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Los 10 mejores pódcasts sobre arte visual en español en 2026

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Art Miami Magazine Editorial Staff
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Los 10 mejores pódcasts sobre arte visual en español en 2026

Descubre los mejores pódcasts de arte en español de 2026: historia del arte, museos, pintura, cultura visual, arte contemporáneo y narración sonora.

La historia del arte, los secretos de las grandes obras y los debates sobre la creación contemporánea han encontrado en el pódcast un formato especialmente fértil. El audio permite acercarse a una pintura mientras se conduce, escuchar una entrevista con un artista durante una caminata o descubrir la vida de una creadora mientras se trabaja en el estudio.

Sin embargo, no todos los programas incluidos habitualmente en las listas de internet son verdaderos pódcasts. Algunos son secciones de radio, canales de YouTube o archivos sonoros institucionales. Esta selección distingue esas diferencias y reúne diez propuestas relevantes por su calidad narrativa, rigor, accesibilidad, originalidad y vigencia en 2026.

No se trata de una clasificación basada exclusivamente en cifras de audiencia —muchas plataformas no publican datos comparables—, sino de una selección editorial orientada a estudiantes, artistas, docentes, coleccionistas y personas interesadas en comprender mejor la cultura visual.

1. Arte Compacto

Conducido por: Bernardo Pajares y Juanra Sanz
Enfoque: historia del arte, cultura visual, identidades LGTBIQ+ y cultura popular

Arte Compacto ha desarrollado una de las voces más reconocibles de la divulgación artística en español. Pajares y Sanz convierten episodios históricos, biografías y controversias culturales en conversaciones cercanas, atravesadas por el humor y una mirada crítica sobre las omisiones del canon.

El proyecto también cuenta con presencia en Radio 5, donde se define como un espacio de conversaciones sobre cultura y artes visuales. Sus responsables continúan desarrollando tanto contenidos radiofónicos como episodios propios y encuentros con público.

Su mayor virtud es demostrar que el rigor no exige solemnidad. Sus episodios rescatan historias afectivas, sexuales, políticas y personales que durante mucho tiempo quedaron excluidas de los relatos tradicionales.

Ideal para: quienes desean aprender historia del arte con humor, perspectiva contemporánea y revisión crítica del canon.

2. El Artesano

Conducido por: Pablo Ortiz de Zárate
Producción: Hoy por Hoy, Cadena SER
Enfoque: análisis emocional y cultural de obras específicas

El Artesano no nació como un pódcast independiente, sino como una sección del programa radiofónico Hoy por Hoy. Sin embargo, su archivo funciona perfectamente como una serie sonora autónoma.

Pablo Ortiz de Zárate toma una pintura, escultura o episodio artístico y lo relaciona con emociones y conflictos humanos: el deseo, el duelo, la ansiedad, el poder, la violencia, la identidad o la pérdida. Cadena SER lo presenta como un educador y periodista especializado en utilizar las obras de arte como instrumentos para comprender las emociones.

El programa se mantenía activo en 2026, con episodios dedicados al Guernica, la representación del embarazo, la figura de la femme fatale, Yayoi Kusama y otras cuestiones históricas y contemporáneas.

Ideal para: quienes disfrutan del slow looking y desean detenerse en una obra para explorar su dimensión psicológica.

3. Historias de Arte en Podcast

Enfoque: biografías, obras maestras y narración documental

Este programa convierte la historia del arte en relato. Sus episodios exploran la vida de artistas, las circunstancias en que surgieron determinadas obras y las rivalidades, tragedias o decisiones que explican su significado.

Su catálogo incluye episodios sobre Wifredo Lam, Fernando Botero, Frida Kahlo, Mary Cassatt, Marcel Duchamp, Diego Rivera, Yayoi Kusama, Sofonisba Anguissola y obras como Las meninas, Guernica y la Capilla Sixtina.

A diferencia de los formatos centrados en la opinión rápida, aquí predomina el storytelling: cada episodio reconstruye un contexto y busca mostrar la dimensión humana que existe detrás de una imagen famosa.

Ideal para: oyentes que prefieren documentales sonoros breves, narrativos y fáciles de seguir.

4. HablemosArte

Conducido por: Roberta Villarreal
Enfoque: democratización del arte y cultura visual contemporánea

Desde México, Roberta Villarreal ha construido un proyecto dedicado a demostrar que hablar de arte no debería ser privilegio de especialistas. Su estilo combina divulgación accesible, comentarios sobre artistas, explicaciones de obras y conexiones con la moda, el diseño y la vida cotidiana.

El programa se presenta como una invitación a mirar activamente y a entender el arte sin depender de un vocabulario excesivamente académico.

Su importancia dentro de esta lista radica también en su perspectiva latinoamericana. Mientras buena parte de la oferta sonora sobre historia del arte se concentra en España, HablemosArte amplía la conversación hacia públicos y experiencias culturales de América Latina.

Ideal para: personas que sienten curiosidad por el arte pero se sienten intimidadas por museos, críticos o textos especializados.

5. Historia del arte con Kenza

Conducido por: Kenza
Enfoque: obras, culturas y tradiciones artísticas internacionales

Historia del arte con Kenza propone recorridos claros y contemplativos por obras y tradiciones de distintas épocas y geografías. Su catálogo no se limita al canon europeo: incorpora arte chino, la Escuela Cuzqueña, paisajes, arquitectura y episodios menos frecuentes en los programas generalistas.

En 2026 mantenía un archivo de más de 150 entregas, incluyendo episodios recientes dedicados a la pintura china de flores y a la Escuela Cuzqueña.

Su tono resulta más sereno que polémico. El objetivo no es provocar una reacción inmediata, sino despertar el asombro y relacionar las obras con preguntas culturales, filosóficas y espirituales.

Ideal para: quienes desean una introducción ordenada y pausada a la historia del arte mundial.

6. Las paredes hablan

Producción: Museo Nacional Thyssen-Bornemisza y Podium Podcast
Enfoque: ficción sonora, diálogos entre obras y debates contemporáneos

Las paredes hablan utiliza uno de los recursos más originales de la divulgación museística: hacer que los personajes representados en las pinturas parezcan hablar entre sí.

Los episodios conectan obras de distintas épocas para abordar cuestiones como la ciudad, la identidad, las disidencias sexuales, la presión estética o la transformación social. El Museo Thyssen conserva la serie dentro de su oferta oficial de pódcasts y publicó en 2025 un episodio dedicado a las representaciones históricas de las identidades LGTBIQ+.

El formato se encuentra a medio camino entre la ficción, la interpretación histórica y el ensayo sonoro. No reemplaza el análisis académico, pero ofrece una forma imaginativa de activar la colección de un museo.

Ideal para: quienes disfrutan de la ficción sonora y desean relacionar el arte antiguo con problemas actuales.

7. El Club de Lectura del Thyssen

Presentado por: Elia Fernández
Producción: Podium Podcast y Museo Nacional Thyssen-Bornemisza
Enfoque: pintura, literatura y pensamiento contemporáneo

Una de las novedades más importantes de 2026 es El Club de Lectura del Thyssen, una serie de seis episodios que relaciona obras de la colección del museo con novelas, escritores y temas universales.

El programa incorpora especialistas del Thyssen y autores invitados para discutir asuntos como el amor y la violencia, el psicoanálisis, la soledad, las relaciones familiares, el trabajo y la vida cotidiana. El primer episodio contó con la escritora Lucía Solla Sobral.

Esta producción continúa la estrategia sonora del museo, que anteriormente desarrolló proyectos como Sororas, antiguas pero modernas, Collage Pop y Las paredes hablan.

Ideal para: lectores que desean descubrir cómo una pintura puede dialogar con una novela y con los dilemas del presente.

8. Thyssen: el pódcast oficial

Producción: Museo Nacional Thyssen-Bornemisza
Enfoque: coleccionismo, exposiciones, artistas y trabajo museístico

Además de sus series narrativas, el Museo Thyssen mantiene un pódcast institucional con entrevistas, monográficos, tertulias y reportajes. Su propósito es revelar aspectos de la colección y del funcionamiento del museo que no siempre son visibles durante una visita presencial.

La variedad de temas lo convierte en una fuente útil para entender no solamente las obras, sino también los procesos de conservación, investigación, exposición e interpretación que las rodean.

Es uno de los ejemplos más sólidos de cómo una institución museística puede utilizar el sonido para extender la experiencia de sus salas y crear contenidos con vida propia.

Ideal para: estudiantes, docentes y oyentes interesados en conocer cómo piensa y trabaja un museo.

9. Arte a Marte

Enfoque: historia del arte desde perspectivas geográficas y culturales diversas

Arte a Marte propone viajar por distintas regiones, épocas y tradiciones a través de artistas y obras que no siempre aparecen en los relatos más populares.

El programa ha sido destacado por iVoox dentro de su selección de pódcasts de historia del arte, subrayando su voluntad de explorar diferentes lugares y ampliar la mirada más allá de las referencias convencionales.

Su principal atractivo es la curiosidad: cada episodio funciona como un punto de partida para descubrir una obra, una ciudad, una cultura o un creador.

Ideal para: oyentes que buscan ampliar su mapa artístico y descubrir temas menos transitados.

10. La Escóbula de la Brújula: episodios sobre arte y cultura visual

Conducido por: Jesús Callejo y un amplio equipo de colaboradores
Producción: Podium Podcast
Enfoque: historia, cultura, símbolos, arqueología y leyendas

La Escóbula de la Brújula no es un pódcast exclusivamente dedicado a las artes visuales. Es un programa semanal sobre historia, cultura y leyendas que permanece activo desde 2013 y que en 2026 superaba los 690 episodios.

Merece un lugar en esta selección por sus programas relacionados con iconografía, arquitectura, religiones, nacimiento del arte, arqueología, patrimonio y simbolismo. Su enfoque combina divulgación histórica, conversación y gusto por los enigmas culturales.

Conviene escucharlo con una actitud crítica: su interés por lo legendario y lo misterioso puede alejarse en ocasiones del análisis estrictamente historiográfico. Pero sus mejores episodios ofrecen contextos amplios y despiertan la curiosidad por temas que después pueden investigarse con fuentes académicas.

Ideal para: aficionados a la historia cultural, la simbología y los misterios asociados con monumentos y obras.

¿Cuál es el mejor para cada tipo de oyente?

Para aprender mientras te diviertes: Arte Compacto.

Para entrar emocionalmente en una pintura: El Artesano.

Para escuchar biografías y obras como relatos: Historias de Arte en Podcast.

Para comenzar sin conocimientos previos: HablemosArte.

Para estudiar arte de manera ordenada y contemplativa: Historia del arte con Kenza.

Para disfrutar de una experiencia sonora creativa: Las paredes hablan.

Para conectar pintura y literatura: El Club de Lectura del Thyssen.

Para acceder al conocimiento institucional de un museo: Thyssen: el pódcast oficial.

Para descubrir geografías y tradiciones diferentes: Arte a Marte.

Para combinar arte, historia, símbolos y misterio: La Escóbula de la Brújula.

Algunas correcciones importantes

El Podcast del Museo Nacional del Prado aparece con frecuencia en listas de recomendaciones, pero no resulta fácil identificar en 2026 un único programa oficial, continuo y centralizado comparable al pódcast del Thyssen. Existen audioguías, conferencias, grabaciones, series temáticas y programas creados por terceros sobre la colección del Prado, pero conviene verificar quién produce cada contenido antes de presentarlo como “el pódcast oficial”.

Historia del Arte con Blanca Guilera es principalmente un proyecto audiovisual en YouTube, no un pódcast sonoro tradicional. Puede escucharse sin mirar constantemente la pantalla, pero algunas explicaciones dependen de las imágenes analizadas.

El canal de Antonio García Villarán también es una referencia fundamental de la divulgación artística en español, pero su formato principal es el videoensayo en YouTube. Por esa razón, resulta más preciso incluirlo en una selección de canales de arte o pódcasts audiovisuales, no dentro de una lista estrictamente sonora.

CentroCentro en Podcast ha producido contenidos y conversaciones relacionados con exposiciones, pero su continuidad y organización como programa estable son menos claras que las de los proyectos incluidos aquí.

El arte en la era de la escucha

Los mejores pódcasts sobre arte no pretenden reemplazar la experiencia de contemplar una obra. Su función es preparar la mirada, ampliar el contexto y acompañar al oyente hasta el momento en que una imagen conocida pueda verse de otra manera.

El audio posee una paradoja especialmente productiva para las artes visuales: obliga a imaginar aquello que no se está viendo. La voz describe un color, reconstruye un taller, señala un detalle o narra la historia de una pintura, pero es el oyente quien debe completar mentalmente la imagen.

En una cultura dominada por la velocidad y la saturación visual, escuchar hablar de arte puede convertirse en una forma de resistencia. El pódcast devuelve tiempo a las imágenes. Nos recuerda que mirar no consiste únicamente en reconocer lo que tenemos delante, sino en aprender a permanecer, preguntar e interpretar.

Antonio García Villarán: arte, hamparte y divulgación en YouTube

By
Art Miami Magazine Editorial Staff
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Antonio García Villarán
Antonio García Villarán: hamparte

Antonio García Villarán: la voz que convirtió la crítica de arte en conversación pública

Antonio García Villarán es pintor, doctor en Bellas Artes y uno de los divulgadores de arte más influyentes en español. Analizamos su canal, el concepto de hamparte y su impacto digital.

Antonio García Villarán ocupa un lugar singular dentro de la divulgación cultural en español. Pintor, profesor, doctor en Bellas Artes y creador digital, ha construido una plataforma capaz de trasladar debates tradicionalmente confinados a universidades, museos y círculos especializados hacia una audiencia masiva. Su canal de YouTube —más que un pódcast en sentido estricto— funciona como un espacio audiovisual de análisis, opinión y pedagogía sobre historia del arte, mercado, educación artística y cultura contemporánea.

Con aproximadamente 1.53 millones de suscriptores y 987 videos, según las cifras proporcionadas para este artículo, García Villarán se ha consolidado como uno de los divulgadores de arte en lengua española con mayor alcance digital. Su relevancia no depende únicamente del tamaño de la audiencia, sino de haber comprendido que la historia del arte también podía narrarse mediante los códigos de internet: títulos directos, ritmo ágil, ironía, controversia y una marcada presencia personal.

Del aula universitaria a la pantalla

Formado en la Universidad de Sevilla, García Villarán se licenció y doctoró en Bellas Artes, con especialización en pintura, y ejerció la docencia en esa institución. Su trayectoria incluye la creación artística, la pedagogía, la edición y la organización de proyectos culturales, elementos que posteriormente confluyeron en su identidad pública como divulgador.

Desde 2015 mantiene un canal dedicado a comentar figuras de la historia del arte, exposiciones, tendencias contemporáneas y fenómenos de la cultura visual. Su sitio oficial presenta esa actividad como parte de una estructura más amplia que reúne obra artística, libros, colaboraciones y cursos de formación en la Academia CREA 13.

Esta combinación es importante. García Villarán no aparece ante el público exclusivamente como comentarista, sino como un profesional que pinta, enseña y conoce desde dentro los mecanismos de producción y circulación artística. Esa posición le permite presentarse como mediador entre el mundo académico, la práctica de estudio y la cultura popular.

El arte explicado sin solemnidad

Una de las claves de su éxito ha sido eliminar parte de la solemnidad que suele acompañar al discurso artístico. Sus videos no adoptan el tono distante de una conferencia tradicional. García Villarán interpela directamente al espectador, formula juicios claros y emplea humor, exageración y recursos teatrales para sostener la atención.

Este estilo ha contribuido a que públicos sin formación especializada se acerquen a nombres, obras y discusiones que quizá no buscarían por cuenta propia. En sus contenidos, la historia del arte deja de aparecer como una sucesión intocable de maestros y movimientos para convertirse en un terreno de preguntas: ¿por qué una obra es considerada importante?, ¿quién determina su precio?, ¿qué papel desempeñan las instituciones?, ¿puede existir reputación sin calidad artística?

Su mayor aporte comunicativo radica precisamente allí: ha conseguido que miles de personas se sientan autorizadas a preguntar y opinar sobre arte.

“Hamparte”: una palabra convertida en fenómeno cultural

El concepto más asociado con García Villarán es “hamparte”, término formado a partir de “hampa” y “arte”. Lo utiliza para identificar obras, discursos o dinámicas del sistema artístico que, desde su perspectiva, alcanzan notoriedad o precios elevados sin poseer suficiente valor técnico, estético o creativo. Desarrolló ampliamente esta idea en su libro El arte de no tener talento. Revolución Hamparte, publicado en 2019.

El éxito de la palabra revela una necesidad social. Muchas personas perciben el arte contemporáneo como un sistema cerrado, dominado por discursos inaccesibles y validaciones institucionales difíciles de comprender. “Hamparte” ofrece una etiqueta sencilla para expresar esa desconfianza.

Su eficacia comunicativa, sin embargo, también constituye su principal problema crítico. Una palabra diseñada para denunciar exageraciones del mercado puede convertirse fácilmente en una fórmula para descalificar obras complejas sin analizarlas suficientemente. No toda práctica conceptual carece de rigor, del mismo modo que la destreza manual no garantiza por sí sola profundidad artística.

La discusión generada por García Villarán es valiosa precisamente porque obliga a revisar cuestiones fundamentales: la relación entre técnica e idea, el poder del mercado, el papel de los museos y la autoridad de críticos, galeristas y curadores. Aunque sus conclusiones provocan desacuerdo, sus preguntas han adquirido una enorme capacidad de circulación.

Influencia, controversia y democratización

García Villarán ha desarrollado una marca personal reconocible. Su nombre, rostro, vocabulario y estilo argumentativo funcionan como elementos de una identidad digital coherente. Desde la perspectiva del posicionamiento en buscadores y sistemas de inteligencia artificial, su estrategia resulta especialmente eficaz: mantiene una producción extensa y temática, conecta su canal con cursos, libros y obra propia, y repite conceptos distintivos que facilitan su asociación con determinados asuntos.

Cuando una persona busca en español expresiones como “hamparte”, “crítica de arte contemporáneo”, “por qué una obra cuesta tanto” o análisis de artistas conocidos, es frecuente encontrar sus contenidos entre los resultados. Su autoridad digital se ha construido mediante volumen, consistencia y diferenciación.

Sin embargo, esa influencia también implica responsabilidad. Cuando un comunicador posee una audiencia de más de un millón de personas, sus interpretaciones pueden modificar la percepción pública de un artista o de todo un movimiento. La simplificación necesaria para internet puede convertirse en reducción, y la crítica puede deslizarse hacia el espectáculo.

Su figura obliga así a plantear una pregunta propia de nuestro tiempo: ¿qué ocurre cuando la crítica de arte deja de depender principalmente de revistas especializadas y comienza a organizarse alrededor de algoritmos, suscripciones, miniaturas y comunidades digitales?

CREA 13 y la continuidad pedagógica

La Academia CREA 13 amplía su labor más allá de la opinión. Allí ofrece cursos online de dibujo, pintura y creación artística, vinculando el contenido gratuito del canal con una estructura educativa. Su página oficial integra estos cursos con la venta de obra, libros y colaboraciones, presentando la práctica artística como un ecosistema de producción, enseñanza y comunicación.

Este modelo representa una transformación significativa en la educación artística. El profesor ya no necesita estar limitado por el aula física; puede construir una comunidad internacional, ofrecer conocimiento directamente y desarrollar independencia económica mediante plataformas digitales.

Para artistas jóvenes, García Villarán es también un ejemplo de posicionamiento profesional. Su trayectoria demuestra que un creador contemporáneo puede combinar estudio, docencia, publicación, entretenimiento y emprendimiento sin depender exclusivamente de galerías o universidades.

Una nueva figura dentro de la cultura artística

Antonio García Villarán representa una forma contemporánea de autoridad cultural: la del artista-divulgador capaz de reunir formación académica, experiencia práctica y dominio de los medios digitales. Su influencia no puede evaluarse solamente a través de la precisión de cada juicio particular. Debe considerarse también por su capacidad para modificar el lugar que ocupa el arte dentro de la conversación pública.

Ha acercado la crítica artística a millones de espectadores, ha creado un vocabulario reconocible y ha hecho que el mercado, la técnica y la legitimación institucional se conviertan en asuntos de discusión cotidiana.

Su lenguaje puede ser polémico. Algunas de sus afirmaciones pueden parecer excesivamente categóricas. Pero su presencia confirma algo esencial: el público continúa interesado en el arte cuando encuentra una voz que lo presenta como una experiencia viva, discutible y conectada con las tensiones del presente.

En una época en la que la educación cultural compite con innumerables formas de entretenimiento, García Villarán ha conseguido convertir la crítica de arte en contenido de amplia circulación. Su canal no es solamente uno de los proyectos audiovisuales sobre arte más visibles en español; es también un laboratorio donde se redefine quién puede hablar de arte, desde qué plataformas y ante qué audiencias.

Custom Art Boards: Creative Surfaces Made for Your Artistic Vision

By
Art Miami Magazine Editorial Staff
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Custom Art Boards in Miami

Custom Art Boards: Creative Surfaces Made for Your Artistic Vision

Custom Art Boards for Artists, Galleries and Creative Projects

Discover custom art boards in wood or aluminum with CNC cutting, engraving, custom shapes, frames, specialized finishes, and LED details.

Every work of art begins with an idea, but the surface on which that idea takes form can influence its scale, structure, appearance, and creative possibilities. Custom Art Boards give artists, designers, galleries, architects, and creative businesses the freedom to move beyond conventional rectangular canvases and standardized panels.

Whether your project requires an organic silhouette, an architectural structure, a geometric composition, an integrated lighting system, or an unusually large painting surface, a custom-made art board can become an essential part of the artwork itself.

More Than a Surface

In art terminology, the support is the physical structure that carries the artistic medium. Canvas, paper, wood panels, and metal sheets are all examples of supports. Throughout art history, wood panels have played an important role in painting, particularly before stretched canvas became widely used in Europe. Historical research published by the Getty Conservation Institute documents the sophisticated construction methods used to prepare wooden painting supports between the thirteenth and sixteenth centuries.

Today, artists are expanding this tradition through contemporary fabrication technologies. Laser cutting, CNC routing, precision engraving, integrated lighting, and specialized finishes allow the support to function not simply as a background, but as an active visual and conceptual element.

Our custom Art Boards are made on-site, giving us the flexibility to adapt each panel to the artist’s individual requirements. Instead of forcing an artwork to fit a predetermined product, we create the surface around the project.

Any Shape, From Geometric to Organic

A painting does not always need to be square or rectangular. Custom-shaped art panels can follow the contours of a figure, symbol, landscape, architectural plan, logo, or abstract composition.

We can produce:

  • Circles, ovals, arches, triangles, and polygons
  • Organic and irregular silhouettes
  • Geometric and modular compositions
  • Interlocking or multi-panel installations
  • Logo-shaped boards and branded displays
  • Artist-designed forms created from digital files
  • Completely original shapes developed for a specific project

Custom shapes are particularly effective for contemporary painting, geometric abstraction, shaped-canvas practices, murals, installations, branded environments, and multidisciplinary artwork.

Custom Sizes for Small and Large Projects

Our fabrication capabilities accommodate a broad range of dimensions. We have created boards as small as approximately 4 inches and panels approaching 10 feet in length.

This flexibility makes custom Art Boards suitable for intimate studio works, gallery exhibitions, hotel installations, retail displays, public-facing projects, and large-scale commissions.

Projects may include a single panel, a limited series, a modular group, or multiple boards manufactured to consistent specifications. Because every project is evaluated individually, dimensions, thickness, structural support, weight, and installation requirements can be considered during the design process.

Precision Details and Specialized Fabrication

A custom art panel can incorporate much more than a unique outline. Our experienced fabrication team can add functional, decorative, and architectural details that expand the possibilities of the finished work.

Available options may include:

  • CNC-routed shapes and cutouts
  • Laser-cut details
  • Recessed areas and layered surfaces
  • Engraved text, patterns, or imagery
  • Integrated LED lighting
  • Floating and cradle-style frames
  • Custom edge profiles
  • Rounded, beveled, sculpted, or exposed edges
  • Stained, sealed, painted, or natural finishes
  • Openings for mixed-media elements
  • Wall-mounting and display solutions
  • Multi-level and dimensional constructions

When an idea can be clearly designed, measured, and cut, there is a strong possibility that it can be fabricated.

A Choice of Materials and Surfaces

Different artistic media require different surfaces. We work with artists to identify a substrate and finish appropriate for the intended visual effect, fabrication method, and installation environment.

Available options may include:

Birch Art Boards

Birch panels provide a smooth, refined surface with an attractive natural grain. They are well suited to detailed painting, drawing, staining, engraving, mixed media, and projects in which the wood remains partially visible.

Poplar Art Boards

Poplar offers a relatively even texture and can be an effective choice for painting, fabrication, shaped panels, and custom projects requiring a clean wooden surface.

Pine Art Boards

Pine provides a more pronounced natural character and can be used when the grain, knots, warmth, or material identity of the wood contributes to the artwork.

Aluminum Art Boards

Aluminum surfaces offer a distinctly contemporary appearance. They may be selected for photography, printing, painting, mixed-media work, signage, modern interiors, and commercial display applications.

Primed Art Boards

Primed boards arrive with a prepared ground, allowing the artist to begin working with less preliminary surface preparation. The type of primer should be selected according to the intended medium and desired finish.

Unprimed Art Boards

Unprimed panels give artists greater control over sealing, sizing, staining, priming, and surface preparation. They are also ideal for projects that intentionally reveal the natural characteristics of the material.

Specialty Artist Panels

Additional branded or specialty artist panels, including selected Ampersand products, may be incorporated or sourced depending on project requirements and availability.

The long-term behavior of a wooden support can be affected by environmental conditions, particularly changes in humidity. The Smithsonian’s Museum Conservation Institute notes that excessive fluctuations in relative humidity can cause wooden panels to change shape over time. For this reason, artists creating important or conservation-sensitive work should discuss the intended medium, preparation, display environment, sealing, and installation method before fabrication. No panel should be described as “archival” solely because of its material; long-term performance depends on the complete construction and preparation system.

Beyond Art Panels

Our fabrication services are not limited to painting surfaces. We also create custom solutions for galleries, exhibitions, businesses, retail environments, events, and interior design projects.

Services may include:

  • Decorative screens and room dividers
  • Exhibition and merchandising displays
  • Point-of-sale structures
  • Custom signage
  • Product presentation panels
  • Engraved plaques and branded elements
  • Gallery display components
  • Architectural and decorative panels
  • Custom fabrication for installations

These services allow artists, curators, designers, and businesses to maintain a consistent visual language across artworks, exhibitions, interiors, and branded environments.

Made Around Your Idea

Custom means more than selecting a different size from a product list. It means considering the relationship among concept, material, scale, shape, surface, finish, edge, framing, lighting, and installation.

Our highly experienced team works closely with clients to transform drawings, measurements, digital files, references, and creative ideas into carefully fabricated objects. Whether you need one experimental panel, a custom geometric surface, a coordinated body of work, or an entirely unconventional structure, we approach every project as a collaboration.

The process begins with your vision. Send us your proposed dimensions, preferred material, intended artistic medium, reference images, drawings, digital files, and any special features you would like to incorporate. We will review the concept and explore what can be created.

To discuss your custom Art Board, screen, display, or engraving project, contact:

Your artwork should not be limited by the dimensions of a standard panel. With custom Art Boards, the surface can become part of the idea.

Perspective Drawing: Private and Group Classes Taught by Professional Artists

By
Art Miami Magazine Editorial Staff
-
Perspective Drawing classes in Miami, Florida

Perspective Drawing: Private and Group Classes Taught by Professional Artists

Perspective drawing is one of the most important skills for anyone who wants to create convincing images of buildings, interiors, streets, landscapes, objects, or imagined environments. It helps artists understand how space, distance, proportion, and depth can be represented on a flat surface.

Private and group perspective drawing classes taught by professional artists provide students with practical instruction and guided exercises. These classes can be adapted for beginners, teenagers, adults, art students, architects, designers, illustrators, and practicing artists who want to strengthen their drawing skills.

What Is Perspective Drawing Classes?

Perspective is a system used to represent three-dimensional space on a two-dimensional surface. It explains why objects appear smaller as they move farther away and why parallel lines seem to meet in the distance.

Artists use perspective to create a believable sense of:

  • Depth
  • Distance
  • Scale
  • Proportion
  • Spatial relationships
  • Volume
  • Architectural structure

Perspective is not limited to highly realistic art. It is also useful in illustration, animation, comics, abstract art, set design, sculpture, and conceptual drawing.

Why Learn Perspective?

Many students can draw individual objects but struggle when placing them inside a room, landscape, or architectural setting. Perspective helps organize those objects within a consistent space.

By studying perspective, students learn how to:

  • Draw rooms and interiors accurately
  • Create believable streets and cityscapes
  • Position objects at different distances
  • Understand the relationship between the viewer and the subject
  • Draw buildings from different angles
  • Create depth in landscapes
  • Construct imagined environments
  • Improve proportion and spatial awareness

Perspective also helps students understand how visual space is organized in paintings, photographs, films, and architectural images.

Private Perspective Drawing Classes

Private lessons provide individualized instruction based on the student’s experience, interests, and professional goals.

A beginner may need to understand the horizon line and vanishing points, while a more advanced student may want to study complex interiors, curved forms, aerial perspective, or architectural drawing.

Private classes are especially useful for:

  • Beginners who prefer personal guidance
  • Art students preparing portfolios
  • Architects and interior designers
  • Illustrators and comic artists
  • Students interested in urban sketching
  • Artists working with landscapes or interiors
  • Adults returning to drawing
  • Students who need flexible scheduling

The instructor can identify specific problems and develop exercises focused on those areas. Because the lesson is personalized, students can progress at a pace that feels comfortable and productive.

Group Perspective Drawing Classes

Group classes offer a collaborative environment where students can learn through demonstrations, shared exercises, and constructive discussion.

The instructor may introduce a perspective system and then guide the class through drawing a room, street, building, still life, or imaginary scene. Students can compare different solutions and learn from the way others interpret the same assignment.

Group classes are ideal for:

  • Friends or family members learning together
  • Teenagers interested in art and design
  • Community art groups
  • Beginners seeking an affordable introduction
  • Students who enjoy social learning
  • Artists interested in regular practice
  • Schools and cultural organizations

Although everyone may work from the same lesson, professional instructors can provide individual feedback and adapt exercises for different skill levels.

One-Point Perspective

One-point perspective is often the first system students learn. It is used when the front of an object faces the viewer directly and lines moving into the distance converge toward a single vanishing point.

Common examples include:

  • A hallway
  • A road viewed from the center
  • A room seen from the front
  • Railroad tracks
  • A row of buildings
  • A table positioned directly in front of the viewer

Students usually begin by identifying the horizon line and placing one vanishing point. They then learn how to construct boxes, furniture, doors, windows, and architectural elements within the same space.

One-point perspective provides a strong introduction to depth and spatial organization.

Two-Point Perspective

Two-point perspective is used when the viewer sees the corner of an object rather than its front surface.

The horizontal edges of the object move toward two separate vanishing points. This system is commonly used to draw:

  • Buildings seen from a corner
  • Furniture at an angle
  • City blocks
  • Boxes and geometric objects
  • Interior spaces
  • Architectural exteriors

Two-point perspective creates a more dynamic view and helps students understand how forms rotate in space.

Three-Point Perspective

Three-point perspective adds a third vanishing point above or below the horizon line. It is often used when looking dramatically upward or downward.

Examples include:

  • Looking up at a skyscraper
  • Viewing a city from a high building
  • Dramatic architectural illustrations
  • Comic-book environments
  • Fantasy cities
  • Aerial views

This system can create a powerful sense of height, scale, and movement. It is generally introduced after students understand one- and two-point perspective.

The Horizon Line and Eye Level

The horizon line represents the viewer’s eye level. Its placement affects how objects are seen.

When an object is below the horizon line, the viewer can usually see its top. When it is above the horizon line, the viewer may see its underside.

Understanding eye level helps students control the visual experience of a scene. A low horizon line can make buildings appear monumental, while a high horizon line can create the impression of looking down over a space.

Vanishing Points

A vanishing point is the location where parallel lines appear to meet as they recede into the distance.

Vanishing points help artists maintain consistency. Without them, buildings, furniture, and other objects may appear distorted or disconnected from the surrounding space.

Students learn how to identify vanishing points in photographs and real environments. They also learn how to create their own spatial systems when drawing from imagination.

Drawing Basic Forms in Perspective

Before attempting complicated buildings or interiors, students often practice drawing simple geometric forms, including:

  • Cubes
  • Rectangular boxes
  • Cylinders
  • Spheres
  • Pyramids
  • Cones

These forms become the foundation for more complex subjects. A building can begin as a box, a column as a cylinder, and a roof as a triangular form.

Professional artists teach students how to simplify complicated structures before adding windows, textures, decorations, or other details.

Circles, Cylinders, and Curved Forms

Drawing circles in perspective can be challenging because a circle often appears as an ellipse when viewed at an angle.

Students may practice drawing:

  • Wheels
  • Cups
  • Columns
  • Arches
  • Domes
  • Tables
  • Bottles
  • Round buildings

Understanding ellipses is especially important for industrial design, product drawing, architecture, and still-life art.

Measuring Proportion and Scale

Perspective drawing also involves comparing the size and position of objects.

Students learn how to:

  • Repeat objects at equal distances
  • Draw windows of consistent size
  • Place people correctly within architectural scenes
  • Create floor tiles
  • Measure building levels
  • Establish believable scale relationships
  • Reduce objects gradually as they recede

These skills help prevent figures, furniture, and architectural elements from appearing too large or too small.

Drawing Interiors

Interior perspective is useful for artists, architects, interior designers, and students interested in spatial design.

Classes may include exercises involving:

  • Bedrooms
  • Living rooms
  • Galleries
  • Restaurants
  • Studios
  • Offices
  • Museums
  • Theaters

Students learn how to place walls, doors, windows, furniture, artwork, and lighting within a coherent space.

They may also study how composition and viewpoint influence the mood of an interior.

Architectural and Urban Drawing

Perspective is essential for drawing buildings and city environments.

Students may work from:

  • Photographs
  • Architectural references
  • Direct observation
  • Outdoor urban-sketching sessions
  • Historical buildings
  • Modern architecture
  • Imagined cities

They learn how to simplify complex structures, establish major angles, and add details without losing the overall spatial organization.

Urban drawing can also teach students how people, vehicles, signs, trees, and street furniture interact within public space.

Perspective in Landscape Drawing

Perspective is not limited to architecture. It also helps create depth in natural environments.

Students learn how distant objects change in:

  • Size
  • Detail
  • Contrast
  • Color
  • Sharpness
  • Texture

A tree in the foreground may appear large and detailed, while distant trees become smaller and less defined.

This gradual change creates the illusion of space and distance.

Aerial or Atmospheric Perspective

Aerial perspective describes how the atmosphere affects the appearance of distant objects.

As objects move farther away, they often appear:

  • Lighter
  • Less detailed
  • Lower in contrast
  • Softer around the edges
  • Closer in color to the sky or atmosphere

Artists use atmospheric perspective to create depth in landscapes, cityscapes, and large interior spaces.

It can be combined with linear perspective to produce a more convincing image.

Perspective from Observation

Students may practice drawing directly from real environments rather than relying only on diagrams.

Possible locations include:

  • A classroom
  • A studio
  • A hallway
  • A park
  • A street
  • A museum
  • A public plaza
  • A café

Drawing from observation helps students recognize perspective systems in everyday life. It also teaches them how to simplify what they see and make decisions about composition.

Perspective from Imagination

Once students understand the basic rules, they can use perspective to invent spaces that do not exist.

This is especially useful for:

  • Concept art
  • Animation
  • Video-game design
  • Comics
  • Film storyboards
  • Fantasy illustration
  • Science-fiction environments
  • Set design

Students learn how to create a believable world by maintaining consistent scale, viewpoint, lighting, and spatial relationships.

Materials Used in Perspective Drawing Classes

Students may use:

  • Graphite pencils
  • Mechanical pencils
  • Charcoal
  • Ink
  • Rulers
  • T-squares
  • Set squares
  • Perspective grids
  • Erasers
  • Sketchbooks
  • Drawing paper
  • Digital tablets

Beginners can start with simple pencils, paper, and a ruler. More advanced students may work freehand or use digital drawing programs.

The instructor can recommend materials according to the student’s goals and budget.

Freehand Perspective

Although rulers are helpful for learning the basic system, artists also benefit from practicing freehand perspective.

Freehand drawing allows students to work more quickly and naturally. It is especially valuable for urban sketching, travel drawing, and conceptual studies.

The goal is not always mathematical perfection. A drawing can remain expressive while still communicating believable space.

Professional artists help students find a balance between accuracy and spontaneity.

Why Study with a Professional Artist?

A practicing artist can explain perspective as both a technical system and a creative tool.

Professional artists understand that a perfectly constructed drawing is not necessarily an interesting artwork. They can teach students how to use viewpoint, scale, distortion, and composition to create atmosphere and meaning.

An artist-instructor can also demonstrate how perspective is used differently in:

  • Fine art
  • Architecture
  • Illustration
  • Animation
  • Painting
  • Comics
  • Sculpture
  • Installation art
  • Film and theater design

This broader perspective helps students understand how technical knowledge supports personal expression.

Perspective and Personal Style

Learning the rules of perspective does not require artists to create only realistic drawings.

Many artists intentionally alter or reject traditional perspective to create emotional, symbolic, or abstract spaces. However, understanding the system allows them to make those choices deliberately.

Students can use perspective to create:

  • Realistic environments
  • Distorted interiors
  • Dreamlike spaces
  • Surreal architecture
  • Abstract geometric compositions
  • Multiple viewpoints
  • Symbolic landscapes

Technical knowledge gives artists more freedom because they can decide when to follow the rules and when to transform them.

Benefits Beyond Art

Perspective drawing also develops useful cognitive and practical abilities, including:

  • Spatial reasoning
  • Problem-solving
  • Observation
  • Patience
  • Concentration
  • Visual organization
  • Hand-eye coordination
  • Design awareness
  • Planning skills

These abilities can be valuable in architecture, engineering, interior design, fashion, product design, animation, and many other fields.

Choosing the Right Class

Before enrolling, students should consider their goals and preferred learning environment.

Private classes are often best for students who need individualized instruction, flexible scheduling, portfolio preparation, or help with a specific problem.

Group classes may be better for students who enjoy collaboration, shared assignments, demonstrations, and creative community.

Useful questions to ask include:

  • Is the class suitable for beginners?
  • Does it cover one-, two-, and three-point perspective?
  • Is the focus architectural, artistic, or both?
  • Are outdoor drawing sessions included?
  • Does the instructor teach freehand perspective?
  • Are materials provided?
  • Is individual feedback included?
  • Can lessons be adapted for portfolio development?
  • Are online classes available?
  • Does the instructor have experience as a professional artist?

A strong course should combine clear technical instruction with creativity, experimentation, and personal support.

Conclusion

Private and group perspective drawing classes provide students with the knowledge needed to create convincing spaces, structures, and environments.

Through the study of horizon lines, vanishing points, proportion, scale, geometric forms, and atmospheric depth, students gain greater control over their drawings. Under the guidance of professional artists, perspective becomes more than a set of rules. It becomes a creative language for organizing space and directing the viewer’s experience.

Whether the goal is to draw architecture, improve a portfolio, explore urban sketching, design imaginary worlds, or simply gain confidence, perspective classes offer a practical and rewarding foundation for artistic growth.

PDX CONTEMPORARY ART

By
Art Miami Magazine Editorial Staff
-
Hamish Fulton
Hamish Fulton

PDX CONTEMPORARY ART: Sustaining Artists, Ideas, and Place

Since opening in Portland in 1996, PDX CONTEMPORARY ART has cultivated an artist-centered program grounded in long-term relationships, rigorous exhibitions, and sustained support for creative careers. Representing artists from the Pacific Northwest alongside national and international voices, the gallery creates productive encounters among distinct generations, geographies, materials, and artistic languages.

Its history is closely connected to architecture and place. The gallery’s earlier spaces were designed by Brad Cloepfil of Allied Works, while its current home occupies a revitalized Quonset hut within a developing creative community in Portland’s industrial northwest district. This setting reflects the gallery’s broader character: adaptable, materially conscious, and committed to dialogue between contemporary art and the cultural environment that surrounds it.

PDX CONTEMPORARY ART approaches the gallery not simply as a commercial venue, but as an evolving platform for experimentation, continuity, and public engagement. Its program encompasses painting, sculpture, photography, textiles, installation, and conceptually driven practices without imposing a single aesthetic identity. What unites these positions is a belief in the artist’s capacity to reshape perception. Through attentive representation and consistently ambitious exhibitions, the gallery has become an important structure of support within Portland’s contemporary art community—and a meaningful point of connection between regional practices and the wider art world.

History
Opened in 1996 in a beautiful small space, designed by Brad Cloepfil of Allied Works who also designed the larger space opened in 2006, PDX CONTEMPORARY ART continues to be an artist-centric gallery which continues to expand and evolve, mounting shows each month while maintaining its mission of facilitating and building artists’ careers. PDX is known for consistently programming compelling exhibitions, to be supportive of the community, and representing artists both local and international. Our newest space is in a revitalized quonset hut and part of a Skylab project to develop a creative community on the edge of industrial northwest Portland.

Staff
Jane Beebe, Owner and Director
JM Fields, Gallery Manager
Nathan Anderson, Gallery Preparator and Archivist for estate of D.E.May
Sam Beebe, Gallery Associate
Keegan Rankin, Agaric, Developer

PDX CONTEMPORARY ART Pdxcontemporaryart.com
1881 NW Vaughn Street, Portland, OR 97209
+1-503-222-0063
[email protected]

Open 10 AM – 5 PM, Tuesday – Saturday

Current
Mixed Flock: 30 Years
Alma Allen, Anna Gray + Ryan Wilson Paulsen, Nick Blosser, Iván Carmona, Marjorie Dial, Amjad Faur, Bean Finneran, Jacques Flechemuller, Ellen George, Victoria Haven, Elizabeth Knight, Justin L’Amie, James Lavadour, Terran Last Gun, Nathan William Lambdin, Nancy Lorenz, D.E. May, Kristen Miller, Wes Mills, Jeffry Mitchell, Megan Murphy, Jenene Nagy, Ido Radon, Georgina Reskala, Joe Rudko, Tad Savinar, Susan Seubert, Adam Sorensen, Barbara Stafford, Storm Tharp, Gus Van Sant, Nell Warren, Heather Watkins, Marie Watt, Yamamoto Masao
July 1 – August 29, 2026
Upcoming
Past
Mixed Flock: 30 Years
Alma Allen, Anna Gray + Ryan Wilson Paulsen, Nick Blosser, Iván Carmona, Marjorie Dial, Amjad Faur, Bean Finneran, Jacques Flechemuller, Ellen George, Victoria Haven, Elizabeth Knight, Justin L’Amie, James Lavadour, Terran Last Gun, Nathan William Lambdin, Nancy Lorenz, D.E. May, Kristen Miller, Wes Mills, Jeffry Mitchell, Megan Murphy, Jenene Nagy, Ido Radon, Georgina Reskala, Joe Rudko, Tad Savinar, Susan Seubert, Adam Sorensen, Barbara Stafford, Storm Tharp, Gus Van Sant, Nell Warren, Heather Watkins, Marie Watt, Yamamoto Masao
July 1 – August 29, 2026
seeds petals stones
Ellen George
June 3 – 27, 2026
when once our shadows touched, moving gently on this wide path
Jenene Nagy
April 28 – May 23, 2026
Inhabitations
Nathan William Lambdin
April 1 – 25, 2026
2025: A Logbook Through Darkness
Tad Savinar
March 4 – 28, 2026
Notes, Notes, Notes
D.E. May
February 4 – 28, 2026
Drift Fence
Wes Mills
December 31, 2025 – January 31, 2026
Give a Girl a Dog
Elizabeth Knight
December 31, 2025 – January 31, 2026
Winter Blooming
Jeffry Mitchell
December 3 – 27, 2025
Day and Night
Kristen Miller
November 5 – 29, 2025
Visual Fields
Heather Watkins
October 8 – November 1, 2025
Dismal Nitch Polyphemus Moth
Justin L’Amie
September 10 – October 4, 2025
Bookends
Anna Gray + Ryan Wilson Paulsen, Iván Carmona, Jodie Cavalier, Nan Curtis, Marjorie Dial, Jess Perlitz, Joshua West Smith
September 10 – October 4, 2025
Summer Group Show 2025
Christian Abusaid, Nick Blosser, Iván Carmona, Heloise De Mil, Marjorie Dial, Bean Finneran, Ellen George, Johannes Girardoni, Shanti Grandhi, Victoria Haven, Justin L’Amie, Yamamoto Masao, D.E. May, Kristen Miller, Jeffry Mitchell, Jenene Nagy, Joe Rudko, Tad Savinar, Susan Seubert, Adam Sorensen, Barbara Stafford, Storm Tharp, Nell Warren, Heather Watkins, Marie Watt
July 2 – August 23, 2025
Art for a new consciousness
Christian Abusaid
June 4 – 28, 2025
HOME GROUND
James Lavadour
May 1 – 31, 2025
From the Stacks
April 2 – 26, 2025
Fragile Beauty
Susan Seubert
March 5 – 29, 2025
COMPANY
Storm Tharp
February 5 – March 1, 2025
VERS
Storm Tharp
February 5 – March 1, 2025
Lines of Light
Nancy Lorenz
January 2 – February 1, 2025
Trozos
Iván Carmona
December 4 – 28, 2024
When you are gone
Marjorie Dial
October 30 – November 30, 2024
Near and Far Afield
Nick Blosser
October 2 – 26, 2024
(in)finite
Johannes Girardoni
August 28 – September 28, 2024
Properties of Layers
Bean Finneran
August 28 – September 28, 2024
Summer Ritual
Anna Gray + Ryan Wilson Paulsen, Nick Blosser, Iván Carmona, Marjorie Dial, Amjad Faur, Anna Fidler, Bean Finneran, Jacques Flechemuller, Ellen George, Victoria Haven, Elizabeth Knight, Justin L’Amie, James Lavadour, Nancy Lorenz, D.E. May, Kristen Miller, Wes Mills, Jeffry Mitchell, Jenene Nagy, Georgina Reskala, Franklin Russell, Tad Savinar, Storm Tharp, Nell Warren, Heather Watkins, Marie Watt, Adrian Ruth Williams, Yamamoto Masao, Yuyang Zhang
July 3 – August 24, 2024
Living in a City
Justin L’Amie
June 5 – 29, 2024
Arches (and apertures)
Terry Toedtemeier
May 1 – June 1, 2024
Nancy Lorenz: Drawings
Nancy Lorenz
May 1 – June 1, 2024
Animal Spirit
Yamamoto Masao
April 3 – 27, 2024
Work After Work: PDX Staff Show
James Allen, Nathan Anderson, Lydia Beebe, Sam Beebe, Graham Bell, Iván Carmona, Janetmarie Fields, Jill Guild, Jon Hart, Justin L’Amie, Rose McCormick, Caitlin Moore, Jordan Pieper, Crystal Query, Adam Sorensen, Naomi Rosen
March 6 – 30, 2024
Scrapbook
Joe Rudko
February 1 – March 2, 2024
Out of Salem: D.E. May & Friends
Craig Klyver, Anonymous Out of Salem: D.E. May & Friends, Bryan Null, Dan Schmidt, Terry Schneider, Monte Shelton, John Van Dreal, Natalie (Laswell) Hargreaves, Bonnie Hull
January 3 – 27, 2024
Elefant Medium
Jeffry Mitchell
December 1 – 30, 2023
Planet Waves
James Lavadour
November 1 – 28, 2023
Elemental Things
Heather Watkins
November 1 – 28, 2023
A Spell for Letting Go
Amjad Faur
October 4 – 28, 2023
Volver a ver / To see again
Georgina Reskala
August 30 – September 30, 2023
You belong among the wildflowers
Barbara Stafford, Ellen George, Adam Sorensen, Anna Gray + Ryan Wilson Paulsen, Georgina Reskala, Victoria Haven, Marjorie Dial, Yamamoto Masao, Patrick Abbey, Iván Carmona, Bean Finneran, Susan Seubert, Molly Vidor, Tina Beebe, Justin L’Amie, Jeffry Mitchell, Larry Yes, Nancy Lorenz, Andy Stout, Kristen Miller, Joe Rudko, Terry Toedtemeier, D.E. May, Amjad Faur, Nick Blosser, Mike Vos
July 8 – August 26, 2023
Ether
Megan Murphy
May 31 – July 1, 2023
the silent twig
Wes Mills
May 31 – July 1, 2023
Slow Gestures
Ellen George
May 3 – 27, 2023
Lost and Found
Tina Beebe
April 5 – 29, 2023
Ephemeros
Nell Warren
April 5 – 29, 2023
FROM THE ARCHIVES: NOTES AND PLANS
D.E. May
March 1 – April 1, 2023
a river with no banks
Jenene Nagy
March 1 – April 1, 2023
M U S I N G S FROM THE FUTURE
Tad Savinar
January 11 – February 25, 2023
Looking Back, Looking Forward
Kristen Miller
December 7, 2022 – January 7, 2023
A Shared Horizon (Western Door)
Marie Watt
November 3 – December 3, 2022
sandwiches for every meal
Anna Gray + Ryan Wilson Paulsen
October 5 – 29, 2022
Water Color
Adam Sorensen
September 1 – October 1, 2022
Easy Breezy
Anna Gray + Ryan Wilson Paulsen, Bean Finneran, Barbara Stafford, Ellen George, Georgina Reskala, Heather Watkins, Iván Carmona, Jeffry Mitchell, Jenene Nagy, Jacques Flechemuller, Joe Rudko, Justin L’Amie, Kristen Miller, Marjorie Dial, Nancy Lorenz, Nell Warren, Storm Tharp, Terry Toedtemeier, Victoria Haven, Wes Mills, Jodie Cavalier
August 2 – 27, 2022
The Repository
Marjorie Dial
July 2 – 30, 2022
The Queens of Rain
Victoria Haven
July 2 – 30, 2022
In This Garden
Storm Tharp
May 22 – June 30, 2022
Calling Invisible Doctors
James Lavadour, Terry Toedtemeier
April 22 – May 20, 2022
New Work From Our Artists’ Studios
Adam Sorensen, Victoria Haven, Joe Rudko, Ellen George, Nick Blosser, Jeffry Mitchell, Kristen Miller
March 1 – 26, 2022
D.E. May Archiving Project
January 11 – February 19, 2022
I Have a Winter Friend
Jeffry Mitchell
November 16 – December 24, 2021
tierra de GIGANTES
Iván Carmona
October 13 – November 13, 2021
still—moving
Heather Watkins
September 1 – October 9, 2021
Walking
Anna Gray + Ryan Wilson Paulsen, Nick Blosser, Iván Carmona, Amjad Faur, Jacques Flechemuller, Ellen George, Victoria Haven, Elizabeth Knight, Justin L’Amie, James Lavadour, Nancy Lorenz, D.E. May, Kristen Miller, Wes Mills, Jeffry Mitchell, Megan Murphy, Jenene Nagy, Georgina Reskala, Tad Savinar, Adam Sorensen, Barbara Stafford, Storm Tharp, Terry Toedtemeier, Molly Vidor, Nell Warren, Heather Watkins, Marie Watt, Bob Schalkwijk, Richard Long, Christopher Baird, Alfredo Jaar, Hamish Fulton, Sam Magavern
July 1 – August 28, 2021
The Color of Breathlessness
Tina Beebe, Iván Carmona, Bean Finneran, Ellen George, Johannes Girardoni, D.E. May, Kristen Miller, Wes Mills, Adam Sorensen, Barbara Stafford, Storm Tharp
June 2 – 26, 2021
Inventing the Truth
Georgina Reskala
May 5 – 29, 2021
Support System
Joe Rudko
March 31 – May 1, 2021
BONSAI
Yamamoto Masao
March 3 – 27, 2021
D.E. MAY, MEGAN MURPHY, & JENENE NAGY
D.E. May, Megan Murphy, Jenene Nagy
February 3 – 27, 2021
Incarnate
Megan Murphy
January 6 – February 2, 2021
Ferocious Mothers
Natalie Ball, Jessica Jackson-Hutchins, Ellen Lesperance, Maya Lin, Heather Watkins, Marie Watt, Senga Nengudi
December 2, 2020 – January 2, 2021
Shadow, Hold Your Breath
Justin L’Amie
November 4 – 28, 2020
EXPECTING RAIN
James Lavadour
September 30 – October 31, 2020
Seeking Fragrance
Storm Tharp
September 2 – 26, 2020
River
Anna Gray + Ryan Wilson Paulsen, Sam Beebe, Nick Blosser, Iván Carmona, Ellen George, Peter Gronquist, Elizabeth Knight, Justin L’Amie, D.E. May, Kristen Miller, Jeffry Mitchell, Jenene Nagy, Georgina Reskala, Joe Rudko, Adam Sorensen, Andy Stout, Terry Toedtemeier, Molly Vidor, Nell Warren, Heather Watkins, Yamamoto Masao
July 2 – August 29, 2020
PIVOT: Drawings
Anna Gray + Ryan Wilson Paulsen, Victoria Haven, D.E. May, Nancy Lorenz, Marie Watt, Kristen Miller
May 30 – June 30, 2020
Fresh New Work from Our Artists’ Studios
James Lavadour, Ellen George, Justin L’Amie, Jenene Nagy, Iván Carmona, Amjad Faur, Nick Blosser, Kristen Miller
April 22 – June 30, 2020
Falling Green
Barbara Stafford
March 4 – May 2, 2020
Skeleton
Adam Sorensen
January 15 – February 29, 2020
SUBLIME
Iván Carmona
December 4 – 28, 2019
A pop-up sale of work by Jeffry Mitchell at Oxbow !
Jeffry Mitchell
November 21 – 24, 2019
Works on Paper
Nancy Lorenz
November 5 – 30, 2019
box breathing
Jenene Nagy
October 2 – November 2, 2019
Brighten and Fade
Kristen Miller
September 4 – 28, 2019
IT’S SUMMER !
Anna Gray + Ryan Wilson Paulsen, Natalie Ball, Tina Beebe, Nick Blosser, Iván Carmona, Jacques Flechemuller, Amjad Faur, Bean Finneran, Ellen George, Peter Gronquist, Victoria Haven, Elizabeth Knight, James Lavadour, Nancy Lorenz, Jeffry Mitchell, Megan Murphy, Jenene Nagy, Georgina Reskala, Joe Rudko, Tad Savinar, Adam Sorensen, Barbara Stafford, Andy Stout, Storm Tharp, Molly Vidor, Nell Warren, Heather Watkins, Justin L’Amie
July 2 – August 31, 2019
Dan May: Artworks by D.E. May
D.E. May
June 5 – 29, 2019
I begin with a thin line
Ellen George
April 30 – June 1, 2019
Speculative Frictions
Caspar Heinemann, Emily Jones, Ranu Mukherjee, 0rphan Drift, Ido Radon, Stephanie Simek
April 3 – 27, 2019
It’s Not Any House You Know: New Myths for a Changing Planet
Jacques Flechemuller
March 6 – 30, 2019
Imprint of Place
Liz Robb, Iván Carmona
February 6 – March 2, 2019
drawings
Wes Mills
January 2 – February 2, 2019
The real voyage of discovery consists not in seeking new lands but seeing with new eyes
Molly Vidor
December 4 – 28, 2018
Tyger! Tyger!
Jeffry Mitchell
October 30 – December 1, 2018
All that I can see from here
James Lavadour
October 3 – 27, 2018
Encounters
Storm Tharp, Adam Sorensen, Yamamoto Masao, Jeffry Mitchell, Nancy Lorenz, Tsubasa Kato, Nao Osada, Itsuki Kaito, Masumi Kawamura, Masashi Echigo, MAYRHOFER-OHATA
August 28 – September 29, 2018
Along the Edge
Amjad Faur, Ellen George, Anna Gray + Ryan Wilson Paulsen, Victoria Haven, Elizabeth Knight, James Lavadour, Nancy Lorenz, Kristen Miller, Jenene Nagy, Georgina Reskala, Joe Rudko, Barbara Stafford, Tad Savinar, Terry Toedtemeier, Nell Warren, Heather Watkins, Justin L’Amie, D.E. May, Allynn Carpenter, Scotty Craighead, William Burton Binnie, Andy Stout, Jack Ryan, Agnes Martin, Tina Beebe, David Shratter, Nick Blosser
July 3 – August 25, 2018
The Book is a Body that Bends
Anna Gray + Ryan Wilson Paulsen
June 6 – 30, 2018
Waiting Room
Heather Watkins
May 2 – June 2, 2018
Intermediate Techniques of Photography
Joe Rudko
April 4 – 28, 2018
Ma’at Mons
Storm Tharp
February 28 – March 31, 2018
Midnight Florist
Justin L’Amie
January 31 – February 24, 2018
Residue of a Vision
Georgina Reskala
January 3 – 27, 2018
Adam Sorensen: Places
Adam Sorensen
December 6 – 23, 2017
Bean Finneran: Sushi Platforms
Bean Finneran
December 6 – 23, 2017
Susan Spence: Beach Baskets
Susan Spence
December 6 – 23, 2017
Exteriors
Nick Blosser
October 4 – 28, 2017
Companion Species
Marie Watt
August 31 – September 30, 2017
PDX -> PDT
Anna Gray + Ryan Wilson Paulsen, Amjad Faur, Bean Finneran, Ellen George, Johannes Girardoni, Elizabeth Knight, James Lavadour, D.E. May, Kristen Miller, Wes Mills, Megan Murphy, Rankin Renwick, Tad Savinar, Adam Sorensen, Barbara Stafford, Storm Tharp, Terry Toedtemeier, Gus Van Sant, Molly Vidor, Nell Warren, Marie Watt, Yamamoto Masao
July 7 – 29, 2017
Dislocation
Anna Gray + Ryan Wilson Paulsen, Amjad Faur, Jacques Flechemuller, Ellen George, Nancy Lorenz, D.E. May, Wes Mills, Jenene Nagy, Rankin Renwick, Joe Rudko, Storm Tharp, Terry Toedtemeier, Adam Sorensen, Heather Watkins, Monica Angle, Avantika Bawa, Ron Linn, Rachel McKenna, Georgina Reskala, Andy Stout
July 5 – August 26, 2017
Tori
Yamamoto Masao
May 30 – July 1, 2017
Drinking Light
Barbara Stafford
May 2 – 27, 2017
A Scythe Across the Night Sky
Amjad Faur
April 4 – 29, 2017
Orbits
Bean Finneran
March 1 – April 1, 2017
Resonance
Johannes Girardoni
February 1 – 25, 2017
The House Inside/Desert Dreamin’
Elizabeth Knight, Liz Robb
January 3 – 28, 2017
Love is a Pink Cake
Jacques Flechemuller, Justin L’Amie, Jeffry Mitchell, Storm Tharp
November 29 – December 30, 2016
But That Was Then
November 1 – 26, 2016
Ledger of Days
James Lavadour
October 4 – 29, 2016
Pilgrim
Megan Murphy
August 30 – October 1, 2016
Darkness and Light
Kristen Miller
August 2 – 27, 2016
A Stand of Pine in a Tilled Field: 21 Years at PDX
Anna Gray + Ryan Wilson Paulsen, Tina Beebe, Nick Blosser, Brad Cloepfil, Bean Finneran, Jacques Flechemuller, Ellen George, Victoria Haven, Arnold J. Kemp, Justin L’Amie, James Lavadour, Susie J. Lee + Joe Freeman, Nancy Lorenz, D.E. May, Kristen Miller, Wes Mills, Jeffry Mitchell, Megan Murphy, Jenene Nagy, Rankin Renwick, Ethan Rose, Joe Rudko, Tad Savinar, Adam Sorensen, Barbara Stafford, Storm Tharp, Terry Toedtemeier, Molly Vidor, Nell Warren, Heather Watkins, Marie Watt, Yamamoto Masao
July 5 – 30, 2016
Album
Joe Rudko
May 31 – July 2, 2016
May
Ellen George
May 3 – 28, 2016
I want to do to you what spring does with the cherry trees
April 5 – 30, 2016
Mass
Jenene Nagy
March 1 – April 2, 2016
Night & Day
Jeffry Mitchell
January 12 – February 27, 2016
Color
Tina Beebe, Peter Gronquist, Joe Rudko, Storm Tharp, Molly Vidor
December 2, 2015 – January 9, 2016
NO SPECIFIC REGION
D.E. May
November 3 – 28, 2015
New Paintings
Adam Sorensen
September 29 – October 31, 2015
This Is The Only One
Heather Watkins
September 1 – 26, 2015
Superstition
Justin L’Amie
August 4 – 29, 2015
Let’s Get Lost
Marie Watt, Tad Savinar, James Lavadour, D.E. May, Jacques Flechemuller, Ellen George, Elizabeth Knight, Jenene Nagy, Joshua West Smith, Joe Rudko, Kristen Miller, Johannes Girardoni, Liz Robb, Elizabeth Mead, Anne Crumpacker, Barbara Stafford, Tina Beebe, Jane Timken, Nick Blosser, Wes Mills, Megan Murphy, Jeffry Mitchell, Nell Warren, Nancy Lorenz, Anna Gray + Ryan Wilson Paulsen, Adam Sorensen, Terry Toedtemeier, Bean Finneran, Yamamoto Masao
June 30 – August 1, 2015
Entwined: a sound installation
Ethan Rose
June 2 – 27, 2015
WITH/AND: MFA in Craft Thesis Exhibition
May 15 – 27, 2015
Saltzman Road
Andy Stout
May 5 – 12, 2015
Polished Ground
Nancy Lorenz
March 31 – May 2, 2015
Battle
March 3 – 28, 2015
Picturesque
Joe Rudko
February 3 – 28, 2015
Subtitles
Victoria Haven
January 6 – 31, 2015
You Don’t Know Me
Susie J. Lee, Marne Lucas, Corey Lunn, Norah Horwitz
December 2 – 27, 2014
Sun Kings
Amjad Faur
November 4 – 29, 2014
Tiger
Storm Tharp
September 30 – November 1, 2014
brilliant
Jenene Nagy
September 2 – 27, 2014
Fingering Instabilities
James Lavadour
August 5 – 30, 2014
MOUNTAIN
Amjad Faur, Anna Gray + Ryan Wilson Paulsen, Ragnar Kjartansson, Justin L’Amie, Megan Murphy, Alice O’Malley, Matthieu Ricard, Liz Robb, Adam Sorensen, Barbara Stafford, Terry Toedtemeier, Heather Watkins, Leigh Wells, Yamamoto Masao
July 1 – August 2, 2014
Manifest
Nell Warren
June 3 – 28, 2014
Redacted
Johannes Girardoni
April 29 – May 31, 2014
No Show
Amjad Faur, Ellen George, Storm Tharp, Terry Toedtemeier, Molly Vidor, Yamamoto Masao
April 15 – 26, 2014
Hamilton Drawings
Wes Mills
March 4 – April 12, 2014
Skies
Terry Toedtemeier
February 4 – March 1, 2014
I Never Complained About the Past: New Work / New Year
Tina Beebe, Nick Blosser, Elizabeth Knight, Jenene Nagy, Storm Tharp, Jane Timken, Joe Rudko
December 31, 2013 – February 1, 2014
WOODS
December 3 – 28, 2013
A Series of Rectangles
Anna Gray + Ryan Wilson Paulsen
November 5 – 30, 2013
I wonder
Tad Savinar
November 5 – 30, 2013
DANCE WITH INGRES.
Jacques Flechemuller
October 1 – November 2, 2013
Memory of Line: Grids, Templates and Miniatures
D.E. May
September 3 – 28, 2013
Passing Through
Kristen Miller
July 30 – August 31, 2013
The Trunk of a Tree
Justin L’Amie
July 2 – 27, 2013
Range
Victoria Haven, James Lavadour, Wes Mills, Megan Murphy, Jane Timken, Johannes Girardoni, Leigh Wells
June 4 – 29, 2013
Elsewhere
April 30 – June 1, 2013
KAWA=FLOW/Eschaton/New Works
Yamamoto Masao, Amjad Faur, Evan La Londe
April 2 – 27, 2013
The Optimist
Adam Sorensen
March 5 – 30, 2013
WHEN WILL MY LOVE BE RIGHT
Arnold J. Kemp
January 22 – March 2, 2013
Crow’s Shadow Institute of the Arts Ford Family Foundation Golden Spot Awardee Print Exhibition
January 3 – 19, 2013
Black Dove/Sky Forms
Molly Vidor, Nell Warren
December 4 – 29, 2012
From Ash and Pearl
Nancy Lorenz
October 30 – December 1, 2012
Skywalker/Skyscraper
Marie Watt
October 2 – 27, 2012
Holding a Peach
Storm Tharp
September 4 – 29, 2012
Movement of Objects at Rest
Heather Watkins
July 31 – September 1, 2012
Maybe it Takes a Loud Noise
Anna Gray + Ryan Wilson Paulsen
July 3 – 28, 2012
Measure
Jenene Nagy
June 5 – 30, 2012
Evening
Barbara Stafford
May 1 – June 2, 2012
Pastoral
Elizabeth Knight
April 3 – 28, 2012
Of Gardens
Tina Beebe
April 3 – 28, 2012
The Interior
James Lavadour
February 28 – March 31, 2012
Clouds Inclose Comets: The Envelope
Group Show
January 31 – February 25, 2012
Reflection
Ethan Rose
December 30, 2011 – January 28, 2012
Honeydrippers
Molly Vidor
November 29 – December 24, 2011
Sensing Place
Ellen George
November 1 – 26, 2011
to tease a hummingbird
Wes Mills
October 4 – 29, 2011
Memento
Kristen Miller
August 30 – October 1, 2011
NURSE
August 30 – October 1, 2011
Unfinished Business
Terry Toedtemeier
August 2 – 27, 2011
From the Stacks ’11
August 2 – 27, 2011
Silver & Stones
Nancy Lorenz
July 5 – 30, 2011
oomph [ʊmf]: enthusiasm, vigor, or energy. sex appeal
James Lavadour, Tad Savinar, Storm Tharp, Marie Watt, Arcy Douglass, Anna Gray + Ryan Wilson Paulsen
May 31 – July 2, 2011
Light Matters
Johannes Girardoni
May 3 – 28, 2011
Bethlehem in Wax
Amjad Faur
April 5 – 30, 2011
New Work from “KAWA=FLOW”
Yamamoto Masao
April 5 – 30, 2011
Two Painters
Jane Timken, David Fertig
March 1 – April 2, 2011
Hit the North (45º 52’N)
Victoria Haven
January 18 – February 26, 2011
The Template Files
D.E. May
November 30, 2010 – January 15, 2011
as easy as falling off a log
Rankin Renwick
November 2 – 27, 2010
Natural Selection
Justin L’Amie
November 2 – 27, 2010
DAYDREAM NATION
Arnold J. Kemp
November 2 – 27, 2010
BEYOND THE FENCE
Jacques Flechemuller
October 5 – 30, 2010
New Westerns
Adam Sorensen
August 31 – October 2, 2010
RELATIVE PICNIC
August 3 – 28, 2010
The Classroom
Anna Gray + Ryan Wilson Paulsen
June 29 – July 31, 2010
Hercules
Storm Tharp
June 1 – August 14, 2010
Cut-ups
Gus Van Sant
May 5 – 29, 2010
Geographies of the Same Stone: for TT
James Lavadour
March 30 – May 1, 2010
Marker
Marie Watt
March 2 – 27, 2010
Incidence and Pattern
Bean Finneran
February 2 – 28, 2010
Porcelain
Megan Murphy
January 5 – 30, 2010
Here and Gone
Kristen Miller
December 1, 2009 – January 2, 2010
“This Quiet Dust, Ladies and Gentlemen”
Arnold J. Kemp
November 2 – 28, 2009
MellowDrama by Joe Macca
Joe Macca
September 29 – October 31, 2009
Storied
Nell Warren
September 1 – 26, 2009
Trees
Terry Toedtemeier
August 4 – 29, 2009
Mondrian’s Forest
Wes Mills
June 30 – August 1, 2009
Black Page
D.E. May
June 2 – July 15, 2009
nose touches twig
Ellen George
April 29 – May 30, 2009
Afield
Tina Beebe
April 29 – May 30, 2009
Smile
March 31 – April 25, 2009
KAWA = FLOW
Yamamoto Masao
March 3 – 28, 2009
Songs from the Treetops, group show curated by Harrell Fletcher
February 2 – 28, 2009
Six Records of a Floating Life
Nancy Lorenz
December 30, 2008 – January 31, 2009
False Fjords
Adam Sorensen
December 2 – 27, 2008
ARM & ARM
Storm Tharp
November 1 – 29, 2008
READING ROOM
Nazraeli Press Books, Amjad Faur, Charles Rasmussen, Richard Ehrlich, Robert Adams
September 30 – October 30, 2008
Splitting the Difference
Victoria Haven
September 2 – 27, 2008
Not Just Another Pretty Picture
Tad Savinar
September 2 – 27, 2008
Off-Road
Nick Blosser
August 5 – 30, 2008
Animal History Boxes
Elizabeth Knight
August 5 – 30, 2008
Kinda Like a Buffet
Group Show
July 1 – August 2, 2008
Glass works
June 12 – 28, 2008
The Things of Light
Megan Murphy
June 3 – 28, 2008
Quandaries
Nell Warren
April 29 – May 31, 2008
Close to the Ground
James Lavadour
April 1 – 26, 2008
Nothing but the Truth
Jacques Flechemuller
March 4 – 29, 2008
DESTROYER
Molly Vidor
February 5 – March 1, 2008
slowblivion
Joe Macca
January 2 – February 2, 2008
Resonance
Richard Wilson
December 4 – 29, 2007
Origin
Ryan Jeffery
December 4 – 29, 2007
Along the Interface
Kristen Miller
October 30 – December 1, 2007
TESTBEDS
D.E. May
October 2 – 27, 2007
Yamamoto Masao
Yamamoto Masao
August 28 – September 29, 2007
true bearing
Megan Murphy, Nell Warren, Sam Beebe, Christophe Berhault, Justine Kurland, Raymond Meeks, Lucas Foglia, Harrell Fletcher
July 31 – August 25, 2007
Drawings
Wes Mills
July 3 – 28, 2007
DRAWING / MAKING – Projects of Allied Works Architecture, 1997 – 2007
Brad Cloepfil
June 5 – 30, 2007
Daughter
May 1 – June 2, 2007
Hawaii to the Owyhee: A Bird’s Eye View
Terry Toedtemeier
March 31 – April 28, 2007
Tread Lightly
Marie Watt
February 27 – March 31, 2007
Mixed Company
Mary Henry, Ryan Jeffery, D.E. May, Rankin Renwick
January 30 – February 24, 2007
We Appeal to Heaven
Storm Tharp
January 2 – 27, 2007
Paintings and Drawings
Megan Murphy
December 5 – 30, 2006
Double Vision
Nancy Lorenz
October 31 – December 2, 2006
Gone Fishing
Jacques Flechemuller
October 3 – 28, 2006
New Works
Brad Adkins
October 3 – 28, 2006
City In A Box
Tad Savinar
September 5 – 30, 2006
Sun Spots
James Lavadour
August 2 – September 2, 2006
Hand-woven Wool Baskets of the Plateau Tradition
Joey Lavadour
August 2 – September 2, 2006
Oxygen Paintings
Joe Macca
July 5 – 29, 2006
Speciation
Ellen George
May 30 – July 1, 2006
Akzidenz Grotesk – Light Oldstyle Figures
Patrick Abbey
May 2 – 27, 2006
Nazraeli Press Books
Nazraeli Press Books
May 2 – 27, 2006
Line = Form
Kevin Burrus
April 1 – 29, 2006
Shift
Bean Finneran
February 28 – April 1, 2006
Waiting
Kristen Miller
January 31 – February 25, 2006
The Lucky Ones
Victoria Haven
January 3 – 28, 2006
New Found Land
December 6 – 31, 2005
Next
November 1 – December 3, 2005
The Surroundings of the Archaic Character
Yamamoto Masao
October 4 – 29, 2005
New paintings
Nick Blosser
July 6 – August 13, 2005
Group Show
Brad Adkins, Nick Blosser, Jacques Flechemuller, Victoria Haven, Elizabeth Knight, Lisa Lockhart, Nancy Lorenz, Yamamoto Masao
May 31 – July 2, 2005
The Quiet
Barbara Stafford
May 3 – 28, 2005
Tutti Frutti
Jacques Flechemuller
April 5 – 30, 2005
The Black Show
Storm Tharp
March 8 – April 30, 2005
Walk
James Lavadour
March 8 – April 30, 2005
Spring Paintings
Tina Beebe
March 1 – April 2, 2005
Places, Pieces, and Hidden Histories
Terry Toedtemeier
January 25 – February 26, 2005
Toys and Totems
Elizabeth Knight
December 7 – 31, 2004
The Color of Underappreciated Things
Joe Macca
November 9 – December 4, 2004
Blanket Stories
Marie Watt
October 5 – November 6, 2004
Magnificent Obsessions
Lisa Lockhart
September 7 – October 2, 2004
Shock and Awe
Megan Murphy
August 10 – September 4, 2004
Nakazora
Yamamoto Masao
July 6 – August 7, 2004
Summer Group Show
June 8 – July 3, 2004
Wood
D.E. May
May 4 – June 5, 2004
Apparent Horizon
Victoria Haven
April 7 – May 1, 2004
Meadow
Ellen George
March 9 – April 3, 2004
Artifacts
Kevin Burrus
January 6 – February 9, 2004
Romantic Landscapes
James Lavadour
December 9, 2003 – January 3, 2004
Order in Space
Nancy Lorenz
November 11 – December 6, 2003
Geographies of the Same Stone
Terry Toedtemeier
October 7 – November 8, 2003
From Here and There
Nick Blosser
September 9 – October 4, 2003
Curves
Bean Finneran
July 8 – August 2, 2003
Night
Megan Murphy
March 11 – April 5, 2003
Night Paintings and I, Virus
Joe Macca
February 1 – March 8, 2003
Drawing
Storm Tharp
November 19 – December 14, 2002
Alloys and The Role of Water
D.E. May
October 22, 2002 – November 16, 2006
Intersections
James Lavadour
August 27 – September 21, 2002
Influenced
Kane Do, Jacques Flechemuller, Mary Henry, Elizabeth Knight, James Lavadour
June 4 – July 4, 2002
Arrangements
Ellen George
May 7 – June 13, 2002
Illuminations
Elizabeth Knight
April 9 – May 4, 2002
Landscape paintings
Nick Blosser
March 12 – April 6, 2002
Tetris Drawings and Other New Work
Victoria Haven
February 12 – March 9, 2002
Sleep and Sleeplessness
Marie Watt
January 8 – February 2, 2002
Mother of Pearl Paintings
Nancy Lorenz
December 5, 2001 – January 5, 2002
HEDZ
Joe Macca
November 6 – December 4, 2001

Invited artist

Natalie (Laswell) Hargreaves
0rphan Drift
Christian Abusaid
Robert Adams
Marcy Adzich
Ellen Agee
Alma Allen
James Allen
Nathan Anderson
Kenneth Andrew Mroczek
Monica Angle
Artocracy
Christopher Baird
Natalie Ball
Johanna Barron
Avantika Bawa
Travis Beardsley
Sam Beebe
Lydia Beebe
Silas Beebe
Marwin Begaye (Navajo/Diné)
Graham Bell
Greg Bell
Gretchen Bennett
Zack Bent
Martha Bergman
Christophe Berhault
Big Yard Foundation
William Burton Binnie
Philippe Blanc
Pat Boas
Reese Bowes
Chad Brown
Matt Bua
Wendy Burden
Karl Burkheimer
Ryan Burns
Caroline Burton
Allynn Carpenter
Jodie Cavalier
Raven Chacon (Diné)
Brad Cloepfil
Ashby Lee Collinson
Brennan Conaway
Scotty Craighead
Anne Crumpacker
Nan Curtis
Larry Cwik
Eugene Davis
Jovencio de la Paz
Heloise De Mil
Santiago de Paoli
Bill Dean
Jen Delos Reyes
Aruni Dharmakirthi
Brooks Dierdorff
Marc Dombrosky
Melia Donovan
Arcy Douglass
Madelynn Dubin
Masashi Echigo
Richard Ehrlich
Carson Ellis
Olivia Erlanger
Tia Factor
Leiv Fagereng
Daniel Fagereng
Eduardo Fernandez
David Fertig
Anna Fidler
Janetmarie Fields
Yatika Fields (Osage, Cherokee, Creek)
Harrell Fletcher
Lucas Foglia
Michelle Forsyth
Derek Franklin
Heather Frazier
Joe Freeman
Eugénie Frerichs
Sue Friesz
Hamish Fulton
Nicolo Gentile
Narangkar Glover
Shanti Grandhi
Peter Gronquist
Jill Guild
Erin Haldane
Megan Hanley
Jon Hart
Cameron Hawkey
Jesse Hayward
Caspar Heinemann
Jessica Hickey
Todd Hido
Midori Hirose
Jeri Hise
Norah Horwitz
Tula Howell
Laura Hughes
Bonnie Hull
Jay Humphreys
Scott Wayne Indiana
Philip Iosca
Tristan “TK” Irving
Carrie Iverson
Alfredo Jaar
Jo Jackson
Jessica Jackson-Hutchins
Jeff Jahn
Jessie Weitzel and Jeremy Le Grand
Chris Johanson
Vanessa Johnson
Rebecca Johnson
Brad Johnson
Emily Jones
Itsuki Kaito
Tsubasa Kato
Masumi Kawamura
Jeff Kellar
Heechan Kim
Lillian Kingery
Ragnar Kjartansson
Susan Klein
Craig Klyver
Bukola Koiki
Justine Kurland
Evan La Londe
Kendra Larson
Terran Last Gun
Joey Lavadour
Matthew Leavitt
Heather Lee Birdsong
Ellen Lesperance
Maya Lin
Ron Linn
Jim Lommasson
Richard Long
Marne Lucas
Corey Lunn
Sam Magavern
Brenda Mallory
John Mann
Isabelle Marshall
Agnes Martin
Montana Maurice
MAYRHOFER-OHATA
Jarrod McCann
Rose McCormick
Adam McIsaac
Rachel McKenna
Elizabeth Mead
Sorcha Meek
Dave Meeker
Raymond Meeks
Josh Meier
Tony Mendoza
James Miles
Greg Misarti
Caitlin Moore
Diego Morales-Portillo
Nicole Eva Mueller
Ranu Mukherjee
Greely Myatt
Emily Nachison
Nathan William Lambdin
Eduardo Navarro
David Neevel
Senga Nengudi
Tucker Nichols
TJ Norris
Bryan Null
John Alan Nyberg
Alice O’Malley
OCAC MFA in Craft
Geraldine Ondrizek
Lisa Onstad
Nate Orton
Nao Osada
Anonymous Out of Salem: D.E. May & Friends
Calder Paulsen
Bob Peirce
Kaj-anne Pepper
Jess Perlitz
Jordan Pieper
Crystal Query
Ido Radon
Charles Rasmussen
Shawn Records
Wendy Red Star
James Reed
Michael Reinsch
Ron Rezek
Matthieu Ricard
Bradley Rogers
Naomi Rosen
Ben Rosenberg
Molly Roth
Franklin Russell
Jack Ryan
Kaia Sand
Bob Schalkwijk
David Schell
Richard Schemmerer
Crystal Schenk
Jane Schiffhauer
Dan Schmidt
Terry Schneider
Mandee Schroer
Stacy Jo Scott
Blake Shell
Monte Shelton
David Shratter
Stephanie Simek
Lorna Simpson
Ben Skiba
Natasha Snellman
Madeleine Soich
Susan Spence
Anya Spielman
Andy Stout
Bradley Streeper
Jason Sturgill
Little Sun
Susie J. Lee + Joe Freeman
Seth Tane
Jenevive Tatiana
The Beebe Company
Molly Torgeson
Rob Tsunehiro
Jordan Tull
Von Tundra
John Van Dreal
Joey Veltkamp
Ros Vila
Dieta von Matthiessen
Mike Vos
Leigh Wells
Joshua West Smith
Adrian Ruth Williams
Janet Williamson
Richard Wilson
Ryan Wilson Paulsen
Christine Wong Yap
Melanie Yazzie (Navajo/Diné)
Larry Yes
Wesley Younie
Renée Zangara
Yuyang Zhang

Represented artists

Anna Gray + Ryan Wilson Paulsen
Nick Blosser
Iván Carmona
Marjorie Dial
Amjad Faur
Bean Finneran
Jacques Flechemuller
Ellen George
Johannes Girardoni
Victoria Haven
Elizabeth Knight
Justin L’Amie
James Lavadour
Susie J. Lee
Nancy Lorenz
Yamamoto Masao
D.E. May
Kristen Miller
Wes Mills
Jeffry Mitchell
Megan Murphy
Jenene Nagy
Georgina Reskala
Joe Rudko
Tad Savinar
Susan Seubert
Adam Sorensen
Barbara Stafford
Storm Tharp
Terry Toedtemeier
Gus Van Sant
Nell Warren
Heather Watkins
Marie Watt

Associate artist

Patrick Abbey
Tina Beebe
Nazraeli Press Books
Kane Do
Laure Heinz
Mary Henry
Arnold J. Kemp
Ryan Jeffery
Taimuras Kozirev
Lisa Lockhart
Daniel McCall
Rankin Renwick
Liz Robb
Ethan Rose
Jane Timken
Molly Vidor

DRAW Project

By
Art Miami Magazine Editorial Staff
-
Anita MILOS TOMAIC

DRAW Project

DRAW Project: The Public Life of the Private Mark

Drawing begins before certainty. It occupies the unstable interval between thought and form, when an image has not yet become a finished object and an idea remains vulnerable to revision, hesitation, accident, and discovery. The DRAW Project, initiated by artist, maker, educator, and activist Tomas Vu, takes this provisional condition as both its subject and its curatorial method. Conceived as an invitation extended from artist to artist and from one artistic community to another, DRAW transforms the intimate gesture of making a mark into a sustained international conversation.

Bringing together private sketches and drawings by more than one hundred artists—and continuing to expand—the project offers access to material that often remains concealed inside sketchbooks, studios, folders, and working archives. These works were not necessarily conceived as autonomous exhibition objects or polished products for the market. Many belong to the uncertain beginning of something: an observation, a private notation, an unfinished proposition, a political reaction, a repeated form, or an image still searching for its final language.

DRAW does not treat incompletion as deficiency. It presents it as knowledge.

Drawing Before Resolution

Within conventional exhibition systems, the public typically encounters an artwork after a long process of selection and refinement. Experiments are removed, surfaces are resolved, and uncertainty disappears behind the authority of the finished object. DRAW reverses that hierarchy. It directs attention toward the moment before resolution, when the artist is still testing the limits of an idea.

The sketch is frequently described as preparatory, as though its value depended upon the painting, sculpture, film, or installation that might eventually emerge from it. Yet drawing possesses its own intellectual and emotional autonomy. A line can record movement, measure distance, outline a memory, invent a body, expose doubt, or visualize something that does not yet exist. It can operate simultaneously as image, language, evidence, plan, confession, and refusal.

By exhibiting drawings that retain the pressure of their making, DRAW allows viewers to encounter thought as an active process rather than as a completed conclusion. Erasures, corrections, repeated marks, empty spaces, and abrupt transitions become visible traces of decision. The viewer does not merely see what the artist decided; one also senses the alternatives that remained possible.

In this context, drawing becomes a record of consciousness in motion.

The Politics of the Immediate Mark

The urgency of drawing is inseparable from its accessibility. It requires relatively little infrastructure: a surface, a tool, a body, and an impulse to register experience. This material economy has made drawing an essential medium in moments of displacement, censorship, political crisis, social protest, and personal upheaval. A drawing can be produced quickly, transported discreetly, reproduced, circulated, or abandoned. Its apparent fragility can become a form of resistance.

DRAW emerged as a dialogue extending from the political anxieties of one national context toward those of others. Rather than proposing a unified global condition, the project recognizes that artists experience history from radically different positions. Political instability, migration, war, economic inequality, ecological crisis, racial violence, and restrictions on expression do not generate one universal visual language. They produce multiple, sometimes contradictory responses.

The exhibition’s international structure allows those responses to coexist without being reduced to a single narrative. The drawing becomes a point of contact: not proof that all experiences are equivalent, but evidence that the act of marking a surface can establish communication across geographical and ideological boundaries.

Since its early presentations in Beijing and Dali, the project has circulated through museums, universities, and cultural institutions in cities including Boston, Manila, Novi Sad, Split, Belgrade, Miami, Herzliya, Lowell, Santiago, and Yonkers. Each host location has introduced new artists, contexts, and interpretations, allowing DRAW to operate less like a fixed traveling exhibition than an evolving cultural organism.

From Private Space to Public Encounter

DRAW is built upon a productive contradiction. It seeks authenticity in material originating from private spaces, yet the act of exhibiting that material inevitably changes its meaning. A page removed from a sketchbook is no longer entirely private once it enters a gallery. A spontaneous notation becomes framed by curatorial selection, institutional architecture, and public attention.

The project does not eliminate this tension; it makes the tension visible.

To describe a drawing as “unfiltered” does not mean that it exists outside culture or interpretation. Even the most immediate mark emerges from memory, training, desire, fear, habit, and historical circumstance. What DRAW reveals is not an untouched interior self, but the complex threshold where private thought becomes a communicable form.

The visitor is therefore placed in an unusual ethical position. Looking at these works can feel like entering an artist’s studio without encountering the artist’s protective explanations. The drawings may expose uncertainty, repetition, obsession, humor, vulnerability, or contradiction. They offer proximity without complete access. The inner life of another person remains partially unknowable, even when its traces are placed before us.

That distance is important. DRAW does not ask the viewer to decode each work as a transparent psychological document. Instead, it presents drawing as a site where interior experience touches the external world without becoming fully surrendered to it.

An Exhibition That Continually Rewrites Itself

The project’s structure begins with invitation rather than institutional authority. Tomas Vu’s initial gesture—reaching outward toward peers—established a model based on artistic relationships, collaboration, and exchange. Each new presentation can connect one community to another, expanding the exhibition through the social networks that sustain artistic production.

The participating roster crosses generations, geographic regions, disciplinary backgrounds, and levels of public recognition. It includes artists whose practices are closely identified with drawing alongside others better known for painting, sculpture, performance, film, installation, design, or social practice. This plurality resists the idea that drawing is a specialized or isolated discipline. Instead, drawing appears as a foundational mode of thinking that moves through nearly every form of visual culture.

The project is therefore not simply an accumulation of works on paper. It is an archive of relationships. Each contribution points not only toward an individual practice but also toward the invitation that made its presence possible. The exhibition grows through acts of trust: an artist agrees to release something private, a collaborator helps translate the project into a new setting, and a host institution creates conditions for another public encounter.

DRAW’s search for new collaborators and hosts is not a logistical detail added after the curatorial concept. It is central to the work. The project remains unfinished because its meaning depends upon continued movement.

Drawing as Duration

A finished artwork can create the illusion that it arrived all at once. Drawing often refuses that illusion. A densely worked page records accumulation; a rapid line preserves speed; an erased section makes revision visible. Even a nearly empty sheet carries duration through the distance between one mark and another.

Within DRAW, time is not represented only through imagery. It is embedded in the physical behavior of the line. Some drawings appear immediate, produced in a compressed encounter between hand and surface. Others reveal sustained repetition, obsessive attention, or a return to the same image over an extended period. Together they produce a temporal field in which beginnings, interruptions, memories, and unrealized futures remain present.

This is one reason drawing is particularly capable of addressing the contemporary moment. The present is never fully stable or complete. It is experienced through fragments of information, emotional reactions, political uncertainty, interrupted attention, and rapidly changing conditions. Drawing can absorb this instability because it does not require the world to become coherent before responding to it.

Its incompleteness is not an escape from reality. It is a form adequate to reality’s unfinished state.

The First Mark as a Collective Proposition

DRAW ultimately proposes that the beginning of an artwork deserves the same sustained attention often reserved for its conclusion. The first mark contains risk because it commits an internal impulse to an external surface. It separates before from after. Yet it also opens a field of possibilities whose outcome remains unknown.

By assembling these beginnings, the project constructs a collective portrait that refuses to become a single image. The works differ in scale, intention, material, and cultural origin, but they share the condition of drawing as an encounter between thought and matter. Each line is singular; together, they form a network.

DRAW is therefore both intimate and expansive. It enters the private territory of artistic process while building an international platform for exchange. It preserves vulnerability while placing it in public circulation. It acknowledges the ephemerality of paper, gesture, and thought while demonstrating their capacity to travel across institutions, languages, and political borders.

The project does not ask drawing to provide a definitive account of the contemporary world. It asks something more urgent: that drawing remain open enough to register the world while it is still changing.

In DRAW, the unfinished work is not waiting to become meaningful. Its openness is precisely where meaning begins.

PARTICIPATING ARTISTS

Adam Amara
Adrian Rhodes
Aga Ousseinov
Ahmet Arslan
Albert Weaver
Alejandro Contreras
Aleksandra Popovic
Alex Kvares
Alex Sewell
Alexis Callender
Alfonso Fernandez
Alyssa Piro
Amanda Linhares
Ambreen Butt
Ana Albertina Delgado
Andrea Resner
Andy Van Dinh
Anita Milos Tomaic
Antoine Williams
Augusto Cabeza
Aurelien Couput
Bale Creek Allen
Barbara Klain
Bao Lin
Baris Göktürk
Barnaby Furnas
Beau Willimon
Beka Goedde
Ben Hagari
Ben Zawalich
Benjamin Urzua Castillo
Betsabee Romero
Bill Ociepka
Bill Tyers
Bogoljub Dokovic
Brian Novatny
Bruno Castro Santos
Bryan McGovern Wilson
Buckminster Fuller
Camila Estrella
Cara Lynch
Carlos Arias
Carlos Faz
Caroline Carlsmith
Carey Hulbert
Casey O’Dwyer
Catarina Coelho
Cate Holt
Cecily Brown
Cesar Osario
Chire Regans
Chris Jehly
Christy Titus
Claudio Bravo
Constanza Alarcon Tennen
Cecilia Vazquez
Chloe Crookall
Corey Riddell
Corinne Bernard
Cornelius Tulloch
Cristen Shea
Cristobal Leyht
Cy Morgan
Damien Stamer
Damir Sobota
Dan Kennedy
Dana Sherwood
Daniela Montecinos
Dante Migone-Ojeda
Darina Karpov
Dasha Shishkin
David Altmejd
David Phaneuf
Davor Dmitrovic
Dian Hosner
Deanna Lee
Deborah Davidson
Deborah Santoro
Delia Del Carril
Denise Manseau
Dennis Scholl
Dona Altemus
Donald Baechler
Dr Lakra
Dragana B Stevanovic
Duy Hoang
Edvin Dragicevic
Elaine Wood
Elizabeth Alexander
Ellen Wetmore
Emily Henretta
Emma Sulkowicz
Eric Ramos Guerrero
Ernesto Caivano
Ernesto Oroza
Esteban Cabeza de Baca
Eugenio Darnet
Eva Petric
Fab Five Freddy
Farah Mohammad
Felice Grodin
Felipe Mujica
Fernando Krahn
Frank Campion
Frank Gehry
Fred HC Liang
Gandalf Gavan
Ghada Amer/Reza Farkondeh
Glenn Szegedy
Gonzalo Fuenmayor
Gonzalo Vargas
Goran Juresa
Greg Kessler
Gregory Amenoff
Gretchen Scharnagl
Guillermo Deisler
Guillermo Nunez
Gwen Strahle
Hanna Melnyczuk
Hanneline Rogeberg
Heather Gordon
Hedya Klein
Heidi Howard
Heimo Wallner
Hugo Crossthwaite
Hugo Leonello Nunez
Hugo Rivera -Scott
Ian Gerson
Irene Rice Pereira
Ivan Forde
Ivan Prerad
Ivan Sukovic
Ivan Suletic
Ivan Svagusa
Ivana Carman
Ivana Pipal
James Gortner
James Lee
James Roberts
Jasper Johns
Jeff Perrott
Jeffrey Sippel
Jelena Bulajic
Jelena Djuric
Jelena Sredanovic
Jen Sturgill
Jennifer Nuss
Jennifer Printz
Jesse Weiss
Jessica Segall
Jessica Tawczynski
JJ Cromer
Joanna Cortez
Joaquin Reyes Urrutia
Johana Moscosco
John Bailly
John Guthrie
John Walker
Jonathan Adams
Jorge Pantoja
Jose Delgado Zuniga
Jose Luis Cuevas
Jose Mesias
Joshua Rondeau
Juan Hernandez Diaz
Juni Van Dyke
Kambui Olujimi
Kara Walker
Kat Chamberlin
Katarina Ivanisin Kardum
Kate Liebman
Katherine Blackburne
Kayla Mohammadi
Khaulah Naima Nruddin
Kiki Smith
Kreh Mellick
Kristin Plucar
Kristina Restovic
Krystal Hart
Kurt Kemp
Kyle Webster
Laleh Khorromian
Laura Watt
Lautaro Labbe
Leah Piepgras
Leandro Vazquez
Leigh Suggs
Leigh Ann Hallberg
LeRoy Neiman
Li Mu
Li Tainyuan
Lilo Salberg
Lin Jiang
Lisa Sigal
Linn Meyers
Liu Shangying
Loren Zivkovic Kuljis
Loriel Beltran
Lucy Kim
Luis Silva
Luisa Basnuevo
Ma Shuqing
Margaret Braun
Margaret Femia
Maria Mohor
Mario Ferretti
Mario Toral
Mark Iwinski
Mark Perlman
Mark Dion
Marko Markovic
Marko Tadic
Martin Daiber
Mary Hart
Matt Noonan
Megan Foster
Michael Lichtenstein
Michael S Vieira
Miguel Cardenas
Miki Lee
Miran Sabic
Miron Milic
Monika Sigeti
Motohiro Takeda
N3TO
Natalie Birinyi
Natasa Kokic
Nathan Catlin
Nebojsa Lazic
Nemanja Nikolic
Nemanja Radusinovic
Nicola Lopez
Nicole Kathleen Burko
Nicolas Mancini
Nikica Jurkovic
Nikola Markovic
Nikola Radosavljevic
Nils Karsten
Nina Ivanovic
Noah Loesberg
Nora Mesaros
Norman Paris
Olivia Stanislas
Onajide Shabaka
Oscar Tuazon
Pablo Cano
Pamela Wamala
Paul Bright
Paul Rho
Paul J Noel
Paula Wilson
Pauline Shaw
Patricia Fernandez
Patricia Vargas
Peter Wayne Lewis
Phong Bùi
Pia Bahamondes
Pilar Elgueta
Pouya Afshar
Predrag Dimitrijevic
Rafael Domenech
Rafael Villares
Riaki Enyama
Richard Ryan
Richard Tinkler
Rirkrit Tiravanija
Rob Moore
Rob Swainston/Zorowar Sidhu
Roberto Gomez
Rocio Olivares
Rodrigo Arteaga
Rodrigo Canala
Roger Tibbetts
Rose Seilian Theriault
Saint Clair Cemin
Sam Messer
Samnang Riebe
Sandra Allen
Sanford Biggers
Sarah Sze
Scott Hazard
Selva Aparicio
Shahar Yahalom
Shahzia Sikander
Shawna Moulton
Shirin Neshat
Simonetta Moro
Simonette Quamina
Sonja Gasperov
Stephen Mishol
Steve M Cozart
Stipan Tadic
Sun Xun
Susanna Koetter
Suzanne Herrera Li Puma
Tammy Nguyễn
Tan Ping
TARWUK
Ted Lavash
Teodora Rakidzic
Thomas Frontini
Thomas Ray Willis
Tijana Lukovic
Tim Murdoch
Tomas Vu
Tommy White
Travis Head
Trenton Doyle Hancock
Tuguldur Yondonjamts
Ursula Von Rydingsvard
Valentina Cruz
Valentina Soto Illanes
Valerie Hammond
Vedran Perkov
Vice Tomasovic
Victoria Ravelo
Vinko Baric
Virginia Cramer
Wang Hongjian
Wiki Pirela
william cordova
William Kentridge
Xu Bing
Xu Wang
Ximena Borquez
Yang Hongwei
Yasi Alipour
Yuan Shun
Yuan Ye
Yuan Yunsheng
Yuan Zuo
Yuko Udo
Yun-Fei Ji
Yu-Wen Wu
Zhiqian Wang

DRAW

By
Art Miami Magazine Editorial Staff
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DRAW Project

DRAW

Cercle Naval, Brest ⎹ La communauté de ceux qui n’ont rien en commun

3 Jul — 17 Oct 2026 du mar. au sam. de 13h à 18h

This exhibition has been put together by the team behind the DRAW Project, a joint artistic adventure originating in New York in the early 2010s. It was the initiative of the artist Tomas Vu. DRAW was conceived as an international platform dedicated to contemporary drawing and brings artists from different backgrounds together around one simple idea: using drawing as a place for meeting, exchanging and experimenting.

Since it was first created, DRAW has travelled all over the world, undergoing transformations at every port of call, in countries including the United States, Chile, the Philippines and China. Each exhibition brings together artists of different generations, cultures and practices, creating new conversations through drawing, which becomes more than a medium, but rather a common language, enabling very diverse sensibilities and experiences to talk to each other.

As the years have gone by, the project has grown into an international community of artists and partners, with this collaborative dimension at the heart of its identity. Each presentation is an opportunity for new encounters and fresh exchanges, ensuring that DRAW is a constantly evolving movement, jointly constructed through the people and places which host it. Now DRAW is passing through Brest and adding artists from our own region to the exhibition. A quarter of the hundred or so artists on show live or work in Brittany. At the centre of this new DRAW event, a special place is devoted to Tomas Vu, the inspiration behind the project, with an ‘exhibition in the exhibition’. Artist and curator Rafael Domenech also wanted to pay tribute to Anjela Duval (1905–1981), whose collection of writings was co-published by Passerelle… [lire plus]

Clara Agnus, Bale Creek Allen, Giorgia Alliata, Sadrie Alves, Virginie Barré, José Bedia, Manon Bejuit, Marion Bonjour, Cecily Brown, Ariel Cabrera, Corentin Canesson et Mélissandre Tarantola, Alix Cantelaube, Caroline Carlsmith, Ivana Carman, Nathan Catlin, Astrid de la Chapelle, Ben Clement, William Cordova, Alejandro Contreras, Aurelien Couput, Chloe Crookall, Gaetano Cunsolo, Isabelle D’Amico, Alex Declino, Charlotte Delval, Dana DeGiulio, Predrag Dimitrijevic, Dr Lakra, Serena Duran, Cristina Escobar, Sabrina Fanego, Nicolas Filloque, Francesco Finizio, Megan Foster, Isaac Gaborieau, Hilary Galbreaith, Camille Girard & Paul Brunet, Adler Guerrier, Baris Göktürk, Felice Grodin, Guerilla Girls, Eric Ramos Guerrero, Valeria Guillén, Orlando Hernandez, Sareh Imani, Margaux Janisset, Sonia Rosa Kahn, Jordan James Kaye,  William Kentridge, Hasabie Kidanu, Calvin Kim, Bodo Korsig, Rachel Marisa LaBine, Justine Lai, Lucile Lance, Nichole Masani Landfair, Nebojsa Lazic, Peter Wayne Lewis, Fred HC Liang, Yann L’Outsider, Nicola López, Dominic Mangila, Sergio Marrero González, Dayana Matasheva, Gordon Matta-Clark, Roxane Mbanga, Jonas Mekas, José Manuel MesÍas, Jon Millan, Amanda Millet-Sorsa, Beatriz Monteavaro, Johann C. Muñoz, LeRoy Neiman, Edson Niebla, Brian Novatny, Jennifer Nuss, Roberto Obregón (Carolina and Fernando Eseverri collection), Edison Peñafiel, Maya Perry, Eva Petrič, Guillaume Pinard, Aleksandra Popovic, Ridwana Rahman, Alexis Ralaivao, Harold Ramírez, Christine Rebet, Paul Rho, Corey Riddell, Maximiliano Rosiles, Emma Rostaing, Dieter Roth, David Ryan, Liz Schneider, Dennis Scholl, Emma Seferian, Jessica Segall, Jeffrey Sippel, Siyu Chen, Kiki Smith, Sarah Sze, Stipan Tadić, Motohiro Takeda, Rika Tanaka, Eva Taulois, Rirkrit Tiravanija, Christy Titus,Yann Toma, Anaïs Touchot, Alejandro Valencia, Marko Velk, Rafael Villares, Maria Von Mier, Tomas Vu, Kara Walker, Ming Wang, Xu Wang, Alun Williams, Beau Willimon, Tommy White, Thomas Ray Willis, Iris Wu, Gerta Xhaferaj, Sun Xun, Yun-Fei Ji, Charlotte Zinsser, Yuan Zuo

Based on a proposal by Rafael Domenech, Sonia Rosa Kahn, Loïc Le Gall, Alejandro Valencia
This exhibition is supported by 193 Gallery, Paris 

As a complement to the exhibition, excerpts from artists’ animated films will be shown on the City of Brest’s video screens from June 29 to August 30, 2026. Posters featuring the artists’ works will also be displayed on the city’s public information boards.

SaveArtSpace is proud to present The Extravagance of the Quotidian

By
Art Miami Magazine Editorial Staff
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SaveArtSpace is proud to present The Extravagance of the Quotidian

SaveArtSpace is proud to present The Extravagance of the Quotidian, a public art exhibition on bus shelter ad space in Miami, FL, opening July 31, 2026, curated by Hermes Berrío.

The Extravagance of the Quotidian selected artist is Alfredo Travieso.

What is the most extraordinary thing we walk past every day?

Not everything meaningful arrives with spectacle. Sometimes it’s already there; hanging from a clothesline, sitting on a sidewalk, glowing under fluorescent light at the corner store, carrying the marks of labor, routine, and survival.

The Extravagance of the Quotidian is an invitation to look closer at the everyday and recognize its weight, its beauty, and its contradictions. This open call seeks artists whose work transforms the familiar into something undeniable; where ordinary objects, domestic rituals, street corners, gestures, and fragments of daily life become containers for memory, identity, struggle, humor, and grace.

What we call ordinary is often where life reveals itself most honestly. In public space, these works become interruptions; small monuments to the lives we are living, even when no one is looking.

Opening July 31, 2026, SaveArtSpace will launch a public art installation for the selected artwork on bus shelter ad space in Miami, FL. The public art will be on view for at least four weeks. Bus shelter location announced on July 13, 2026.

Devora Perez: In the Space Between—Where Light Becomes Structure

By
Art Miami Magazine Editorial Staff
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Devora Perez

Devora Perez: In the Space Between—Where Light Becomes Structure

Devora Perez: In the Space Between
Opening: Saturday, July 18, 2026
Public hours: 1:00–9:00 p.m.
Opening reception: 6:00–9:00 p.m.
Venue: Pendentive Studio
Address: 7615 Biscayne Boulevard, Miami, FL 33138
Presented with: Kates-Ferri Projects

Miami-born artist Devora Perez transforms light from an instrument of visibility into a material presence in In the Space Between, a solo exhibition opening July 18, 2026, at Pendentive Studio in Miami. Presented in collaboration with New York–based Kates-Ferri Projects, the exhibition brings together luminous constructions that move fluidly among painting, sculpture, architecture, and installation.

At first encounter, Perez’s works appear restrained: maple structures, translucent sheets of colored acrylic, carefully measured angles, and geometries reduced to their essential components. Yet this apparent simplicity is deceptive. Once natural light enters the acrylic planes, the objects begin to exceed their physical limits. Color escapes the artwork, spreading across walls, floors, adjacent objects, and the bodies of passing viewers.

The work is no longer confined to what Perez has constructed. It also includes what cannot be permanently held: reflections, shadows, chromatic projections, atmospheric changes, and the viewer’s continuously shifting perception.

Between Painting and Sculpture

The title In the Space Between identifies the conceptual territory Perez has occupied throughout her practice. Her works are neither conventional paintings nor autonomous sculptures. They borrow from the language of painting through color, surface, composition, and geometric abstraction, while asserting the physical projection and spatial presence commonly associated with sculpture.

Perez’s official artist statement describes her practice as an exploration of abstraction, materiality, and perception that deliberately blurs the distinctions among painting, sculpture, and installation. Her two- and three-dimensional works challenge stable definitions of structure and utility by activating relationships among material, light, and space.

The colored acrylic can initially be read as a painted plane. Unlike pigment applied to canvas, however, its color is not completely attached to a solid surface. It is transmitted through light. The hue that appears inside the acrylic is only one part of the composition; another emerges as a projection outside it.

Painting therefore becomes environmental. Color is liberated from the wall and allowed to occupy the room.

Perez’s maple constructions reinforce this ambiguity. They can resemble frames, supports, fragments of architecture, or incomplete functional objects. Rather than merely holding the colored material, the wood establishes boundaries through which light can pass. It creates a disciplined structure for something inherently unstable.

Color Beyond the Object

One of the exhibition’s central propositions is that an artwork does not necessarily end at its visible edge.

The translucent acrylic planes absorb, filter, redirect, and release light into the surrounding environment. These projections are not incidental effects produced by the sculptures; they form an essential part of the work. Pendentive Studio describes Perez’s color-cast shadows as extensions of the objects themselves, allowing each construction to change as daylight shifts and viewers move around it.

This expanded understanding of color distinguishes Perez’s work from forms of abstraction in which the painted surface remains materially stable. Her color is conditional. It depends upon the hour, the architecture, the intensity and direction of illumination, and the position of the observer.

A red or yellow plane may appear visually concentrated within the acrylic at one moment and then disperse across the wall at another. Two colors may overlap in space and produce a third, temporary field. A shadow may soften, sharpen, lengthen, or disappear.

Perez does not entirely determine these transformations. She creates the conditions through which they can occur.

Authorship is consequently shared among artist, material, light, architecture, and viewer. The completed object becomes the beginning of an experience rather than its final form.

The Viewer as an Active Participant

Perez’s work requires movement. It cannot be fully understood from a single frontal position because each change in perspective reorganizes the relationship among transparency, opacity, reflection, color, and depth.

From one angle, an acrylic plane may appear intensely saturated. From another, it becomes almost transparent. A wooden structure that initially reads as flat may reveal its volume when approached from the side. The viewer’s body may interrupt a projection, temporarily entering the composition as a silhouette.

This does not make the work interactive in a technological sense. Its interaction is perceptual and embodied. The viewer completes the artwork by walking, pausing, looking again, and becoming conscious of how vision is constructed.

Perez shifts attention away from the idea of perception as passive reception. Seeing becomes an event shaped by location and duration. The work reveals that an object does not possess one immutable appearance; it continually emerges through its relationship with changing conditions.

Minimal Form, Complex Experience

The apparent minimalism of Perez’s sculptures intensifies rather than reduces their complexity. By limiting her materials and formal vocabulary, she directs attention toward subtle phenomena that might otherwise remain unnoticed.

The precision of the maple structures contrasts with the instability of projected light. Wood appears solid, warm, and architectonic. Acrylic is manufactured and sharply defined, yet visually permeable. The shadow is immaterial but occupies measurable space.

These oppositions—solid and transparent, permanent and temporary, constructed and atmospheric—give the works their conceptual tension.

Minimal form also slows the act of looking. Because the works do not depend on figurative narration or spectacular imagery, viewers must become attentive to gradual changes: a slight alteration in hue, the overlap of translucent surfaces, a shadow extending beyond the object, or daylight reshaping the entire composition.

What initially appears quiet gradually becomes expansive.

Architecture, Interior Space, and Miami Light

The presentation at Pendentive Studio is especially relevant to Perez’s investigation. Located in Miami’s MiMo District, Pendentive functions simultaneously as a contemporary art gallery and the working offices of Phoebe O’Neill Interiors. Its exhibitions are installed among furnishings and design elements, encouraging visitors to consider how artworks operate within inhabited environments rather than isolated white-cube conditions.

Within this setting, Perez’s sculptures engage directly with interior architecture. The walls become receiving surfaces for projected color. Windows and changing daylight influence the exhibition. Furniture and architectural details enter into temporary relationships with the works.

This encounter also challenges the assumption that art and interior design occupy separate cultural categories. Perez’s objects may respond elegantly to an architectural space, but they resist becoming merely decorative. They alter the room while simultaneously exposing how the room structures our experience of them.

Miami itself is deeply relevant to this visual language. Perez has spoken about the influence of South Florida’s natural and artificial light, urban architecture, and landscape on her practice. In a city where sunlight can be intense, reflective, and constantly altered by water, glass, concrete, vegetation, and atmospheric conditions, light is not an abstract subject. It is part of the region’s daily material reality.

A Practice of Resistance

Perez describes her work as a form of resistance against singular definitions and limitations. This resistance does not appear through overt declaration. It is embedded in the inability of the works to remain inside one category.

They resist being only paintings because they occupy physical space. They resist being only sculptures because their visual identities depend upon projected color. They resist complete material containment because their boundaries are continually extended by light. They also resist a single fixed interpretation because every viewing position produces a different encounter.

In this sense, the “space between” is not an empty interval separating established forms. It is a productive territory in which distinctions can be questioned and reorganized.

From Object to Event

Perez earned her BFA from New World School of the Arts in 2016 and her MFA from Florida International University in 2020. Her work has appeared in exhibitions at institutions and organizations including the Corcoran Museum, the Patricia & Phillip Frost Art Museum, Coral Springs Museum of Art, Oolite Arts, and the Cisneros Fontanals Art Foundation. She received the Frost Art Museum’s Betty Laird Perry Award in 2020.

In the Space Between builds upon this sustained investigation of abstraction and perception while giving particular emphasis to the temporal life of the artwork. Perez does not present sculpture as an inert object completed in the studio. Instead, she creates a structure that waits to be activated by its surroundings.

The exhibition asks viewers to consider whether color belongs to the object that filters it, the light that carries it, the wall that receives it, or the eye that perceives it. The answer remains intentionally unresolved.

What Perez ultimately constructs is not simply a collection of maple-and-acrylic forms. She constructs encounters: temporary alignments among body, architecture, atmosphere, and time.

Her works occupy the space between painting and sculpture, but also the space between what is physically present and what can only be experienced. In that interval, light becomes structure, color becomes environment, and perception becomes the true medium of the exhibition.

Frances Trombly: What Holds at Shoshana Wayne Gallery

By
Art Miami Magazine Editorial Staff
-
Frances Trombly: What Holds
Frances Trombly: What Holds

Frances Trombly: What Holds—Weaving Tension, Labor, and the Material Memory of Painting

Frances Trombly’s Los Angeles exhibition What Holds explores weaving, labor, tension, textile history, and the material structures underlying painting.

Frances Trombly: What Holds
Shoshana Wayne Gallery
5247 W. Adams Boulevard, Los Angeles, California
May 30–July 18, 2026

At Shoshana Wayne Gallery in Los Angeles, Frances Trombly’s What Holds asks a deceptively simple question: What allows an artwork, an institution, a body, or a social structure to remain intact under pressure? Presented from May 30 through July 18, 2026, the exhibition marks the Miami-based artist’s return to the gallery following her 2016 solo presentation. It continues her sustained investigation of weaving, material labor, and the often-unseen systems that make visual experience possible.

Trombly’s work has long occupied an unstable territory among painting, sculpture, installation, and textile art. In a 2016 Los Angeles Times review, Leah Ollman called her works “confident trespassers”—an apt description of objects that cross disciplinary borders without seeking permission from the categories they disturb. In What Holds, however, this trespassing has become more structural and philosophically precise. Trombly is not merely combining artistic genres; she is exposing the physical and cultural assumptions that separate them.

Before the Image, There Is a Structure

Western painting is frequently discussed through images, gestures, colors, symbols, and narratives. Trombly redirects attention toward what usually remains beneath or behind those visible elements: the woven support, the frame, the tension of the fibers, and the labor necessary to construct a surface.

At the conceptual center of What Holds is the warp—the longitudinal system of threads held under tension during weaving. Without the warp, cloth cannot take form. It is both infrastructure and possibility: a system that determines alignment while remaining open to alteration.

Trombly brings this concealed framework forward. Threads hang openly rather than disappearing beneath a completed surface. Woven sections slip away from their frames. Fiber accumulates through layers, folds, knots, interruptions, and suspended lengths. Nothing appears entirely resolved or permanently secured.

By leaving these material conditions visible, Trombly interrupts the expectation that artistic labor should disappear into a polished object. The work refuses the illusion of effortless completion. Instead, it preserves duration, repetition, correction, physical strain, and decision-making as part of its meaning.

Process is not evidence left behind after the artwork has been completed. Process becomes the artwork’s primary language.

Painting Without the Stability of the Canvas

Many of Trombly’s structures evoke looms, stretcher bars, scaffolding, warping boards, and architectural frameworks. They point toward painting while withdrawing the conventional stability that painting traditionally promises.

A stretched canvas is normally expected to present a unified plane: tight, flat, contained, and ready to receive an image. Trombly dismantles this expectation. Her woven surfaces sag, extend, overlap, detach, or remain incomplete. Frames no longer function as neutral boundaries. They become active structures that carry, divide, suspend, and expose.

This approach returns painting to its material origins. Canvas is not simply a blank field; it is cloth held under tension. The apparently passive support is the product of fiber, pressure, preparation, physical knowledge, and time.

Trombly’s work therefore proposes that every image depends upon an infrastructure. Visibility is never autonomous. Something must hold the surface in place, just as unseen systems hold institutions, economies, communities, and cultural narratives together.

The title What Holds can consequently be understood as both a question and a condition. What structures endure? What becomes visible because something else remains concealed? What labor supports the appearance of coherence?

The Grid as Discipline and Accumulated Time

The grid has often been associated with modernist order, rationality, autonomy, and formal control. In Trombly’s practice, however, it is neither purely optical nor entirely abstract. The textile grid is produced bodily, thread by thread.

Every crossing registers an action. Every repeated movement accumulates time. The grid becomes a record of discipline rather than a symbol detached from human effort.

This distinction is essential. Trombly’s woven geometry may initially resemble the visual vocabulary of abstract painting, but its structure emerges from repetitive physical labor. What appears minimal is not necessarily effortless. Restraint may conceal exhaustion; precision may be the result of countless gestures.

The works thus challenge conventional hierarchies that historically elevated painting and sculpture while positioning weaving, embroidery, and other textile practices as decorative, domestic, functional, or secondary. Trombly does not simply demand that fiber be admitted into the category of fine art. She demonstrates that the supposedly autonomous history of painting has always depended upon textile knowledge.

Color as Material Event

Color in What Holds does not behave as an independent layer placed upon a neutral support. It travels through the support itself.

Dyed and painted threads form washes, bands, interruptions, and gradual transitions. Color appears to move across the works, but it also penetrates their physical construction. Rather than creating illusionistic depth, Trombly produces depth through accumulation: one textile plane before another, one thread crossing another, one duration remaining visible beside the next.

The results can recall Color Field painting, geometric abstraction, or modernist experiments with the picture plane. Yet Trombly refuses the fiction that color floats freely. Her color remains attached to fiber, gravity, weight, touch, and resistance.

A painted area can be interrupted by an exposed warp. A smooth chromatic passage can end in knots or hanging threads. A seemingly unified composition can reveal the instability of the structure supporting it.

These interruptions are not failures to complete the image. They are reminders that unity is constructed and provisional.

Labor Without Spectacle

Trombly’s work is visually quiet, but its quietness should not be mistaken for passivity. The exhibition resists spectacle because spectacle would conceal the forms of attention it seeks to recover.

Her materials demand slow observation. The viewer must notice slight differences in density, tension, spacing, weight, and surface. The works do not reveal themselves through a single dramatic encounter. They unfold through prolonged looking.

This temporal demand mirrors the time required to produce them. Hand weaving is accumulative: a structure grows through repetition rather than sudden transformation. Trombly translates that duration into an encounter between artwork and audience. Looking becomes another form of sustained labor.

The exhibition therefore offers an alternative to the accelerated circulation of contemporary images. It does not ask merely to be photographed, consumed, and replaced. It asks the viewer to remain with the work long enough to perceive how it has been built.

Structures Under Pressure

In What Holds, tension is both a technical necessity and a social metaphor. Textile production depends upon calibrated pressure. Too little tension and the structure loses coherence; too much and the threads risk distortion or rupture.

Trombly does not resolve this tension. She allows it to remain visible.

Her works suggest that endurance is not the same as stability. A system can continue functioning while showing strain. A structure can support weight while approaching its limits. Something may appear complete even as its underlying framework begins to separate.

This insight gives the exhibition a broader emotional and political resonance. The exposed warp becomes an image of vulnerability, but also of persistence. The hanging thread may suggest incompletion, yet it also represents continued possibility. A partially woven field contains both what has been accomplished and what remains open.

Frances Trombly and Miami’s Artistic Infrastructure

Trombly lives and works in Miami and earned a BFA from the Maryland Institute College of Art. Alongside her studio practice, she is a co-founder and co-director of Dimensions Variable, the nonprofit contemporary art organization established in Miami with artist Leyden Rodriguez-Casanova.

This institutional role provides an important context for What Holds. Trombly not only examines structures of support through fiber and wood; she has participated directly in building cultural structures that support artists, exhibitions, dialogue, and experimentation.

Her artistic and organizational practices are therefore connected by a shared concern: the creation of conditions under which something else can exist. A loom holds threads so cloth can emerge. A stretcher supports a painted surface. An artist-run organization creates space for practices that may not receive sufficient institutional attention.

Support, in Trombly’s work, is never passive. It is a form of authorship.

What Remains Visible

What Holds does not offer a final image of equilibrium. Its power emerges from the refusal to hide strain, dependency, and incompletion.

Trombly reveals that every surface contains a history of contact. Every woven structure records pressure. Every frame distributes force. Every completed object depends upon repeated acts that are easily overlooked once the work enters public view.

By bringing those acts forward, she transforms the support into the subject and labor into a visible form of knowledge.

The exhibition’s most compelling proposition may be that what holds us together is not permanence, perfection, or absolute stability. It is the continuous work of maintaining relationships among separate elements—threads, bodies, materials, histories, and institutions.

Nothing in What Holds is simply held. Everything is being held, continually, through time.

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