Biennale Wynwood es una exhibición colectiva curada, de arte contemporáneo, que nace de la iniciativa de un grupo de gente comprometido con el arte, cuyo propósito de resaltar la diversidad cultural que caracteriza a la ciudad de Miami. Fue así como en junio de 2020 se llevó a cabo la primera edición en un amplio y acogedor espacio en el Distrito de Arte de Wynwood, el más importante de la ciudad, con la presencia de 25 países representados por artistas de excelente trayectoria internacional. Este año la Segunda Edición de la Bienal de Wynwood 2022, se realizará de manera virtual con acceso en línea, abriendo la oportunidad a artistas contemporáneos en todo el mundo, globalizando aún más esta importante colectiva. La exhibición y el catálogo virtual se harán públicos en las redes a partir del 16 de Noviembre de 2022 en un evento privado que se realizará en la Ciudad de Doral. Para más información visita www.biennalewynwood.com o envía un email a [email protected]. Será un placer atenderle.
Biennale Wynwood Staff, Justo Vera-Ayestaran, Teresa Cabello, Miguel Aya, Ana Carolina Moreno
Nicelle Beauchene Gallery is pleased to present Cellar Door, a project space exhibition with Brooklyn-based artist Alan Reid.
Alan Reid’s meticulous acrylic on linen paintings amalgamate traditional painting and illustration techniques with varied references from histories of design, architecture, and art. Direct observational painting, airbrushed details, and a repertoire of pochoir illustration commingle to produce trompe l’oeil textures of fabric or folds of paper; rendered photoshop collage; dye stains and spatters. Language commands each composition through beguiling single words and short phrases, the messaging dressed in dutiful typefaces. Reid’s paintings suggest an attention to the mechanics of painting as an object, posing structural queries into the poetics of image-making.
Alan Reid (b. 1976, Texas) lives and works in Brooklyn, NY. He has had solo exhibitions at Mary Mary, Glasgow; Lisa Cooley, New York; A Palazzo Gallery, Brescia and Patricia Low, Gstaad. Group exhibitions include Miguel Abreu, New York; Situations, New York; Nicelle Beauchene Gallery, New York; Jacky Strenz, Frankfurt; Poker Flats, Williamstown; and Inman Gallery, Houston, among others.
His monograph Warm Equations was published in 2016 by Edition Patrick Frey.
TUNJI ADENIYI-JONES JONATHAN BALDOCK MARY LEE BENDOLPH RICHARD BOSMAN ELLIOTT JEROME BROWN JR. KARI CHOLNOKY ALEX BRADLEY COHEN JENNIFER PAIGE COHEN LOUISE DESPONT ESTATE OF JOHN EVANS JORDAN KASEY JIM LEE PANAYIOTIS LOUKAS
ANDREW MASULLO
JAMES MILLER
LUCY PULS
GEE’S BEND QUILTMAKERS
ELEANOR RAY
DANIEL RIOS RODRIGUEZ
BRUCE M. SHERMANv
JENI SPOTA C.
WILLIE STEWART
RUBY SKY STILER
ALICE TIPPIT
CHRIS WILEY
Tunji Adeniyi-Jones
Triple Dive Violet II, 2022
Oil on canvas
80 x 90 inches
Emergent Properties
Tunji Adeniyi-Jones
OCTOBER 20 – NOVEMBER 23, 2022
Nicelle Beauchene Gallery is pleased to present Emergent Properties, Tunji Adeniyi-Jones’s third solo exhibition with the gallery.
In Emergent Properties, Adeniyi-Jones turns to his long-standing interest in printmaking—particularly lithography and monotype work—as a formal and conceptual inspiration for new large and small-scale, oil on canvas paintings. Recent stone lithographs, published by Utopia Editions and Jungle Press Editions, are also on view.
The British-born, Nigerian artist grapples with West African mythologies, religion, and ceremonies through a diasporic lens, making images that produce a cultural and iconographic “third space” through which manifold expressions of identity can exist. As a result, Adeniyi-Jones’ floriated paintings often feature androgynous figures dancing through densely-patterned spaces. It is this amalgamation of African, African-diasporic, and European influences—medieval manuscript illustration, 20th century West African painting, the Harlem Renaissance—that informs the artist’s distinct approach to representation and abstraction.
From the Harlem Renaissance, Adeniyi-Jones specifically identifies with artist Aaron Douglas’ use of silhouettes as a pictorial stand-in for many. “The silhouette,” as the artist has come to understand, “increasingly creates an open space for any viewer to assume the position of what they’re seeing.” This speaks to the tension present in much of Adeniyi-Jones’ work: a specificity coming from the artist’s own background coinciding with an impulse for viewers to be able to relate to the figures and characters present in the work.
The silhouette also connects to figures in West African representation, such as those that appear in the Negritude series by Nigerian painter Ben Enwonwu (1917-1994). Comprising silhouetted female figures among various Igbo symbols, Enwonwu’s series reflected the anti-colonial principles of the Négritude movement of the 1930s, while also pushed against European manners of representation, a syncretic approach to image-making continued by Adeniyi-Jones.
Tunji Adeniyi-Jones (b. 1992, London, England) lives and works in Brooklyn, New York. He received an MFA in Painting & Printmaking from the Yale University School of Art and a BFA from the Ruskin School of Art at University of Oxford.
Recent solo exhibitions include White Cube, London and Paris; Morán Morán, Los Angeles; and Charleston, East Sussex, UK. He is currently included in the group exhibitions Dark Light Realism in the Age of Post-Truths, curated by Massmiliano Giono, at Aïshti Foundation, Beirut and Young, Gifted, and Black: The Lumpkin-Bocuzzi Family Collection (traveling). Other recent group exhibitions include the Dakar Biennale, Senegal; Public Art Fund, New York; Morán Morán, Los Angeles; The Perimeter, London; Venus Over Manhattan, New York; Clima, Milan; and Deitch Projects, Los Angeles.
Adeniyi-Jones’ work can be found in the public collections of the Birmingham Museum of Art, Alabama; ICA Miami, Florida; MOCA Los Angeles, California; Nasher Museum of Art at Duke University, North Carolina; Nelson-Atkins Museum of Art, Kansas City, Missouri; Pérez Art Museum Miami, Florida; and Dallas Museum of Art, Texas, among others. He was an inaugural recipient of the Black Rock Residency, Dakar, Senegal.
ENTREVISTA A FRANCISCO CERON* Por la Dra. Milagros Bello, crítica de arte/curadora
MILAGROS BELLO: ¿Como fueron tus comienzos creativos? Que recuerdas de ti en tus primeros pasos. FRANCISCO CERON:
Desde muy temprana edad, ya en prescolar, tenía una fuerte necesidad de dibujar, y me destacaba por mis dibujos en comparación a mis compañeros. Mas tarde en la escuela primaria, el deseo del dibujo se intensifica; mis dibujos se vuelven más complejos y elaborados. Desde esa época tenia en mi ese impulso imparable de crear, era un torrente fluyendo que no podía parar. Creo que, desde allí, ya había esa simiente creativa que me lleva a desarrollar mi obra. Son de todas maneras asuntos inconscientes, que a veces uno no detecta sino tiempo después, cuando miras atrás y te preguntas lo que has hecho. Se transforma en una mirada a lo que eres, y un entendimiento de que te motoriza a seguir investigando, indagando, los signos del arte.
Francisco Ceron, Cali
MB: ¿Cuáles son los artistas que han formado parte de tu vida y de tu trabajo artístico? ¿Con cuales artistas te identificas?
FC: Te voy a exponer en detalle cuales artistas son bases para mis reflexiones artísticas y que han sido motivadores en mi trabajo. Pablo Picasso es una referencia fundamental. El cubismo que nos legó, con su libertad de geometrizar, de fracturar la realidad, nos aporta una manera para tratar y descomponer los elementos en la obra. No hago ni cubismo ni geometrías como el, pero capto su libertad de tratamiento de la figura que en su momento demolió los esquemas de la época. Andy Warhol con su manejo gráfico y compacto de la figura, me dio una lección de liberación de la anatomía. Roy Lichteinstein con su utilización del comic y la cultura popular, me motivo a captar con agudeza la cultura que me rodea. Keith Haring me impacto por su simpleza extrema en modelar las figuras y en su iconografía moderna. Estos fueron mis referencias para el tratamiento de la figura. Pero también esta Takashi Murakami quien me muestra otro tipo de figuraciones gráficas, más amontonadas, más colmadas, y grotescas, con su neo pop de la cultura japonesa. Hay otros que me fueron también importantes como Salvador Dalí el cual me permitió entender como la realidad lógica puede sustituirse por el sueño, lo ilógico y lo dispar. Vang Gogh y Joan Miro fueron guías para mi libertad colorista. Pero, por otro lado, Walt Disney, aunque no se lo considera un artista plástico, para mi es la representación de la persistencia y la creatividad.
Francisco Ceron, Cocacola
MB: Háblanos acerca de tu trabajo. Veo que has creado diferentes series
FC: A través del tiempo he desarrollado diferentes etapas, desde la ilustración, la pintura, la escultura y ahora me enfoco en el arte digital y la fotografía. Después de haber viajado por diferentes lugares no podía dejar pasar la oportunidad de mostrarle al mundo mi visión de cada ciudad visitada. Así que un día decidí hacer algo con los miles de fotografías guardadas dispuesto a comprimirlas todas y formar una sola imagen que reflejara el espíritu de cada ciudad. Al principio parecía una tarea imposible sin pasar por el clásico collage, pero poco a poco se fue revelando la estructura que me permitiría reconstruir cada ciudad utilizando técnicas digitales para lograr esta nueva serie la cual llamo City Icons.
Francisco Ceron, Disney World
MB: City Icons es una imagen en intertexto de múltiples referencias, en la que tu insertas signos referenciales que todos compartimos de una ciudad, pero tu creas una combinación muy singular de los elementos recreando el espíritu de la ciudad en una suerte de armazón visual, que es diferente de la realidad. Háblanos de como creas esta serie.
FC: Para mi serie de City Icons visito cada ciudad y extraigo de ella su esencia a través de fotografías no solo de sus sitios turísticos, pero también de su gente, su arquitectura, su sabor, su música, sus medios de transporte, su arquitectura, su fauna, su naturaleza y hasta detalles que pueden pasar desapercibidos a sus habitantes como las tapas de alcantarillas, las señales de tránsito, frases escritas en paredes. El espíritu de la ciudad lo busco desde sus referencias graficas más conocidas hasta las más escondidas. Posteriormente reviso todas las fotografías de esa ciudad y empiezo a seleccionar segmentos los cuales descontextualizo de las fotografías originales; con la plataforma del software voy uniendo, uno a uno, estos segmentos en un nuevo todo integrado. Voy recortando y silueteando detalles, enfatizando o agrandando algunos, colocándolos frontalmente, o disminuyendo otros. Aparece una ciudad-icono que es más bien un tablero de signos que el espectador reconoce y con el cual se identifica porque alude a una ciudad que relata su historia en gráficos, colores y formas, pero que no es la trasposición de una realidad sino una realidad reinventada.
Francisco Ceron, Medellin
MB: ¿Cuáles son las obras de ciudades-icono que más te han tocado en tu experiencia de artista?
FC: Sin duda una de mis últimas creaciones, la obra Puerto Resistencia, es la que más me toca. La obra está basada en los hechos violentos ocurridos en mayo del 2021 en la ciudad de Cali, la ciudad donde me forme como artista y donde resido. La obra remite al estallido social de Cali en mayo del 2021 el cual pude vivir de primera mano, y que tuvo grandes confrontaciones físicas y políticas. Mi obra está basada en una integración de imágenes de rostros y de una escultura urbana entre 13 y 15 metros de altura, que ha pasado a formar parte de la ciudad; esta pieza, que era originalmente una valla publicitaria, tiene una mano que lleva en el tope la palabra “resiste” y que se erigió en la zona popular de Puerto Resistencia de Cali, como símbolo de resistencia social, y en homenaje a toda la sangre que corrió en esos momentos. La pieza ahora es un controversial símbolo social y político. Para unos, es la representación del horror, de la muerte, de la confrontación, del desengaño, de la mentira, de la pobreza, pero para otros es la representación de la lucha, de la esperanza, del cambio y la resistencia. Como artista utilizar esa imagen tuvo la intención de definir un referencial sociopolitico de la ciudad. En otros trabajos también lo he hecho como es 911 que testimonia el ataque a las Torres gemelas de Nueva York en septiembre del 2001. Mis ciudades icono se definen no solo por sus citas visuales sino por sus realidades sociales las cuales también forman parte de la sustancia vital de una ciudad.
Francisco Ceron, Puerto Resistencia
MB:¿Cuáles son las obras de ciudades-icono que más te han tocado en tu experiencia de artista?
FC: Sin duda una de mis últimas creaciones, la obra Puerto Resistencia, es la que más me toca. La obra está basada en los hechos violentos ocurridos en mayo del 2021 en la ciudad de Cali, la ciudad donde me forme como artista y donde resido. La obra remite al estallido social de Cali en mayo del 2021 el cual pude vivir de primera mano, y que tuvo grandes confrontaciones físicas y políticas. Mi obra está basada en una integración de imágenes de rostros y de una escultura urbana entre 13 y 15 metros de altura, que ha pasado a formar parte de la ciudad; esta pieza, que era originalmente una valla publicitaria, tiene una mano que lleva en el tope la palabra “resiste” y que se erigió en la zona popular de Puerto Resistencia de Cali, como símbolo de resistencia social, y en homenaje a toda la sangre que corrió en esos momentos. La pieza ahora es un controversial símbolo social y político. Para unos, es la representación del horror, de la muerte, de la confrontación, del desengaño, de la mentira, de la pobreza, pero para otros es la representación de la lucha, de la esperanza, del cambio y la resistencia. Como artista utilizar esa imagen tuvo la intención de definir un referencial sociopolitico de la ciudad. En otros trabajos también lo he hecho como es 911 que testimonia el ataque a las Torres gemelas de Nueva York en septiembre del 2001. Mis ciudades icono se definen no solo por sus citas visuales sino por sus realidades sociales las cuales también forman parte de la sustancia vital de una ciudad.
Gian Marco Montesano, 'Eppure tra loro coperta di vento, c’é una bambina che non può correre', 1991
The Margulies Collection at the WAREhOUSE, Miami Coffee at the Warehouse | The Margulies Collection at the Warehouse ‘The Italians’, ‘The Bitter Years’, ‘New European and American Painters and Sculptors’, and ‘New Media’
The Margulies Collection at the Warehouse invites you for coffee and art. You’ll enjoy the current exhibitions of the collection: ‘The Italians’, ‘The Bitter Years’, ‘New European and American Painters and Sculptors’, ‘New Media’, and ‘Ongoing’.
Alexandre Diop, new acquisitions, and highlights from the collection
Please join us for the opening of our new exhibitions during Miami Art Week. Three new exhibitions will be on view: a solo show by artist Alexandre Diop, a presentation of new acquisitions, and highlights from the collection.
To learn more about the Rubell Museum, please visit rubellmuseum.org.
Art Basel announces 283 leading galleries for its 20-year anniversary edition
Marking its 20-year anniversary in Miami Beach, Art Basel reveals line-up of 283 leading galleries, the fair’s largest edition in Miami Beach to date
283 premier galleries from 38 countries and territories – including 26 first-time participants – will exhibit this year
Reinforcing its position as the premier global fair in the Americas, the show will present an exceptional overview of artists, galleries, and new perspectives from the region
Celebrating 20 years of Art Basel in Miami Beach, the fair will extend beyond the show floor with a vibrant cultural program across the city’s world-class institutions and private collections
Art Basel, whose Lead Partner is UBS, will take place from December 1 to December 3, with preview days on November 29 and November 30 at the Miami Beach Convention Center (MBCC)
Art Basel celebrates its 20th anniversary edition in Miami Beach with 283 premier galleries – the largest show to date – including 26 first-time participants as well as multiple exhibitors returning after a pandemic hiatus. More than half of this year’s galleries have principal gallery locations in North and South America, joined by new and returning exhibitors from around the world, including Africa, Asia, and Europe.
The 26 newly participating galleries include: Alexandre Gallery (New York); And Now (Dallas); Edel Assanti (London); Berry Campbell (New York); José de la Mano (Madrid); Bridget Donahue (New York); Emalin (London); Herlitzka + Faria (Barrio Norte); K Art (Buffalo); Kristina Kite Gallery (Los Angeles); Paulo Kuczynski (São Paulo); Magenta Plains (New York); P21 (Seoul); Queer Thoughts (New York); Residency Art Gallery (Inglewood); Rolf Art (Buenos Aires); Meredith Rosen Gallery (New York); Chris Sharp Gallery (Los Angeles); Soft Opening (London); Sophie Tappeiner (Vienna); Stars (Los Angeles); Sultana (Arles and Paris); Super Dakota (Brussels); Rodeo (London and Piraeus); Watanuki Ltd. / Toki-no-Wasuremono (Tokyo); and Yavuz Gallery (Redfern and Singapore). The fair continues to offer differing models for participation, including joint booths by A Gentil Carioca (Rio de Janeiro and São Paulo) and Goodman Gallery (Cape Town, Johannesburg, and London) as well as Bridget Donahue (New York) and Hannah Hoffman (Los Angeles) in the Galleries sector; and Super Dakota (Brussels) and Helen Anrather (New York) in the Nova sector.
The 20th anniversary edition marks two decades of growth and impact by Art Basel as a cultural cornerstone in South Florida, across the Americas, and beyond.
‘It is truly exciting to celebrate our 20-year presence in Miami Beach,’ says Marc Spiegler, Global Director, Art Basel. ‘Over the last two decades our show has not only reinforced its pivotal position in the region – uniquely bridging the art scenes of North and South Americas, Europe, and beyond – but also played a galvanising role in the city’s profound cultural transformation. The increasingly diverse range of galleries and artistic voices represented will make our show richer in discoveries than ever before.’
‘20 years of Art Basel has shown us the very best version of our community. So much of our investment in our cultural assets and amenities is a result of Art Basel’s example,” says Dan Gelber, Mayor, City of Miami Beach.
Galleries
The fair’s main sector features 213 of the world’s leading galleries, exhibiting works across all mediums and representing the highest quality of paintings, sculptures, installations, and more. Several exhibitors will return to the fair following a hiatus, including Galeria Raquel Arnaud from São Paulo; Karma International from Zurich; Galerie Barbara Thumm from Berlin; Marlborough with exhibition spaces in Barcelona, Madrid, London, and New York; and Lia Rumma from Milan and Naples. Additionally, seven galleries that previously exhibited in the Survey or the Nova sector will transition into the main sector: Balice Hertling from Paris; Nicelle Beauchene Gallery from New York; blank projects from Cape Town; Chapter NY from New York; Commonwealth and Council from Los Angeles; Thomas Erben Gallery from New York; and Hannah Hoffman from Los Angeles. For the full list of exhibitors in Galleries, please visit artbasel.com/miami-beach/galleries.
Positions
Presenting solo exhibitions by emerging international artists, this year’s Positions sector will feature 19 solo presentations and welcomes 11 new participants. Highlights from the sector include new paintings by Tonia Nneji that continue her series ‘Uncommon Lands, Common Grounds,’ which investigates the role of commemorative religious fabrics in unfamiliar contexts, presented by Rele Gallery; first-time participant And Now’s presentation of materially abstract paintings by Leslie Martinez bridging queerness and border politics; and works by Ishi Glinsky, honoring Indigenous people’s connection to land through material exploration and reimagined production, at first-time participant Chris Sharp Gallery. For the full gallery list for Positions, please visit artbasel.com/miami-beach/positions.
Nova
Dedicated to galleries presenting new work by up to three artists, the Nova sector will feature 22 presentations from 23 galleries. Highlights include a solo presentation of new photographs and sculptures by John Edmonds, which continue his inquiry into human form and African art at Company Gallery; newcomer Yavuz Gallery’s exhibition of work by Pinaree Sanpitak, following her work’s inclusion in ‘The Milk of Dreams’ by Cecilia Alemani at the 2022 Venice Biennale; drawings and sculptures by Ukrainian artist Nikita Kadan, some of which have been realized in his current refuge shelter in Kyiv, at Galerie Jérome Poggi; newcomer K Art’s presentation of works by internationally-acclaimed artist Edgar Heap of Birds and emerging artists Erin Ggaadimitis Ivalu Gingrich, and Robyn Tsinnajinnie, whose works thread together a compelling narrative of Indigenous perspectives; and a dual installation by Los Angeles-based artists Anabel Juárez and Greg Ito, whose work explores the immigrant experience through a range of practices, from painting to large-scale sculpture and wall-based installation, on view at Anat Ebgi’s booth. The sector will also include a joint booth by: Super Dakota and Helena Anrather with a presentation of works by Julia Wachtel, investigating the construction of emotion and identity through media and mass culture. For the full gallery list for Nova, please visit artbasel.com/miami-beach/nova.
Survey
Featuring work created before 2000, the Survey sector includes 17 galleries, including nine newcomers to Art Basel Miami Beach. Highlights include a historical presentation of rare wood, marble, and bronze sculptures and works on paper by Cuban artist Agustín Cárdenas at Galerie Mitterrand; the second overseas solo exhibition of work by Japanese artist Ei-Q, including newly discovered photo-dessin and photo-collages, hosted by newcomer Watanuki Ltd./ Toki-no-Wasuremono; a debut art fair presentation of historic works from the 1970s to the 1990s by Milford Graves, with a range of mediums from multimedia sculptures to works on paper, at Fridman Gallery; Cristin Tierney’s booth of historic works by Dread Scott presenting a study of violence from the last 15 years of the 20th century; works from the two principal creative periods of Spanish artist Aurèlia Muñoz, whose work has been exhibited at the Museum of Modern Art in New York, and recently at the Guggenheim in Bilbao, at newcomer Jose de la Mano. For the full gallery list for Survey, please visit artbasel.com/miami-beach/survey.
Edition
The 2022 Edition sector will consist of 11 exhibitors, exemplifying the field of prints and editioned works. Exhibitors include Cristea Roberts Gallery (London); Crown Point Press (San Francisco); Gemini G.E.L. (Los Angeles); Carolina Nitsch (New York); Pace Prints (New York); Paragon (London); Polígrafa Obra Gràfica (Barcelona); Susan Sheehan Gallery (New York); STPI (Singapore); Two Palms (New York); and ULAE (New York). For further information, please visit artbasel.com/miami-beach/edition.
Information on the Meridians and Kabinett sectors will be released in the coming weeks, along with details on additional fair programming, including 20th anniversary highlights.
Museum Shows and Private Collections
Visitors to Art Basel Miami Beach will have the opportunity to experience South Florida’s world-class museums and private collections, including:
The Bass
‘Las Mariposas Eternas – solo exhibition by Adrián Villar Rojas’
‘The Harvesters – solo exhibition by Jamilah Sabur’
‘Phraseology – by various artists’
de la Cruz Collection
‘Together, at the Same Time’
El Espacio 23
‘You Know Who You Are – recent acquisitions of Cuban art from the Jorge M. Pérez Collection.’
The Institute of Contemporary Art, Miami (ICA Miami)
‘Michel Majerus: Progressive Aesthetics – first US museum survey’
‘Nina Chanel Abney: Big Butch Energy’
‘Hervé Télémaque: 1959-1964’
Locust Projects
‘Ronny Quevedo – uleole allez’
Margulies Collection at the Warehouse
‘The Italians’
‘The Bitter Years’
‘New European and American Painters and Sculptors’
‘New Media’
Pérez Art Museum Miami (PAMM)
‘Leandro Erlich: Liminal’
NSU Art Museum Fort Lauderdale
‘Haitian Collection Exhibition: Curated with Kathia St. Hilaire’
‘William Kentridge: Ursonate’‘Scott Covert: I Had a Wonderful Life’
The Carlos Tirado Art Classes is an extensive fine arts program developed by the internationally known multi-media Venezuelan Artist Carlos Tirado. This program was created to teach students artistic techniques through intervals of levels.
Our art classes provide students with tools that will create them into strong professionals, no matter their career of choice. Such as: fine motor skills, eye-hand coordination, patience, concentration and observation, among other abilities that will mold them into integral individuals.
Our recognized 20 years of experience has led us to expand in various locations in South Florida.
Art Courses
Art Courses for Life
Creativity and imagination are so important for our children’s early development.
Creativity is one of the fundamental building blocks for developing lateral thinking later in life. The ability to solve complex problems, create new, sustainable ways of living, and rethink how we build, create and nurture our world has become a core skill for the next generation.
Artistic Environment
Carlos Tirado’s Art Classes offers a place where children come to discover the wonders of art.
Our courses are developed in a supportive and enriching artistic environment for your children to thrive. A space where your child will experience in different media and begin to develop their fundamental artistic skills.
Self-Guided Creativity
We provide your child a healthy balance of structured art lessons and self-guided creativity.
It is so joyful watching children find their own creative voice through the exploration of art. If you give children the right tools, their artistic growth will impress you. We can’t wait to see your child in our courses!
Art Program
Comics Program
Sculpture Program
Photography Program
Digital Program
Art Program
The objective of this art program is to teach students technique through a wide range of skills learned within each of the program’s 4 levels. Students will develop or reinforce their fine and gross motor skills as well as observation, critique, auto critique and creative confidence through the exploration of different mediums in each of their artworks. The levels are as follows:
– First level: Drawing. The introductory level, will teach students to develop measuring and proportional techniques using pencil, color pencils and chalk pastels. Students will learn how to effectively create volume in their drawings to make outstanding art compositions.
– Second Level: Ink Pens. The importance of lighting is explored and emphasized with the use of ink pens on white paper to make detailed drawings, illustrations, sketches etc.
– Third Level: Watercolor Painting. Learn how to successfully paint with watercolors by exploring color combination, transparency, value and composition among other different skills through the use of this medium.
– Fourth Level: Oil Painting. Students will combine elements from previously learned techniques, through the slow-drying quality of oil paint on canvas, with the addition of texture experimentation, color theory, and paint layering skills.
Comics Program
These classes are aimed for all artists who are passionate about anime, cartoons, manga, and comic storytelling. The creative process behind this program begins with the human figure as the fundamental component to illustration.
Students will learn how to express emotions through their drawings by making and giving life to their own characters. They will then be able to put them in real life settings and create their own narrative comic strip through the use of ink, watercolors, crayons and acrylic paints.
Sculpture Program
Following the basic principals of our art program; geometry, proportions, volume and technique, students will learn the basics and fundamentals of ceramics while creating figurative, decorative and functional pieces in our class. Students will learn different methods of hand-building through the use of coil, pinch, and slabs among others.
The sculpture program will provide clay material, plaster, cement, wax and any other material needed to create outstanding 3D forms including but not limited to:
– Mud modeling / Plaster modeling. – Portrait development and study of the face anatomy. – Human figure. – Abstract sculpture. – Relief. – Wheel throwing.
Photography Program
Our photography course introduces students into seeing the world through the lens of their camera and modify their thinking in a photographic frame.
The three level course, led by professional practicing photographers, will teach students to take full advantage and control of their camera. They will explore the secrets of exposure, lighting, lenses, filters and composition all needed to capture the perfect shot. Finally, students will demonstrate proficiency through the detailed composition training that will help them develop their own unique and independent photographic style.
Digital Program
This program expands from the traditional art form to today’s digitalized world.
During the weekly hour and a half class, students will learn the basic theories and fundamentals of art to elevate their quality of work in their digital paintings. They will be provided with the tools and techniques needed to make their drawings come to life on screen. Although this course implements many of the same techniques that work with drawing and painting, students will learn to apply them with softwares such as Adobe Photoshop and Illustrator to create the same effect on screen as they would on paper.
OUR LOCATIONS
Doral
Weston
Orlando
Miami
Ave Maria
Summer Camp Painting
Fun and knowledge come into action in our SUMMER CAMP where you will learn techniques in drawing, clay, comics, craft and enjoy weekly special activities.
The Carlos Tirado’s Art Summer Camp is precisely the program for young artist to develop fine and gross motor skills while learning essential painting and drawing techniques from professionals who will bring out the best in them.
Our summer camp provides an encouraging and creative environment to develop outstanding works, portfolio development, and engagement with others who are just as passionate as them. Our camp combines both fun indoor and outdoor activities that will give them an unforgettable summer experience, while maintaining an educational routine.
Ice Cream Party
Color War
Pool Party
Spray Painting
And much more!
Our camp adapts to both old and new aspiring artists! Our professional staff will provide guidance for anyone wanting to find their own artistic style and path through our fun and educative summer camp program.
Summer Camp for all!
Our Summer Camp is aimed for anyone with the desire to learn and engage in an intellectual, creative and fun environment.
Charles Ronald Wells Bladen was born on 13 July 1918 as the son of British immigrants in the Canadian city of Vancouver. After the daughter, Kathleen, he is the family’s second child. His father, Kenneth Bladen, was responsible for building up several steelworkers in Vancouver before working later as an expert in landscape gardening. His mother, Muriel Beatrice Tylecote, had studied at the Sorbonne in Paris and, as an active socialist, had taken part in the suffragette movement. Both parents later supported their son’s artistic interests.
The family moved several times within a relatively short period: in 1922 to the United States, to Hoquiam in Washington, and in 1926 to Aberdeen in the same state. In 1932, the family returned to Canada, living in Victoria British Columbia.
Already at the age of ten, Bladen was drawing intensively, making copies of works by Botticelli Titian, Picasso and Matisse, and creating free illustrations of Greek mythology. His talent was furthered in Aberdeen through participation in art courses at the high school while he was a pupil at junior high, and in Victoria through private art lessons given by the painter, Max Maynard. Apart from that, the young Bladen was enthusiastic about the sport, became a passionate dancer and baseball player, taking part also in tennis tournaments.
1937-1945
In 1937, Bladen began his studies at the Vancouver School of Art and continued them in 1938 to 1939, he attended additional courses in the figure study class of the painter, Allen Edwards.
In 1939, Bladen moved to San Francisco to continue his studies where, in the same year, he met the Mexican painter Diego Rivera, who was working on a large wall-painting commission. Up until 1943, Bladen studied painting and sculpture at the California School of Fine Arts, later renamed the San Francisco Art Institute, and attended evening courses at this school until 1945.
In 1941, when drafted into the Army, he was declared unfit for military service and obliged to work as a ship’s welder at the naval dockyards in Sausalito, California. For many years, this activity enabled him to earn his living as a toolmaker. This handicraft and aesthetic experience were to become important later on when constructing his sculptures.
Within a circle of friends, Bladen developed a growing interest in contemporary art, literature, music, and philosophy. He wrote poems, spent a lot of time in natural surroundings and experimented artistically with earth and plants that later lead on to a series of drawings, the Earth Drawings, which, together with the poems by Allen Ginsberg, he later published in the journal, The Ark. His spiritually and existentially oriented thinking led him to engage with East Asian philosophy.
Bladen had close contact with several writers and in 1945 joined the Libertarian Circle, a group of anarcho-pacifist artists around the writer, Kenneth Rexroth.
Bladen remained in the United States where, with interruptions, he lived in San Francisco until 1956 and then moved to New York.
1946 – 1955
In 1946, Bladen had his first solo exhibition at the Vancouver Art Gallery. At the same time, he was awarded a scholarship by the San Francisco Art Association which enabled him to undertake an eight-week journey to Tijuana in Mexico and New Orleans from June to August, as well as a stay of several months in New York until March 1947. There, in Peggy Guggenheim’s Gallery, he saw an exhibition with works by Jackson Pollock.
Within the Libertarian Circle, together with James Harmon, Philip Lamantia, Thomas Parkinson, Kenneth Rexroth, Sanders Russell, and Robert Stock, he founded the literary journal, The Ark, in 1947. Bladen designed the cover and made contributions in the form of drawings and linocuts.
In 1948, he met the actress Barbara Gross, whom he married a year later. Their son, Bran, born 1951, died shortly after of a kidney failure. The couple moved to San Carlos in California, buying a house on Winding Bay where Bladen set up a studio.
In 1951, Ronald Bladen was naturalized as a US citizen.
In 1955, he separated from his wife, Barbara Gross. Through his friend, Kenneth Rexroth, he got to know the poet, Michael McClure, at the end of the summer and moved back to San Francisco into McClure’s communal household with Joanna McClure, James and Beverly Harmon, Price Dunn and Larry Jordan. At this time a friendship arose with the writers, Allen Ginsberg, Jack Kerouac, and Henry Miller, as well as the painter, Al Held, who advised him to move to New York.
1956 – 1975
In 1956, Bladen moved to New York where he lived on Houston Street. Through Al Held, he got to know painters, George Sugarman and Nicholas and John Krushenick, who together founded the Brata Gallery co-operative in 1957.
Bladen continued to be active mainly as a painter. He made paintings in the style of Abstract Expressionism in which intensively colored patches of organic formations are integrated into almost landscape-like surface forms, similar in color.
In 1960, he took over Al Held studio a 5 West 21st Street, progressively restricted his painterly activity and began to occupy himself with collages made of folded paper and the first painted reliefs of plywood. As in previous years, to earn his living, he worked as a toolmaker.
In 1962, he exhibited his painted plywood reliefs for the first time at the Brata Gallery and the Green Gallery in New York. The following year he made his first free-standing, colored sculptures from plywood boards with metal struts. From this time on the Bladen dedicated himself exclusively to sculpture.
In 1964, he showed his first sculpture, White Z, at an exhibition in the Park Place Gallery in New York and got to know the sculptures, Connie Reyes, who later became his companion. He was awarded the National Medal of Arts by the National Endowment of the Arts. The first works include also Rambler, 1963/1964, and the Rockers, 1965, which Bladen understood as the artistic basis for all his further sculptures.
From 1956 on, Bladen enjoyed the growing attention of the New York art scene and beyond, so that subsequently he was represented with his austere sculptures, developed from geometric forms, at many famous exhibitions. His artistic stance, influenced by European Constructivism, American Hard-Edge Painting, and sculptures such as Isamu Noguchi and David Smith, in turn, had stimulating effect on a circle of younger artists including Carl Andre, Donald Judd, Sol LeWitt and Lawrence Weiner, who repeatedly called him the ‘father figure’ of Minimal Art.
In 1966, he showed a tripartite work made the previous year, Three Elements, at the exhibition, Primary Structures Younger American and British Artists, in the Jewish Museum in New York. This exhibition was very important for Minimal Art because it enabled a broader public to become acquainted with this new art movement for the first time. Together with other artists represented there, such as Carl Andre, Dan Flavin, Donald Judd, Sol Le Witt, Walter De Maria, Robert Morris, Tony Smith and Robert Smithson, since then Bladen has been assigned to this group working with an elementary frugality of forms, even though his conception, aiming at whole and the expressive power of the individual work, is distinguished from the serial and consistently matter-of-fact manner of artistic shaping and forming pursued by most of the other artists. This holds in a similar way for his sculptor- friends, Robert Grosvenor.
In 1967, at the Scale as Content exhibition in the Corcoran Gallery of Art in Washington, which brought together exclusively large sculptures by Bladen, Newman and Tony Smith, he showed his monumental sculpture, The X. set up in the hall, in the immediate neighborhood of Barnett Newman’s Broken Obelisk, which was positioned outside.
Bladen had his first solo exhibition as a sculptor in Hempstead, New York state, and was represented at a series of further groups exhibitions including also the show, American Sculptures of the Sixties, at the Los Angeles County Museum of Art. Articles appeared in several periodicals on his work, his position within contemporary sculpture along with extended interviews with him. On the basis of this positive resonance and associated purchases, Bladen was now able to devote himself exclusively to art. On the side, he taught at Hunter College in New York. Black Triangles arose between 1966 and 1967.
In 1968, Bladen was awarded the John Simon Guggenheim Memorial Foundation Fellowship, was represented at documenta 4 in Kassel, and was among the circle of artists presented to a European art public under the title, Minimal Art, West Berlin. He created Barricadeand a second version of Rockers, followed by Untitled (Curve) in 1969, Coltrane on 1970 and Boomerang in 1972.
At the beginning of the 1960s interest was growing in the United States in sculptures in public spaces. This turns toward ‘landmark signs’ and the clear, strongly expressive tectonics of Bladen’s works led him to receive numerous commissions from 1967 on. Thus The Cathedral Evening came about in 1969 for the Albany (New York), Vroom Sh-Sh-Sh in 1974 for Buffalo (New York), and Raiko I in 1975 for Galerie Schmela in Düsseldorf.
Since the mid-1960’s, Bladen’s works were represented by the Fischback Gallery in New York, Through its gallery director, Aladar Marberer, in 1973, he got to know the younger artist Bill Jenson, with whom he had a close friendship from then on. From 1974 to 1976, Bladen taught ass a guest lecturer at Columbia University in New York and was awarded the Mark Rothko Fellowship in 1975.
1976 – 1988
In 1976, Bladen was appointed teacher at the Parsons School of Fine Art, a post he held until 1978. An exchange with students gained generally in importance for him. He, therefore, accepted further teaching jobs, such as Artist in Residence in 1981/1982 at the Skowhegan School of Painting and Sculpture (Maine), and in 1982.1983 as a guest lecturer at Yale University in New Haven (Connecticut). In 1977, he was once again awarded the National Endowment of the Arts.
Bladen was mostly occupied with commissions which, since the 1970s, were often accompanied by preparatory models. Thus, in 1976, he created Cosmic Seed for Des Moines (Iowa), 1977, he created Kama Sutra for Central Park in New York, 1978 Oracle’s Vision for Springfield (Ohio), Black Lightning 1981 for Seattle and the campus of King Faisal University in Riyadh as well as Host of the Ellipse for Baltimore (Maryland). From 1985 on, the sculptor, Larry Deyab, assisted him in his work.
At the beginning of 1988, as recognition for his services to the summer academy in Skowhegan, Bladen was awarded the Skowhegan Trustees & Governor Award for Service to the Arts.
On February 1988, Ronald Bladen died in New York of cancer.
RONALD BLADEN SCULPTURE
Ronald Bladen Untitled 1966-67 (first made in wood 1965)
RONALD BLADEN EXHIBITIONS
Solo exhibitions 1946 Ronald Bladen, Vancouver Art Gallery, Vancouver, January 22-February 10. 1951 Raymond & Raymond, San Francisco, fall. 1953 Six Gallery, San Francisco. 1954 Kelly Gallery, Vancouver, October (two weeks). 1956 Paintings by Ronald Bladen, Fine Arts Gallery, University of British Columbia, Vancouver, October 23-November 17. Six Gallery, San Francisco. 1958 Ronald Bladen, Brata Gallery, New York, May 9-30. 1960 Ronald Bladen, Brata Gallery, New York, March 11-31. 1962/1963 Ronald Bladen, Green Gallery, New York, December 11, 1962-January 5, 1963. 1967 Ronald Bladen, Fischbach Gallery, New York, January 3-21. Ronald Bladen: Sculpture, Emily Lowe Gallery, Hofstra University, Hempstead, February 21-March 23; In association with the Fischbach Gallery, New York. 1970 Ronald Bladen: A New Work, Fischbach Gallery, New York, January 3-21. 1971 Ronald Bladen: New Work, Fischbach Gallery, New York, April 10-28. 1972 Ronald Bladen: A Sculpture, Fischbach Gallery, New York, January 8-27. Ronald Bladen, Fischbach Gallery, New York, opened on November 4. Pasadena Art Museum, Pasadena. Tyler School of Art, Philadelphia. 1977/1978 Ronald Bladen: Outdoor Sculpture Proposals, Hudson River Museum, Yonkers, November 19, 1977-January 31, 1978; In conjunction with the Public Arts Council of the Municipal Art Society, New York, Westchester County Department of Parks, New Rochelle, and Department of Parks and Recreation of the City of New York, New York. 1980 Ronald Bladen: Models & Drawings, Hamilton Gallery, New York, May 10-June 7. 1986 Ronald Bladen, Drawings & Wood and Aluminum Wall Sculpture, Washburn Gallery, New York, January 8-February 22. 1987 Ronald Bladen: “The Wall Sculptures”, CompassRose Gallery, Chicago, May 1-June 15. 1988 Ronald Bladen: Recent Sculpture, Washburn Gallery, New York, February 10-March 19. 1989 Ronald Bladen: The 1950s, Washburn Gallery, New York, February 7-March 12. 1990 Ronald Bladen. Paintings and Sculpture, Washburn Gallery, New York, March 7-April 7. Ronald Bladen: Abstract Expressionist Paintings of the Late 1950s, CompassRose Gallery, Chicago, October 12-November 2. 1991/1992 Ronald Bladen: Early and Late, San Francisco Museum of Modern Art, San Francisco, May 30, 1991-August 18, 1991; Vancouver Art Museum, Vancouver, February 8, 1992-April 13, 1992. 1992 Washburn Gallery, New York. 1995/1996 Ronald Bladen: Drawings and Sculptural Models, Weatherspoon Art Gallery, University of North Carolina at Greensboro, Greensboro; Sculpture Center, Long Island City. 1998 Ronald Bladen Sculpture, Bielefeld Art Gallery, Bielefeld, June 7-September 6. 1999 Ronald Bladen: Selected Works, P.S.1 Contemporary Art Center, Long Island City, February 7-May 30. 2004 Ronald Bladen: From Expressionism to Minimalism, Selby Gallery, Ringling School of Art and Design, Sarasota, October 29-November 27. Ronald Bladen: Paintings from the Fifties, Danese Gallery, New York, October 29- November 27. 2007 Ronald Bladen – Skulptur. Werke der Sammlung Marzona, Berlin State Museums, New National Gallery, Berlin, March 22-May 6. 2008 Ronald Bladen: Sculpture of the 1960s & 1970s, Jacobson Howard Gallery, New York, October 16-November 26, 2008. 2011 Ronald Bladen, Loretta Howard Gallery, New York, ????, 2011. 2012 Ronald Bladen Painting 1955-1962, Loretta Howard Gallery, New York, April 19-May 25, 2012.
2008
Ronald Bladen: Sculpture of the 1960s & 1970s, Jacobson Howard Gallery, New York, NY, October 16–November 26 2011 Ronald Bladen: Large Scale Sculpture, Loretta Howard Gallery, New York, NY, February 17–April 2 2012 Ronald Bladen in Context, Ronald Bladen: New York Paintings 1955–1962, Loretta Howard Gallery, New York, NY April 19–May 25, 2012
ANGLE/EDGE/PLANE: The Sculpture of Ronald Bladen
The Ewing Gallery of Art + Architecture, The University of Tennessee, Knoxville, TN
September 2019
Group exhibitions Exhibition titles appearing in brackets represent descriptive titles for which official documentation is unavailable. 1944 Sixty-Fourth Annual Exhibition, Oil, Tempera on Panel and Sculpture, San Francisco Museum of Modern Art, San Francisco, September 21-October 15. 1945 Paintings by Bernard Bolter and Ronald Bladen, Reid Hyde, Hand Weaving, San Francisco. 1946 Sixty-Sixth Annual Exhibition, Oil, Tempera and Sculpture, San Francisco Museum of Modern Art, San Francisco, October 10-November 3. 1950 [Lucille Austen, Ronald Bladen, Henry Dietrich, and Eileen Reynolds], Raymond & Raymond, San Francisco, July 6-31. 1955 Invitational Group Show, Six Gallery, San Francisco, April-May. University of British Columbia, Vancouver. 1958 Brata Gallery, New York. 1959 [Sylvia Stone and Ronald Bladen], Brata Gallery, New York. 1960 New Forms – New Media I, Martha Jackson Gallery, New York, October. 1961 Mark di Suvero and Ronald Bladen, Green Gallery, New York, summer. Ronald Bladen and Sylvia Stone, Brata Gallery, New York, September. 1963 Paintings, Drawings and Prints owned by Local Collectors, Wilmington Society of the Fine Arts, Delaware Art Center, Wilmington. 1964 Invitational Show, Park Place Gallery, New York. 1965 Concrete Expressionism, Loeb Student Center, New York University, New York, April 6-29. Sculpture from All Directions, World House Gallery, New York, November 3-17. 1966 Primary Structures: Younger American and British Sculptors, Jewish Museum, New York, April 27-June 12. 68th American Exhibition, Art Institute of Chicago, Chicago, August 19-October 16. 1966/1967 Annual Exhibition 1966: Contemporary American Sculpture and Prints, Whitney Museum of American Art, New York, December 16, 1966-February 5, 1967. 1967 Bladen, Grosvenor, von Schlegell, Loeb Student Center, New York University, New York, February 6-March 5. Contemporary American Painting and Sculpture from New York Galleries, Wilmington Society of the Fine Arts, Delaware Art Center, Wilmington, February-March. American Sculpture of the Sixties, Los Angeles County Museum of Art, Los Angeles, April 28-June 25; Philadelphia Museum of Art, Philadelphia, September 15-October 29. Sculpture ’67, City Hall, Toronto, June 1-July 17; Organized by the National Gallery of Canada, Ottawa. Outdoor Show, National Gallery of Canada, Ottawa. Projects for Macrostructures, Richard Feign Gallery, New York. Rejective Art, University of Omaha, Fine Arts Festival, Omaha. Scale Models/Drawings, Dwan Gallery, New York. Sculpture and Architecture, School of Visual Arts, New York. Serielle Formationen, Studio Gallery, J.W. Goethe University, Frankfurt. Structural Art, American Federation of Arts, New York; Touring exhibition. 1967/1968 Scale as Content: Ronald Bladen, Barnett Newman, Tony Smith, Corcoran Gallery of Art, Washington, D.C., October 7, 1967-January 7, 1968. Fifth Guggenheim International Exhibition, 1967: Sculpture from Twenty Nations, Solomon R. Guggenheim Museum, New York, October 20, 1967-February 4, 1968. 1968
4 documenta: Kassel ‘68, Fridericianum Museum, New Gallery, and Orangerie Auepark, Kassel, June 27-October 6.
1968/1969 Minimal Art. (Andre, Bladen, Flavin, Grosvenor, Judd, LeWitt, Morris, Smith, Smithson, Steiner), Gemeentemuseum, The Hague, March 23, 1968-May 26, 1968; Art Association of the Rhineland and Westphalia, Düsseldorf, January 17, 1969-February 23, 1969; Academy of the Arts, Berlin Annual Exhibition, Berlin (West), March 23, 1969-April 24, 1969. Annual Exhibition 1968, Contemporary American Sculpture, Whitney Museum of American Art, New York, December 17, 1968-January 19, 1969. 1969 14 Sculptors: The Industrial Edge, Dayton’s 8th Floor Auditorium, Minneapolis, May 29-June 21; Organized by the Walker Art Center, Minneapolis. 1970 Ronald Bladen/Robert Murray, Vancouver Art Gallery, Vancouver, March 10-April 5. American Sculpture, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, September 11-November 15. Inaugural Exhibit, Contemporary Arts Center, Cincinnati. Paula Cooper Gallery, New York. 1971 Sonsbeek ’71, Sonsbeek Park, Arnheim, June 19-August 15. 1972 Visiting Artists: Ronald Bladen and Allan d’Arcangelo, Elvehjem Art Center, University of Wisconsin, Madison, March 31-April 30. American Drawings, Art Collection, Amsterdam; Annemarie Verna Gallery, Zürich. 1973 1973 Biennial Exhibition: Contemporary American Art, Whitney Museum of American Art, New York, January 10-March 18. Works in Spaces: Stephen Antonakos, Ronald Bladen, Sam Gilliam, Robert Irwin, Dorothea Rockburn, San Francisco Museum of Modern Art, San Francisco, February 9-April 8. Art in Space: Some Turning Points, Detroit Institute of Arts, Detroit, May 16-June 24. [The City is for People], Fine Arts Gallery, San Diego. 1974 Less is More: The Influence of the Bauhaus on American Art, Lowe Art Museum, University of Miami, Coral Gables, February 7-March 10; New York Cultural Center, New York. [Competition Exhibition], Society of the Four Arts, Palm Beach. Outdoor Sculpture 1974, Merriewold West Gallery, Far Hills. 1975 Monumental Sculpture in the 1970’s for Civic, Private, and Corporate Places, Janie C. Lee Gallery, Houston, February 1-March 15. Ronald Bladen, Ernest Briggs, Judy Rifka, Stuart Shedletsky, Susan Caldwell Gallery, New York, April 12-30. Collectors of the Seventies, Part 1: Dorothy and Herbert Vogel, Clocktower, P.S.1 Contemporary Art Center, Long Island City, April 19-May 17. Contemporary Drawing, Ben Shahn Gallery, William Paterson University of New Jersey, Wayne. New York Cultural Center, New York. 1975/1976 The Martha Jackson Collection at the Albright-Knox Art Gallery, Albright-Knox Art Gallery, Buffalo, November 21, 1975-January 4, 1976. 1976 200 Years of American Sculpture, Whitney Museum of American Art, New York, March 16-September 26. The Golden Door: Artist-Immigrants of America, 1876-1976, Hirshhorn Museum and Sculpture Garden, Washington, D.C., May 20-October 20. Rooms, P.S.1 Contemporary Art Center, Long Island City, June 9-26. PARC Exhibit, Graduate Center Mall, City University of New York, New York. 1977 Project: New Urban Movements, Akron Art Institute, Akron, May 1-June 19. Marquette for Large Sculpture, Monique Knowlton Gallery, New York. Sculptor’s Drawings, John Weber Gallery, New York. 1978 Drawings, Touchstone Gallery, New York. In Small Scale, Hamilton Gallery, New York. 1979 A Great Big Drawing Show, P.S.1 Contemporary Art Center, Long Island City, February 11-April 1. Sculpture: Bladen, Kipp, Witkin, Ben Shahn Gallery, William Patterson University of New Jersey, Wayne, October 10-November 13. Contemporary Sculpture: Selections from the Museum of Modern Art, Museum of Modern Art, New York. The Minimal Tradition, Aldrich Museum of Contemporary Art, Ridgefield. 1980 10 Abstract Sculptures: American and European, 1940-1980, Max Hutchinson Gallery, New York, March 18-April 19. Arte Americana Contemporanea, Civic Museums and Galleries of History and Art, Udine. Hamilton Gallery, New York. International Sculpture Conference, Washington, D.C. 1981 The Modern Room, Emily Carr Gallery of the Provincial Archives of British Columbia, Vancouver. Ronald Bladen, Michael Goldberg, Vincent Longo, Adam L. Gimbel Gallery, New York. 1982 CAPS Benefit Show, New York. Sculpture Now: Contemporary American Sculpture, Park West Gallery, Southfield. Skowhegan Faculty Show, Colby College, Waterville. 1983 Beyond the Plane: American Constructions, 1930-1965, New Jersey State Museum, Trenton, October 29-December 31. Artist Call, Leo Castelli Gallery, New York. Museum of Drawers, traveling exhibit to Europe, Israel, and the United States. 1983/1984 Sculpture: The Tradition in Steel, Nassau County Museum of Fine Art, Roslyn Harbor, October 9, 1983-January 22, 1984.
1984 Contemporary Painting, Sculpture, Drawing V., Oil and Steel Gallery, New York, September 18-November 3. Drawings by Sculptors, Collection of John E. Seagram and Sons, Inc., New York; Montreal Museum of Fine Arts, Montreal. The Ways of Wood, Queens College, New York. 1985 Matter and Spirit, Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, October 1-24. Ontogeny: Sculpture and Painting by 20th Century American Sculptors, New York Studio School, New York, November 20-December 19. 50 at 50 West, 50 West Gallery, New York. Action Precision, Washburn Gallery, New York. Preview and Review – Paintings, Drawings and Sculptures, Washburn Gallery, New York. 1986 Sculpture: Ronald Bladen, Jim Clark, Judy Pfaff, Connie Reyes, Sorkin Gallery, New York, October 3-November 1. Contemporary Artists. Bladen, Bluhm, Cote, Jensen, Nivola, Youngerman, Washburn Gallery, New York, December 3-23. The Metaphysical Landscape, Robeson Center Gallery, Newark. 1986/1987 Sculpture on the Wall, Aldrich Museum of Contemporary Art, Ridgefield, December 6, 1986-February 15, 1987. 1987 In Scale and Time: Ronald Bladen, Ilya Bolotowsky, Norman Bluhm, Alan Cote, Bill Jensen, Washburn Gallery, New York, September 2-26. Sculpture, Procter Art Center, Bard College, Annandale-on-Hudson, October 15-November 18. 1987/1988 Works on Paper by Twenty-two American Artists, Beijing Art Institute, Peking, November 20-30, 1987; Shanghai Art Museum, Shanghai, December 10-20, 1987; Hong Kong Arts Festival, Hong Kong, January 14-30, 1988; Snug Harbor Cultural Center, New York, October 29, 1988-December 14, 1988. Group Exhibition, Saint Peter’s Church, New York. 1988 Past/Present, Washburn Gallery, New York, September 6-October 1. Envoys, New York Studio School of Drawing, Painting and Sculpture, New York, November 18-December 16. 1989 Past/Present, Washburn Gallery, New York, September. 1990 Works on Paper. Bladen, Jensen, Mason, Ryan, Smith, Washburn Gallery, New York, February 1-March 3. Concept Art, Minimal Art, Arte Povera, Land Art: Sammlung Marzona, Bielefeld Art Gallery, Bielefeld, February 18-April 8. 1991 Circa 1960, Washburn Gallery, New York, January 23-February 23. Lyrical Vision – The 6 Gallery, 1954-1957, Natsoulas Novelozo Gallery, Davis, January-February. Past/Present, Washburn Gallery, New York. 1993 Fantastic Wanderings, Connecticut College, New London, October 9-November 10. 1995 Die Sammlung Marzona. Arte Povera, Minimal Art, Concept Art, Land Art, Museum of Modern Art, Ludwig Foundation, Vienna, June 14-September 17. Egidio Marzona Collection, Palais Liechtenstein, Vienna. 1995/1996 Beat Culture and the New America: 1950-1965, Whitney Museum of American Art, New York, November 1995-February 1996; Walker Art Center, Minneapolis, June 2, 1996-September 15, 1996; M.H. de Young Memorial Museum, Fine Arts Museum of San Francisco, San Francisco, October 5, 1996-December 29, 1996. 1996 The San Francisco School of Abstract Expressionism, Laguna Art Museum, Los Angeles, January 27-April 21; San Francisco Museum of Modern Art, San Francisco. Ronald Bladen. Nancy Haynes. Olivier Mosset., John Gibson Gallery, New York, March 16-April 13. Sculptures and Drawings, Rosenberg & Kaufman Fine Art Gallery, New York. 1997 Fine Arts Museum of San Francisco. Power of Abstraction, Eighth Floor Gallery, New York. Ronald Bladen, Edward Dugmore – Paintings, Lennon, Weinberg, Inc., New York. Sculptures and Drawings, Rosenberg & Kaufman Fine Art Gallery, New York. 1998 Abstracted Presence, Edward Thorpe Gallery, New York. Sculptors’ Draw, Rosenberg & Kaufman Fine Art Gallery, New York. 2000 „Kontrapunkt”, Werke von Nam June Paik und Ronald Bladen, RWE Tower, Essen, January 17-March 19. 2000/2001 (E così via) (And so on). 99 artists from the Marzona Collection, Municipal Gallery of Modern and Contemporary Art, Rome, February 20, 2000-September 17, 2000; Kunstverein Ludwigsburg, Ludwigsburg, March 18, 2001-April 29, 2001. 2001 Marzona Villa Manin. Una collezione d’arte. A private collection. Die Sammlung Marzona, Villa Manin of Passariano, Codroipo, June 9-August 26. Art Works. Sammlung Marzona. Kunst um 1968, Bielefeld Art Gallery, Bielefeld, June 17-August 19. 2001/2002 Probation Area: Versuchsfeld. Sammlung Marzona, State Museums of Berlin, Hamburger Bahnhof – Museum for Gegenwart, Berlin, November 29, 2001-July 21, 2002. 2004 A Minimal Future? Art as Object. 1958-1968, Museum of Contemporary Art Los Angeles, Los Angeles, March 28-July 26. 2005 Sculpture, Danese Gallery, New York. 2006 Galerie mit Bleistift Fischer – Papierarbeiten aus den 60er und 70er Jahren, Konrad Fischer Gallery, Düsseldorf, May 6-June 17. 2006/2007 Surface Matter: Collage from the Collection, Albright-Knox Art Gallery, Buffalo, November 17, 2006-February 11, 2007. 2007 Based on Paper. Die Sammlung Marzona. Revolution der Kunst 1960-1975, State Museums of Berlin, Museum of Prints and Drawings and Art Library, Berlin, March 21-July 15.
2008 Turning Point: The Demise of Modernism and Rebirth of Meaning in American Art, Museum of Art, Brigham Young University, Provo, UT, July 17, 2008– January 9, 2009 2010 Artists at Max’s Kansas City, 1965–1974: Hetero-Holics and Some Women Too, Loretta Howard Gallery, New York, NY, September 15–October 30 2013 Works from the 1970s, Pacific Design Center, Los Angeles, CA 2014 An Opening of the Field: Jess, Robert Duncan, and Their Circle, Grey Art Gallery, New York, NY, January 14– March 29 Out of 10th Street and Into the 60s, Loretta Howard Gallery, New York, NY, September 4–October 11 2015 Where Sculpture & Dance Meet: Minimalism from 1961–1979, Loretta Howard Gallery, New York, NY, September 1– November 7 2017-18 Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, traveling exhibition: Grey Art Gallery, New York University, New York, NY, January 10–December 8, 2017; Kunstmuseum Luzern, Lucerne, Switzerland, September 28–November 25, 2018 Expanding Space: Ronald Bladen, Al Held, Yvonne Rainer, George Sugarman: Loretta Howard Gallery, New York, NY, November 2–December 21, 2017.
