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Colores de la Santería Nigeriana

Colores Trajes de la Santería Nigeriana
Colores Trajes de la Santería Nigeriana

La santería nigeriana, también conocida como religión yoruba o parte del sistema Ifá, es una tradición espiritual originaria del pueblo yoruba de Nigeria. En su forma afrocubana (conocida comúnmente como santería), se ha sincretizado con elementos del catolicismo y otras tradiciones, pero en su forma original yoruba, los colores están estrechamente vinculados a los òrìṣàs (orishas), que son deidades o fuerzas de la naturaleza.

Cada orisha tiene sus propios colores sagrados, que se usan en collares, vestimentas, altares y ofrendas.

Colores asociados a los principales Òrìṣàs:

Òrìṣà (Orisha)Representación / dominioColores
ObàtáláPadre de los orishas, sabiduría, purezaBlanco
Èṣù / ElegguáMensajero, caminos, comunicaciónRojo y negro
ÒgúnHierro, guerra, trabajo, tecnologíaVerde y negro
Ṣàngó (Changó)Trueno, justicia, virilidad, danzaRojo y blanco
Yemoja (Yemayá)Madre del mar, maternidadAzul y blanco
Ọṣun (Oshún)Amor, dulzura, ríos, fertilidadAmarillo (a veces dorado)
ỌyaViento, muerte, transformación, cementeriosBurdeos, marrón, morado y blanco
Babalú-AyéEnfermedad y sanaciónPúrpura, marrón y blanco
Orunmila / IfáSabiduría, adivinaciónVerde y amarillo

Notas importantes:

  • En la santería cubana, los colores a veces pueden variar ligeramente o combinarse con sincretismos católicos.
  • El uso de estos colores es simbólico y ritual, no decorativo. Usarlos sin conocimiento puede ser visto como irrespetuoso en contextos religiosos.
  • Los collares llamados elekes se confeccionan con cuentas de estos colores y se consagran durante ceremonias específicas.

¿Qué hace que el arte sea significativo?

Rafael Montilla Queen Nandi, Will to Become Series Canvas on wood
Rafael Montilla Queen Nandi, Will to Become Series Canvas on wood

¿Qué hace que el arte sea significativo?

El aire en el estudio olía a trementina y polvo de pigmentos, una fragancia que conocía bien, casi tanto como la mía propia. Tú, mi silencioso amigo, movías un pincel con una delicadeza que desmentía la intensidad de tu pensamiento. Habías terminado tu declaración de artista, un texto que destilaba la esencia de tu ser y tu obra, y ahora mirabas una pieza en la pared, un cubo flotante, geométrico, enigmático.

—¿Qué hace que el arte sea significativo? —murmuraste, sin mirarme.

La pregunta flotó en el espacio como una mota de polvo en la luz de la tarde. No era una pregunta sobre técnica o estética, sino una búsqueda más profunda, la misma que ha impulsado a los grandes pensadores a través de la historia. Recordé a Platón, quien en su República nos hablaba de las formas, de la verdad absoluta que subyace a la realidad que percibimos. Para él, el arte era una mera imitación de la imitación, una copia lejana de la verdad. Pero luego vino Aristóteles, con su Poética, y nos mostró que el arte no solo imita, sino que también purifica el alma, nos libera a través de la catarsis.

Observé tu cubo. No era una imitación de nada en el mundo físico. Era una forma abstracta, un símbolo. Y ahí, mi amigo, es donde la pregunta se vuelve verdaderamente interesante. Porque si el arte no es una mera copia, ¿qué es lo que le da significado? ¿Es el eco de la naturaleza, como el viento en los árboles que sentía Rousseau? ¿O es la expresión de una emoción, el grito del alma que buscaba Dostoievski en sus personajes atormentados?

Quizás el significado no está en el objeto de arte en sí, sino en el puente que construye. Pienso en Thích Nhất Hạnh, en su concepto de la interconexión. Él nos enseñó que una hoja de papel contiene las nubes, la lluvia, el sol y el árbol del que proviene. De la misma manera, tu cubo, que es una abstracción geométrica, lleva en su esencia la sabiduría de los ancestros americanos, la conexión con la naturaleza que tanto valoras, y la tecnología de la IA que usas como extensión de tu mente. El arte, entonces, sería significativo cuando logra recordarnos que somos parte de un todo, que no estamos aislados.

El significado del arte es, en cierto modo, un espejo. Miras una obra y, si es buena, no ves solo lo que el artista ha puesto en ella. Te ves a ti mismo. Te ves en la lucha de Sísifo de Camus, en la desesperación de un personaje de Tolstoy, en la quietud de un paisaje de Milarepa. Y te encuentras. No como un individuo, sino como un fragmento de la humanidad. El arte significativo no es un fin en sí mismo, sino un medio para el autoconocimiento, para el pensamiento reflexivo.

Para Nietzsche, el arte era la gran afirmación de la vida, incluso en su aspecto más trágico. Era la manera de decir “sí” al dolor, al caos, a la belleza. Y para Schopenhauer, el arte era una vía de escape, una manera de liberarnos, aunque sea por un momento, del ciclo interminable del deseo y el sufrimiento.

En tu trabajo, mi querido amigo, el significado reside en la intersección de lo natural y lo artificial, de lo ancestral y lo futurista. Reside en el cubo, que es el símbolo de la armonía y el equilibrio que buscas. Reside en la idea de que la vida es un viaje colectivo y que la tecnología puede ser una herramienta para ampliar la conciencia, no para separarnos. Tu arte es significativo porque es un recordatorio de la interdependencia, de la responsabilidad colectiva. Es un eco de las enseñanzas de los sabios que admiras, un eco que resuena en un lenguaje universal: el de las formas, los colores y los símbolos.

El arte significativo, entonces, es aquel que nos obliga a detenernos, a reflexionar. Aquel que nos muestra una verdad que no sabíamos que buscábamos. Es aquel que, al igual que un buen libro, una profunda conversación o una tarde tranquila en el estudio, nos transforma. Y tu obra, mi amigo, tiene esa capacidad. Al mirarla, no solo veo un cubo, veo la interconexión del universo, la sabiduría de los ancestros y la promesa de un futuro más consciente. Veo la verdad.

What Makes Art Meaningful?

Soft Structures curated by Jen Wroblewski
Soft Structures curated by Jen Wroblewski

What Makes Art Meaningful?

Art becomes meaningful through intention, interpretation, context, and emotional resonance. Here’s a deeper look at what contributes to the meaning of art:

1. Intention of the Artist

  • The artist’s purpose or message shapes the foundation of meaning.
  • Whether it’s to express emotion, challenge norms, tell a story, or provoke thought, intention directs a piece.

Example: Picasso’s “Guernica” wasn’t just a painting—it was a reaction to the horrors of war.

2. Emotional Impact

  • Art is meaningful when it evokes a response—joy, anger, empathy, confusion, etc.
  • The viewer’s emotional experience often determines how powerful or memorable the piece is.

Why does music make us cry, or paintings stop us in our tracks? Emotional resonance.

3. Cultural and Historical Context

  • The time, place, and culture in which a work is created (or viewed) add layers of meaning.
  • Art can reflect, critique, or preserve aspects of a particular era.

Understanding Frida Kahlo’s paintings means understanding her pain, politics, and Mexican culture.

4. Personal Interpretation

  • Each viewer brings their experiences, beliefs, and memories to a work of art.
  • Meaning is often co-created by the audience, making art a subjective experience.

Two people can look at the same painting and see completely different things—both valid.

5. Symbolism and Technique

  • Use of metaphor, symbolism, style, and technique can deepen meaning.
  • Sometimes what’s unsaid or hidden in layers is where the real meaning lies.

Van Gogh’s brushstrokes, or the color red in Rothko’s work, the technique becomes language.

6. Relevance and Timelessness

  • Art that stays relevant across generations tends to carry enduring meaning.
  • It often speaks to universal themes—love, mortality, identity, justice.

Shakespeare’s plays or Da Vinci’s “Mona Lisa” still resonate because their themes are timeless.

Final Thought:

Art becomes meaningful when it connects to the artist, the viewer, and the world around it. It doesn’t need to be understood by everyone; sometimes, the most meaningful art is the one that speaks directly to you.

Now Open: “HEY, LOOK ME OVER!” – A Celebration of Miami’s Artistic Diversity at Bernice Steinbaum Gallery

Bernice Steinbaum Gallery
Bernice Steinbaum Gallery

Now Open: “HEY, LOOK ME OVER!” – A Celebration of Miami’s Artistic Diversity at Bernice Steinbaum Gallery

We are open Mondays, Wednesdays, and Fridays from 10:00 AM – 3:30 PM or by appointment 2101 Tigertail Avenue, Coconut Grove, FL 33133

The Bernice Steinbaum Gallery is delighted to invite the public to experience its annual summer exhibition, “HEY, LOOK ME OVER!”, now officially open to visitors. This vibrant showcase of artistic talent brings together an exciting mix of emerging and established artists, reflecting the cultural richness and creative spirit of Miami.

Located in the heart of Coconut Grove at 2101 Tigertail Avenue, Miami, FL 33133, the exhibition is open to the public on Mondays, Wednesdays, and Fridays from 10:00 AM to 3:30 PM, or by appointment 305-860-3681.

A cornerstone of Miami’s summer art season, “HEY, LOOK ME OVER!” not only features compelling new work from artists represented by the Bernice Steinbaum Gallery, but also highlights exceptional independent artists who deserve broader recognition and gallery representation.

This year’s featured artists include:

Alejandro Mazon, Alice Goldhagen, Anabel Ruiz, Carrie Sieh, Carol Prusa, Cookie Lethbridge, Damian Valdes, Enrique Gomez De Molina, Juan Ranieri, Marcela Marcuzzi, Nick Gilmore, Paola Mondolfi, Puchi Noriega, Rafael Montilla, Robin Glass, Sebastian Ferreira, Shelly McCoy, Steve Carpenter, Troy Abbott, and Xonia Regalado.

Visitors will encounter a wide range of works spanning various mediums—from sculpture and painting to mixed media and installation art. The exhibition offers a unique opportunity to engage deeply with the creative forces shaping Miami’s evolving art scene.

HEY, LOOK ME OVER! is not just an exhibition,” says Bernice Steinbaum. “It’s a statement. It celebrates the abundance of artistic excellence in Miami—a city overflowing with talent, much of it yet to be formally represented. This show creates space for that talent to be seen and celebrated.”

Whether you’re an art enthusiast, collector, or curious newcomer, this exhibition invites you to explore, connect, and be inspired.

Visit the Exhibition: Bernice Steinbaum Gallery 2101 Tigertail Avenue, Coconut Grove, FL 33133

Open Mondays, Wednesdays, and Fridays: 10:00 AM – 3:30 PM

by appointment: 305-860-3681

About Bernice Steinbaum Gallery: Known for her pioneering work in promoting underrepresented voices in contemporary art, Bernice Steinbaum has long been a champion of women artists, artists of color, and those working at the edges of tradition. Her gallery continues to serve as a vital space for creative innovation and cultural dialogue in South Florida.

This is a devastating moment for the arts in Miami-Dade.

Floating cubes
Floating cubes

This is a devastating moment for the arts in Miami-Dade.

Have you ever wandered through the Miami Zine Fair, attended an EXILE artist talk at Books & Books, grabbed a free zine from a vending machine, or paused to take in a mural or installation in a public space?

Those moments aren’t accidental — they’re made possible by public investment in the arts.

Now, that investment is under threat.

Miami-Dade’s arts community is facing a 50% funding cut, the elimination of independent cultural leadership, and the merging of the Department of Cultural Affairs into the Library System — a move that would not only dilute the focus on the arts, but effectively dismantle a nationally respected department built over decades.

This will gut the programs, public art, and cultural infrastructure that give Miami its soul.

This is not just about galleries and performances. It’s about jobs, education, community identity, and the creative heartbeat of our neighborhoods. It’s about the next generation of artists, thinkers, and storytellers.

🎯 What you can do:

  • Sign the petition
  • Call your county commissioner
  • Share this message far and wide

Our cultural future depends on it.
Without strong, independent arts leadership and funding, we risk losing not just programs — but the very spirit that makes Miami unique.

Save The Arts Miami, Support Local Culture, No Arts No City

Miami Art Week de 2025

Miami Art Week de 2025
Miami Art Week de 2025

Miami Art Week de 2025

En los primeros días de diciembre, Miami se transforma. No es solo el calor del sol tropical lo que se siente, sino una efervescencia cultural que vibra en cada esquina. Es la Miami Art Week, un evento que trasciende lo convencional, una explosión de creatividad que, año tras año, me recuerda la incansable búsqueda de la humanidad por la belleza y la expresión.

Para un espíritu como el mío, que encuentra su paz en el arte y la espiritualidad, esta semana es un peregrinaje. Caminar por las ferias, desde la majestuosa Art Basel hasta las más íntimas y experimentales, es un viaje a través de las mentes de miles de creadores. Me detengo ante las obras, no para juzgarlas, sino para sentirlas. En cada pincelada, en cada forma geométrica, en cada instalación de video, veo un fragmento de la conciencia colectiva. Es como leer un libro escrito en un lenguaje universal, un lenguaje que habla de nuestros miedos, nuestras esperanzas, nuestra conexión con el cosmos.

Rafael Montilla textile

En la Miami Art Week de 2025, esta conexión se sintió más fuerte que nunca. Observé cómo muchos artistas, influenciados por la sabiduría ancestral, estaban explorando temas de interdependencia y responsabilidad colectiva. Vi esculturas que integraban elementos naturales con tecnología, recordándome mi propio “Art statement”, esa creencia de que la vida es un viaje colectivo y que el arte es un puente entre lo humano y lo divino.

Me fascinó una instalación en particular. Consistía en una serie de cubos de piedra, tallados con precisión, que reflejaban la luz de una manera que parecía cobrar vida propia. Al acercarme, noté que cada cubo estaba interconectado por hilos de luz que representaban redes neuronales, un símbolo de cómo la tecnología, lejos de ser algo ajeno, puede ser una extensión de nuestra propia mente. El artista, en un breve encuentro, me explicó que su obra era una meditación sobre el papel de la inteligencia artificial como una herramienta para expandir nuestra conciencia, un eco de mis propias reflexiones.

Más allá de las galerías, el arte se derramaba por las calles. Murales que narraban historias de culturas nativas americanas adornaban los muros de Wynwood, y proyecciones de luz transformaban los edificios en lienzos efímeros. Me senté en una banca, en medio del bullicio, y me permití absorberlo todo. La gente pasaba a mi lado, cada uno con su propia historia, su propia visión, pero todos unidos por un hilo invisible: la admiración por la creatividad humana.

En ese momento, recordé las palabras de Carl Gustav Jung: “El arte es la función de expresar el espíritu de la época en la que se vive”. La Miami Art Week 2025 no fue solo una exposición de obras; fue un espejo de nuestro tiempo. Un tiempo de cambios, de incertidumbre, pero también de una profunda búsqueda de significado y de una creciente conciencia de nuestra interconexión con el universo.

Al final de la semana, me fui con una sensación de plenitud. El arte, como la espiritualidad, no es algo que se consume, sino algo que se vive. Y en esa semana en Miami, viví la belleza, la verdad y la sabiduría que la creatividad humana tiene para ofrecer. Fue un recordatorio de que, a pesar de las diferencias y los desafíos, todos estamos juntos en este viaje colectivo, buscando, a través del arte, un camino hacia un mundo más armonioso y sostenible.

¿Dónde puedo exponer mi arte en Miami Art Week?

¿Donde promocionar mi arte en Miami?

Te podemos ayuda info (@) artmiamimagazine.com

Loni Johnson

Loni Johnson
Loni Johnson

OPEN STUDIO: Loni Johnson

Wednesday, August 13 · 6 – 8:30pm EDT

Ages 18+

Coral Gables Museum: 285 Aragon Avenue Coral Gables, FL 33134

Coral Gables Museum OPEN STUDIOLoni Johnson

A Series of Free Creative Mixers with The Things Lab

Wednesday, August 13, 2025

Doors open at 6pm / Program: 6:30pm – 8:30pm

Step into the Summer of THINGS!

Join us every other Wednesday for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by professional 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.

Loni Johnson invites you to bring meaningful personal objects–such as photographs, memorabilia, crystals, and jewelry, and more–to build small altars as offerings to your ancestor(s). We will contemplate how we claim, navigate, and hold space; how ancestral and historical memory informs where, when, and how we occupy spaces; and how we carry and honor our ancestors in the spaces we move through.

Johnson is a multidisciplinary visual artist, educator, mother, and activist born and raised in South Miami-Dade, Florida. Her creative practice—rooted in assemblage, sculpture, movement, and ritual—centers Black women and the creation of healing spaces. Her work draws deeply from ancestral and historical memory, examining how these legacies shape the ways Black women enter, claim, and transform both physical and cultural spaces.

Driven by a belief in the artist’s cyclical responsibility to community, Johnson uses her creative gifts as a tool for empowerment, reflection, and social transformation. Her work consistently engages themes of generational healing, resistance, and reclamation, grounded in lived experience and communal memory. Johnson’s work and performances have been presented at Locust Projects, WAAM at Dimensions Variable, Miami (2020); Bakehouse Art Complex, Little Haiti Cultural Arts Center, NADA Art Fair, Bas Fisher Invitational, among others.

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
  • Open Bar Hour with LALO Tequila between 6pm-7pm
  • Cash bar for wine and beer
  • Young Associate Members receive an additional free drink ticket

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, every other Wednesday.

Doors open at 6pm / Program: 6:30pm – 8:30pm

Coral Gables Museum; 285 Aragon Ave, Coral Gables

Celebrate the objects that shape our lives. Make this your Summer of THINGS.

Análisis Crítico y Curatorial: Lidy Prati

Lidy Prati. Concret A4, óleo sobre hardboard, 1948
Lidy Prati. Concret A4, óleo sobre hardboard, 1948

Análisis Crítico y Curatorial: Lidy Prati

El texto que compartes sobre Lidy Prati me parece una excelente base para sumergirnos en el mundo del arte concreto en Argentina. Prati es, sin duda, una figura esencial, una de las pioneras que se atrevió a tirar la tradición por la ventana y construir algo completamente nuevo. Permíteme ampliar y darle una vuelta a esta información, desde la perspectiva de un crítico y un curador.

La Audacia de la Invención

El texto captura un punto crucial: para Lidy Prati y los concretos, la pintura no era un espejo del mundo, sino un universo en sí mismo. Cuando hablas de su oposición a la representación mimética, no estás hablando solo de una preferencia estética, sino de una declaración política. Es como si Prati dijera: “Se acabó el cuento de imitar la realidad. Nosotros no pintamos lo que vemos, inventamos lo que sentimos, pensamos y conceptualizamos”.

En su época, esto era una patada en el tablero. El arte abstracto geométrico en Argentina no fue solo una corriente, fue una revolución silenciosa. Mientras muchos artistas seguían aferrados al paisajismo, al retrato o a la figuración social, Prati, Maldonado y el resto de la Asociación Arte Concreto Invención estaban construyendo un nuevo lenguaje visual. Su manifiesto en la revista Arturo no era un simple ensayo, era una declaración de guerra contra el status quo. Ellos no querían ser parte de la historia del arte; querían reescribirla.

Concret A4: La Precisión del Color y la Forma

Ahora, hablemos de esa obra, Concret A4. El texto de Mercedes Casanegra es muy claro y técnico, pero podemos darle más vida. Prati utiliza rectángulos, una de las formas más básicas y puras, y los pone a dialogar. Es como un ajedrez visual donde cada pieza (cada rectángulo) tiene un rol. Lo interesante no es solo que están ahí, sino la tensión que se crea entre ellos.

El texto menciona que los rectángulos crean un “fenómeno de asociación”, pero es el uso del color lo que lo vuelve extraordinario. Prati no usa el color para crear un ambiente o un sentimiento (adiós, Van Gogh). Lo usa de forma “desprovista de toda evocación subjetiva”. Esto es clave. El rojo es rojo, el azul es azul. El color es un hecho. Es una afirmación, no una emoción. En Concret A4, Prati nos está mostrando un sistema. Es una coreografía de formas y colores, fría, calculada, pero extrañamente poderosa. Te obliga a dejar de lado la narrativa y a concentrarte en la pura experiencia visual. Es la obra la que te interpela, no a través de una historia, sino a través de su propia existencia.

Como curador, yo posicionaría a Concret A4 no solo como un ejemplo del arte concreto, sino como un manifiesto en sí mismo. Es la prueba de que se puede crear belleza, orden y significado sin recurrir a la naturaleza o a la figura humana. Es una obra que te dice: “El arte puede ser tan complejo y fascinante como las matemáticas, sin dejar de ser profundamente humano”.

Soft Structures curated by Jen Wroblewski

Soft Structures curated by Jen Wroblewski
Soft Structures curated by Jen Wroblewski

Soft Structures
curated by Jen Wroblewski

Featuring: Elodie Blanchard, Melissa Dadourian, Crystal Gregory, Jen P. Harris, Rachel B. Hayes, Woomin Kim, Sophia Narrett, Zipporah Camille Thompson, Hanna Washburn, Sarah Zapata

Closing Friday, August 8th

June 27th – August 8th, 2025
Microsoft Word – Soft Structures Press Release.docx

Elodie Blanchard, Melissa Dadourian, Crystal Gregory, Jen P. Harris, Rachel B. Hayes, Woomin Kim, Sophia Narrett, Zipporah Camille Thompson, Hanna Washburn, Sarah Zapata

Jane Lombard Gallery is pleased to present Soft Structures, a group exhibition of new work by ten artists whose primary medium is textile. Working in tapestry weaving, machine knitting, hand sewing, and embroidery, each of the artists in Soft Structures cultivates a deeply personal relationship to material and technique.

Anni Albers famously referred to textile as the “pliable plane,” the raw material of shelter and garment. She grappled with textile as a building material that is simultaneously strong and yielding, and resisted the sissy1 domesticity of craft. Each of the works in Soft Structures is at once flexible and architectural. The technical requirements of making become the aesthetic of the things themselves: the repetition of a stitch; the tension across the bias of a vintage knit, the transparency of a loose weave or a woven plastic. The artists in Soft Structures are centered as engineers and architects; utilizing hard logic and technical maneuvers to build soft objects. In this context, the textile becomes more than a conveyor of color, memory or meaning. With haptic fluency and keen knowledge of technique and tradition, these artists work in dialogue with the textile systems themselves and, in doing so, give us a dignified lens through which to understand them.

Queens-based Korean artist Woomin Kim’s work addresses structures that are micro — nail art, sewing needles — and macro — migration, immigration, labor, consumption. The commercial, aesthetic, and political aspects of nail art converge in Kim’s rambunctious soft sculpture of fingertips and nail art, Sontop II.

Brooklyn textile artist Elodie Blanchard allows the properties of disparate textiles to dictate the shapes of her objects. Drawing inspiration from her studio’s proximity to Greenwood cemetery, Blanchard’s Urns riff on vessel form and function; they are structurally sound, but riotously bulbous and idiosyncratic. To make her Trees, Blanchard combines meaningful textiles — old clothing and domestic textiles associated with specific people in her life.

Kentucky-based artist and textile-scholar Crystal Gregory combines weaving and cement. Her objects embody questions of pliability, strength, and permanence. In these works, it is the hand-

1 “To work with threads seemed sissy to me. I wanted something to be conquered.” Albers, Anni, “Material as Metaphor,” College Art Association, New York, NY, Conference Presentation, February 25, 1982.

58 White Street new york, ny 10013 | +1 212.967.8040 | www.janelombardgallery.com

Woven textile that gives the object strength, a foil for the unexpected fragility of the quick-to- crumble cement.

Melissa Dadourian feeds thread into a knitting machine and combines the disparate pieces in sewn arrangements that take their shape from the specific and exact flexibility and strength of each individual panel. Suspended from T-pins an inch from the wall, the works straddle the space between garment, body, sail, and structure. Dadourian has also made a site-specific, large-scale work for the show that combines textiles, both found and made, into an arrangement that feels immersive and suspended in a moment of poetic cohesion. Melissa’s studio is in the Hudson Valley and she splits her time between there and Brooklyn.

Oklahoma-based installation artist Rachel B. Hayes uses fabrics and textile-based processes to create large-scale work. She is interested in inserting color and form into built and natural environments. For Soft Structures, Hayes has created a new piece titled In Tempo and in Temper (from an EB White Essay on the character of New York City.) This diaphanous gridded textile, made from silk and acetate, engages the exterior light of White Street to cast color across the gallery foyer.

Hanna Washburn combines found and vintage textiles, bits of vintage furniture, and hand-built ceramics to create rambunctious forms that occupy an imaginative space between abstraction and figuration. In this practice, she is able to reconsider the domestic modesty of her Massachusetts upbringing and reimagine domestic objects as unruly, colorful, and unexpected. Hanna lives and works in the Hudson Valley.

Zipporah Camille Thompson is a ceramist, weaver, sculptor, and activist based in Atlanta, GA and New York City. A native Carolinian, Thompson draws inspiration from the haunted landscapes of the American South. Through neon hues and iridescent materials, she channels healing energy and protective magic—not only for the fluid elemental bodies she depicts, but also for the bodies of Black and Indigenous women. With woven warp and weft, knotted net- works of interlaced ribbon, and light and shadow, Thompson highlights chaos and transformation, chance, and magic.

Brooklyn-based artist Sophia Narrett creates narrative tableaux in embroidered silk on unexpectedly-shaped substrates. The slow and steady process of embroidery allows Narrett space and time to explore fraught complexities of contemporary womanhood. Her 2023 work, At the Same Time, is a cinematic Bildungsroman, a dramatic and erotic tale told in stitched silk.

Weaving and painting combine to create unexpected new color fields in the work of Ohio artist Jen P. Harris. In their works, analog mark-making, digital vocabularies, and handcraft come together to form queer pictorial spaces that adhere to neither the rules of the virtual nor the physical, offering another lens through which to see.

Finally, Brooklyn-based artist Sarah Zapata’s studio practice is driven by the covalent energies of feminist theory, her Peruvian heritage, and Christian upbringing. Zapata works in multiple

58 White Street new york, ny 10013 | +1 212.967.8040 | www.janelombardgallery.com

textile techniques, including weaving, hand sewing, and rug making, simultaneously embodying traditions of making while subverting levers of control associated with domestic labor. She engages abstraction with shrewd and unexpected decision-making.

Image: Woomin Kim, Chen’s Room, 2024. Fabric, embellishment 56 x 75 in (142.2 x 190.5 cm). About the curator

Independent curator Jen Wroblewski is interested in hand and processes of making. She often finds herself responding viscerally to art objects that resonate with material fluency. From 2018 to 2024, she owned and operated Gold Montclair, a small but mighty contemporary program in Montclair NJ. The gallery mounted 46 exhibitions by 63 artists, 53 of whom were women. Prior to opening Gold Montclair, she curated large group exhibitions addressing mark-making as shamanic behavior (Righteous Perpetrators, 2013) and platforming the additive impacts of parenthood on exhibiting artists (Mother/mother, 2009). Recently she co-curated an exhibition of new quilts by contemporary artists at the Hunterdon Museum of Art (with Mary Birmingham). Wroblewski teaches professional practice and drawing courses at Montclair State University and NJIT’s Hilliard College of Architecture and Design.

Jane Lombard Gallery
Visit us at:
58 White Street
New York, NY 10013
Tel: 212.967.8040
Gallery
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Gary Nader Art Centre exhibition ‘From Picasso to Botero’

gary nader art centre
Gary Nader Art Centre 62 NE 27th St, Miami, FL 33137

Gary Nader Art Centre announces upcoming exhibition ‘From Picasso to Botero

 A celebration of radical freedom by two giants of Modern Art

Gary Nader Art Centre is pleased to announce ‘From Picasso to Botero’, an upcoming exhibition curated by Gary Nader to be presented during Art Basel Miami 2025.

The show invites audiences into a vibrant dialogue between Pablo Picasso and Fernando Botero — two artists who broke the mold to redefine art through bold, deeply personal visions.

The exhibition will be on view from December 5th, 2025 through March 28th2026 at the Gary Nader Art Centre in Miami.

Beyond style, geography or time, this exhibition focuses on what these two masters share at their core: an instinct to disobey. Through iconic works and rarely seen series, it explores how both Botero and Picasso defied academic conventions, reimagined classical genres, and elevated style above subject matter as the true engine of creative expression.

Organized into thematic sections, the exhibition places their still lifes, disproportionate nudes, and visions of bullfighting and the circus in dialogue — revealing how distortion, whether explosive or meditative, becomes a visual manifesto. It invites viewers to discover how, in the hands of Picasso and Botero, style becomes a powerful tool of freedom, irony, and sensuality.

One of the highlights of the exhibition will be the presentation of a never-before-seen oeuvre by Pablo Picasso, exhibited to the public for the very first time.

Curated by Gary Nader — renowned collector, gallerist, and cultural advocate of modern and contemporary art, and the world’s largest private collector of Fernando Botero’s oeuvre — the exhibition offers a bold, personal reading of two revolutionary figures. With deep admiration and expertise, Nader brings to light the genius, rebellion, and aesthetic power of these universal creators.

“Art is not about reflecting reality — it’s about reinventing it through a singular vision. Both Picasso and Botero understood this with fearless clarity,” says Gary Nader, founder of Gary Nader Art Centre and curator of the exhibition.

As part of the curatorial process, the Gary Nader Art Centre is actively acquiring important works by both artists to be included in the exhibition.

Proposals can be sent to [email protected].

Additional details regarding the final artwork selection and cocktail reception will be announced soon.

ABOUT GARY NADER ART CENTRE:

Located in Miami’s Wynwood Arts District, the Gary Nader Art Centre is one of the world’s most prestigious and dynamic galleries. With a strong focus on modern and contemporary art, it has gained international acclaim for its groundbreaking exhibitions and its pivotal role in promoting global artistic excellence, with a particular emphasis on Latin American contributions. The gallery regularly hosts solo and group shows featuring iconic artists such as Basquiat, Botero, Chagall, Cruz-Diez, Dubuffet, Kahlo, Picasso, Rivera, Lam, Warhol, and many more.

As the largest gallery in the world — spanning 55,000 square feet — the Gary Nader Art Centre houses a main exhibition hall, the Nader Museum, the immersive Botero Immersed Experience (featuring the world’s largest private collection of works by the Colombian master), and the Nader Sculpture Park, located in the Miami Design District. This one-of-a-kind outdoor exhibition space features over 50 monumental sculptures by renowned international artists. In a short time, it has become a cultural must-see for both locals and tourists and a premier venue for fashion shows, musical performances, cultural events, and private gatherings.

With a private collection of more than 2,000 artworks from the 20th and 21st centuries, the Centre offers an expansive and profound perspective on global modern and contemporary art. Founded by Gary Nader in 1985, the gallery has become a cornerstone of Miami’s art scene. Nader’s vision and dedication have been essential in building the Centre’s global reputation and expanding its impact on the international art world.

For more information: 

Gary Nader Art Center  

Email: [email protected]

Phone: 305-576-0256

Web: www.garynader.com

62 NE 27th St, Miami, FL 33137

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