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Tu Arte Merece Ser Visto — En el Lugar Correcto y por las Personas Adecuadas

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Editorial
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Rafael Montilla - Queen Moremi 2
Rafael Montilla - Queen Moremi 2

Tu Arte Merece Ser Visto — En el Lugar Correcto y por las Personas Adecuadas

¿Eres un artista visual latinoamericano buscando expandir tu presencia en el mercado del arte en Estados Unidos?
Miami es tu punto de partida, y nosotros somos el puente.

Tu arte en el epicentro global: ¿Expone durante Miami Art Week, del 1 al 7 de diciembre de 2025?

Crear arte es un trabajo de entrega, pasión y disciplina. Pero mostrarlo, posicionarlo y venderlo no debería ser un obstáculo, sino parte de tu crecimiento profesional.

En nuestro programa de promoción y mercadeo, nos enfocamos en conectar artistas visuales con audiencias de alto valor: coleccionistas, curadores, críticos y directores de galería que están activamente buscando talento auténtico e historias que inspiren.

Tu Historia Importa

Sabemos que detrás de cada obra hay una historia que merece ser contada. Por eso, trabajamos contigo para que tu arte no solo se vea, sino que se entienda, se sienta y se recuerde.

Desarrollamos contenidos editoriales con sentido humano, aspiracional o informativo, que presentan tu trabajo de forma auténtica, cercana y alineada a las tendencias actuales del mercado artístico.

Acceso Directo. Sin Puertas Cerradas. Sin Intermediarios.

Durante mucho tiempo, el acceso a oportunidades reales en el mundo del arte ha estado limitado a quienes “conocen a alguien”. Nosotros eliminamos esas barreras.

Te brindamos acceso directo a:

  • Curadores influyentes
  • Críticos de arte reconocidos
  • Directores de galerías
  • Coleccionistas de alto nivel
  • Espacios expositivos clave en Miami y más allá

¿Qué Te Ofrecemos?

Una plataforma integral para impulsar tu carrera artística desde lo estratégico, lo visual y lo humano.

Aprende a:

Exhibir tu obra con propósito
Cómo presentar tu portafolio, contactar galerías y construir una trayectoria expositiva sólida.

Aplicar a becas y subvenciones
Guía paso a paso para asegurar apoyo financiero y desarrollar proyectos de alto impacto.

Redactar tu statement, biografía y notas de prensa
Conecta con el público y los medios con textos profesionales que reflejen tu visión.

Diseñar una presencia online efectiva
Estrategias de redes sociales y sitios web que fortalecen tu marca personal como artista.

Vender arte en línea
Modelos y canales que te permiten monetizar tu talento de forma sostenible.

Lanzar campañas de crowdfunding exitosas
Convierte ideas en realidad con campañas bien pensadas en plataformas como Kickstarter.

Gestionar tu tiempo como profesional
Optimiza tu rutina, gana tiempo de estudio y equilibra tu vida creativa y personal.

Planificar tus finanzas y tributar correctamente
Porque incluso los artistas deben dominar lo fiscal en el mercado estadounidense.

Comprender la teoría del arte contemporáneo
Contextualiza tu obra con lecturas y conceptos clave que fortalecen tu discurso.

Miami: Tu Plataforma al Mundo

Miami es una ciudad multicultural, vibrante y cada vez más influyente en el arte global.
Aquí, tu obra puede encontrar las conexiones necesarias para crecer, venderse y proyectarse a nivel internacional.

¿Listo para dar el siguiente paso?

Haz que tu arte cruce fronteras y conecte con quienes realmente lo valoran.
Contáctanos y transforma tu carrera artística desde hoy.

Beyond the Studio: Navigating the World’s Best Artist Residencies

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Editorial
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Artist-in-Residence
Artist-in-Residence

Beyond the Studio: Navigating the World’s Best Artist Residencies

For many artists, an artist residency isn’t just a change of scenery; it’s a transformative period of focused creation, critical dialogue, and unparalleled networking. These programs offer dedicated time and space, often coupled with funding, mentorship, and a vibrant community of peers. Highly competitive and deeply rewarding, securing a spot in a prestigious residency can significantly impact an artist’s career trajectory.

Here are some of the most sought-after artist residencies around the world, known for their rigorous selection processes and profound influence on participants:

1. Oxbow School of Art & Artists’ Residency (Saugatuck, Michigan, USA)

Located in a unique natural setting, Oxbow offers artists at various career stages a deeply immersive experience. Known for its strong community and historic ties, Oxbow provides dedicated studio space, comfortable living arrangements, meals, and a supportive environment for intense creative work. Their summer residencies are particularly popular, offering periods of focused making within a vibrant community. While they encourage proposals across diverse disciplines (from painting and ceramics to sound and writing), the emphasis is on fostering creative growth through focused time and interaction.

  • Key Features: Strong community, dedicated studio space, meals, natural environment.
  • Ideal For: Artists at any career level seeking focused creative time and community engagement.
  • Application Insight: Proposals for summer sessions are typically 1-2 weeks. Oxbow considers a variety of disciplines and encourages documentation of work.

2. Whitney Independent Study Program (ISP) (New York City, USA)

The Whitney Independent Study Program is not a traditional residency, but rather a highly prestigious, tuition-free academic program in New York City. Operating for nine months (September to May), the ISP offers a unique, intellectually rigorous environment for artists, curators, and art historians. Participants are provided with studio spaces (for the Studio Program) and engage in intensive weekly seminars, critiques, and theoretical discussions led by leading figures in the arts. It’s a program for those seeking deep critical engagement and theoretical study alongside their practice.

  • Key Features: Tuition-free, rigorous academic and critical study, mentorship, networking in NYC.
  • Ideal For: Graduate students, postgraduates, and established professionals seeking critical discourse and theoretical grounding.
  • Application Insight: Applications are highly competitive and are typically accepted annually from early January to early February via SlideRoom. Applicants must clearly indicate which program they are applying for (Studio, Critical Studies, or Curatorial) and submit a comprehensive portfolio (for Studio) or writing samples/proposals (for Critical Studies/Curatorial).

3. Rome Prize Fellowship (American Academy in Rome, Italy)

The Rome Prize Fellowship is one of the most distinguished awards for artists and scholars in the United States, offering a transformative period of study and creative work at the American Academy in Rome. Awarded annually through a national competition, this fellowship provides winners with a stipend, meals, private living quarters, and a dedicated studio or study space in Rome. It’s an opportunity to immerse oneself in the rich cultural and historical resources of Italy, engage with a multidisciplinary community of peers, and significantly expand one’s professional and artistic pursuits.

  • Key Features: Generous stipend, living and studio space in Rome, multidisciplinary community, access to Italian resources.
  • Ideal For: Emerging artists and scholars (US citizens, with some exceptions for NEH fellowships) for whom research time in Italy is essential.
  • Application Insight: The application deadline is typically November 1st. Eligibility and submission requirements vary by discipline (visual arts, architecture, literature, music, etc.), and all materials must be submitted in English. Finalists are invited for interviews.

4. Eyebeam (New York City, USA)

Eyebeam is a leading non-profit studio in NYC dedicated to supporting artists engaged with technology and technologists working in the arts. It offers residencies and grants, fostering experimental, interdisciplinary projects that aim for invention and societal impact. Eyebeam provides a financial stipend and access to state-of-the-art facilities within a dynamic community. While residency structures can vary (e.g., 5-month residencies, 11-month fellowships, or specific project-based grants), the core focus remains on the intersection of art, technology, and culture, with a goal toward real-world application and critical inquiry.

  • Key Features: Focus on art and technology, financial stipend, access to advanced facilities, interdisciplinary community.
  • Ideal For: Artists and technologists pioneering the forefront of technology and art, engaged in experimental, interdisciplinary projects.
  • Application Insight: Residencies are often selected from open calls. Applicants should demonstrate how their project fits within Eyebeam’s technological environment and potential for impact.

5. DAAD Artist in Residence Program (Berlin, Germany)

The DAAD Artists-in-Berlin Program (Berliner Künstlerprogramm) is one of the most prestigious and longest-running cultural residency programs globally, offering exceptionally talented artists the opportunity to live and work in Berlin for a year. It targets artists in disciplines such as visual arts, literature, music (composition), and film. The program’s goal is to offer a conducive environment for artistic production and exchange, providing a stipend, accommodation, and often a studio space, allowing artists to connect with Berlin’s vibrant art scene without financial pressure.

  • Key Features: Year-long residency in Berlin, stipend, accommodation, studio (often), access to a major European art hub.
  • Ideal For: Highly qualified and internationally visible professional artists (often with specific nationality/residency requirements for German citizens or long-term residents, but check specific calls).
  • Application Insight: Applications typically close around December 1st for the following year. A strong project proposal, documented artistic achievements, and work samples (digital for most disciplines) are required.

6. IASPIS (Stockholm, Sweden)

IASPIS, part of the Swedish Arts Grants Committee, offers a renowned studio residency program in Stockholm aimed at professional artists in visual arts and applied arts (including design, craft, illustration, architecture). The program provides a grant to cover living and work expenses for a six-month period. It’s a research-based residency with no specific requirement for results, fostering studio conversations with Swedish and international curators and critics, joint study visits, and artist talks. It’s a unique opportunity for artists to deepen their practice within a supportive Scandinavian context.

  • Key Features: Six-month residency, living grant, research-based (no required outcomes), studio conversations, located in Stockholm.
  • Ideal For: Professional visual and applied artists based in Sweden, or foreign citizens primarily practicing art in Sweden.
  • Application Insight: The application for residency is open once a year. Applicants must be professional artists (earning a living from art, regularly presenting work) and submit 5-10 work samples, preferably from the last two years.

These residencies represent diverse opportunities for artists seeking dedicated time, intellectual stimulation, and professional development. Researching their specific focuses, eligibility criteria, and application processes is the crucial first step toward realizing the dream of an immersive creative experience.

Sources:

https://www.brandysaturley.com/what-is-an-artist-residency/

https://www.magazine.artconnect.com/artist-opportunities/funded-art-residencies-to-know-about

https://www.saic.edu/news/ox-bow-school-art-and-artists-residency

https://www.ox-bow.org/summer-residency

https://www.ox-bow.org/fellowship-program

https://www.saic.edu/academics/campus-study/ox-bow-school-art#:~:text=Contact%20Us-,Ox%2DBow%20School%20of%20Art%20%26%20Artists’%20Residency,Phone%3A%20269.857.5811

https://whitney.org/isp

https://www.nyctourism.com/museums-galleries/eyebeam-art-and-technology-center/

https://www.konstnarsnamnden.se/en/international-programmes-and-residencies/iaspis-international-programme-for-visual-and-applied-arts/

https://culturetreasures.com/whitney-isp/

https://www.middlebury.edu/language-schools/blog/american-academy-rome-announces-winners-2024-25-rome-prize

https://aarome.org/news/features/apply-rome-prize-fellowship

https://sofa.aarome.org/rome-prize

https://www.macfound.org/grantee/eyebeam-38532/

https://www.daad.de/en/studying-in-germany/scholarships/music-art/daad-artists-in-berlin/

https://news.artnet.com/art-world/artists-residencies-2509519

https://www.theartnewspaper.com/2022/05/27/sweet-retreats-everything-you-need-to-know-about-artist-residencies

Tourist Sued After Damaging Crystal-Covered Art Chair at Verona Museum

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Editorial
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Tourist Sued After Damaging Crystal-Covered Art Chair at Verona Museum
Tourist Sued After Damaging Crystal-Covered Art Chair at Verona Museum

Tourist Sued After Damaging Crystal-Covered Art Chair at Verona Museum

Verona, Italy

A museum visit took a destructive turn when a tourist broke a crystal-covered chair, a contemporary artwork, at Palazzo Maffei Museum in Verona. The museum has since filed a formal legal complaint against the individual for damaging the piece, which was both artistically and materially valuable.

On Thursday, the museum released surveillance footage showing the incident. In the video, a man can be seen sitting on the art installation while a woman—presumably a companion—snaps photos. Moments later, the chair gives way under his weight, shattering the delicate structure adorned with glass crystals.

According to museum officials, the artwork was clearly marked as “Do Not Touch,” and was cordoned off from the general seating area. The museum described the incident as “an act of negligence that reflects a growing disregard for public art spaces.”

“The work was not meant to be functional—it was a sculpture, a statement,” said a museum spokesperson. “We invest heavily in security and signage, but when visitors ignore the rules, incidents like this become inevitable.”

Palazzo Maffei, known for its eclectic collection of classical and contemporary works, emphasized that the chair was not only aesthetically significant but also structurally fragile due to its decorative materials. It is unclear whether the piece can be restored.

Legal proceedings are underway, and the museum is seeking compensation for the full cost of the artwork, as well as the disruption caused to the current exhibition. The tourist’s identity has not been released to the public.

The event has reignited conversations around tourism, respect for art spaces, and the balance between accessibility and preservation. As social media increasingly influences museum behavior, institutions are left to enforce stricter measures to protect cultural heritage from accidental—or careless—damage.

@palazzomaffeiverona

L’incubo di ogni museo è diventato realtà, anche a Palazzo Maffei.

Attesa l’uscita degli addetti alla sorveglianza, alcuni visitatori hanno scattato una foto “ad effetto”.
Il risultato? Un gesto irresponsabile ha causato gravi danni alla sedia “Van Gogh” di Nicola Bolla, un’opera delicatissima, interamente rivestita di centinaia di cristalli Swarovski.
Per giorni non abbiamo saputo se sarebbe stato possibile restaurarla.
Ma ce l’abbiamo fatta.

Condividiamo questo episodio non solo per dovere di cronaca, ma per dare avvio a una vera campagna di sensibilizzazione sul valore dell’arte e sul rispetto che le è dovuto.
Un sentito ringraziamento va alle forze dell’ordine, al nostro dipartimento di sicurezza e alle restauratrici, il cui lavoro prezioso ha permesso il recupero dell’opera.

E un grazie speciale a tutti voi che ogni giorno attraversate le sale del museo con cura, attenzione e meraviglia.
Perché l’arte non è solo da vedere.
È da amare. È da proteggere.
📍Vi aspettiamo a Palazzo Maffei.
#PalazzoMaffei #Verona #MuseiItaliani #Arte #NicolaBolla #VanGogh #RispettoPerLArte #Restauro #Sensibilizzazione #Share

Surfaces for Your Vision: Canvas and Paper

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Editorial
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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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Editorial
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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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Editorial
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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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Editorial
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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

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Editorial
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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
Editorial
-
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
Editorial
-
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.

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