On View: Wednesday, January 29, 2025 — Saturday, April 19, 2025
Intimate portraits of South Florida’s mobile home communities reveal the delicate balance between resilience and vulnerability in the face of urban change. Diego Alejandro Waisman: Sunset Colonies, on view at the Patricia & Phillip Frost Art Museum FIU from January 29 through April 19, presents a seven-year photographic exploration of these often-overlooked neighborhoods.
Waisman, whose broader artistic practice investigates themes of social displacement and exile, has garnered international recognition for his thoughtful documentation of communities in transition.
In a series of poignant and evocative images, Diego Alejandro Waisman: Sunset Colonies explores the vulnerabilities faced by residents of South Florida’s mobile home communities amid rapid urban transformation and the persistent threat of economic displacement. Named after Waisman’s book of the same title, the exhibition features photographs from the Frost Art Museum’s collection alongside additional works by the artist, created over a span of seven years. These images pose pressing questions about the invisibility of mobile home communities, their histories, and their uncertain futures amidst the housing affordability crisis. At the same time, they highlight the resilience and strength of individuals whose sense of home balances delicately between memory and an encroaching reality.
Diego Alejandro Waisman is a Buenos Aires–born, Miami-based visual artist whose work explores social and economic displacement, exile, family, identity, and origins. He has exhibited and received accolades for his work in South Florida and around the world.
Diego Waisman, Grow, from For I Shall Already Have Forgotten You, 2021, Color photograph, 22 x 33 inches, Purchased with Funds from the Dorothea Green Emerging Artists Fund, FIU 2024.9.2
Japanese art is renowned for its deep connection to nature, spirituality, and Japan’s unique historical and cultural developments. It encompasses various styles and mediums, from ancient religious iconography to contemporary visual art. Traditional Japanese art forms include ink painting, woodblock prints, ceramics, and sculpture, which Shinto, Buddhism, and Confucianism heavily influenced. In modern times, Japanese art has seen a fusion of traditional and Western influences, resulting in a dynamic and evolving artistic landscape.
Muromachi Period (1392–1573)
The Muromachi period, a time of profound tranquility and spiritual depth, was marked by the development of Zen Buddhism in Japan, which greatly influenced the art of the time. The period saw the rise of ink painting (suiboku-ga) and the flourishing of the tea ceremony, both of which emphasized simplicity, subtlety, and an appreciation for nature. One of the most prominent art forms during this period was the development of Japanese ink painting, with artists like Sesshū Tōyō leading the way. Architecture also saw significant growth, with the construction of the iconic Zen gardens and the evolution of the shoe style of interiors. The art of this time conveyed a sense of tranquility, contemplation, and spiritual depth.
Azuchi-Momoyama Period (1573–1603)
The Azuchi-Momoyama period, a time of political unification and cultural flourishing under the leadership of Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu, was a period of art transformation. Heavily influenced by the military elite and their patronage, the visual arts were marked by lavish, ornate decoration and bold designs. Notable art forms included vibrant screen paintings (byōbu), colorful Noh theater costumes, and tea ceremony utensils. The period also saw the introduction of Western influences, especially in portraiture and religious art, as Portuguese missionaries and traders arrived in Japan.
Edo Period (1603–1867)
Under the Tokugawa shogunate’s rule, the Edo period was a time of peace, isolation, and social stability. This allowed for the flourishing of various forms of art, particularly ukiyo-e (woodblock prints), which depicted scenes of everyday life, landscapes, and beautiful women. The Edo period also saw the rise of kabuki theater, sumo wrestling, and the continued development of the tea ceremony. A strong focus on harmony, order, and beauty characterized the period. Artists such as Katsushika Hokusai and Utagawa Hiroshige became famous for their prints, which influenced Japanese culture and Western art.
Meiji Period (1868–1912)
The Meiji period marked the end of Japan’s feudal system and the beginning of its rapid modernization and Westernization. This transformation significantly impacted the arts as Japan moved from traditional art forms to Western techniques and ideas. Western-style painting (yōga) became popular alongside the continued production of traditional Japanese art. Artists like Yokoyama Taikan and the Nihonga school sought to merge Western realism with traditional Japanese aesthetics. During this period, Japan was also fascinated with industrial design, as reflected in architecture and applied arts.
Taishō Period (1912–1926)
The Taishō period was a time of political, social, and cultural experimentation in Japan. The influence of Western modernism, combined with a desire to preserve traditional Japanese art forms, led to the development of new movements, such as the Japanese Art Deco and the emergence of avant-garde artists. Artists like Yokoyama Taikan continued to build upon the fusion of Western and Japanese art traditions. The Taishō era also saw the rise of modernist architecture and design, and many artists began to explore more personal and expressive subject matter, reflecting a sense of individualism and modernization in Japanese society.
Shōwa Period (1926–1989)
The Shōwa period was one of the most significant periods in modern Japanese history, marked by tremendous social, cultural, and political change. The early part of the Shōwa period was influenced by Western art movements like Impressionism, Cubism, and Surrealism, while the post-World War II era saw the emergence of more abstract and experimental art forms. Artists like Yayoi Kusama, Isamu Noguchi, and Taro Okamoto became internationally recognized. Traditional art forms were also revived and modernized, reflecting a dynamic period of artistic exploration that engaged with Japan’s heritage and its place in the global art scene.
Ero Guro (Erotic Grotesque)
Ero Guro, short for “erotic grotesque” in Japanese, is a subversive and often disturbing art movement that emerged during the early 20th century, particularly during the Shōwa period. The movement explored themes of sexuality, death, and the macabre, often incorporating grotesque and surreal imagery. Ero Guro artists like the painter and illustrator Shoji Otomo and writer Edogawa Rampo aimed to challenge conventional ideas of beauty and morality, often blending eroticism with horror to create shocking yet captivating works. The movement reflected the growing disillusionment in post-war Japan and the desire to confront societal taboos and the darker aspects of human nature.
To say that Ben Nicholson (1894-1982) had a complex relationship with his father would be an understatement. Both were artists, in Sir William Nicholson’s case a successful landscapist and portrait painter, who depicted the likes of Mark Twain and Rudyard Kipling. A man of Edwardian wit and flair, he was no fan of his son’s avant-garde endeavours — and told him so. On visiting an exhibition of Ben’s in 1935, William asked sneerily, ‘Why don’t you paint proper pictures?’
At the time, Nicholson fils was producing the white abstract reliefs that are today regarded as his great contribution to Modernism. One of the largest and finest of these, 1936 (white relief), sold for £1,842,000 at Christie’s in London in March 2022.
The differences between the two men weren’t just artistic. During the First World War, Ben had missed out on military action because of asthma — and, for the best part of a year, attended a health spa in California. While he was away, his beloved mother Mabel died from Spanish flu. To make matters worse, shortly after his return to England, Ben lost his girlfriend Edie, too — to his newly widowed father. The young couple had met while students together at the Slade School of Art in 1910, but Edie ended up deciding that the older Nicholson was the one for her. In the autumn of 1919, she and William married.
Open link https://www.christies.com/en/lot/lot-6501976
Ben Nicholson, O.M. (1894-1982), 1978 (still life with blue + stripes), 1978. Pencil, oil wash, gouache and ink on paper, shaped, on the artist’s prepared board. 13⅝ x 11½ in (34.6 x 29.3 cm). Sold for £12,600 on 17 October 2024 at Christie’s in London
According to Ben’s biographer, Sarah Jane Checkland, ‘The initial shock of betrayal gradually hardened into hatred for his father. Not only was he now determined to succeed as an artist, but to do so by pursuing a course that diametrically opposed that of his father… Hence his commitment to abstraction.’
The truth was probably more nuanced than that. For a start, Ben spent his career moving seamlessly back and forth between the figurative and the abstract, rather than being devoted to the latter.
The inspiration for his art extended far beyond his own family, too. His first works were still lifes painted in a naturalistic fashion, but new influences soon brought themselves to bear — notably Cezanne and the Cubists.
The influence of Cubism and Alfred Wallis
Nicholson first encountered Cubism through the works of Picasso, on a visit to Paris in 1921. Thereafter he started rendering his repertoire of jugs, glasses and other table-top objects as flat shapes on the picture plane. A fine example, July 25-47 (still life — Odyssey 2), was sold at Christie’s in 2021.
In later life, looking back on that period, Nicholson stated that ‘Cubism, once discovered, couldn’t be undiscovered.’ It was a movement that continued to inspire him at different points throughout his career.
Open link https://www.christies.com/en/lot/lot-6501875
Ben Nicholson, O.M. (1894-1982), Aug 18-50 (Newlyn), 1950. Oil and pencil on board, on the artist’s prepared board. 13⅞ x 15 in (35.4 x 38.1 cm). Offered in the Modern British and Irish Art Evening Sale on 16 October 2024 at Christie’s in London
In the late 1920s, another major influence arrived, namely Alfred Wallis, a retired Cornish fisherman who doubled as a self-taught painter of naive port scenes. Nicholson would paint a host of landscapes — such as 1928 (cornish port) — inspired by Wallis’s playful distortion of scale and perspective.
It’s worth stressing, though, that his art never really followed a clear and obvious path. Nicholson was always too questing for that, often creating very different types or series of work at the same time.
The white reliefs
From 1934 to 1938, he made the most overtly abstract pieces of his career: the aforementioned white reliefs. These consisted of geometric shapes (predominantly circles) carved into a wooden board, which was painted all over in white.
Shortly before that period, Ben had left his first wife, the painter Winifred Nicholson, for the sculptor Barbara Hepworth, and it was when he casually picked up one of Hepworth’s tools one day that he hit upon the idea for his reliefs.
Although they’re nowadays considered a peak of his oeuvre, few of Nicholson’s peers appreciated the works. One rare admirer was the artist Paul Nash, who interpreted the reliefs metaphysically, as microcosms of the infinite which ‘should each be seen as something like a new world’.
Nicholson’s relationship with Mondrian
In the 1930s, Nicholson made several trips to Paris, visiting the studios of Mondrian, Braque and Brancusi, among others. With their simple geometric structure, his reliefs have an affinity with Mondrian’s famous ‘Grid’ paintings, and the two men would go on to become close friends — and neighbours.
In 1938, with the threat of war in mainland Europe looming, the Englishman convinced the Dutchman to settle near him in London. The pair lived a stone’s throw apart, in the suburb of Hampstead, with Mondrian frequently joining Nicholson, Hepworth (now his wife) and their young triplets for tea.
Open link https://www.christies.com/en/lot/lot-6501882
Ben Nicholson, O.M. (1894-1982), 1940-42 (painting), 1940-42. Gouache on card. 9 x 9 in (22.8 x 22.8 cm). Sold for £113,400 on 16 October 2024 at Christie’s in London
At around the outbreak of the Second World War, however, Nicholson and Hepworth quit London for the picturesque town of St Ives in Cornwall. They begged Mondrian to go with them, but he declined, ultimately deciding to board a boat for New York, where he would spend the rest of his life.
Still life meets landscape
Nicholson remained in St Ives for the best part of two decades, enjoying its intense light and sea views. Perhaps his best-known works from this period are the paintings from the 1950s in which he inventively fused two genres: still life and landscape.
Open link https://www.christies.com/en/lot/lot-6502017
Ben Nicholson, O.M. (1894-1982), Nov 61 (octagonal), 1961. Oil wash and pencil on board, on the artist’s prepared board. 35½ x 45½ in (90.2 x 115.6 cm). Sold for £126,000 on 17 October 2024 at Christie’s in London
Essentially, this entailed — in a single picture — superimposing an example of the former on an example of the latter. Nicholson thus collapsed the distinction between interior and exterior — and, under the influence of Cubism anew, replaced an illusionistic compositional space with a set of elegantly flattened forms and overlapping planes.
The most expensive artwork by Nicholson ever sold at auction — his 1957 painting, April 57 (Arbia 2) — is one of these still-life/landscape fusions. It fetched £3.75 million at Christie’s in London in 2016.
Guggenheim Award and art-world recognition
After many years in which he had struggled both for sales and recognition, the late 1940s and the 1950s saw a significant upturn for Nicholson — as if contemporary tastes had finally caught up with his radical creations.
In 1949, he was invited to create two large panels for the interior of the New Zealand Shipping Company’s new steamship, the M.V. Rangitane — one of which, October 1949 (Rangitane), sold for £1,002,000 at Christie’s in 2022.
In 1951, he produced a vast mural for the Festival of Britain. Three years later, he was asked to represent Britain at the Venice Biennale. Then, in 1957, he won the inaugural Guggenheim International Award for painting, receiving his prize and $10,000 cheque from President Eisenhower in the White House.
Open link https://www.christies.com/en/lot/lot-6501977
Ben Nicholson, O.M. (1894-1982), Dec 1963 (Helmos), 1963. Oil on carved board, relief. 30¾ x 30¾ in (78 x 78 cm). Offered in the Modern British and Irish Art Day Sale on 17 October 2024 at Christie’s in London
By the 1960s, Nicholson was living in Switzerland, in a house overlooking Lake Maggiore, with his third wife, the photographer Felicitas Vogler. There he returned to his painted reliefs of the 1930s, albeit with slightly different results. The type of shape was now more varied than before, and the palette went beyond white to include earthy colours.
Works such as (1965) Olympia, its title referring to ancient ruins in Greece, and Nov 59 (landscape with monolith) illustrate the career-long distillation of forms in his work that Vogler described as ‘clarity and the great art of omission’.
Nicholson died in 1982, aged 87.
The market for Ben Nicholson
‘The market for his work today is well established,’ says Angus Granlund, Head of Evening Sale in the Modern British and Irish Art department at Christie’s. ‘Nicholson’s importance as an artist has long been accepted.’
Which Nicholsons are the most sought-after? ‘The white reliefs from the 1930s,’ says Granlund. ‘They’re extremely rare and the majority are held in major museum collections. However, the post-war paintings fusing still life and landscape are more typical and abundant, accounting for four of his top five prices achieved at auction.
‘This was an artist of international significance,’ he adds, ‘with a truly global audience.’
Marlow Moss / Vera Molnár : Nuevos ángulos | Paseo con James Mayor
Exposición a dúo de la Galería Mayor que presenta las obras de la primera artista constructivista británica Marlow Moss y de la pionera húngara del arte informático Vera Molnár. Ambas mujeres artistas, pioneras en su campo, Moss con sus precisos dibujos, ejecutados con lápiz, regla y compás en la década de 1940 y Molnár, trabajando con aparatos trazadores informáticos de principios de la década de 1970. La Galería Mayor traza un diálogo entre sus respectivas prácticas, que exploran la potencia de la línea.
Nacida Marjorie Jewel Moss, Marlow Moss (n. 1889 Kilburn, Londres – 1958 Penzance, Cornualles), como llegó a ser, se trasladó de Londres a París en 1927 para matricularse en la Académie Moderne y estudiar con Fernand Léger. Aquí formó parte de la vibrante escena artística, exponiendo con regularidad (Konstruktivisten, Basilea 1937, y Abstracte Kunst, Ámsterdam 1938) tras ser invitada a unirse a Abstraction-Création como miembro fundador junto a Piet Mondrian, Georges Vantongerloo y Jean Arp, entre otros. Fue también aquí donde conoció a su compañera de toda la vida, la escritora holandesa Antoinette Hendrika Nijhoff-Wind.
Moss siguió los conceptos del De Stijl y el Neoplasticismo; la reducción a lo esencial de la forma y la composición mediante líneas horizontales y colores primarios, pero fue Mondrian quien influyó más profundamente en Moss. Se hicieron amigos, intercambiaron ideas constructivistas y se influyeron mutuamente; Mondrian y Gorin empezaron a utilizar su innovador motivo de la «línea doble». La diferencia estribaba en que Mondrian construía sus composiciones de forma intuitiva, mientras que Moss lo hacía con un planteamiento matemático.
Los dibujos de trabajo de Moss son precisos, ejecutados con lápiz, regla y compás. Estos dibujos están ribeteados con notas y cálculos a lápiz, que a menudo incluyen collage antes de ser transferidos al lienzo. Trágicamente, gran parte de sus primeras obras fueron destruidas en la guerra poco después de huir de Francia a Cornualles, donde permaneció el resto de su vida.
Su personalidad homosexual y andrógina, quizá demasiado moderna para la Gran Bretaña de los años 50, puede ser una de las razones por las que no fue acogida por sus vecinos del grupo de St. Sin embargo, su obra está siendo redescubierta; en 2014 la Tate Britain celebró una exposición individual de su obra y en 2017 en la Haus Konstruktiv Zürich. Su obra se encuentra en las colecciones del Museo de Arte Moderno de Nueva York, el Rijksmuseum y el Stedelijk Museum de Ámsterdam y el Museo de Israel, entre otros.
Vera Molnár (n. 1924 Budapest, Hungría – m. 2023 París, Francia) estudió historia del arte y estética en la Escuela Superior de Bellas Artes de Budapest antes de trasladarse a París en 1947, donde conoció a artistas constructivistas como Jesús Rafael Soto y Víctor Vasarely, que compartían el interés por explorar composiciones basadas en formas y temas geométricos sencillos.
Cofundador del GRAV (Groupe de Recherche d’Art Visuel), en 1960, junto con Julio le Parc y François Morellet, investigaron enfoques colaborativos del arte mecánico y cinético. Molnár siempre tuvo fijación por las formas geométricas y la creación de arte basado en sistemas. Mi vida son cuadrados, triángulos y líneas. Estoy loca por las líneas».
Antes de que apareciera el ordenador, inventó algoritmos o «máquinas imaginarias» que creaban imágenes siguiendo una serie de reglas de composición preestablecidas, creando coloridas obras geométricas abstractas. Su gran avance se produjo en 1968, cuando tuvo acceso a un ordenador en un laboratorio de investigación tras aprender por su cuenta el lenguaje de programación Fortran, y ahora podía programar infinitas variaciones de algoritmos a través de una máquina. Molnár, que utilizaba un lenguaje de ceros y unos, introducía las órdenes en el ordenador a través de tarjetas perforadas o cintas de papel que luego se enviaban a un plóter que transmitía la imagen directamente al papel a través de un lápiz o un bolígrafo en movimiento. Este método le permitía investigar infinitas variaciones de formas geométricas y líneas.
Por sus trabajos informáticos, Molnár participó en las ya legendarias exposiciones Konkrete Kunst, Zurich, 1960, montadas por Max Bill. Entre sus exposiciones más recientes figuran MOMA Nueva York, Thinking Machines: Art and Design in the Computer Age, 1959-1989, Artistes & Robots en el Grand-Palais de París y Chance and Control: Art in the Age of Computers en el Victoria & Albert Museum; todas en 2018. Participó en la Bienal de Venecia de 2022 con Icône 2020 y Variazioni Icône fue la última exposición celebrada en vida de la artista en la Academia Húngara de Roma (nov 2023-feb 2024). El Centro Pompidou organizó una retrospectiva homenaje «Parler à l’oeil» (Hablar a los ojos), del 28 de febrero al 26 de agosto de 2024, en honor del artista francés (1948), que en 2016, a la edad de 92 años, declaró: «No me arrepiento de nada. Mi vida son cuadrados, triángulos y líneas».
Korean art, a testament to resilience and adaptability, spans a rich and diverse history. It is deeply influenced by the region’s unique geographical, cultural, and religious contexts. Traditional forms like painting, ceramics, sculpture, and calligraphy, shaped by Confucianism, Buddhism, and Shamanism, have evolved over time. Korean art has embraced modern and contemporary movements while maintaining a strong connection to its cultural heritage. Key themes in Korean art often explore harmony with nature, spirituality, and the human experience, reflected in the gracefulness and simplicity of many artistic traditions.
Joseon Dynasty (1392–1897)
The Joseon Dynasty (also spelled Choson) is one of the most critical periods in Korean art history. The dynasty saw the flourishing of Confucian ideals, which profoundly influenced Korean visual culture. During this period, the production of ceramics, mainly the famous blue-and-white porcelain, reached its height. Joseon painters were primarily known for their landscape and genre painting, emphasizing realism and the beauty of nature, often with a serene, meditative quality that can bring a sense of tranquility to the audience. The period also saw the development of calligraphy and the rise of the literati painter, who valued intellectual expression through art. Buddhist and Confucian themes, as well as scenes of daily life, were common subjects.
Korean Informel (1950s–1960s)
Korean Informel is an abstract art movement that emerged in the 1950s and 1960s, influenced by the international Informel movement that focused on spontaneous, non-figurative expression. The term “Informel” comes from the French word for “formless,” this movement rejected traditional Korean aesthetics in favor of abstract forms and textures. Korean informal artists, such as Kim Whanki and Park Seo-Bo, sought to express emotion and existential themes, often incorporating symbolic materials such as sand, charcoal, and natural elements. The movement was a response to the devastation of the Korean War and the socio-political upheaval of the time. It represented a shift toward individuality and abstraction in Korean art.
Dansaekhwa (Korean Monochrome Painting)
Dansaekhwa, meaning “monochrome painting,” is a Korean contemporary art movement that emerged in the 1970s, known for its focus on simplicity and the use of a single color or subtle gradations of color. The movement is defined by its meditative, process-oriented approach, where the act of creation is as important as the final product. Artists in the Dansaekhwa movement, such as Lee Ufan and Kim Whanki, used layering, rubbing, and scraping techniques to create textured surfaces, often incorporating traditional Korean materials like ink and hanji paper. The work reflects themes of spirituality, stillness, and the search for inner meaning while focusing on the materiality and process of painting. It is a distinct form of modernism in Korea, blending both Western and Eastern influences
La exposición de la casa es una de las más importantes en honor a una pionera del arte constructivista: Marlow Moss, que nació en Londres en 1889 y tuvo una compleja historia tanto personal como en su carrera artística. Resulta sorprendente que durante mucho tiempo haya sido olvidada en la historiografía del arte. Esta exposición intenta ahora restablecer su importante posición en la historia del arte.
Un tema central es la problemática recepción de Marlow Moss, quien, como artista judía, también fue perseguida por los nacionalsocialistas. En el mundo del arte de las décadas de 1930 y 1940, no le resultó fácil hacerse valer en un entorno dominado por los hombres. Por eso no es de extrañar que en numerosas exposiciones y publicaciones no se la mencionara. La autoría de la llamada «doble línea» introducida por Moss también pasó a menudo desapercibida, aunque mantuvo un animado intercambio con otras artistas que discutían este tema.
Esta exposición arroja luz sobre su singular evolución artística. Marlow Moss no fue en absoluto un mero producto del zeitgeist del debate neoclásico, sino que desarrolló una obra muy independiente. Su innovación en el espacio tridimensional es particularmente evidente en sus esculturas, tres de las cuales pueden verse en la exposición. Desgraciadamente, muchas de sus esculturas se han perdido o se desconoce su ubicación, pero muestran cómo Moss invirtió profundamente en el espacio y las dimensiones del arte.
En sus pinturas, compuestas con precisión matemática, es posible reconocer cómo utilizaba el «marco negro» como elemento estructural recurrente en sus cuadros. Este marco también se encuentra posteriormente en sus esculturas, donde conduce a una nueva dimensión del arte. En sus obras posteriores, especialmente en los motivos del «mar negro», dejó superficies vacías que difieren de sus obras anteriores sin líneas negras ni posiciones estructurales.
Estas pinturas se complementan a través de los campos de color, que interactúan entre sí de forma armoniosa y concentrada. Su arte sigue siendo un logro significativo en el arte plástico y una fuente formativa de influencia para el desarrollo del arte moderno.
ArtServe Presents “Burnout and Black Artists: Emotional Sustainability in the Arts” New Exhibit Opens January 24 and Explores the Complexities ofBlack Pain, Trauma and Artistic Identity
ArtServe is proud to announce the opening of its first exhibition of 2025, “Burnout and Black Artists: Emotional Sustainability in the Arts.” The exhibition opens on January 24th, 2025, and the public is invited to attend the opening reception on Friday, January 31st, from 5:30 p.m. to 8 p.m. at ArtServe.
Address: 1350 E Sunrise Blvd, Fort Lauderdale, FL 33304
The exhibition explores the emotional and physical toll placed on Black artists, whose work is often defined by themes of trauma and pain. While these themes are important, “Burnout and Black Artists” examines how Black artists face the expectation of continually revisiting personal and collective trauma to achieve success. The exhibition asks what impact this emotional labor has on their well-being and challenges the art world to embrace a more holistic view of the Black experience.
“At ArtServe, we believe art is a powerful tool for exploring the important issues that shape our world,” said ArtServe CEO Jason Hughes. “It’s a space where artists can share their voices and experiences, and where we can all learn from one another. We’re excited to start the year with ‘Burnout and Black Artists,’ a thought-provoking exhibit that dives deep into the emotional challenges Black artists face, and we look forward to the conversations it will inspire.”
The exhibit features work such as “I Am Refreshed,” by Holly Forbes (featured to the right), which reflect themes of renewal and emotional sustainability within the artistic process.
The event is free and open to all ages, with free venue parking available. The exhibition runs until March 31st, 2025.
Mark your calendars for other exciting upcoming exhibits at ArtServe in 2025: “WILD: Invasive Species of South Florida” (April 26 – June 20)combines art and activism to address invasive species in Florida’s ecosystems, with a reception on May 9. “Walk the Runway” (July 18 – September 19) showcases the creativity of local South Florida fashion designers, with a reception on July 25. Finally, “Florida Opulence” (October 10, 2025 – January 2, 2026) is a members-only exhibition exploring the opulent history of Florida during the Gilded Age, with a reception open to the public on October 17.
ArtServe is located at 1350 East Sunrise Boulevard in Fort Lauderdale and is open from 9 a.m. to 6 p.m. Monday through Friday and Saturdays from 10 a.m. to 6 p.m. Daily admission is free.
ArtServe inspires, supports and advances its diverse members, artists and community by promoting artistic development, education and prosperity through the exploration and presentation of the visual and performing arts.
For more information about these events, or to become a member, volunteer, or support ArtServe’s mission, please visit www.artserve.org or email [email protected].
About ArtServe
Named a “Top-Rated Nonprofit” by GreatNonprofits, the leading provider of user reviews of charities and nonprofits, Fort Lauderdale-based ArtServe is an award-winning arts incubator that is advancing the arts for social good as a creative laboratory and hub for experimental artists committed to diversity, equity and inclusion. Now in its 35th year, ArtServe has won several awards for innovation in the arts and is supported in part by the Broward County Board of County Commissioners as recommended by the Broward Cultural Council and the Community Foundation of Broward. Each year, ArtServe programs contribute tangibly to the region’s economy, helping 2,000+ artists sell their work, build businesses and engage the community. To do that, ArtServe secures financial support through donations, sponsorships and memberships.
Exposición individual del artista puertorriqueño Félix Ríos
Se presenta en el Centro Cultural IMAGO sábado 1 de febrero de 2025 a las 6:30 p.m. 4028 SW 57th Ave, Miami, Estados Unidos
Una selección de obras del artista puertorriqueño Felix Rios integran la exposición Symphony (Velvet II), que será inaugurada en Miami el sábado 1 de febrero de 2025 a las 6:30 p.m., en los espacios del Centro Cultural IMAGO, bajo la curaduría de Katherine Chacón.
La muestra es el resultado del intenso estudio que Félix Ríos emprendió hace varios años en torno a las teorías del color arquitectónico de Le Corbusier, expuestas en su libro Polychromie Architecturale, tal y como afirma Katherine Chacón en el texto curatorial. “Para este pionero de la modernidad, la arquitectura no era simplemente un ejercicio técnico o estético, sino una disciplina destinada a satisfacer las necesidades físicas, emocionales y espirituales de quienes habitaban los espacios. Siguiendo esta filosofía, en Polychromie Architecturale Le Corbusier propone una paleta concebida no sólo para embellecer las áreas, sino para generar emociones y percepciones que las hicieran más armoniosas y confortables”.
El pensamiento y obra del gran arquitecto suizo-francés Le Corbusier ha inspirado profundamente la práctica de Felix Rios, según expresa la curadora. “Si bien la conciencia del espacio arquitectónico ha estado presente en muchas de sus series anteriores, en las obras que conforman esta muestra, Rios se acerca a Le Corbusier no sólo a través de sus fascinantes colores, sino en su constante reflexión sobre la belleza, entendiendo esta cualidad como un misterio que, oculto en la forma, mueve hondamente el espíritu. Por ello, no es sorprendente que en esta serie haya acudido a la Sucesión de Fibonacci –una secuencia numérica en la que cada cifra es la suma de las dos anteriores, y cuya figuración establece una relación fascinante y armoniosa– para establecer no sólo las dimensiones de las obras y el número de piezas que componen la serie, sino la disposición de los campos de color en cada lienzo”.
Rios, en palabras de Katherine Chacón, “es un explorador del ‘poder transformador del color’, de la capacidad que cada tono tiene para impactar el ambiente exterior y, definitivamente, nuestros sistemas físico, psíquico y sutil, de cómo cada color se relativiza, y en última instancia, de cómo cada tono encierra en sí un misterio”.
Félix Ríos (Arecibo, Puerto Rico, 1968) estudió dibujo arquitectónico en Puerto Rico y diseño de interiores en Miami. Ha presentado dos exposiciones individuales: “Colors, Shapes, and Forms” en Laundromat Art Space (Miami, 2023) y “Rhythms“ en Imago Art (Coral Gables, 2021). Su obra también ha sido exhibida en destacadas exposiciones colectivas en: Miami International Fine Arts (Miami), Sala de Exposiciones del Plata (Dorado, PR), Laundromat Art Space y Galería Petrus (San Juan, PR). Sus obras forman parte de la colección permanente de Sabanera Health en Dorado Beach, Puerto Rico.
La exposición Symphony (Velvet II), del artista Felix Rios, se estará presentando hasta el 23 de marzo de 2025 en los espacios del Centro Cultural IMAGO, ubicado en 4028 SW 57th Ave, Miami, Estados Unidos. El horario es lunes de 2:00 a 6:00 p.m., martes a viernes de 10:00 a.m. a 6:00 p.m., y los sábados de 10:00 a.m. a 1:00 p.m.
Tribute to Celia Cruz
Next date: Friday, January 31, 2025 | 08:00 PM to 10:00 PM
Pinecrest Gardens 11000 Red Road Pinecrest, Florida 33156
Tribute to Celia Cruz
Next date: Friday, January 31, 2025 | 08:00 PM to 10:00 PM
Pinecrest Gardens 11000 Red Road Pinecrest, Florida 33156
Experience a dazzling evening of glamour and tropical elegance transporting you to 1950s Havana. Celebrate the centennial of Celia Cruz with an electrifying performance by Lucrecia and the Celia Cruz All Stars reimagining the golden era of Celia Cruz and La Sonora Matancera.
Cuban artist Lucrecia will embody Celia Cruz, accompanied by the Celia Cruz All Stars, in a night reverberating with the sounds of the Queen of Salsa and La Sonora Matancera’s original music charts.
Live music shows are presented in the historic Banyan Bowl amphitheater, an acoustically stunning amphitheater under a spectacular geodesic dome.
A companion documentary exhibition leading up to the concert will showcase historical photographs and memorabilia, including the famous “Cucaracha Dress”, transporting audiences to 1950s Havana. The exhibition will be on view from December 7, 2024, through February 2, 2025.
“I come out on stage to bring her alive.” – Lucrecia, Billboard
Centennial Celebration The Celia Cruz Estate and the Celia Cruz Foundation are honored to present the Centennial Celebration of the inimitable Celia Cruz in 2025, featuring a series of performances, exhibitions, and related events. Official festivities will commence in October 2025 to honor Celia’s 100th birthday, continuing through the end of 2026. Pre-centennial events will kick off in January 2025 with a nostalgic and glamorous evening, where Lucrecia and the Celia Cruz All Stars will reimagine Celia’s golden era with La Sonora Matancera of 1950s Havana as part of Pinecrest Gardens’ Tropical Nights series. As we approach the Centenary on October 21, 2025, Celia Cruz’s legacy shines brighter than ever. The Centennial will celebrate her immense contributions to music and her status as a cultural icon, highlighting her remarkable journey and the profound impact she had on fans across diverse backgrounds. Celia’s dedication to her craft, cultural heritage, and indomitable spirit continue to inspire and uplift artists and fans worldwide.
About Lucrecia At the early age of seven, Lucrecia began studying piano and music and was certified with a specialty in piano at Instituto Superior de Arte de Cuba. She studied singing with Isolina Carrillo, the composer of the famous bolero Dos Gardenias, popularized in Spain by Cuban singer Antonio Machín. Soon after completing her education, Lucrecia joined La Orquesta Anacaona, an all-female group that became a Cuban institution since its founding in 1932. In the 1980s and early 1990s, she made several international tours with the group. It was with Anacaona, as lead vocalist, keyboardist, and arranger, that Lucrecia first arrived in Spain. Later, in 1993, she left Anacaona and returned to settle in Barcelona, where she has remained. Since establishing her solo career there, she became active in Spanish film, television, and music. Though not yet well known in the English-speaking world, Lucrecia has been touted as a successor to the great Celia Cruz, with whom she was a close friend.
Lucrecia’s 2010 Álbum de Cuba was nominated for Best Contemporary Tropical Album at the 2010 Latin Grammy Awards. Throughout her career, Lucrecia collaborated and performed with numerous masters of the art, including Celia Cruz, Paquito D’Rivera, Chano Domínguez, Joaquín Sabina, Wyclef Jean, Carlos Patato Valdes, Carel Kraayenhof, Willy Chirino, Chavela Vargas, Lluís Llach, Gilberto Gil, Israel Cachao López, Andy García, Carlos Jean, Nuno da Câmara Pereira and more.
Among her most notable collaborations is Cachao: The Last Mambo, a winning album at the 2011 Latin Grammy Awards and the 2012 Grammy Awards. Based on a memorable concert recorded live in Miami in September 2007, the album was a tribute to Israel Cachao Lopez celebrating the 80-year musical career of that great master.
Celia Cruz All Stars The music of Celia Cruz lives on with the Celia Cruz All Stars, talented musicians who pay tribute to the hits immortalized by La Guarachera de Cuba. Many of the band members played with Celia at some point in her career. They celebrate Celia’s classics with a twist of funk in songs like La Negra Tiene Tumbao, Quimbara, Usted Abusó, La Vida Es Un Carnaval, and Bemba Colora, among others, honoring one of the most influential artists of all times.
Live music shows are presented in the historic Banyan Bowl amphitheater, an acoustically stunning amphitheater under a spectacular geodesic dome.
Chinese art has a long and diverse history that spans thousands of years. It includes various mediums, from painting, sculpture, and ceramics to calligraphy, textiles, and architecture. Chinese art is often influenced by philosophical, religious, and cultural traditions such as Confucianism, Taoism, Buddhism, and folk beliefs. The evolution of Chinese art reflects the changing political and social conditions throughout China’s history, blending aesthetics with social function and spiritual symbolism.
Tang Dynasty (618–907)
The Tang Dynasty is a golden age for Chinese art, culture, and creativity. During this period, the arts flourished, especially in painting, sculpture, and ceramics. The Tang period saw a rise in Buddhist art, with the creation of large-scale stone sculptures and the spread of Buddhist iconography. Paintings from this period often featured landscapes, court scenes, and depictions of life in the Tang capital, Chang’an. The art of the Tang Dynasty also demonstrated strong foreign influences due to the Silk Road and its interaction with Central Asia, the Middle East, and other regions.
Five Dynasties and Ten Kingdoms (907–960)
Despite the political fragmentation after the fall of the Tang Dynasty, the period of the Five Dynasties and Ten Kingdoms (907-960) was a testament to the resilience of Chinese art. China was divided into multiple short-lived dynasties and kingdoms, leading to instability and regionalism. However, art and culture continued to thrive, especially in painting and ceramics. The period saw the rise of small, independent schools of painting, notably the development of landscape painting, which would continue to evolve in later dynasties.
Northern Song Dynasty (960–1126)
The Northern Song Dynasty is known for its significant contributions to Chinese painting, ceramics, and the development of the imperial court’s artistic taste. Landscape painting became highly refined during this time, with artists like Fan Kuan and Guo Xi creating monumental landscapes that reflected Confucian ideals of nature and human existence. The dynasty also saw advances in porcelain production, particularly the famous Song celadons. The Northern Song period also witnessed the development of fine calligraphy and landscape poetry.
Southern Song Dynasty (1127–1279)
After the fall of the Northern Song, the Southern Song Dynasty emerged as a time of cultural flourishing despite the loss of northern China to the Jin Empire. Artists in this period focused on more minor, intimate works compared to the grand landscapes of the Northern Song. Painting, mainly of landscapes, flowers, and birds, became more expressive and subtle, influenced by a sense of nostalgia for the lost northern homeland. The Southern Song Dynasty is also known for its advances in producing blue-and-white porcelain, which would become iconic in later centuries.
Yuan Dynasty (1271–1368)
The Yuan Dynasty, established by the Mongol Empire, marked a period of cultural exchange between China and the wider world. During this time, Chinese art was influenced by Central Asian, Persian, and Islamic styles. In painting, the Yuan period is marked by a shift towards more expressive brushwork and the use of color, with famous artists like Zhao Mengfu and Wang Meng leading the way. The period also saw the development of Yuan drama and ceramics, including blue-and-white porcelain, which reached new heights of technical perfection.
Ming Dynasty (1368–1644)
The Ming Dynasty is considered one of Chinese history’s most culturally prosperous periods. Art flourished in almost every field, particularly in porcelain production, painting, and decorative arts. The period is known for its refined blue-and-white porcelain and the rise of literati painting, where scholars and intellectuals used art as a form of personal expression and philosophical reflection. Famous painters such as Shen Zhou and Tang Yin produced works that balanced technical skills with a deeper understanding of nature and the human condition. Additionally, the Ming Dynasty saw the growth of architectural achievements, including constructing the Forbidden City.
Qing Dynasty (1644–1912)
The Qing Dynasty, China’s last imperial dynasty, continued the artistic traditions of the Ming while incorporating new influences, particularly from the West, following the arrival of European missionaries and traders. Qing art saw the further refinement of techniques in painting, particularly in portraiture, and the continued production of exquisite porcelain and decorative objects. The Qing period also saw the growth of art academies and the rise of court painting, which focused on traditional themes like flowers, birds, and historical figures. The later Qing period also saw the influence of European art, particularly in the development of oil painting and printmaking techniques.
Republic of China (1912–1949)
The Republic of China marked a period of radical change as traditional Chinese art confronted the challenges of modernization. Western styles such as realism and impressionism began to gain influence, while traditional art forms like ink painting and calligraphy continued to thrive. Artists like Xu Beihong and Qi Baishi sought to blend Chinese artistic traditions with Western techniques. The period also saw a revival of interest in folk art and the rise of new art movements that engaged with modernity, politics, and national identity. The influence of Western art can be seen in Xu Beihong’s ‘The Foolish Old Man Who Removed the Mountains ‘, a painting that combines traditional Chinese ink painting with Western perspective and composition.
New Culture Movement (1915-1926)
The New Culture Movement, an intellectual and cultural movement that sought to modernize China by rejecting traditional Confucian values and embracing new, more progressive ideas, had a profound impact on the arts. It advocated for integrating Western ideals and modern scientific knowledge with Chinese culture, leading to the exploration of new forms of self-expression and the challenging of classical artistic conventions. This period saw the growth of modern Chinese literature, painting, and sculpture, focusing on realism and social issues.
People’s Republic of China (1949-present)
The People’s Republic of China marked the establishment of a communist government and a new era in Chinese art. Early in the period, art was primarily used as a tool for political propaganda, particularly during the Cultural Revolution (1966-1976), when socialist realism was the dominant style. However, after the 1980s, there was a shift toward contemporary and experimental art. Artists like Ai Weiwei and Zhang Xiaogang explored personal expression, social issues, and the tension between tradition and modernity. The period also saw China become a central player in the global art market, with Chinese contemporary art becoming highly influential worldwide. For example, Ai Weiwei’s ‘Sunflower Seeds’ installation at the Tate Modern in London brought Chinese contemporary art to a global audience.
New Ink Art
New Ink Art refers to a contemporary movement in Chinese art that revitalizes traditional Chinese ink painting techniques while incorporating modern concepts and global influences. Artists in this movement experimented with the medium and style of ink painting, blending abstraction, conceptual art, and new technologies to push the boundaries of traditional Chinese art. New Ink Art often explores themes of identity, history, and cultural change, reflecting China’s rapid transformation in the modern world. Artists like Xu Bing and Liu Dan are prominent figures in this movement, contributing to the global evolution of ink art.
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