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Surfaces for Your Vision: Canvas and Paper

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AMM
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Elección del Lienzo
Elección del Lienzo

Surfaces for Your Vision: Canvas and Paper


Art Supply Canvas & Paper: Ranging from miniature canvases to large canvas rolls; plus sketchbooks, watercolor and mixed-media pads.

When it comes to the foundational surface for your artwork, canvas and paper offer an expansive range of options, each designed to support different artistic intentions, scales, and mediums. Choosing the right surface is a crucial step in bringing your creative vision to life.

For painters, canvases are a primary choice, available in a spectrum of sizes to suit any project. You can find everything from miniature canvases perfect for small studies, gifts, or quick ideas, all the way up to large canvas rolls that allow for monumental, room-transforming pieces. Canvases come in various materials, like cotton or linen, and different textures (fine, medium, or coarse grain), each affecting how paint adheres and the final look of your brushstrokes. Pre-stretched canvases offer immediate convenience, while rolls provide flexibility for custom sizes and larger ambitions.

Beyond traditional painting surfaces, paper serves as a versatile and accessible ground for a multitude of artistic endeavors. Sketchbooks are indispensable tools for daily practice, ideation, and capturing fleeting inspirations, available in diverse paper weights and finishes. For specific mediums, watercolor pads are designed with high cotton content and specific textures to handle water saturation without buckling, allowing for vibrant washes and delicate glazes. Meanwhile, mixed-media pads are robust and versatile, engineered to withstand various wet and dry techniques, from acrylics and gouache to collage and ink, making them ideal for experimental and layered artworks.

The selection of your surface sets the stage for your entire creative process. Considering the scale, medium, and desired texture will guide you in choosing the perfect canvas or paper to support your artistic expression.

Canvas Types

1. Cotton Canvas

  • Most common and affordable.
  • Smooth or medium texture.
  • Great for: Acrylics, Oils.
  • Usually pre-primed with gesso.

2. Linen Canvas

  • High-quality, stronger fibers.
  • Smoother finish, more durable.
  • Excellent for professional oil painting.
  • Expensive but archival.

3. Canvas Panels/Boards

  • Cotton or linen mounted on rigid board.
  • Portable and budget-friendly.
  • Ideal for plein air painting or studies.

4. Canvas Rolls

  • For custom sizes.
  • Requires mounting or stretching.
  • Available in cotton or linen.

5. Primed vs. Unprimed

  • Primed: Ready to use with acrylic or oil.
  • Unprimed: Must apply gesso before painting.

Paper Types (by Medium)

🖌️ For Watercolor

  • Cold Press (NOT): Textured surface, holds water well.
  • Hot Press (HP): Smooth surface, for detail work.
  • Rough: Very textured, absorbs more pigment.
  • Usually 140 lb (300 gsm) or heavier.

For Acrylic

  • Acrylic Paper: Textured to mimic canvas.
  • Thicker, treated to handle moisture.
  • Good for studies or sketching.

For Drawing & Sketching

  • Sketch Paper: Lightweight, smooth. Great for dry media.
  • Drawing Paper: Heavier and toothier, for more refined work.
  • Bristol Board: Smooth or vellum surface, excellent for ink, markers, and graphite.

For Mixed Media

  • Heavier weight (usually 90–140 lb).
  • Handles wet and dry media.
  • Ideal for artists who switch between ink, watercolor, pencil, etc.

For Ink & Pen

  • Bristol Smooth: Great for fine lines and technical pens.
  • Marker Paper: Coated surface to reduce bleed-through.

Specialty Papers

  • Handmade or cotton rag paper: Used in fine art or calligraphy.
  • Toned paper: Gray, tan, or black – enhances contrast in sketching.
  • Pastel paper: Textured (sanded or toothy) to hold pigment.

Coral Springs Center for the Arts Hosts Vibrant Juneteenth Celebration

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AMM
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Coral Springs Center for the Arts Hosts Vibrant Juneteenth Celebration
Coral Springs Center for the Arts Hosts Vibrant Juneteenth Celebration

Coral Springs Center for the Arts Hosts Vibrant Juneteenth Celebration

The Coral Springs Center for the Arts is excited to announce its Juneteenth Celebration, an evening dedicated to honoring freedom and community through art, music, and joy. The festivities will take place Friday, June 20, 2025, from 5:30 PM to 7:30 PM, at the Center, located at 2855A Coral Springs Drive, Coral Springs, FL 33065.

This special event offers free admission and extended hours, inviting the entire community to partake in a rich cultural experience. The celebration will feature a dynamic DJ set, captivating live performances, and an engaging art exhibit. Guests can also enjoy complimentary bites while immersing themselves in the vibrant atmosphere.

A highlight of the evening will be a live mural performance, offering a unique opportunity to witness art being created in real time. Attendees will also have access to the powerful exhibition, “Ancestral Lines,” which beautifully complements the spirit of Juneteenth.

Join us for an inspiring evening as we celebrate this pivotal moment in history with creativity, community, and reflection.

“The Way We Gather” Opens at SoA Miami Beach Urban Studios

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AMM
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The Way We Gather
The Way We Gather

“The Way We Gather” Opens at SoA Miami Beach Urban Studios, Celebrating Black American Traditions

MIAMI BEACH, FL – June 18, 2025 – Design Gallery, located within SoA Miami Beach Urban Studios, is pleased to announce the opening reception of “The Way We Gather,” a poignant group exhibition featuring artists Chris Friday, Elyssa Llanso, and Donelric Owens. The reception will take place tonight, Thursday, June 19, 2025, at 6:00 PM, at 420 Lincoln Road, Miami Beach, FL.

Presented as part of the vibrant Miami Beach Culture Crawl, “The Way We Gather” offers a powerful artistic reflection on Black American traditions of celebration and resistance. Through their diverse practices, Friday, Llanso, and Owens delve into the richness of cultural heritage, community bonds, and the enduring spirit of resilience.

The exhibition provides a timely and important platform to explore visual narratives that honor collective memory and the various forms of gathering that have shaped Black American identity. Visitors are invited to immerse themselves in artworks that resonate with history, joy, and strength.

A new group exhibition at Miami Beach Urban Studios examines the ways Black Americans come together through shared experience and cultural tradition. The Way We Gather features work by artists and FIU alumni Chris Friday, Elyssa Llanso and Donelric Owens, reflecting on themes of joy, resilience, remembrance and resistance in both historical and contemporary contexts.

Presented as part of the Miami Beach Culture Crawl, the exhibition opens Wednesday, June 19 at 6:00 p.m. at the Design Gallery, SoA Miami Beach Urban Studios, 420 Lincoln Road. The reception is free and open to the public.

Join us for an evening of compelling art and insightful reflection.

“The Color Continuum” by Rafael Montilla

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AMM
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Rafael Montilla
Rafael Montilla

Miami Dade College Hialeah Campus Unveils “The Color Continuum” by Rafael Montilla

Miami Dade College (MDC) Hialeah Campus is proud to announce the opening of “The Color Continuum,” a captivating solo exhibition by acclaimed artist Rafael Montilla. The opening reception will take place on Thursday, June 19, 2025, at 4:00 PM at the campus gallery, located at 1780 W 49th St, Hialeah, FL 33012.

This compelling retrospective showcases Montilla’s distinct geometric neo-abstract practice, spanning works created from 2017 to 2025. “The Color Continuum” offers an immersive journey into Montilla’s exploration of color, form, and their profound philosophical underpinnings.

The exhibition is expertly curated by Noor Blazekovic in collaboration with Myriam Alvarez, with insightful accompanying text provided by Dennys Matos. Together, they present a cohesive narrative that highlights Montilla’s evolution and the depth of his artistic vision.

Rafael Montilla’s work is known for its meticulous compositions and vibrant palettes, often inviting viewers to contemplate themes of universal harmony, balance, and human consciousness. This exhibition at MDC Hialeah Campus provides a significant opportunity for the community to engage with the impactful contributions of a celebrated artist.

We invite all art enthusiasts, students, and the general public to join us for an evening of artistic discovery and celebration.

Event Details: What: “The Color Continuum” by Rafael Montilla – Opening Exhibition

When: Thursday, June 19, 2025, at 4:00 PM

Where: Miami Dade College Hialeah Campus, 1780 W 49th St, Hialeah, FL 33012

Admission: Free and open to the public.

Luis Felipe Ramón y Rivera: Rostros de la Venezuela Olvidada

Por
AMM
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Luis Felipe Ramón y Rivera: Rostros de la Venezuela Olvidada
Luis Felipe Ramón y Rivera: Rostros de la Venezuela Olvidada

Luis Felipe Ramón y Rivera: Rostros de la Venezuela Olvidada

Para Luis Felipe Ramón y Rivera (1913-1993), autor de la perdurable canción «Brisas del Torbes», para él la fotografía documental no era una razón de ser, sino un apoyo para sus intereses investigativos, en los que predominaba lo musical. Esta mirada lejana le permitió estructurar sus fotografías temáticamente, como lo manifiesta la búsqueda de la variedad de diseños de un atuendo típico, el liqui-liqui, en diversos contextos geográficos. El traje típico era un signo dador de respeto y de identidad regional, que puede verse en la imagen de un humilde artesano, como la del Tejedor de Esteras, 1954, en Táchira. El rostro serio del personaje en su taller, con barba y bigotes encanecidos, observa al fotógrafo. Vestido con una franelilla y encima de ella un saco manchado por el arduo trabajo, lleva pantalones con parches cocidos, alpargatas y un amplio sombrero que muestran las huellas del sudor en la base de la copa; en este personaje anónimo destaca la fuerza de las manos, como resultado de un duro trabajo manual. La delgadez domina su fisonomía. A su alrededor se perciben objetos dispersos de las actividades que desarrolla, pues en este taller se hacen múltiples labores, evidencia de esto es cómo detrás del telar horizontal se encuentran las pailas y hornos para hacer papelón. El artesano detuvo su labor para posar ante el investigador junto a un sólido telar con una tensa urdimbre de cinco mecatillos, entre los cuales trama manualmente las fibras con las que hace la estera, materia prima que se encuentra desordenada por el suelo.

Esta imagen eterniza un instante de reposo obligado, en el diario ajetreo de la vida de un hacedor y campesino, en una sociedad que para sobrevivir debe realizar diversas labores, tanto agrícolas como creativas. En otras fotos de artesanos, esta vez tachirenses, tomadas por este músico e investigador, se establecen diferencias, pues en la de un artesano, del Táchira, en 1953, logró captar el proceso creativo de un avío de fibra vegetal realizado entre la maleza. Se observa el rostro concentrado del hacedor mientras realiza el esfuerzo de apretar y anudar, sentado sobre piedras. En otra imagen de la misma serie, el artesano, rodeado de latas, amarra una botella con hojas, las manos en acción dominan la composición., ¿Qué lleva a este hacedor rodeado de maleza y latas de alimentos a fijar su atención sobre la cubierta que realiza para la botella? Podría ser alguien que trabaja mientras cuida un sembradío. En este mismo recorrido por esta zona del país, otra fotografía nos muestra a orillas de la carretera a un artesano también en pleno proceso creativo de labrar semillas de coco. El personaje anónimo está absorto por su acción, mientras con un pequeño cuchillo realiza los diseños tradicionales de esta artesanía típica de la región. A un borde de la imagen se encuentra un coco labrado y terminado, con la base añadida. El centro visual de ésta, es un rostro con lentes, con un sombrero tejido de fibra.

De este recorrido por el Táchira en la década de los cincuenta, el músico logró captar la bella imagen de la familia de una alfarera; en este cuadro familiar el personaje principal muestra su rostro ladeado en actitud creativa frente al torno donde elabora una jarra, mientras su cuerpo reposa sobre la pared de barro de su hogar. La foto habla de una cultura material dominada por la arcilla. A partir de ese continuo contacto con el oficio sus hijos serán podrán heredar de esta sabiduría nacida de los hacedores de barro. La composición rompe con los encuadres tradicionales, pues se está ante una escena espontánea, donde el fotógrafo no pudo determinar las posturas, gestos y actitudes de los fotografiados. Se percibe más bien la búsqueda de un ángulo lo más abierto posible. Lo cual no ocurre con la fotografía del músico Delfino Sánchez (1955) quien, cuatro en mano, toca frente a un micrófono, vestido de liqui-liqui, con un rostro curtido por el tiempo, y con unos anteojos rotos reparados artesanalmente y dominan visualmente el rostro.

En nuevo viaje de campo, Ramón y Rivera logró fotografiar y grabar a otro grupo musical de Guanare, Edo. Portuguesa, en 1953, integrado por un grupo familiar, en el cual uno sostiene el cuatro mientras lo toca. La figura central está posante, sentada, vestida con camisa, el borde del pantalón enrollado dentro de las botas y una escopeta entre las piernas, con el avío colgando en uno de sus hombros, aparece rodeado de un ambiente familiar en actitud festiva.

De esta serie de miradas destaca la titulada Agricultor, Táchira, 1962, en la que un solitario agricultor descansa de su diario trajinar, rodeado de plantas de agave, bastón en mano, con botas de plástico y lo que podría ser una cantimplora de tapara sujeta a la cintura. El enfoque es de abajo hacia arriba, lo que logra acentuar la presencia del personaje que deambula sobre un camino de tierra rodeado de vegetación y colinas, vestido con un liqui-liqui abierto, desahogado, con los pantalones casi bombachos, cuyos bordes inferiores están dentro de las botas de plástico: es un agricultor que regresa de su jornada. Su rostro parece estar medio escondido entre las alas de un sombrero de fieltro, y deja ver un cierto aire patriarcal que acentúa su adusto semblante. Todos estos aspectos, por otra parte, contrastan con la espontaneidad de Don Bartolomé Moreno, 1958, Edo. Táchira, vestido con liqui-liqui oscuro y alpargatas, parado con brazos entrecruzados sobre el pecho, tomando en una de sus manos su sombrero. La imagen devela su sonriente rostro.

Encontramos otro personaje de esta serie enfocado desde abajo hacia arriba, con un traje similar y parado sobre una piedra. Este tipo de composición destaca el rasgo monumental del personaje, apoya sus manos en la cintura, pantalones recogidos, calza alpargatas, y viste un liqui-liqui abierto con camisa de corte. A su espalda se observa una casa de tapia, con techo de tejas, ventanas pequeñas y el símbolo de la cruz incrustado en la pared exterior. Estamos ante un campesino que devela sus creencias religiosas.

Todos estos personajes son de contextura delgada. En estas imágenes, en las que se privilegia el retrato individual, se descontextualizan los personajes de su ambiente familiar, laboral y cotidiano. Todo ese sentido se rompe con la foto de un arriero caminando en Pregonero, Edo. Táchira, en 1954, y a partir de la cual se adentra en la dimensión de los espacios públicos y los familiares. Es posible, a través de estas imágenes, reconstruir diversos fragmentos de la vida cotidiana en que se enmarca el deambular de este personaje. En la esquina por donde pasa el arriero, machete al cinto, se ubica una pulpería cuyos clientes se encuentran en la puerta atentos a lo que ocurre en la calle. Los medios de transporte de la época están presentes, la mula, la bicicleta –arrimada a una acera–, pero ante todo, el caminar de los pobladores por las calles, por el centro de la calle, definen a una Venezuela rural de mediados de siglo. El arriero mira despreocupadamente las escenas de vida que lo rodean. A su espalda un hombre vestido citadinamente, con sombrero, pantalón y saco, camina con las manos entre los bolsillos, varios grupos familiares miran lo ocurrido desde la acera recreándose con lo que ocurre a su alrededor. Se hacen presentes, así, en esta foto, varios mundos entrecruzados: el rural, el urbano, el familiar y el cotidiano.

La mirada de una calle de Curiepe, en 1955, reconstruye otro espacio público, donde las poblaciones rurales suelen dejar transcurrir la mayor parte del tiempo. Se encuadra a un vendedor posando en liqui-liqui, en una calle de tierra, rodeada de casas de bahareque, techos de zinc a dos y un agua, que comparten espacio con las casas tradicionales de techos de palma. En la pared de una de ellas cuelga un tendero del cual ‘guindan’ en ganchos los vestidos y liqui-liquis que se venden. A través de este elemento nos acercamos al tipo de intercambio comercial y de relaciones sociales que se daban en estos poblados. Detrás del vendedor ubicado en el centro de la calle, un observador ve las mercancías. En los extremos de la calle está la acera de cemento, junto a un tronco de madera que lleva el cableado eléctrico. Puede evidenciarse un dramático contraste con el suelo de tierra. Estos elementos descriptivos que se repiten en muchos poblados, materializan los diversos grados de desarrollo en una misma sociedad. Son huellas patentes de las profundas contradicciones de un desigual desarrollo económico-social, que aún persiste y que paradójicamente se profundiza a lo largo y ancho del país, creado incluso nuevas clases sociaes como la boliburgesía.

Rafael Montilla: “The Color Continuum”

Por
AMM
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Rafael Montilla
Rafael Montilla

Rafael Montilla: “The Color Continuum”

El artista venezolano, radicado en Miami, inaugura el 19 de junio una exposición individual en la galería del Miami Dade College Hialeah Campus

Juan Antonio González

Una muestra antológica del artista venezolano Rafael Montilla, afincado en Miami desde 2002, será inaugurada el jueves 19 de junio de 2025, a las 4:00 pm, en la galería del Miami Dade College Hialeah Campus, ubicada en el 1780 W 49th St, Hialeah, FL 33012.

Con la curaduría de Noor Blazekovic, en colaboración con Myriam Álvarez, la exposición, titulada The Color Continuum, reúne 41 obras realizadas en distintas etapas de la carrera artística de Montilla, quien ha centrado su trabajo en la abstracción geométrica con miras a exteriorizar su mundo interior, su espiritualidad.

Sobre el significado de The Color Continuum, dice el artista: “Representa el color como testimonio de la existencia. En mi obra, el color es una fuerza vital: vida, luz, alegría, esperanza, futuro… Cada pieza está impregnada de múltiples colores, reflejando la persistencia de la vida en una humanidad que, aunque ha evolucionado externamente, ha descuidado su ‘ser interno’. Si sigue a este ritmo, la humanidad se acabará en menos de 100 años”.

La exposición presentará, además, dos piezas recientes de Rafael Montilla: Falla social, “estos cuadros, realizados con un sistema que intencionalmente hacen que siempre se verán ‘mal colocados’, simbolizan nuestro punto crítico como especie. Creemos que estamos al borde de una falla geológica social, destruyéndonos mutuamente y a la naturaleza por una ignorancia voluntaria, olvidando que somos parte de ella”, dice el artista de esta propuesta.

La segunda serie, que se denomina Move (Muévete), “exige al observador cambiar de perspectiva; las obras no pueden verse desde un solo ángulo. Es una paradoja: un llamado a romper con los dogmas, a dejar de ser ‘monos con celulares’ y a retomar nuestra verdadera evolución”, explica Montilla.

En el texto de sala de The Color Continuum escribe el crítico de arte y curador cubano Dennys Matos: “En el sentido poético, la muestra despliega todo un repertorio interpretativo de la figura del cubo, como una especie de leitmotiv que atraviesa buena parte de la obra de Montilla en su exploración inmersiva sobre las dimensiones materiales y espirituales de esta figura geométrica. Las obras aquí presentes, nos descubren cómo el artista estudia y trabaja la representación tridimensional. Y lo hace en base a la alta simetría que presenta el cubo puesto en una perspectiva simbólica sociocultural del lenguaje abstracto o geométrico de las artes visuales de finales del siglo XX y principios del XXI”.

“En el sentido discursivo -prosigue Matos-, la obra de Montilla está empapada de una metafísica espiritual que parte de una comprensión humanista del mundo. El encuentro de las dos caras del cubo, por ejemplo, en orden simbólico, puede ser interpretado como pares de oposiciones formales dentro-fuera, público-privado, arriba-abajo, entre otras. Todas ellas nos invitar a pensar desde el terreno de la abstracción geométrica como un lenguaje que habla de una realidad inaprensible, de una realidad que no es explícita o literal. Es también una manera de organizar y ordenar espiritualmente, a través de la belleza de las figuras abstractas, el caos reinante en el reino de este mundo”.

De muestra en muestra
Dos días después de la apertura de The Color Continuum, Rafael Montilla también estará presente en la exposición Hey, Look Me Over! (¡Hola, mírame!), con la que Bernice Steinbaum Gallery, ubicada en el 2101 Tigertail Avenue, Coconut Grove, FL 33133, celebra la llegada del verano y también el vibrante talento de artistas emergentes y consagrados, algunos de ellos representados por esta galería y otros en busca de espacios para mostrar sus trabajos.

Finalmente, del 18 de julio al 2 de octubre de este año, Montilla hará otra exposición individual. Se trata de Marlow Moss. La conciencia del Universo, que se presentará en la Biblioteca Regional de Westchester, del 9445 Coral Way, Miami, FL 33165. Aquí el artista expondrá una serie de piezas inspiradas en las obras de Marlow Moss (1889 /1958), considerada la primera artista constructivista británica.

“La conexión entre Marlow Moss y mi obra radica en nuestra filosofía común: la búsqueda de la verdad universal y la reflexión sobre el papel del arte en la evolución de la humanidad”, concluye Rafael Montilla.

Coral Gables Museum Open Studio:

Por
AMM
-
KELLY PHILLIPS
KELLY PHILLIPS

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio:

A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Jun 18 / Jul 2 / Jul 16 / Jul 30 / Aug 13 / Aug 27

(every other Wed, 6:00pm – 8:30pm)

Join us every other Wednesday, beginning June 18 with Kerry Phillips, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

What to Expect
  • Engaging, hands-on activities designed for adults (18+).
  • Exploration of the theme of THINGS through art, storytelling, and personal expression.
  • Professional South Florida-based artists sharing their work, vision, and experience.
  • A welcoming environment to meet new people, nurture your creativity, and unwind midweek.
  • Cash bar on site featuring LALO Tequila, open from 6 to 7 PM for a relaxed social atmosphere.
  • Young Associates Members receive a free drink from LALO Tequila.
Why Join?
  • Discover new artistic skills and creative perspectives
  • Connect with a vibrant community of makers and thinkers
  • Enjoy a unique, enriching night out in the heart of Coral Gables
Mark Your Calendar and RSVP today!

Jun 18 / Jul 2 / Jul 16 / Jul 30 / Aug 13 / Aug 27

June 18 with Kerry Phillips

My parents grew up on farms. One grandmother collected things (kept things) and the other was a Grand Storyteller. Both influenced me greatly. I create sculptures and installations using materials available in a given place at a given time – ranging from things found to collected experiences and retold stories.  Often, I’ll alter a space using architectural interventions and enlist the public’s participation in the gathering of materials or through performative interactions.

I used to find and keep objects for their potential but I now have a more immediate approach to working with materials and sites: finding, using and letting go. I’ve drastically limited my bounty of resources, forcing myself to rely heavily on insight, good oldfangled farm know-how (thanks, Dad) and my MacGyver-like resourcefulness. 

Limiting my resources has also led me to engage viewers more directly in scheduled events and unscheduled mini-events – like the “farm tours” I’ve given in various places where I guide groups around, pointing out and describing bits of my father’s farm (site of the ongoing “The Farms Project”) as if we were actually there; collecting phrases in French from French people in France; using masking tape to write large letters to crushes I’ve had; getting people to “draw a line” for a bound book of 524 lines on 524 pages by 524 people; or in building tents in people’s living rooms using materials they have on hand.

I remain fascinated by collections – even if a bit wary.  I abstain from collections by giving myself art-or-else deadlines.  Sometimes your things… is such a project, covering the walls with homemade cardboard shadowboxes filled with things found and kept over the years. My parents’ junk drawer… reveals my attraction to meaningless objects that I am, nonetheless, charmed by and have fond memories of. 

I’ve been focused on the tendency towards accidental collections, like junk drawers, and highlighting my many accidentals (as in all the extension cords from my studio, all the sheets, all the yarn, or all the tape, etc.) and combining them with objects or architectural elements found on site.  This immediate way of responding to sites and the current contents of my studio becomes a candid representation of a specific moment in time.
 

bio

Kerry Phillips is an installation artist whose artwork borders on performance and social practice. Phillips’ work with found objects is intuitive, often site-specific, and steeped in remembrance and storytelling. She uses common objects in unexpected ways, working collaboratively with viewer-participants to reveal an exchange of value, the importance and limitations of memory, and the vitality of play.

Phillips earned an MFA from University of Arizona and has participated in numerous solo and group exhibitions, including at the Orlando Museum of Art, Locust Projects, Pérez Art Museum Miami, Museum of Contemporary Art North Miami, Boca Raton Museum of Art, and Bridge Red Projects. She has solo projects opening Summer 2023 at The Bass Museum and Locust Projects in 2024.

She has exhibited and completed residencies in Ohio, Vermont, New York, North Carolina, and internationally in Berlin, Krakow, Mexico, and France. Her work is held in the collections of the Orlando Museum of Art, The Girls’ Club, and Mosquera Collections. Originally from Texas, Phillips works in Miami and, contrary to her family’s wishes, doesn’t paint pretty pictures.

June 2025

Wed18

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

June 18 @ 6:30 pm – 8:30 pm  Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Thu19

A woman observes an exhibition panel about the restoration of the Giralda's facades, featuring images and information on the project.

June 19 @ 6:00 pm – 8:00 pm

Master Lecture “The Restoration of La Giralda”

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Join renowned architect-restorer Eduardo Martínez Moya for an in-depth look at the award-winning restoration of La Giralda or Bell Tower of Seville, a masterpiece of World Heritage, and a cultural, historical, and artistic landmark for Seville, Andalusia, Spain, and Europe. Martínez Moya has been recognized with the 2024 Hispania Nostra Award in the category of Heritage Conservation as a Factor of Economic and Social Development for his research, documentation, restoration, and communication of the Giralda façades.

Thu26

Event poster for "Art Off the Wall" featuring live art, vinyl music, and vintage fun. Includes graphics of a record, camera, and cocktails.

June 26 @ 6:00 pm – 9:00 pm

Art Off The Wall

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Join us for a bold and immersive art experience like no other as we celebrate Coral Gables’ centennial with a special summer edition of Art Off The Wall. This vintage-inspired evening will feature live art by talented local artists creating masterpieces in real time, giving you the chance to interact with them and discover the inspiration behind their work. Groove to retro sounds spun by vinyl DJs, setting the perfect vibe for a nostalgic celebration, and savor vintage cocktails curated to match the evening’s aesthetic. Throughout the Museum, enjoy interactive activations including photo-worthy moments, creative installations, and centennial-themed surprises.

July 2025

Wed2

July 2 @ 6:30 pm – 8:30 pm  Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Wed16

July 16 @ 6:30 pm – 8:30 pm  Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Wed30

July 30 @ 6:30 pm – 8:30 pm  Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

August 2025

Wed13

August 13 @ 6:30 pm – 8:30 pm  Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Wed27

August 27 @ 6:30 pm – 8:30 pm  Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

September 2025

Wed10

September 10 @ 6:30 pm – 8:30 pm  Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Wed24

September 24 @ 6:30 pm – 8:30 pm  Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Thethingslab.org

The Things Lab is an artist-led socially-engaged participatory project and start-up non-profit created by Susan Caraballo & Kerry Phillips.The Things Lab emphasizes creativity as a resource for resiliency and adaptability centering on three complementary aspects: the collaborative, ever-changing immersive art installation/reuse center where one determines the pricing, paying what they value items to be worth within their budget; a lending library of things that meaningfully benefits the neighboring communities; and a series of arts & community workshops and events that serve as a meeting place connecting creativity, sustainability, memory, shared knowledge and compassion.The Things Lab’s first iteration in Little River is officially closed. We are hosting the next collaborative THINGS SWAP with Miami Time Swap on Saturday, June 21 at LnS Gallery located 2610 SW 28th Lane in Miami. Events below for more information.Reservations can still be made for the Lending Library.If you’d like to support our efforts, we encourage you to become a MEMBER or simply donate by clicking on SUPPORT below.

Unlocking Your Vision: A Guide to Paints for Artists

Por
AMM
-
The Dance of Light and Hue: Professor Anya Hurlbert's Exploration of Colour Perception
The Dance of Light and Hue: Professor Anya Hurlbert's Exploration of Colour Perception

Unlocking Your Vision: A Guide to Paints for Artists

Art Supply  Paints: Acrylics, watercolors, oils, craft paints, and specialty finishes.

The world of paint offers an incredible spectrum of possibilities, each medium bringing its own unique characteristics, challenges, and expressive potential to the artist’s palette. Understanding these differences is key to choosing the right material for your vision. From the quick-drying versatility of acrylics to the luminous depth of oils, let’s explore some of the most common types of paints and specialty finishes.

Acrylics: The Modern Workhorse

Acrylic paints are a modern marvel, celebrated for their versatility and rapid drying time. Made from pigment suspended in an acrylic polymer emulsion, they can be thinned with water to mimic the transparency of watercolors or applied thickly to achieve impasto textures akin to oils. Their quick drying nature allows for fast layering, but also means you have to work relatively quickly. Acrylics are incredibly durable and flexible once dry, adhering to a wide range of surfaces like canvas, wood, paper, and even fabric. They’re also known for their vibrant, lightfast colors and easy cleanup with soap and water.

Watercolors: Lightness and Transparency

Watercolors are all about luminosity and transparency. Composed of finely ground pigment mixed with a binder (typically gum arabic), they are reactivated and thinned with water. The magic of watercolor lies in its ability to create delicate washes, subtle gradients, and luminous glazes where the white of the paper often plays a crucial role as the lightest tone. They dry quickly and are known for their portability, making them popular for sketching and plein air painting. Mastering watercolor involves understanding water control and layering, as mistakes can be harder to correct due to their transparent nature.

Oils: Richness and Depth

Oil paints are perhaps the most revered medium in art history, known for their rich colors, luxurious texture, and extended drying time. Pigments are bound with a drying oil, most commonly linseed oil. This slow drying allows artists ample time for blending, layering, and manipulating the paint on the canvas, enabling incredibly subtle transitions, deep glazes, and expressive impasto. Oil paints offer exceptional color saturation and permanence. While they require solvents for cleanup and can be a slower process, the depth and luminosity achieved with oils are often unmatched, making them a favorite for portraiture, landscapes, and traditional techniques.

Craft Paints and Specialty Finishes: Beyond Fine Art

Beyond the traditional fine art mediums, a vast array of craft paints and specialty finishes cater to specific decorative or functional purposes. These are generally acrylic-based but formulated for ease of use and adhesion to diverse surfaces.

  • Craft Paints: Often found in tubes or bottles, these are designed for general crafting on wood, ceramic, fabric, and paper. They are typically opaque, fast-drying, and durable, making them ideal for DIY projects, stenciling, and decorative applications.
  • Fabric Paints: Formulated with a binder that allows the paint to remain flexible and adhere to textiles without cracking or flaking after washing.
  • Glass and Ceramic Paints: Designed to adhere to non-porous surfaces, often requiring heat-setting to become permanent and dishwasher safe.
  • Metallic and Iridescent Paints: Contain fine metallic or interference pigments that create shimmering, reflective effects.
  • Glow-in-the-Dark Paints: Contain phosphorescent pigments that absorb light and then emit it in darkness.
  • Texture Pastes and Gels: These are not paints themselves but mediums mixed with paints or applied directly to create various textures, from gritty sand effects to smooth, sculptural impasto.

Choosing the right paint for your project depends entirely on your artistic goals, the surface you’re working on, and the effect you wish to achieve. Experimenting with different types will undoubtedly expand your creative toolkit and help you discover new ways to bring your visions to life.

JORGE MENA; Un idealizador de broncíneos cuerpos

Por
Julio César Briceño Andrade
-
JORGE MENA

Un idealizador de broncíneos cuerpos

Por Julio César Briceño Andrade.

Jorge Mena y yo compartimos una anécdota singular. Ambos fuimos rechazados en el III Salón Nacional de Jóvenes Artistas del año 1985. Como forma de protesta ante esta decisión, organizamos una colectiva que denominamos “Estética de la Ética”, la cual se exhibió en la Galería El Muro de La Castellana y en la Galería G de Las Mercedes, ambas en Caracas. Aunque mi nombre no figura en el catálogo por haber llegado tarde a la convocatoria, la muestra incluyó obras de un grupo significativo de artistas, todos ellos rechazados del Salón: Arturo Carrión, Humberto Cazorla, Frank Cisnero, Maruja Contreras, Iván Dávila, María Egea, Susana Goldin, Elizabeth González, Juan Loyola, JORGE MENA, Consuelo Méndez, Nelson Montezuma, Ismael Mundaray, Gazniella Pagazani, Salvador Rodríguez, Gloria Rojas, Carlos Sánchez Vezas y Julio César Briceño.

Ligia De Briceño
Mi esposa Ligia De Briceño, junto a la Obra en bronce Los Trabajadores van al Banco y de fondo las dos obras de Juan Loyola expuestas en la Galería el Muro de Caracas en la exposición La Estética de la Ética (1985)

Es importante destacar que Frank Cisnero, Jorge Mena e Ismael Mundaray asumieron la vocería del grupo ante los medios de comunicación, denunciando lo que percibían como un intento por parte de un sector de la cultura de imponer una tendencia artística específica en ese momento. Lo verdaderamente llamativo de esta historia es que, cuarenta años después, muchos de los artistas aceptados en aquel Salón ya no ejercen el arte, mientras que la mayoría de los rechazados de nuestro grupo sí logramos alcanzar nuestro sueño artístico.

La protesta más contundente de aquel entonces la protagonizó el indomable Juan Loyola. El día de la inauguración del III Salón Nacional de Jóvenes Artistas, en el Museo de Arte Contemporáneo de Caracas, y ante la presencia de la directora del museo, Sofía Imber, y del Ministro de Cultura, José Antonio Abreu, Loyola derramó tres latas de pintura —amarilla, azul y roja— en el suelo. Acto seguido, se lanzó al piso y se revolcó en la pintura, vociferando críticas. Luego se levantó y salió caminando, dejando un rastro de color por el piso hasta que fue detenido. En nuestra colectiva de la Galería El Muro, Juan Loyola exhibió dos cuadros que incorporaban los retazos de su camisa manchada, los cuales, casualmente, sirvieron de fondo a una de mis propias obras, titulada “Los trabajadores van al banco”, una forma de protesta por el colapso bancario que afectó a Venezuela en esos años.

Esa fue la primera vez que me encontré con Mena, un joven robusto, de cabello largo, bigotes y una pequeña barba. Desde entonces, nuestros caminos se fueron reencontrando en cada una de sus exposiciones individuales, pues admiro profundamente la forma en que imagina los cuerpos y la tenacidad con la que, personalmente, funde y termina sus obras en bronce. Sé por otros colegas que él domina el proceso de principio a fin, lo que le confiere todo mi respeto.

Jorge Mena y Julio César Briceño Andrade

Coincidimos notablemente en su exposición individual “CUERPOS PSÍQUICOS” (1992) en la Galería UNO de Las Mercedes. Al observar esas esculturas, interpreté esos “cuerpos psíquicos” como una manifestación de crecimiento personal y espiritual. Los percibí como humanoides imaginarios en alta tensión, quizás en un intento por superar patrones emocionales y mentales en su propio desarrollo. De aquella muestra, la obra “Alicia” captó mi atención de manera especial, donde percibí un ser hermafrodita de cuerpo firme y una gracia femenina singular.

Luego, en 1997, me sorprendieron gratamente las obras de su individual “OFRENDA”, en la misma Galería UNO. En esa muestra, sentí un homenaje profundo a la mujer, interpretada con una fuerza creativa más delicada y cuerpos más femeninos. Mena idealizaba a la mujer latinoamericana, sin duda su fuente de inspiración, logrando en sus figuras una conexión palpable con lo divino. Como bien expresa la curadora Milagros Bello en su cuidadoso análisis del catálogo: “Mena retoma el sentido trascendente que signaron los clásicos al cuerpo: esteticismo sutil en los efluvios composicionales y en los movimientos, graciosos y de fuerza potente (terribilitá) en la devoradora sensualidad de las curvas, serenidad mística en las entregas y ofrendas”. De esa exposición, la obra “Akita” me cautivó por su entrega total a la mirada del espectador.

En 2002, nos volvimos a encontrar en la Galería Dimaca de Los Palos Grandes para su exposición individual “PIEL”. En esta muestra, Mena representaba simbólicamente su concepto de la mujer ideal, una figura sin fronteras entre el mundo interior y exterior, sin desconexiones entre el cuerpo y el espíritu, y sin las inquietudes habituales entre el bien y el mal. Como escribió el maestro Oswaldo Vigas en el catálogo: “…cuán difícil es disociar estas figuras del símbolo de la sexualidad más salvaje que se esconde en el seno del alma masculina”. En esa muestra, la obra “Roraima” se erigía como la Reina de aquel mundo onírico donde Mena era el Rey.

Después de “PIEL”, las circunstancias se volvieron más complejas, aparecieron los retratos imaginarios, y desde entonces, Jorge y yo solo nos vemos virtualmente a través de las redes sociales. (Julio César Briceño – Escultor)

JORGE MENA
JORGE MENA
JORGE MENA
JORGE MENA
Jorge Mena y Julio César Briceño Andrade
Jorge Mena y Julio César Briceño Andrade

opa projects Presents “Out of LA : Contemporary Voices”

Por
AMM
-
opa projects Presents “Out of LA : Contemporary Voices” — A Tribute to Resilience in the Los Angeles Art Scene
ED RUSHA Fast From

opa projects Presents “Out of LA : Contemporary Voices” — A Tribute to Resilience in the Los Angeles Art Scene

Exhibition Dates: July 10 – September 26, 2025 Opening Reception: Wednesday, July 10, 6–9 PM Location: opa projects, 7622 NW 4 CT St, Miami, FL 33127

opa projects is proud to present Out of LA : Contemporary Voices, a powerful group exhibition spotlighting the contemporary art scene of Los Angeles in the wake of the devastating wildfires that struck Southern California in January 2025. Running from July 10 through September 26, the exhibition features the work of eight LA-based artists, some of whom were directly affected by the fires.

Through painting, sculpture, and mixed media, Out of LA : Contemporary Voices explores themes of survival, regeneration, and cultural vibrancy amidst destruction. Among the featured artists is Cleon Peterson, who tragically lost both his home and studio during the fires. The exhibition also includes seminal works by Ed Ruscha, Kenny Scharf, Kour Pour, Emily Ferguson, Nicolas Shake, Jessica Taylor Bellamy, and Zoe Walsh — voices that together form a diverse and vital portrait of Los Angeles’ artistic

“This exhibition is both a tribute and a call to attention,” says gallery director Billy

Tartour. “We want to honor the strength and resilience of artists whose lives and

practices were deeply impacted, and to highlight the cultural force that continues to

rise from the ashes of crisis.”

opa projects, known for its commitment to emerging and established contemporary voices, aims to foster dialogue between art communities across coasts. Out of LA : Contemporary Voices marks a significant moment of solidarity between Miami and Los Angeles, both cities shaped by creative risk-taking and environmental vulnerability.

A portion of proceeds from the exhibition will be donated to recovery funds supporting artists affected by the California wildfires.

opa projects

+1 516 807 5419 – [email protected]

7622 NE 4 CT, Little River, 33138 Miami

opaprojects.com

instagram.com/opa.projects

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