group Show, Six Gallery, San Francisco, April-May.
University of British Columbia, Vancouver.
1958
Brata Gallery, New York.
1959
[Sylvia Stone and Ronald Bladen], Brata Gallery, New York.
1960
New Forms – New Media I, Martha Jackson Gallery, New York, October.
1961
Mark di Suvero and Ronald Bladen, Green Gallery, New York, summer.
Ronald Bladen and Sylvia Stone, Brata Gallery, New York, September.
1963
Paintings, Drawings and Prints owned by Local Collectors, Wilmington Society of the Fine Arts, Delaware Art Center, Wilmington.
1964
Invitational Show, Park Place Gallery, New York.
1965
Concrete Expressionism, Loeb Student Center, New York University, New York, April 6-29.
Sculpture from All Directions, World House Gallery, New York, November 3-17.
1966
Primary Structures: Younger American and British Sculptors, Jewish Museum, New York, April 27-June 12.
68th American Exhibition, Art Institute of Chicago, Chicago, August 19-October 16.
1966/1967
Annual Exhibition 1966: Contemporary American Sculpture and Prints, Whitney Museum of American Art, New York, December 16, 1966-February 5, 1967.
1967
Bladen, Grosvenor, von Schlegell, Loeb Student Center, New York University, New York, February 6-March 5.
Contemporary American Painting and Sculpture from New York Galleries, Wilmington Society of the Fine Arts, Delaware Art Center, Wilmington, February-March.
American Sculpture of the Sixties, Los Angeles County Museum of Art, Los Angeles, April 28-June 25; Philadelphia Museum of Art, Philadelphia, September 15-October 29.
Sculpture ’67, City Hall, Toronto, June 1-July 17; Organized by the National Gallery of Canada, Ottawa.
Outdoor Show, National Gallery of Canada, Ottawa.
Projects for Macrostructures, Richard Feign Gallery, New York.
Rejective Art, University of Omaha, Fine Arts Festival, Omaha.
Scale Models/Drawings, Dwan Gallery, New York.
Sculpture and Architecture, School of Visual Arts, New York.
Serielle Formationen, Studio Gallery, J.W. Goethe University, Frankfurt.
Structural Art, American Federation of Arts, New York; Touring exhibition.
1967/1968
Scale as Content: Ronald Bladen, Barnett Newman, Tony Smith, Corcoran Gallery of Art, Washington, D.C., October 7, 1967-January 7, 1968.
Fifth Guggenheim International Exhibition, 1967: Sculpture from Twenty Nations, Solomon R. Guggenheim Museum, New York, October 20, 1967-February 4, 1968.
1968
4 documenta: Kassel ‘68, Fridericianum Museum, New Gallery, and Orangerie Auepark, Kassel, June 27-October 6.
1968/1969
Minimal Art. (Andre, Bladen, Flavin, Grosvenor, Judd, LeWitt, Morris, Smith, Smithson, Steiner), Gemeentemuseum, The Hague, March 23, 1968-May 26, 1968; Art Association of the Rhineland and Westphalia, Düsseldorf, January 17, 1969-February 23, 1969; Academy of the Arts, Berlin Annual Exhibition, Berlin (West), March 23, 1969-April 24, 1969.
Annual Exhibition 1968, Contemporary American Sculpture, Whitney Museum of American Art, New York, December 17, 1968-January 19, 1969.
1969
14 Sculptors: The Industrial Edge, Dayton’s 8th Floor Auditorium, Minneapolis, May 29-June 21; Organized by the Walker Art Center, Minneapolis.
1970
Ronald Bladen/Robert Murray, Vancouver Art Gallery, Vancouver, March 10-April 5.
American Sculpture, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, September 11-November 15.
Inaugural Exhibit, Contemporary Arts Center, Cincinnati.
Paula Cooper Gallery, New York.
1971
Sonsbeek ’71, Sonsbeek Park, Arnheim, June 19-August 15.
1972
Visiting Artists: Ronald Bladen and Allan d’Arcangelo, Elvehjem Art Center, University of Wisconsin, Madison, March 31-April 30.
American Drawings, Art Collection, Amsterdam; Annemarie Verna Gallery, Zürich.
1973
1973 Biennial Exhibition: Contemporary American Art, Whitney Museum of American Art, New York, January 10-March 18.
Works in Spaces: Stephen Antonakos, Ronald Bladen, Sam Gilliam, Robert Irwin,
Dorothea Rockburn, San Francisco Museum of Modern Art, San Francisco, February 9-April 8.
Art in Space: Some Turning Points, Detroit Institute of Arts, Detroit, May 16-June 24.
[The City is for People], Fine Arts Gallery, San Diego.
1974
Less is More: The Influence of the Bauhaus on American Art, Lowe Art Museum, University of Miami, Coral Gables, February 7-March 10; New York Cultural Center, New York.
[Competition Exhibition], Society of the Four Arts, Palm Beach.
Outdoor Sculpture 1974, Merriewold West Gallery, Far Hills.
1975
Monumental Sculpture in the 1970’s for Civic, Private, and Corporate Places, Janie C. Lee Gallery, Houston, February 1-March 15.
Ronald Bladen, Ernest Briggs, Judy Rifka, Stuart Shedletsky, Susan Caldwell Gallery, New York, April 12-30.
Collectors of the Seventies, Part 1: Dorothy and Herbert Vogel, Clocktower, P.S.1 Contemporary Art Center, Long Island City, April 19-May 17.
Contemporary Drawing, Ben Shahn Gallery, William Paterson University of New Jersey, Wayne.
New York Cultural Center, New York.
1975/1976
The Martha Jackson Collection at the Albright-Knox Art Gallery, Albright-Knox Art Gallery, Buffalo, November 21, 1975-January 4, 1976.
1976
200 Years of American Sculpture, Whitney Museum of American Art, New York, March 16-September 26.
The Golden Door: Artist-Immigrants of America, 1876-1976, Hirshhorn Museum and Sculpture Garden, Washington, D.C., May 20-October 20.
Rooms, P.S.1 Contemporary Art Center, Long Island City, June 9-26.
PARC Exhibit, Graduate Center Mall, City University of New York, New York.
1977
Project: New Urban Movements, Akron Art Institute, Akron, May 1-June 19.
Marquette for Large Sculpture, Monique Knowlton Gallery, New York.
Sculptor’s Drawings, John Weber Gallery, New York.
1978
Drawings, Touchstone Gallery, New York.
In Small Scale, Hamilton Gallery, New York.
1979
A Great Big Drawing Show, P.S.1 Contemporary Art Center, Long Island City, February 11-April 1.
Sculpture: Bladen, Kipp, Witkin, Ben Shahn Gallery, William Patterson University of New Jersey, Wayne, October 10-November 13.
Contemporary Sculpture: Selections from the Museum of Modern Art, Museum of Modern Art, New York.
The Minimal Tradition, Aldrich Museum of Contemporary Art, Ridgefield.
1980
10 Abstract Sculptures: American and European, 1940-1980, Max Hutchinson Gallery, New York, March 18-April 19.
Arte Americana Contemporanea, Civic Museums and Galleries of History and Art, Udine.
Hamilton Gallery, New York.
International Sculpture Conference, Washington, D.C.
1981
The Modern Room, Emily Carr Gallery of the Provincial Archives of British Columbia, Vancouver.
Ronald Bladen, Michael Goldberg, Vincent Longo, Adam L. Gimbel Gallery, New York.
1982
CAPS Benefit Show, New York.
Sculpture Now: Contemporary American Sculpture, Park West Gallery, Southfield.
Skowhegan Faculty Show, Colby College, Waterville.
1983
Beyond the Plane: American Constructions, 1930-1965, New Jersey State Museum, Trenton, October 29-December 31.
Artist Call, Leo Castelli Gallery, New York.
Museum of Drawers, traveling exhibit to Europe, Israel, and the United States.
1983/1984
Sculpture: The Tradition in Steel, Nassau County Museum of Fine Art, Roslyn Harbor, October 9, 1983-January 22, 1984.
1984
Contemporary Painting, Sculpture, Drawing V., Oil and Steel Gallery, New York, September 18-November 3.
Drawings by Sculptors, Collection of John E. Seagram and Sons, Inc., New York; Montreal Museum of Fine Arts, Montreal.
The Ways of Wood, Queens College, New York.
1985
Matter and Spirit, Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, October 1-24.
Ontogeny: Sculpture and Painting by 20th Century American Sculptors, New York Studio School, New York, November 20-December 19.
50 at 50 West, 50 West Gallery, New York.
Action Precision, Washburn Gallery, New York.
Preview and Review – Paintings, Drawings and Sculptures, Washburn Gallery, New York.
1986
Sculpture: Ronald Bladen, Jim Clark, Judy Pfaff, Connie Reyes, Sorkin Gallery, New York, October 3-November 1.
Contemporary Artists. Bladen, Bluhm, Cote, Jensen, Nivola, Youngerman, Washburn Gallery, New York, December 3-23.
The Metaphysical Landscape, Robeson Center Gallery, Newark.
1986/1987
Sculpture on the Wall, Aldrich Museum of Contemporary Art, Ridgefield, December 6, 1986-February 15, 1987.
1987
In Scale and Time: Ronald Bladen, Ilya Bolotowsky, Norman Bluhm, Alan Cote, Bill Jensen, Washburn Gallery, New York, September 2-26.
Sculpture, Procter Art Center, Bard College, Annandale-on-Hudson, October 15-November 18.
1987/1988
Works on Paper by Twenty-two American Artists, Beijing Art Institute, Peking, November 20-30, 1987; Shanghai Art Museum, Shanghai, December 10-20, 1987; Hong Kong Arts Festival, Hong Kong, January 14-30, 1988; Snug Harbor Cultural Center, New York, October 29, 1988-December 14, 1988.
Group Exhibition, Saint Peter’s Church, New York.
1988
Past/Present, Washburn Gallery, New York, September 6-October 1.
Envoys, New York Studio School of Drawing, Painting and Sculpture, New York, November 18-December 16.
1989
Past/Present, Washburn Gallery, New York, September.
1990
Works on Paper. Bladen, Jensen, Mason, Ryan, Smith, Washburn Gallery, New York, February 1-March 3.
Concept Art, Minimal Art, Arte Povera, Land Art: Sammlung Marzona, Bielefeld Art Gallery, Bielefeld, February 18-April 8.
1991
Circa 1960, Washburn Gallery, New York, January 23-February 23.
Lyrical Vision – The 6 Gallery, 1954-1957, Natsoulas Novelozo Gallery, Davis, January-February.
Past/Present, Washburn Gallery, New York.
1993
Fantastic Wanderings, Connecticut College, New London, October 9-November 10.
1995
Die Sammlung Marzona. Arte Povera, Minimal Art, Concept Art, Land Art, Museum of Modern Art, Ludwig Foundation, Vienna, June 14-September 17.
Egidio Marzona Collection, Palais Liechtenstein, Vienna.
1995/1996
Beat Culture and the New America: 1950-1965, Whitney Museum of American Art, New York, November 1995-February 1996; Walker Art Center, Minneapolis, June 2, 1996-September 15, 1996; M.H. de Young Memorial Museum, Fine Arts Museum of San Francisco, San Francisco, October 5, 1996-December 29, 1996.
1996
The San Francisco School of Abstract Expressionism, Laguna Art Museum, Los Angeles, January 27-April 21; San Francisco Museum of Modern Art, San Francisco.
Ronald Bladen. Nancy Haynes. Olivier Mosset., John Gibson Gallery, New York, March 16-April 13.
Sculptures and Drawings, Rosenberg & Kaufman Fine Art Gallery, New York.
1997
Fine Arts Museum of San Francisco.
Power of Abstraction, Eighth Floor Gallery, New York.
Ronald Bladen, Edward Dugmore – Paintings, Lennon, Weinberg, Inc., New York.
Sculptures and Drawings, Rosenberg & Kaufman Fine Art Gallery, New York.
1998
Abstracted Presence, Edward Thorpe Gallery, New York.
Sculptors’ Draw, Rosenberg & Kaufman Fine Art Gallery, New York.
2000
„Kontrapunkt”, Werke von Nam June Paik und Ronald Bladen, RWE Tower, Essen, January 17-March 19.
2000/2001
(E così via) (And so on). 99 artists from the Marzona Collection, Municipal Gallery of Modern and Contemporary Art, Rome, February 20, 2000-September 17, 2000; Kunstverein Ludwigsburg, Ludwigsburg, March 18, 2001-April 29, 2001.
2001
Marzona Villa Manin. Una collezione d’arte. A private collection. Die Sammlung Marzona, Villa Manin of Passariano, Codroipo, June 9-August 26.
Art Works. Sammlung Marzona. Kunst um 1968, Bielefeld Art Gallery, Bielefeld, June 17-August 19.
2001/2002
Probation Area: Versuchsfeld. Sammlung Marzona, State Museums of Berlin, Hamburger Bahnhof – Museum for Gegenwart, Berlin, November 29, 2001-July 21, 2002.
2004
A Minimal Future? Art as Object. 1958-1968, Museum of Contemporary Art Los Angeles, Los Angeles, March 28-July 26.
2005
Sculpture, Danese Gallery, New York.
2006
Galerie mit Bleistift Fischer – Papierarbeiten aus den 60er und 70er Jahren, Konrad Fischer Gallery, Düsseldorf, May 6-June 17.
2006/2007
Surface Matter: Collage from the Collection, Albright-Knox Art Gallery, Buffalo, November 17, 2006-February 11, 2007.
2007
Based on Paper. Die Sammlung Marzona. Revolution der Kunst 1960-1975, State Museums of Berlin, Museum of Prints and Drawings and Art Library, Berlin, March 21-July 15.
2008
Turning Point: The Demise of Modernism and Rebirth of Meaning in American Art, Museum of Art, Brigham Young University, Provo, UT, July 17, 2008– January 9, 2009
2010
Artists at Max’s Kansas City, 1965–1974: Hetero-Holics and Some Women Too, Loretta Howard Gallery, New York, NY, September 15–October 30
2013
Works from the 1970s, Pacific Design Center, Los Angeles, CA
2014
An Opening of the Field: Jess, Robert Duncan, and Their Circle, Grey Art Gallery, New York, NY, January 14– March 29 Out of 10th Street and Into the 60s, Loretta Howard Gallery, New York, NY, September 4–October 11
2015
Where Sculpture & Dance Meet: Minimalism from 1961–1979, Loretta Howard Gallery, New York, NY, September 1– November 7
2017-18
Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, traveling exhibition: Grey Art Gallery, New York University, New York, NY, January 10–December 8, 2017; Kunstmuseum Luzern, Lucerne, Switzerland, September 28–November 25, 2018
Expanding Space: Ronald Bladen, Al Held, Yvonne Rainer, George Sugarman: Loretta Howard Gallery, New York, NY, November 2–December 21, 2017.
The reference publication by Taschen on Minimal Art: https://amzn.to/3mLu1VQ.
Today we take on Minimal Art, presenting a definition, listing the main characteristics and discussing the 25 most important minimal artists. As we only discussed the artists in question briefly, for further reading on we highly recommend the following books:
Contemporary Art Issue
Platform, Publisher & Gallery on Contemporary
Website: https://www.contemporaryartissue.com
Gallery: https://www.caigallery.com
Publications: https://www.contemporaryartissue.com/…
Services for artists: https://www.contemporaryartissue.com/…
Every effort has been made to trace copyright holder. However, if you feel you have inadvertently been overlooked, please take up contact with Contemporary Art Issue.
Table of contents:
0:00 – I. Introduction
0:45 – II. Definition of Minimal Art
1:07 – III. Main Characteristics of Minimal Art
1:32 – 1. Carl Andre
2:40 – 2. Dan Flavin
3:20 – 3. Donald Judd
3:58 – 4. Sol LeWitt
4:40 – 5. Robert Morris
5:12 – 6. Stephen Antonakos
5:45 – 7. Jo Baer
6:29 – 8. Larry Bell
6:59 – 9. Ronald Bladen
7:31 – 10. Mary Corse
7:59 – 11. Walter De Maria
8:21 – 12. Robert Grosvenor
8:59 – 13. Carmen Herrera
9:38 – 14. Eva Hesse: https://amzn.to/3qawVWg
10:21 – 15. Gary Kuehn: https://amzn.to/3qa7Vyp
10:56 – 16. Robert Mangold: https://amzn.to/2YoRwec
11:35 – 17. Agnes Martin: https://amzn.to/2ZUUecb
12:08 – 18. John McCracken: https://amzn.to/3k9AKXW
12:42 – 19. Charlotte Posenenske: https://amzn.to/31ADes7
13:27 – 20. Robert Ryman: https://amzn.to/3qb55ta
13:50 – 21. Fred Sandback: https://amzn.to/3kbL8OZ
14:33 – 22. Richard Serra: https://amzn.to/3ERZBrp
14:58 – 23. Tony Smith: https://amzn.to/3GUsxRi
15:24 – 24. Robert Smithson: https://amzn.to/3bJz1nB
15:57 – 25. Anne Truitt: https://amzn.to/3wlOGTv
16:26 – Outro
Bibliography:
For the introduction we used Daniel Marzona, Minimal Art published by Taschen.
Read the entire article on https://www.contemporaryartissue.com/…
Sept 21, 2022 (MIAMI) – On the eve of its 25th anniversary, Locust Projects – Miami’s longest-running nonprofit alternative art space – will double in size to offer more public programming and exhibition opportunities to artists at a new location in Little River.
With 17-foot high ceilings, an open floor plan and access to a large enclosed courtyard, the new space will be an expanded laboratory for local, national and international artists to experiment with new media and materials. Located in a warehouse district at 297 NE 67th St. the 8,000 square-foot space also will allow Locust to offer more educational programming to accompany its exhibitions, and to be located in an industrial neighborhood that is home to artist studios, galleries, manufacturing and creative industries.
“As an incubator of new art and ideas, Locust Projects embraces a culture of ‘Yes,’ encouraging artists to experiment on a large-scale in ways not possible in traditional spaces. We’ve embraced everything from jackhammered floors and working kilns to hanging gardens and synchronized swimming in an above-ground pool,” said Lorie Mertes, Locust Projects’ executive director. “Giving artists freedom to realize ambitious and bold ideas leads to the breakthroughs they need to push their practice. Our new space will bring more opportunities for supporting the creation of dynamic new work.”
Artist Rafael Domenech will be the first artist to completely take over the Little River space in February 2023. The Cuban-born, New York-based Domenech earned his bachelor’s from Miami’s New World School of the Arts and his MFA from Columbia University. Currently, his work is on display at a solo exhibition at the Institute of Contemporary Art at Virginia Commonwealth University, and is featured in a new outdoor pavilion commission as part of the 58th Carnegie International in Pittsburgh.
Locust Projects will continue programming at its current Design District location until its move in early 2023 opening three new shows in November for Miami Art Week. The public is invited to get a sneak peak of the new space at a community “Housewarming” fundraiser Nov. 12.
“Embodying Miami’s innovation ethos, Locust Projects offers visual artists the opportunity to realize installations of ambitious new work, without the financial pressures of a gallery,” said Board Chair Debra Scholl. “In many ways, we operate like a laboratory, where the end result isn’t as important as the process the artists take to get there. They learn from each decision and mistake, pushing them forward in their careers.”
Having outgrown their current home with a soon-to-expire lease in the Design District, the move is informed by a multi-year strategic initiative supported by a five-year $1 million grant in 2018 from the John S. and James L. Knight Foundation; the Incubator Annual Fund initiative launched in 2021 supporting core program areas; and a recent leadership matching gift from philanthropist and Board Member Diane “Dede” Moss, facilitating the move to the new space.
ABOUT LOCUST PROJECTS
Founded by artists for artists in a warehouse in Wynwood in 1998, Locust Projects is Miami’s longest running nonprofit alternative art space. We produce, present, and nurture ambitious and experimental new art and the exchange of ideas through commissioned exhibitions and projects, artist residencies, summer art intensives for teens, and public programs on contemporary art and curatorial practice. As a leading incubator of new art and ideas, Locust Projects emphasizes boundary-pushing creative endeavors, risk-taking and experimentation by local, national and international artists. We invest in South Florida’s arts community by providing artists with project grants and empower creative careers by supporting the administrative work of being an artist through an onsite artist resource hub and access to pro bono legal services.
Locust Projects 2022-2023 exhibitions and programming are made possible with support from: The John S. and James L. Knight Foundation; The Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, The Children’s Trust; The Andy Warhol Foundation for the Visual Arts; The Miami Foundation; Susan and Richard Arregui; Florida, Department of State; Hillsdale Fund; The Albert and Jane Nahmad Family Foundation; The National Endowment for the Arts Art Works Grant; VIA Art Fund | Wagner Foundation Incubator Grant; Funding Arts Network; Diane and Robert Moss; Ruth Foundation for the Arts; Cowles Charitable Trust; Diane and Werner Grob; Kirk Foundation; and the Incubator Fund Supporting Sponsors and Friends.
Deseo que mi hijo se inicie en el ballet, pero desde casa. ¡Felicitaciones..! Su niño va a recibir muchos beneficios, entre ellos el refuerzo de su desarrollo psicomotor y va a adquirir equilibrio, coordinación y
lo mejor de todo es que a través del ballet, se inculca a los niños un gran sentido de disciplina que es importante para su progreso intelectual y significativo para su vida futura. Así como educarle en cuanto a la apreciación de la música indicada.
¿Tiene el ballet una edad específica para iniciar?
No realmente, pero en el caso de los niños sí se recomienda los 3 ó 4 años.
Su aparato locomotor está evolucionando y así ellos pueden asimilar y fijar con más facilidad en cuanto a soltura de los movimientos y las técnicas de la danza.
Posteriormente se puede ir avanzando hacia la danza clásica. Esto se logra con cursos de iniciación, entre los 5 ó 6 años y continuar hasta conseguir magníficos resultados.
Es importante tener en cuenta que el ballet clásico es la base de todos los bailes y es esencial aprender desde muy temprano las técnicas y posiciones, tanto de pies como brazos.
En esta etapa de las primeras clases de ballet, es la oportunidad de aprender, lentamente y con cuidado, los pasos y movimientos, que se efectúan, haciéndolo acompañados por música, dirigidos a adquirir coordinación.
Siendo el ballet un estilo de danza clásico y por lo regular de manera grupal, al iniciarse en su disciplina los niños que lo practican obtienen diversos beneficios. Se van familiarizando con el desempeño de una buena interpretación, así como con la vestimenta, y demás elementos decorativos, lo cual redunda en un mejor bagaje cultural de los pequeños.
Si usted apoya el baile de su hijo desde casa y le gusta participar, es importante que antes de comenzar tenga escogida o en mente, una lista de reproducción, y visualizar la fluidez de su clase, también que busque planes de lecciones de clase de baile para comenzar, así como la asesoría y guía de un profesional, bien sea a distancia o presencial.
Durante el calentamiento, los bailarines pueden necesitar ayuda para redirigir su enfoque y si la actividad es entre amigos, es un buen momento para incorporar música ligera para estirar.
Existen siete pasos básicos en el ballet, estos son:
Plié. (doblado).Según el diccionario de la danza, es una flexión de las rodillas que colabora a flexibilizar los músculos y tendones, desarrollando un buen sentido del balance. Tiene unas subdivisiones que son el demiplié y el grandplié. Todos se hacen con la ayuda de la barra y con énfasis en la correcta posición de la cadera.
Relevé: Su nombre en francés significa «levantarse«. Literalmente, es empinarse, subiendo los talones del suelo hasta sólo mantener los dedos en el suelo.
El secreto es imaginar que el cuerpo está siendo estirado suavemente hacia el techo, a la vez que se elevan los talones, bajando luego suavemente. Este movimiento refuerza piernas, tobillos y pies y desarrolla el arco plantar.
Es un paso considerado como fundamental en la danza y uno de los primeros movimientos que se deben realizar al empezar la clase.
Arabesque: Una de las posiciones básicas en ballet clásico. Es una posición del cuerpo que ha de ponerse de perfil, apoyado respecto a una pierna, que puede ser recta o demi-plié o en relevè, y la otra pierna levantada detrás y estirada.
Battement tendu: Es un ejercicio para forzar los empeines hacia fuera. El
pie de trabajo sale de la primera o quinta posición hacia la segunda o cuarta
posición sin la elevación del dedo del pie de la tierra. Ambas rodillas se
deben mantener estiradas. Es un movimiento de rutina.
Battement fondu: Es un ejercicio en el cual la pierna soporte está doblada lentamente en demi plie (como hundiéndose) y el pie que trabaja señala el tobillo y se estira hacia el suelo o hacia el aire. Mientras que se endereza, se extiende la pierna soporte. El fondu puede ejecutarse con punta en el piso o en el aire. Se puede ejecutar en varias posiciones: al frente, al lado o atrás.
Jeté: Un salto a partir de un pie al otro, aquí la pierna de trabajo está doblada en el aire y parece haber sido lanzada. Hay una variedad amplia de jetés, y pueden ser realizados en todas las direcciones.
Rond de jambe: Movimiento redondo de la pierna, es decir, un movimiento circular de la pierna sin mover las caderas y la pelvis. El rond de jambe se utiliza como ejercicio en la barra.
Una vez que se manejan las posiciones básicas, es posible atreverse con algunos pasos.
Las cinco posiciones básicas del ballet de brazos y piernas para aprender en casa
1ra posición. Con los talones pegados se gira los pies hacia afuera hasta formar una línea horizontal.
2da posición. Los pies siguen en línea pero los talones y las piernas se separan.
3ra posición. Los pies vuelven a juntarse y rompen la línea para situarse uno delante del otro.
4ta posición. los pies están cruzados, el talón de un pie está a la altura de los dedos del otro, con un espacio entre ambos pies .Al igual que en la tercera posición se puede tener el pie derecho como el pie izquierdo delante…
5ta posición. es igual que la cuarta posición, pero ambos pies se tocan y no hay espacio entre ellos.
¿El ballet en cinco pasos?
Estas cinco posiciones básicas son parte del pilar esencial y son la base para realizar el resto de movimientos y pasos de ballet. Estas posiciones se practican apoyando una mano en la barra de ballet.
¿Quién determinó que son básicas esas posiciones del ballet?
Según la historia, fue en el siglo XVII, en el Ballet de la Ópera de París, primera escuela y compañía profesional de ballet de la historia creada por el rey francés Luis XIV, donde se codificaron las cinco posiciones básicas del ballet. Específicamente fue el maestro de danza de la corte de Luis XIV, Pierre Beauchamp, el que creó y estableció las cinco posiciones básicas de pies y la técnica en dehors.
¿qué significa dehors?
Se considera uno de los fundamentos técnicos del ballet; por lo general, la práctica del ballet orienta la pierna hacia afuera desde la cadera, lo cual es esencial en la colocación correcta de los pies en las correspondientes posiciones.
Dehors: Traduce externo o hacia afuera. En pasos y ejercicios la palabra dehors indica que la pierna, en una posición, bien sea en el piso o en el aire, se mueve en una dirección circular, en el sentido de las agujas del reloj. Si se hacen piruetas, el término indica que una pirueta es hecha externa hacia la pierna que trabaja.
Y ya que como padres y madres responsables de niños pequeños desean aumentar la cultura de sus hijos, estas nociones pueden servir de ayuda en la aventura de iniciar a los pequeños en una clase de danza en casa, aunque siempre es recomendable insistir en la guía y orientación de un profesional en el área para ir más seguros en cuanto a la eficacia de las posiciones y movimientos.
Hoy existe la ventaja de las redes, donde puede solicitar asistencia de profesores expertos en danza para niños y constante comunicación.
Y, lo más importante: ese profesional le va a orientar en cuanto a la música apropiada en la etapa de iniciación y posterior. Ese paso no se puede dejar a la ligera, pues de la música depende que el estudiante se sienta “conectado” con la actividad que esté llevando a cabo.
De modo que es el momento de consultar la apreciación y recomendaciones que les vamos a suministrar para que su adquisición de la música indicada para la clase de danza de sus niños sea la mejor y, por ende, lograr un progreso estimulante en cuanto al entusiasmo de los pequeños por este arte escénico.
By Milagros Bello, PhD*
‘Photographs cannot create a moral position, but they can reinforce one—and can help build a nascent one.’ Susan Sontag On Photography
Ada Rivera creates powerful photographs that resignify the linguistics of classical photography. Her photographs, focused on landscape as a genre, establish a game of symbolic references that lead to a critical reflection on nature. Her works, both in black and white and in color, show montages of opposing visual signs, of a landscape in apparent calm and harmony that hides and metaphorizes its crisis in heroic survival. The work shows generic landscapes, unidentified places of tropical references, common to all parts of the planet where the sun prevails as a mobilizing force of the wild fauna and the profusion of groves. In that landscape it shows sceneries that overflow in bucolic forces, – in its luminous sunsets, its flashes, backlighting and silhouetted forms – reminiscences of forgotten paradises, or dream wastelands. However, within this apparent visual harmony appear compelling assemblages, frontal wooden frames that are installed undaunted next to trees or exposed over the infinite panorama of a horizon. Is this nature befallen under the hand of men? In other photographs, there are no industrial assemblages on the landscape but there are superimposed geometries that enigmatically float in the clouds or frame over on the trees; they are geometric structures that the artist has intentionally created with software programs. Radial, crisscrossing rectilinear shapes, squares in movement, create centrifugal tractions, or reclusive quadrature forms, in tensional enclosures that interfere the organic sinuosity of the nature. In both cases, Ada Rivera’s photography resignifies the landscape genre, away from traditional transcription of reality, portraying a landscape as a space of confrontations, and a dwelling of discrepancies. The landscape in this contemporary photography is not a site of complacency and enjoyment but a besieged and captive terrain. Breaking with the melancholia of a romantic landscape, the artist creates a place of socio-anthropological reflections on nature and its regression in this era of the Anthropocene. In Rivera’s photography there are no visual narratives but metaphorical discourses towards a topology of a crisis in the arbitration of the landscape between survival and destruction. The landscape in Rivera’s images is a heroic visual entity that subsists in the collision of investment capital interests and the conscience for preservation, debating between erasure and permanence.
Rivera, in her prolific production, has greatly expanded her investigation of mediums to the point to originally adding to her photographic image, the use of neon lights in intercrossing geometric shapes, that superimpose over the image, creating remarkable luminous effects, locating her work into the most contemporary languages of Photography.
Rivera’s work is well established as an aesthetic body of work reflecting solid photographic achievements and skills, a singular way of landscape framing, well-balanced compositions, as well as an accomplished handling of lights, backlights and visual milieux with strong chromatics on the scenes, however, her true artistic contribution lays on Rivera’s envisioning of the landscape as a metaphor for our dealings with the planet and its perilous consequences.
Her work aligns with other voices of women photographers who consciously look at our earth’s current condition and its precarious future in the hands of a civilization project of dubious results.
*Ada Rivera was born in the city of La Vega, Dominican Republic, where at a very early age, she attended various disciplines including painting, sculpture, and music at the Palace of Fine Arts in her beloved town. He studied Design and Decoration at the University “Pedro Henríquez Ureña”, then traveled to Europe where he studied a degree in Fine Arts at the University of La Sorbonne in Paris, adding to this, studies of Painting at the Academy of the Grande Chaumiere. Later she moved to Italy where she continued to broaden her knowledge in Art History and Styles. Afterwards, he studied Art Curatorship at Saint Martin Lane School of Arts, in London.
This long journey through art, has led her to the world of photography, where she formalizes her lifelong passion for this discipline which seeks to share her perception of everything she has learned. Currently, she develops her photographic work focused on the uses of contemporary photography, including the use of neon added to the surface of the photographic work. She has developed a conceptual photography in which she directs her attention to the planet and the transformations of nature in contemporary industrial society.
Ada has participated in countless exhibitions, including two important shows in 2021, Cross Aesthetics and Concurrences/Oblique Views/Art Basel Season, curated by Dr. Milagros Bello at the MIA Curatorial Projects curatorial space in Miami. From September 1 to October 15, he participates in the X Edition of the International Festival of Photography and Video Photo imagen curated by Carlos Acero Ruiz at the Museum of Modern Art in Santo Domingo, Dominican Republic. She will soon exhibit at ARS Contemporáneo where he will continue to present his series on Nature in Captivity.
This long journey through art, has led her to the world of photography, where she formalizes her lifelong passion for this discipline which seeks to share her perception of everything she has learned. Currently, she develops her photographic work focused on the uses of contemporary photography, including the use of neon added to the surface of the photographic work. She has developed a conceptual photography in which she directs her attention to the planet and the transformations of nature in contemporary industrial society.
Ada has participated in countless exhibitions, including two important shows in 2021, Cross Aesthetics and Concurrences/Oblique Views/Art Basel Season, curated by Dr. Milagros Bello at the MIA Curatorial Projects curatorial space in Miami.
From September 1 to October 15, he participates in the X Edition of the International Festival of Photography and Video Photo imagen curated by Carlos Acero Ruiz at the Museum of Modern Art in Santo Domingo, Dominican Republic. She will soon exhibit at ARS Contemporáneo where he will continue to present his series on Nature in Captivity.
*Curator Dr. Milagros Bello holds a Ph.D. in Sociology with a doctoral thesis in Sociology of Art from Sorbonne University (Paris VII-Jussieu), Paris, France. Dr. Bello is an art critic member of the International Association of Art Critics (AICA). Dr. Bello has curated numerous shows in contemporary art locally and nationally. Outstandingly, in the context of the 59th Venice Biennale, she curated the exhibition “Americans. Current Imaginaries.” and gave a lecture at Personal Structures/Reflection, in the European Cultural Center, in Venice, Italy. She is an art writer for local and international art magazines, and a former Senior Editor of Arte Al Dia International art magazine. From 2000-2014, she has taught as professor of art in graduate and undergraduate levels at the Florida International University, Florida Atlantic University, Miami International University (The Art Institute/Miami), and the Istituto Marangoni/Miami. Currently, she is the director and chief curator of MIA Curatorial Projects in Miami, former Curator’s Voice Art Projects founded in 2010 in Wynwood Art District, Miami. Dr. Bello is an artist mentor and motivator of young emerging artists.
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