INVITATION TO THE MIAMI DOGS AND CATS WALKWAY CONTEST
The Board of Directors of Bayfront Park Trust and the City of Miami, is pleased and honored to invite all local artists to take part in a competition to creatively and tastefully paint and/or decorate one of the 50 aluminum sculptures that will adorn the Dogs & Cats Walkway at the Maurice Ferré Park in Downtown Miami, along the Biscayne Bay.
The goal of this innovative project is to enhance the beauty of the existing park and attract visitors to it by having a unique open and permanent art exhibition completely free to the public. The exhibition will display large painted sculptures of different dog and cat breeds, aimed at exalting the human-pet relationship and raising awareness towards animal compassion.
The main goal of this contest is to promote the creation of quality works of art that reflect the rich diversity of cultures of our city, advertise Miami as the Capitol of the Arts, and market it as the Capitol of Latin America.
Benefits to the Community
This park will make the surrounding community safer by offering a secure area for people and their pets to exercise and socialize away from busy streets.
This park will allow owners a chance to be physically active with their pets while enjoying unique pieces of art.
This park will bring communities closer and build a dog-friendly network, allowing users to meet more people and improve their social life.
Competition Guidelines
This contest will be open to Miami-Dade artists, and the selection will be based on the artistic merit of their proposals.
The theme of submitted art projects must be related and inspired exclusively by nature and its wonders.
Topics, images, or messages related to politics, religion, and sexual expressions are not allowed.
All sculptures will be delivered to the selected artists with a neutral primer coat paint. Special weather-resistant paints are required to work on the aluminum figures, but these paint materials will be provided at no cost to the selected artists by Bayfront Park.
Bayfront park will be giving a payment to each dog, cat, puppy and kitten paintend. For large dogs and cats $1,500 and $1,000 for puppies and kittens.
Art Proposal Requirements
This is a competitive request for proposals; local artists are highly encouraged to participate.
All submissions must be done online through the Bayfront Park official contest webpage.
To qualify for entry, artists should reside within Miami Dade County.
Artist must have a safe and secure space large enough to work on a sculpture of approximately 10′ x 10′.
Artists must fill out the online application, including name, address, email, phone number, current resume or artists’ biographical statement outlining their experience.
Artists must submit 2 sketches in JPEG format with proposals and list the technique to be used.
Artists can choose a cat or a dog sculpture.
Deadline for art proposal submissions: May 1
Awarding Criteria
The Bayfront Park Trust Board of Directors, along with designated contributors, will evaluate each artist’s sketches and submissions and will award accordingly.
Award Type
In recognition and appreciation for the artist’s outstanding work, creativity, and artwork donation to the City of Miami, special credit will be given to each artist selected to paint a sculpture. The awards will consist of a permanent and lasting public exhibition of the artworks selected at the Maurice Ferré Park, a plaque honoring the artist’s biography, including a description of their work with a QR code to openly promote his/her web or social media site and work.
Les vengo a hablar de tres maneras muy distintas de ver y representar, tres maneras de hacer y soñar, tres maneras diferentes de dibujar aunque dos compartan el mismo apellido y ciertamente, los tres, el amor y la pasión por el Grabado, los tres fueron miembros del Taller Experimental de Grafica de la Plaza de la Catedral en la Habana y los tres pasaron por San Alejandro, esa vetusta Academia de Artes fundada hace muchísimo tiempo por el mismísimo Don Francisco de Goya y Lucientes, Pintor del Rey, donde uno fue profesor, y dos de ellos, alumnos.Les traigo hoy dos Moyas a propósito, con sentido cierto, dos por falta de uno, padre e hijo, y a un Rojas, que hoy juntan sus haceres en un concierto sentido, en esta mancuerna de imágenes virtuosas, estos sorprendentes y magníficos dibujos y grabados sobre papeles diversos y en diferentes formatos, pobre soporte para tanta pesadilla suelta, tantísimos monstruos desvelados corriendo entre manchas y luces, entre blancos, negros y desgarros de colores, retorcidos atisbos de razón o de cordura en esta bellísima cacofonía de imágenes y seres que hablan de soledades, de amores desesperados, de abrazos, de dolores, de vida y muerte.Y todo esto con un despliegue absoluto de oficio, de buen hacer, de maestría. Hoy les dejo algo, una muestra mínima de la obra de estos tres artistas que son, además, buenos amigos, José Moya, Lorenzo Moya Junior y Agustín Rolando Rojas, disfrútenla.
Radical political shifts that raged throughout Cuba in the 1950s coincided with the development of Cuban geometric abstraction and, notably, the formation of Los Diez Pintores Concretos (Ten Concrete Painters). The decade was marked by widespread turmoil and corruption following the 1952 military coup and by rising nationalist sentiments. At the same time, Havana was undergoing rapid urbanization and quickly becoming an international city. Against this vibrant backdrop, artists sought a new visual language in which art, specifically abstract art, could function as political and social practice.
Concrete Cuba includes important works from the late 1940s through the early 1960s by the twelve artists who were at different times associated with the short-lived group: Pedro Álvarez, Wifredo Arcay, Mario Carreño, Salvador Corratgé, Sandú Darié, Luis Martínez Pedro, Alberto Menocal, José M. Mijares, Pedro de Oraá, José Ángel Rosabal, Loló Soldevilla, and Rafael Soriano. Many of the group’s members had traveled widely in the preceding years and corresponded with those at the forefront of European and South American abstract movements.
Produced on the occasion of the major exhibition at David Zwirner, Concrete Cuba is the first in-depth catalogue on the subject to be published in English; the show offered a “wonderful taste of a very complicated history,” according to Roberta Smith of The New York Times. With an extensive plate section, which includes works from the exhibition and a selection of important pieces from the permanent collection of Museo Nacional de Bellas Artes, Havana, this volume provides readers with a rich visual experience of this crucial period in modernism’s history. The catalogue also features an extensively researched illustrated chronology, compiled by Susanna Temkin, which tracks the development of the period artistically and politically from 1939 through 1964. New scholarship by Abigail McEwen offers an interpretative framework for this group of artists, and a deeper understanding of the forces behind the development of this movement. Also included is a conversation between Lucas Zwirner and Pedro de Oraá, one of the central members of Los Diez.
Concrete Cuba: Cuban Geometric Abstraction from the 1950s
Text by Abigail McEwen. Interview with Pedro de Oraá by Lucas Zwirner. Illustrated chronology by Susanna Temkin
Radical political shifts that raged throughout Cuba in the 1950s coincided with the development of Cuban geometric abstraction and, notably, the formation of Los Diez Pintores Concretos (Ten Concrete Painters). The decade was marked by widespread turmoil and corruption following the 1952 military coup and by rising nationalist sentiments. At the same time, Havana was undergoing rapid urbanization and quickly becoming an international city. Against this vibrant backdrop, artists sought a new visual language in which art, specifically abstract art, could function as political and social practice.
Concrete Cuba marks one of the first major presentations outside of Cuba to focus exclusively on the origins of concretism in the country. It includes important works from the late 1940s through the early 1960s by the twelve artists who were at different times associated with the short-lived group: Pedro Álvarez, Wifredo Arcay, Mario Carreño, Salvador Corratgé, Sandú Darié, Luis Martínez Pedro, Alberto Menocal, José M. Mijares, Pedro de Oraá, José Ángel Rosabal, Loló Soldevilla, and Rafael Soriano. Many of the group’s members had traveled widely in the preceding years and corresponded with those at the forefront of European and South American abstract movements.
Produced on the occasion of the major exhibition at David Zwirner, Concrete Cuba is the first in-depth catalogue on the subject to be published in English; the show offered a “wonderful taste of a very complicated history,” according to Roberta Smith of The New York Times. With an extensive plate section, which includes works from the exhibition and a selection of important pieces from the permanent collection of Museo Nacional de Bellas Artes, Havana, this volume provides readers with a rich visual experience of this crucial period in modernism’s history. The catalogue also features an extensively researched illustrated chronology, compiled by Susanna Temkin, which tracks the development of the period artistically and politically from 1939 through 1964. New scholarship by Abigail McEwen offers an interpretative framework for this group of artists, and a deeper understanding of the forces behind the development of this movement. Also included is a conversation between Lucas Zwirner and Pedro de Oraá, one of the central members of Los Diez.
Publisher: David Zwirner Books
Artists: Pedro Álvarez, Wifredo Arcay, Mario Carreño, Salvador Corratgé, Sandú Darié, Luis Martínez Pedro, Alberto Menocal, José Mijares, Pedro de Oraá, José Ángel Rosabal, Loló Soldevilla, Rafael Soriano
Contributors: Abigail McEwen, Pedro de Oraá, Susanna Temkin, Lucas Zwirner
Designer: Henk van Assen
Printer: VeronaLibri, Verona, Italy
Publication Date: 2016
Binding: Hardcover
Dimensions: 9 3/4 x 11 in (24.8 x 27.9 cm)
Pages: 192
Reproductions: 122 color, 55 b&w
ISBN: 9781941701331
Retail: $55 | £40 | €54
Status: Available
Abigail McEwen
Abigail McEwen is associate professor of Latin American art at the University of Maryland, College Park. She received her PhD from the Institute of Fine Arts, New York University, in 2010, and joined the faculty at the University of Maryland that year. She is an affiliated faculty member of the Latin American Studies Center. McEwen’s own book, Revolutionary Horizons: Art and Polemics in 1950s Cuba, is forthcoming in 2016 from Yale University Press.
Pedro de Oraá
In 1957, artist, poet, and art critic Pedro de Oraá cofounded the Galería Color-Luz in Havana with his partner and fellow artist Loló Soldevilla. The gallery served as an important center for the development of abstract art in Cuba. In 2015, in recognition of his prolific career, de Oraa´ was awarded Cuba’s Premio Nacional de Artes Plásticas.
Susanna Temkin
Susanna Temkin is assistant curator at the Americas Society/Council of the Americas, New York. She earned her PhD from the Institute of Fine Arts, New York University, where her research focused on modern art in the Americas. Her doctoral dissertation centered on Marcelo Pogolotti, a key figure from the first generation of modern artists in Cuba and a participant in the international avant-garde.
Lucas Zwirner
Lucas Zwirner is editorial director at David Zwirner Books, where he recently began the ekphrasis series, dedicated to publishing short texts on visual culture by artists and writers, rarely available in English. He has also written on numerous contemporary artists and translated books from German and French.
About the Author
Abigail McEwen is associate professor of Latin American art at the University of Maryland, College Park. She received her PhD from the Institute of Fine Arts, New York University, in 2010, and joined the faculty at the University of Maryland that year. She is an affiliated faculty member of the Latin American Studies Center. McEwen’s own book, Revolutionary Horizons: Art and Polemics in 1950s Cuba, is forthcoming in 2016 from Yale University Press.
Susanna Temkin is assistant curator at the Americas Society/Council of the Americas, New York. She earned her PhD from the Institute of Fine Arts, New York University, where her research focused on modern art in the Americas. Her doctoral dissertation centered on Marcelo Pogolotti, a key figure from the first generation of modern artists in Cuba and a participant in the international avant-garde.
Sergio Cesario
Precious (2022)
36x36x1 inches
91x91x2½ cm
Photography mounted under acrylic / plexiglass
Ed 1 of 5
AMERICANS: CURRENT IMAGINARIES Curated by Dr. Milagros Bello* At the European Cultural Center/Palazzo Bembo In the context of the 59th Venice Biennale
The exhibition proposes a creative visual topography of artists of the Americas, shaping out expanded visions of the USA, Central America, and the South American regions. With distinctive spirits and different points of departure, the artists expose diverse imaginaries of 21st Century America. Each artist’s expression reveals a work that emerges from personal mythologies and respective cultural territories. Art represents a complex visual tissue that summons the artist’s inner and outer global and local dimensions. Art forms a magical outcome that visually accounts for the artist’s experience crystalizing society, whether figurative or abstract. This American group’s seminal diversity stems from a Continental multifaceted complexity, comprised of Beatriz Sanchez (Venezuela), Carola Orieta-Sperman (Argentina/USA), Clark Medley (USA), Diana Ocampo (Colombia), Eliana Barbosa (Brazil/USA), Grehyni Narvaez (Venezuela/USA), Karina Matheus (Venezuela/UK), Lorien Suarez-Kanerva (USA), Matt Jacobs (USA), Meg Cogburn (USA), Mercedes Inaudi (Venezuela/USA), Ricardo Carbonell (Venezuela), Robert Brandwayn (Colombia), and Sergio Cesario (Brazil/USA).
Beatriz Sánchez Flowers and Crystals (2020) 20x20x3 inches 50¾x50¾x7¾ cm Mixed media (objects and paper collage) on PVC
Beatriz Sánchez Fluttering Butterflies (2020) 20x20x3 inches 50¾x50¾x7¾ cm Mixed media (objects and paper collage) on PVC
Beatriz Sanchez(Venezuela) presents profuse compounds of objects and mixed media collages of high tenure. The artist exposes personal mythologies and recollections of life experiences in a complex chain of articulated signifiers from domesticity to womanhood, from nature to culture, as a lifetime’s soul-searching endeavor.
Eliana Barbosa Indian Boy (2019) 12x12x1 inches 30½x30½x2½ cm Photography on acrylic
Eliana Barbosa Lady From The Past (2021) 12x12x1 inches 30½x30½x2½ cm Photography on acrylic
Eliana Barbosa Death And Life (2019) 12x12x1 inches 30½x30½x2½ cm Photography on acrylic
Eliana Barbosa(Brazil/USA) exposes critical de-figured and ghostly characters as a crystallization of the pandemic – collapsing and outgoing. The image is produced in a reconstructed process, combining outlines of ephemeral silhouettes painterly dropped over a surface of a large can and then photographed before the image dissolves onto the white paint. The photographic digital capture becomes the final work of this transposed hybrid method of creation.
Ricardo Carbonell Untitled I (2021) 12x24x1½ inches 30½x61x3¾ cm Collage on canvas
Ricardo Carbonell Untitled II (2021) 12x24x1½ inches 30½x61x3¾ cm Collage on canvas
Ricardo Carbonell Untitled III (2021) 12x24x1½ inches 30½x61x3¾ cm Collage on canvas
Ricardo Carbonell(Venezuela) assembles rhythmic tensions and dynamic collisions in a pure minimal approach to non-objective art. He evokes imaginary trials and trajectories and masters an abstract collage technique through cut-outs of electric tape strips that he ordered in mathematical sequences and geometrical shapes over a canvas.
Diana Ocampo Y Tú Aparecerás En Otra Estrella (2020) 12x24x1½ inches (diptych) 30½x61x3¾ cm Mixed media
Diana Ocampo Y Tú Aparecerás En Otra Estrella (2020)
Diana Ocampo (Colombia) recalls personal narratives and autobiographical displays photo-collaged from childhood photos. Painterly erasures over minimal white backgrounds fade out and recover memories of her lost father in fragmented scenes. With a twist of introspection, the artist sets up the lasting sense of eternal human ties.
Sergio Cesario Precious (2022) 36x36x1 inches 91x91x2½ cm Photography mounted under acrylic / plexiglass Ed 1 of 5
Sergio Cesario (Brazil/USA) proposes a digitally post-produced photographic image that re- purposes his original creative imaginary. The initial photograph is de-composed as traces of a fictional plane through multiple allusions and intimations. Diluted multicolor, serpentine lines and space dissolutions in vibrational matrixes transpose reality into invisible pictorial realms of hidden introspection.
Meg Cogburn Black Horse (2020) 30x48x1½ inches 76x123x3¾ cm Acrylic on canvas
Meg Cogburn (USA) visually interprets biblical figures as hopeful visions of regeneration and spiritual enlightenment for humanity in cryptic messages. Figurative characters of dream-like imagery ooze in the pictorial scene, assuming transformative roles. In Horses of the Apocalypse’s Famine, the horse rider appears as a stone-like personage, and his horse is rigidly crashing on the ground. Still, they are surrounded blissfully by buoyant green growth and the alpha and omega renaissance emblems.
Matt Jacobs Hallucination (2021) 36x24x1 inches 91½x61x2½ cm Oil on wood
Matt Jacobs Pink Cupcake (2021) 8x10x1 inches 20×25½x2½ cm Oil on wood
Matt Jacobs Cupcake On A Carpet (2021) 8x8x1 inches 20x20x2½ cm Oil on wood
Matt Jacobs (USA) shows small sumptuous, lush nature paintings, reshaping the concept of the horror vacui of the Baroque period. His works are rhapsodic landscape visions of highly sensual profuse foliage arranged in pastoral settings of abundant greenery with a contrasting focally meaningful figure such as his seductively luscious cupcake.
Grehyni Nárvaez White Lips (2018) 7¾x15x4 inches 20x38x10 cm Fiberglass sculpture
Grehyni Narvaez (Venezuela/USA) presents a solid tridimensional allusion to the feminine spirit in our Western culture. The sculpture shows a sensual and tactile representation of a woman’s white lips, an all-encompassing signifier of allurement and desirability. The body part, in its whiteness, projects a magnetism to the viewer through silent eroticism and glamour.
Karina Matheus The Skies Turned To Gold (2022) 3 6x36x2 inches 91x91x5 cm Acrylic / Flashé on canvas
Karina Matheus (Venezuela/USA) proposes abstract colorful brusque, and tangential brushstrokes over a canvas that reveals her inner drives and spiritual meditations. It is a nonrepresentational approach that evokes musical tonalities and emotional feelings, imaginary sounds, and timbres in different tempos that project expressive dimensions of the spirit.
Mercedes Inaudi COVID Monalisa (2022) 16x16x2 inches 40½x40½x5 cm Mixed media on wood
Mercedes Inaudi (Venezuela/USA) presents COVID Monalisa, a mixed media collage of intertextual references to the current COVID pandemic. A defiant masked woman with a challenging gaze towards calamity appears on the right, while a group of red shapes on the left allude to the virus. A busy composition with phrases, fonts, and writings, collated and finished with mixed media, wax, and encaustics, reveals the intensity of the interrelated concerns of the artist.
Robert Brandwayn Light Condenser I (2018) 8x8x1½ inches 20¼x20¼x3¾ cm Mixed media on wood
Robert Brandwayn Light Condenser II (2018) 8x8x1½ inches 20¼x20¼x3¾ cm Mixed media on wood
Robert Brandwayn Light Condenser III (2018) 8x8x1½ inches 20¼x20¼x3¾ cm Mixed media on wood
Robert Brandwayn’s (Colombia) mixed media and gold leaf works show images of loss and memory tracing the past as an infinite recourse from the collective memory of the Jewish people’s ordeals. Ghostly photos and ancestral writings resurge into the present, where seals and scriptures interlace as testaments of resilient voices revived generationally for perpetuity.
Clark Medley In The Beginning, There Was Only One Language (2020) 72x48x1½ inches 183x109x3¾ cm Mixed media
Clark Medley (USA) presents an Arabesque-like alphabet that conjures Chinese, Arabic, Japanese, Judaic, and Hindi calligraphies as new glyphs with existential resonances of personalized scripts. Collapsing turns and twists of visual writing appear in imaginary fonts with pulsating repetitive movements that transcribe the artist’s perceptual and auditory experiences.
Carola Orieta-Sperman Flame Mandarine II (2021) 33x20x20 inches 84¾x50¾x50¾ cm Laser cut acrylic
Carola Orieta-Sperman’s (Argentina/USA) laser-cut acrylic sculpture robustly expands towards the outer negative space in incessant turns of flamboyant allure. In the Flame Mandarine Series, cosmic fire energy materializes as continuous movements of spiral ascension. Evanescent organic forms of enduring energy propagate as fractal attractors echoing systemic cosmic chaos.
Lorien Suárez-Kanerva Wheel Within A Wheel 119 (2018) 40x40x2 inches 101½x101½x5 cm Acrylic on canvas
Lorien Suarez-Kanerva’s (USA) imposes networks of spirals, rectangles, and concentric circles in reiterative integrated patterns that expand and retract in astounding visual interactions. On a pulsating rhythm, its movement’s continuum appears superimposed through imaginary blades that open from a center point in centrifugal directions towards the outer space as a unceasing rotational undertaking. Milagros Bello, PhD
Curator of the show
*Curator Dr Milagros Bello holds a PhD 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; she is an art writer for local and international art magazines and a former Senior Editor of Arte Al Dia International art magazine. Since 2000, Bello has taught as a professor of art and critical theories at the Florida International University, Florida Atlantic University, Miami International University (The Art Institute/Miami), and the Istituto Marangoni/Miami. From 2010-2020, she was the director and chief curator of Curator’s Voice Art Projects in Miami, Florida/USA, which pivoted to the new MIA Curatorial Projects due to the pandemic.
Dora Gabay abre su Galería en el histórico Cauley Square.
Este sábado 16 de abril
D Gabay Galería & Tienda
La escultora venezolana radicada en Florida Dora Gabay abre su Galería & Tienda como un espacio para la promoción de artistas en consolidación en el mercado norteamericano.
La galería Gabay está ubicada en un espacio histórico y rodeada de un bosque seductor que suma a la experiencia de sentir la magia del color y del arte en una hermosa edificación de madera que data de la era del visionario empresario Flagger. La apertura de la galería será con la exhibición del Five Art Project: 5 artistas latinoamericanos que apuestan por el color como medio expresivo para estimular en el espectador a sentir el arte como un acto de magia.
Dora Gabay
Esculturas de Dora Gabay Pinturas de Carlos Ayube Alexander Martínez David Acosta y Yovany Saracual
Estos artistas confirmarán la muestra de esta colectiva que abre al público el venidero Sábado 16 de abril de 2022 desde las 3 de la tarde. La escultora Gabay abrirá el espacio también a la moda y sus accesorios nacidos desde el valor artístico o artesanal . Piezas de serie limitadas o nacidas del reciclaje podrán ser adquiridas en este espacio alternativo y genuino. Dora Gabay desde su taller también impartirá clases mensuales de escultura promoviendo el desarrollo de nuevos artistas de esta disciplina en el sur de Florida. D Gabay Galería & Tienda 12320 Old Dixie Hwy Miami , Florida 33170 Cauley Square.
Bob Bonies can be considered to be a successor of the “de Stijl” movement in as much as he did not just restrict himself to free art alone but extended his artistic work to architecture, industrial design, and art teaching, and exemplified the aim of those pioneers who wanted to use their artistic ideas for shaping their surroundings. Moreover, he can also be considered a pioneer of the second generation, as his constructivist painting imparted a new impetus to the geometric direction of art in the Netherlands of the 1960s.
Were one to look for a conceptual motif in Bonies’ art work, one would in the first instance cite the theory of Josef Albers on “The Unity behind the Many” and “The Many behind the Unity”. His method, however systematic it may be, is directed less towards the programmatic and more towards investigating the potential of variables. Thus, Bonies’ art work does not develop in a serial way as is usual in the constructivist domain, but rather in a sequence of cycles of works whose themes recur with varied points of view.
The only fixed factor in Bonies’ investigation over many years into color and form is his handling of colors: he has always used and today still uses only four colors, namely the three primary colors red, yellow and blue, the secondary color green (as the complementary color of red) and the noncolor white.
The basic colors and forms appear in different systems of arrangements, of which there are, as regards their number and combination, essentially two types of picture. First there is the closed and contained absolute shape of the square which dominates Bonies’ work and which also occurs standing on a corner (diamond), and then there is, so to speak, the polarly opposed type, the “shaped canvas”, which is sometimes included in the shaping of the picture. This novel shape was developed by American artists during the 1960s and was intended to free them from the traditional rectangular pictorial shape in order to achieve a congruence between picture and format, as well as at the same time attaining an enhanced objectivity.
El DJ ítalo-brasileño Code CSD presenta su nueva canción, “Love it”
El joven productor de música electrónica -que habla español- es secundado en el tema por el cantante Danny Lacayo, de sangre guatemalteca y nicaragüense.
“Love it” está disponible en todas las plataformas digitales, incluyendo Youtube y Spotify.
Con solo 20 años de edad, Code CSD es una gran promesa de la música bailable internacional: se viene preparando desde la adolescencia y se ha radicado aquí hace menos de dos años para impulsar su carrera.
Nació en Brasil, pero transcurrió su vida en Milán (su padre es italiano y su madre, brasileña). Compuso “Love it” junto a Lacayo. “Es una canción alegre, con música house y también con un toque de pop porque la grabamos con un bajo y otros instrumentos”, explica.
“Love it” es parte de un ambicioso proyecto de Code, que incluye el lanzamiento de varios temas junto a Lacayo, a quien invitó a participar luego de verlo en un video de Tik Tok. “Tiene una voz increíble”, afirma
La dupla Code/Lacayo presentó el tema “Intro” el 18 de marzo. Ahora hace lo propio con “Love it”. El 29 de abril verá la luz “Trophy”; el 20 de mayo, otra canción (aún por decidir); y el 17 de junio, “Buzzlight Year”.
A Code CSD le gusta la fórmula de productores de música electrónica Daft Punk, que grababa con cantantes. El dúo francés hizo el hit “Get Lucky” con Pharrell Williams, por ejemplo.
Code también admira al DJ Martin Garrix y a los cantantes The Weeknd y Dua Lipa. Toca guitarra desde niño y mayormente la empuña para hacer canciones. Recuerda que se adentró en el mundo de la música electrónica en 2016, gracias a la aplicación especializada GarageBand.
“El trabajo con la música me calma y me da placer”, asegura.
La cantante de música cristiana Elizabeth Sánchez lanza su primer disco, “Nace una esperanza”
La joven presenta su primer disco, “Nace una Esperanza”, elegido como Mejor Álbum por la Academia de Arte Cristiano de Nueva York. También da charlas sobre el bullying escolar, que experimentó en carne propia en la infancia, y sobre cómo enfrentar retos de la discapacidad. La canción promocional de “Nace una esperanza” -ya disponible en las plataformas digitales- se titula “No temeré”
Elizabeth Sánchez carga con los mejores antecedentes académicos y profesionales ya que se graduó en Interpretación Vocal por la Universidad Barry y fue soprano en la Ópera de Miami, pero también padece de una leve discapacidad cognitiva, que le hizo sufrir de bullying a temprana edad.
Además de la elección como Disco del Año, “Nace una Esperanza” ya le valió una nominación como Revelación para la Academia de Nueva York, y una como Revelación Femenina los Premios El galardón Internacional. La artista compuso ocho canciones del álbum.
Hija de dos brillantes académicos matemáticos, Elizabeth nació en Placetas, Cuba, el 11 de marzo de 1993. Un apagón hospitalario al momento del parto la tuvo al borde de la muerte.
Con Fe, la ayuda médica y el tesón de su familia sobrevivió. Su padre, Ricardo, es ingeniero, matemático, y profesor de la Universidad Barry. Su esposa, también llamada Elizabeth, estudió Economía Política en la Universidad de La Habana.
Cuando Elizabeth entraba en la edad escolar se mudó con su familia a otro país latinoamericano, donde comenzó a ir al colegio y lamentablemente enfrentó situaciones dolorosas al ser acosada por otras niñas, que se burlaban de ella.
La familia finalmente recaló en Miami hace dos décadas, se congrega en un templo evangélico bautista de la localidad de Davie. Allí, en otras iglesias y en los sitios donde se le requiera, Elizabeth cumple su vocación de cantar y, a la vez, dar un mensaje positivo para quienes sufren.
La argentina Mariana Quinteros lanza el disco “Tango de Nuevos Ayres”
El álbum fue producido por el pianista Aníbal Berraute y será presentado el sábado 30 de abril en el Club Alfaro’s, de La Pequeña Habana. El 13 de mayo será lanzado con un concierto en la Embajada Argentina, en Washington. “Tango de Nuevos Ayres” tiene un repertorio irresistible, integrado por clásicos de Gardel, Piazzolla y otros de épocas más recientes.
“Hicimos una mezcla interesante”, considera Quinteros, nacida en Buenos Aires, afincada en Miami desde el año 2014. Para Berraute, que tocó con glorias como Mariano Mores, en el disco hay “tangos tradicionales con el lenguaje musical de hoy”. “Con Mariana y los músicos buscamos una sonoridad cercana a la gente, hasta con algo de pop”, agrega.
“Tango de Nuevos Ayres” ya se encuentra disponible en las plataformas digitales. El título “Tango de Nuevos Ayres” juega con la idea de la novedad y con el nombre de la capital argentina, fundada hace 500 años como “Santa María del Buen Ayre”. En el disco tocaron algunos de los mejores tangueros, más invitados de lujo como Chico Novarro, Gabriel Mores, Daniel Mazza, y Néstor Torres.
“Todo cantante en algún momento tiene la necesidad de grabar un disco, plasmar en una grabación su evolución”, comenta Quinteros, que se destaca dentro del tango internacional; se ha presentado en diversos países, impresiona con su voz y su particular manera de interpretar.
Creció en un ambiente de grandes aficionados a la música; en la juventud comenzó a inclinarse por el canto y se profesionalizó en 2002. “Los tangos tienen una potencia musical y poética atrapante”, añade, recordando de paso que su padre, ya fallecido, era un gran tanguero.
Quinteros ha grabado tres discos. Ofrece conciertos semanalmente en Miami y otras ciudades, y también da clases de Canto. Su Instagram es @marianaquinterosmusic
The Case for Abstraction. The Art Assignment. PBS Digital Studios
For much of human history, people made art by trying to represent the world as it appeared around them. Until about 100 years ago, when a bunch of artists stopped trying to do that. It was shocking then and it still upsets and confounds today. How are we supposed to deal with art completely removed from recognizable objects? And why should we? This is the case for Abstraction.
Daniel Cookman
As a physicist, what struck me was the connection here with mathematics: from my perspective, maths IS abstraction in the realest of senses. Take, for example, numbers: when we first learn about numbers, we think of three beans or four cars, i.e. numbers as an adjective to describe. The first major leap of abstraction we teach is that four is not just a describing word, but also an idea, an object in itself that has properties attached to it (addition, subtraction, etc.). As the maths gets more complex, we continue to describe certain ideas (e.g. the concept of a vector) as objects, which of course from the literalist’s perspective is absurd: how can you have a number just exist in the world?! All of this isn’t coincidental. We use maths precisely because it strips away any of the guff (i.e. unnecessary context) not needed to solve the problem. Want to add to add three beans to two beans? Well, it’s exactly the same question as if you were talking about cars or anything else: what matters is the number, not the thing itself. By doing this, the tools we have left are not only incredibly efficient (algebra, calculus, etc.) but also can have the context built back into them with ease. The case for abstraction in mathematics is then self evident! Funny, how different fields of thought end up closing upon the same idea.
Katy Spencer
I think its interesting because as a 15 year old abstraction is so ingrained in our culture and art that it seems bizarre that there ever was not. It’s always a good reminder that your world isn’t yours and wasn’t always the same.
Scott Oconnor
As an artist who does a lot of abstract paintings I really enjoyed this video. You don’t waste any time going over the history of abstract art and the artists who started it, did it and some who probably still do it. Its amazing to me that it really only took off and became a well known and widely accepted art form in the early 1900’s. The history of art in itself is quite fascinating but how abstraction fits into it is very interesting. I had to watch this video twice since it moves so quickly but I think I learned something both times so it was worth it. “What’s strange may be the period when humans did not embrace abstraction” – Well said
Ivan Garcia
Abstractions can be good when their semantic is either self evident or if there is a consensus on its definition. They can be powerful by allowing the mind to handle complex concepts fast. If for the symbol “2” some people say it is two and others 3 it looses its value. The same happens with words. The problem I see with abstract art is that I don’t see them defining the semantics of texture, edge curves, or geometric shapes. It is meant to be open to subjective interpretation. If I make some random shapes/texture from the computer and place it as a form of art. Then someone inspect the “art” and starts making a whole complex story out of it. Does this makes sense? The same can be done with clouds. I can genuinely paint an abstract art with my emotions and state of mind. And what happens if the person that inspects the painting feels/interprets something totally different. It would be nice to see if someone has made an experiment with one of the best abstract paintings to see the meaning the infer and then interview the artist to explain what he/she tried to convey.
Aeromodeller1
I have always thought “abstract art” or “abstractionism” were misnomers. It does not correspond to my concept of abstraction. Abstraction seeks to generalize. Each piece of abstract art is a particular. What they usually mean is “nonrepresentational”. But even that concept is problematical. There are different ways to represent and degrees of representation. Especially paradoxical is “abstract photography”. A photograph is an exact optical representation of a particular object. Can’t get more representational than that. But photographs of eroded sandstone, broken glass, ice sheets, tree bark, architectural details or leaves are called abstractions. Representational photography shows an object or tells a story that can be put into words. Abstract photographs usually don’t. Most of the photographs you see are about the subject matter, not about the photograph. This is Aunt Em. This is the Golden Gate Bridge. Abstract photography is about the photograph and how it works. The picture of eroded sandstone is about how light plays on a surface to reveal shape and how the photograph captures that light, revealing form. It is not a geological description of sandstone. It does not suggest a conventional verbal category. It is purely about how tonal gradation reveals form. It is appreciated for itself alone, not for its depiction of something else. Being outside conventional categories makes abstract photographs a bit mysterious, and interesting. They are not limited by a title.
Rajesh Budhathoki
I am art student and very interested in abstraction, I’m going good with my structural understanding of value and proportions to portray things in a realistic order. But I’m focusing more on experiment and interested in abstract thinking, I’m spending most of my energy, time and money on it. I think what we see infront in this pragmatic world is very limited, and we may not be accurate to every creature that has a vision or own perspective. We are bound to believe in things that exist. we humans have achieved good work on technologies and material success, but not in deep knowledge vision which is yet to be known or introduced. I think abstract is a basic idea of understanding things inside every mater in this universe including us. I’m doing my work as a student in fine arts, I want to see beyond every question and things which doesn’t exist. I believe one day humanity Will reach out there and will be able to summarize the real reality!Show less
