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La geometría como impulso poético

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AMM
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La geometría como impulso poético DAN Galeria
La geometría como impulso poético DAN Galeria

La geometría como impulso poético “Geometria como impulso poético”

Galería DAN Exposición Colectiva
São Paulo, Brasil
03/04/2025 – 02/08/2025

DAN Galeria presenta “La geometría como impulso poético”, con curaduría de Maria Alice Milliet, una muestra que revela bajo una nueva luz la riqueza de la arte geométrica brasileña de mediados del siglo XX, destacando la profunda humanización de la forma y la emoción visual intensa que impregnan uno de los períodos más vibrantes y desafiantes del arte moderno en Brasil.

La exposición ofrece un panorama técnico y sensible, revisitando con rigor museológico la singularidad de estas expresiones geométricas. Lejos de la ortodoxia del concretismo, la curaduría destaca intersecciones poéticas y diálogos formales entre artistas representativos, que trascienden la rigidez conceptual del movimiento.

Abordajes artísticos y excelencia formal

La muestra presenta obras que se distinguen por su capacidad para dialogar desde diferentes enfoques artísticos. Figuran piezas de Judith Lauand —recientemente homenajeada en el MoMA—, Dionísio del Santo y Hércules Barsotti, cuyas composiciones intensamente cromáticas prueban que la geometría no es fría ni mecánica, sino rica en lirismo y carga emocional.

Abstracción geométrica y humanización de la forma

Obras emblemáticas de artistas como Max Bill, Rubem Valentim, Alfredo Volpi, Franz Weissmann, Geraldo de Barros, Ivan Serpa y Sérgio Camargo conviven con piezas fundamentales de Lygia Clark, como el “Bicho” y la “Superficie Modulada”. Esta conjunción revela cómo la abstracción geométrica evoluciona hacia una experiencia estética profundamente humana.

Obras raras y contexto latinoamericano

La exposición incorpora obras rara vez exhibidas, como el reloj de Lothar Charoux, notable por su diseño innovador, y una pintura sobre madera del artista cubano Sandu Darie, ampliando así el horizonte de la geometría hacia el panorama latinoamericano. Estos elementos subrayan la relevancia continental del arte geométrico, reforzando su pertinencia más allá de las fronteras brasileñas.

Resistencia cultural y poética de la estructura

La muestra testimonia una ruptura artística que desafió la hegemonía del figurativismo como representación nacional, proponiendo una geometría que no es inerte, sino que funciona como vehículo de emoción visual y reflexión poética. La curaduría de Milliet revela la diversidad conceptual del concretismo y su capacidad de conectar con lo sensorial y espiritual.

Intersecciones y expansión de la experiencia geométrica

Al reunir obras de Judith Lauand, Dionísio del Santo, Hércules Barsotti, Max Bill, Rubem Valentim y Alfredo Volpi, junto a las exploraciones táctiles y espaciales de Lygia Clark, la exposición evidencia la amplitud de las investigaciones formales y la expansión de la abstracción geométrica como vía para humanizar la percepción estética.

“La geometría como impulso poético” no solo propone una revisión histórica, sino que celebra el potencial expresivo y transformador de la forma abstracta, como parte esencial del relato moderno y latinoamericano del arte.

Artists:

Alexandre Wollner, Alfredo Volpi, Almir Mavignier, Aluísio Carvão, Arnaldo Ferrari, Dionísio del Santo, Ferreira Gullar, Franz Weissmann, Geraldo de Barros, Hércules Barsotti, Hermelindo Fiaminghi, Ivan Serpa, Jesus Soto, João José da Costa, Judith Lauand, Lothar Charoux, Luiz Sacilotto, Lygia Clark, Maurício Nogueira Lima, Max Bill, Rubem Valentim, Sandu Darie, Sergio Camargo, Willys de Castro.

DAN Galería
La geometría como impulso poético
Curaduría: Maria Alice Milliet
Dirección: Rua Estados Unidos, 1638 – São Paulo, SP, Brazil
Duración: 3 meses
Horario: de 10h a 19h, de lunes a viernes; de 10h a 13h, los sábados.
Entrada gratuita
Clasificación indicativa: Libre


Dada’s Rhythmic Chaos: How Jazz Danced with the Anti-Art Movement

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AMM
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Dada's Rhythmic Chaos: How Jazz Danced with the Anti-Art Movement
Dada's Rhythmic Chaos: How Jazz Danced with the Anti-Art Movement

Dada’s Rhythmic Chaos: How Jazz Danced with the Anti-Art Movement

The early 20th century was a tumultuous symphony of change, and within its dissonant chords, two revolutionary forces emerged to challenge the established order: Dadaism in the visual arts and literature, and Jazz music in sound and rhythm. Born from the ashes of World War I, Dada was an anti-art movement, a defiant scream against the logic and reason that had led to unprecedented global devastation. It embraced absurdity, chance, and nonsense. Simultaneously, Jazz, burgeoning from the African American communities of New Orleans, shattered musical conventions with its improvisational spirit, syncopated rhythms, and raw emotional power. While seemingly disparate, these two cultural phenomena shared a profound, albeit often unacknowledged, kinship: a mutual rejection of tradition, an embrace of improvisation, and a chaotic energy that reflected the anxieties and aspirations of a world turned upside down.

Dada’s very genesis at the Cabaret Voltaire in Zurich in 1916 was inherently performative and improvisational, mirroring the spontaneous nature of Jazz. Artists like Hugo Ball, Tristan Tzara, and Richard Huelsenbeck engaged in multi-media performances that were cacophonous and unpredictable – poetry recited in nonsensical sounds, simultaneous verse, and improvised music. This wasn’t about polished perfection; it was about raw expression, shock, and a deliberate dismantling of bourgeois aesthetics. Think of it as a visual and auditory “jam session” where established rules were thrown out the window. Just as Jazz musicians riffed off a melody, adding their own unexpected harmonies and rhythms, Dadaists “riffed” off cultural detritus, reassembling fragments into new, often jarring, compositions. The collage and photomontage, central to Dada’s visual language, echoed the layered and syncopated textures of Jazz, where different instruments held their own melodic lines yet contributed to a unified, driving rhythm.

Furthermore, both Dada and Jazz were deeply rooted in primitivism, a fascination with non-Western and “primitive” art forms. Dadaists, disillusioned with Western rationality, looked to African art for its perceived authenticity and raw energy, much like early Jazz drew heavily from African rhythmic traditions and spirituals. This shared reverence for the uninhibited and the instinctual was a direct challenge to the refined, Eurocentric artistic traditions that dominated before the war. The saxophone, with its wailing, expressive tones, and the polyrhythms of a Jazz ensemble, possessed a vitality that resonated with Dada’s desire to strip away pretense and tap into something more primal and honest.

The urban landscapes where both movements thrived also forged a connection. New York, Berlin, and Paris – cities grappling with modernity, industrialization, and social upheaval – provided fertile ground for both Dada’s sardonic wit and Jazz’s pulsating rhythms. The fast pace, the noise, the anonymity, and the vibrant multiculturalism of these metropolises fed the experimental spirit of both art forms. Jazz clubs, with their smoky atmospheres and spontaneous performances, became informal laboratories for social and artistic liberation, not unlike the Dada cabarets. Both offered an escape from the rigid structures of society, a space where conventions could be flouted and new forms of expression could take hold.

Ultimately, Dadaism and Jazz, though operating in different spheres, were twin expressions of a singular cultural moment. They shared a spirit of rebellion, an embrace of the unconventional, and a commitment to improvisation and emotional honesty. Dada’s visual chaos and conceptual provocations found a sonic parallel in Jazz’s polyrhythmic complexities and soulful improvisations. Together, they formed a powerful, if discordant, symphony that dismantled the old world and laid the groundwork for a radically new approach to art and life.

Sources:

Pre-Columbian Art

Por
AMM
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Pre-Columbian Art
Pre-Columbian Art

Pre-Columbian Art

Pre-Columbian art refers to the visual arts created by the indigenous peoples of the Americas before the arrival of Christopher Columbus in 1492 and the subsequent European colonization. This term encompasses a vast time span and includes diverse cultures such as the Olmec, Maya, Aztec, Inca, Moche, Chavín, and many others across North, Central, and South America.

Key Characteristics

  • Symbolism and Spiritual Meaning: Pre-Columbian artworks were deeply connected to cosmology, mythology, nature, and religion. Many pieces depict gods, spirits, and sacred animals, serving both ceremonial and functional purposes.
  • Materials: Artists used a variety of materials including stone, gold, silver, jade, ceramics, textiles, feathers, and wood. Gold and jade were particularly prized for their spiritual and aesthetic value.
  • Architecture and Sculpture: Monumental architecture, such as pyramids and temples, featured intricate carvings and murals. Sculpture ranged from small figurines to large-scale stone monuments like the Olmec colossal heads.
  • Ceramics and Pottery: Highly developed ceramic traditions flourished, particularly in Mesoamerica and the Andes. These objects often included narrative scenes, geometric patterns, and symbolic motifs.

Cultural Significance

Pre-Columbian art was not created for decoration alone. It played essential roles in ritual life, social hierarchy, and the transmission of cultural knowledge. It offers deep insights into how ancient American civilizations understood the world and their place within it.

Influence on Contemporary Art

Today, Pre-Columbian art continues to influence modern and contemporary artists, particularly in Latin America. Its themes, forms, and techniques are revisited in works that explore identity, ancestry, and resistance to colonial narratives.

United States

  1. The Metropolitan Museum of Art (New York)
    • Features a vast collection of Pre-Columbian artifacts, especially from the Maya, Aztec, and Inca civilizations.
    • Website
  2. Dumbarton Oaks Research Library and Collection (Washington, D.C.)
    • Known for its exceptional collection of Pre-Columbian art from Mesoamerica, the Andes, and Central America.
    • Website
  3. Los Angeles County Museum of Art (LACMA)
    • Houses Pre-Columbian works including textiles, ceramics, and gold artifacts.
    • Website
  4. The Art Institute of Chicago
    • Offers an important selection of Mesoamerican and Andean pieces.
    • Website
  5. Museum of Fine Arts, Boston
    • Features Pre-Columbian works in its Art of the Americas wing.
    • Website

Latin America

  1. Museo Nacional de Antropología (Mexico City, Mexico)
    • One of the world’s most comprehensive collections of Mesoamerican artifacts, including Aztec, Maya, and Olmec art.
  2. Museo Larco (Lima, Peru)
    • World-renowned for its beautifully preserved ceramics and gold artifacts from the Moche, Chimu, and Inca cultures.
  3. Museo del Oro (Bogotá, Colombia)
    • Home to the largest collection of Pre-Columbian gold artifacts in the world, particularly from the Tairona and Muisca peoples.
  4. Museo Nacional de Costa Rica (San José, Costa Rica)
    • Features artifacts from Costa Rica’s Pre-Columbian heritage, including stone spheres and jade pieces.

Spain

  1. Museo de América (Madrid)
    • Contains a remarkable collection of Pre-Columbian art acquired during colonial times.

Woven Histories: Indigenous Textile Traditions of North America

Por
AMM
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Woven Histories: Indigenous Textile Traditions of North America
Woven Histories: Indigenous Textile Traditions of North America

Woven Histories: Indigenous Textile Traditions of North America

Celebrating the Legacy and Innovation of Native Weaving in the U.S. and Canada

When we think of North American art, we might picture paintings, photography, or sculpture—but one of the most profound and enduring art forms across this continent is textile art. For Indigenous peoples of the United States and Canada, textiles are much more than fabric. They are storied threads—woven symbols of identity, heritage, land, and spirit.

In this post, we explore the diverse textile traditions developed by Native communities, from the Southwest deserts to the northern forests and coastal mountains. Each tradition is a powerful reminder that Indigenous culture is not just preserved in museums—it is alive, evolving, and deeply inspiring.

The Navajo: Weaving as Sacred Practice

The Diné (Navajo) people are internationally known for their handwoven rugs and blankets. Using hand-spun wool dyed with natural pigments, Navajo weavers create intricate geometric patterns that tell personal and cultural stories.

  • Did you know? A Navajo loom is considered sacred, and weaving is a spiritual journey, not just a craft.
  • Themes: Landscape, resilience, and interconnectedness.

The Chilkat Robes: Northwest Coast Elegance

In the Pacific Northwest, Indigenous groups like the Tlingit and Haida are renowned for their Chilkat weaving—an incredibly complex technique that uses mountain goat wool and cedar bark to create regalia for ceremonies.

  • Designs: Symmetrical, flowing forms that represent clan animals and spirits.
  • Function: Worn by high-ranking members in traditional potlatch ceremonies.

Plains Nations: From Quillwork to Beadwork

Before glass beads, Plains artists like the Lakota and Cree used porcupine quills to decorate garments and tools. When trade introduced beads, Native artisans adapted them into stunning new forms of regalia.

  • Craft as survival: Even during cultural suppression, these arts endured through adaptation.
  • Modern twist: Beadwork today is both tradition and statement—seen on runways and protest signs alike.

Fingerweaving and the Story of the Sash

The Haudenosaunee (Iroquois) and Métis communities are known for fingerwoven sashes, such as the iconic ceinture fléchée (arrow sash). These colorful bands were used practically and ceremonially.

  • Fun fact: The sash was also a tool—used as a belt, rope, or signal of resistance during colonial rebellions.
  • Design: Bold patterns often reflect tribal or family affiliation.

Tradition Meets the Future

Despite colonization, forced assimilation, and cultural erasure, Indigenous textile traditions have survived—and are thriving. Artists like:

  • Melissa Cody (Navajo) – uses glitch-inspired patterns in Navajo rugs
  • Tania Willard (Secwépemc) – blends land-based art with weaving
  • Jordan Ann Craig (Northern Cheyenne) – reinterprets traditional motifs in vibrant, abstract forms

…are redefining what Indigenous textile art can be in the 21st century.

Why This Matters

Textiles are living memory. In every stitch and strand, they hold stories of:

  • Land and ancestry
  • Survival and resistance
  • Sustainability and care

They also teach us to slow down, to respect materials, and to understand the labor of love behind each creation.

Where to See More

Curious to dive deeper? Check out:

  • The Heard Museum (Phoenix, AZ)
  • The Textile Museum of Canada (Toronto)
  • National Museum of the American Indian (Washington, D.C. & NYC)
  • Indigenous Fashion Arts Festival (Canada – biennial)

These institutions and events honor Indigenous textile voices and help share their relevance today.

Final Thread

Indigenous textile traditions in North America are not only ancient—they’re timeless. They continue to teach us about beauty, resilience, and what it means to be rooted in both tradition and innovation.

So next time you see a handwoven sash, a beaded bag, or a modern fiber art piece inspired by Native techniques, look a little closer. You’re witnessing a living legacy—a thread that connects us all.

Modern vs. Contemporary Art Investing: What Collectors and Investors Need to Know

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AMM
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Modern vs. Contemporary Art Investing
Modern vs. Contemporary Art Investing

Modern vs. Contemporary Art Investing: What Collectors and Investors Need to Know

By an Art Critic & Art Investor

In the world of fine art, few distinctions are as critical—and as often misunderstood—as the difference between Modern and Contemporary art. For investors, this distinction is more than academic. Understanding it can define your strategy, shape your portfolio, and significantly influence the potential return on your investment.

Let’s dive into what separates Modern from Contemporary art, and what each offers to the savvy collector or investor.

What’s the Difference?

  • Modern Art refers broadly to artworks produced between the 1860s and the 1970s, a period marked by experimentation and the rejection of traditional forms. Think Pablo Picasso, Henri Matisse, Mark Rothko, and Georgia O’Keeffe.
  • Contemporary Art refers to art made from the 1970s to today, often by living artists. It is defined by its diversity, global perspectives, new media (like digital art or AI), and social commentary. Think Yayoi Kusama, Kehinde Wiley, Jenny Holzer, or Ai Weiwei.

Modern Art Investing: Proven, Stable, Prestigious

Modern artists are already well-established in the art canon. Many are represented in major museum collections, their markets are well-documented, and their auction performance is reliable.

Why invest in Modern art?

  • Stability: These are blue-chip assets. While prices can fluctuate, long-term appreciation is common.
  • Prestige: Owning a piece by a Modern master carries cultural and curatorial weight.
  • Liquidity: Major auction houses like Sotheby’s and Christie’s regularly handle sales, offering easier resale opportunities.

Challenges:

  • High entry cost: Works by top-tier Modern artists can start in the six to seven figures.
  • Limited upside: The most significant value increases may already have occurred.
  • Forgery risk: Older works require detailed provenance and authentication.

Contemporary Art Investing: Dynamic, Risky, High-Reward

Contemporary art is the art of our time—and investing in it means you’re betting on the future. You’re often buying into an artist’s potential, not just their current market value.

Why invest in Contemporary art?

  • Early access to rising stars: Discovering artists before they break into the global market can yield extraordinary returns.
  • Cultural relevance: Contemporary art reflects today’s issues—social justice, identity, technology, and climate change.
  • Diversified media: Video, installation, NFTs, and AI art open new collecting categories.

Challenges:

  • Volatility: Values can swing drastically based on critical reception, gallery representation, and collector interest.
  • Oversaturation: The contemporary scene is vast. Not every trending artist will sustain their momentum.
  • Due diligence is essential: Reputation, exhibition history, and curatorial support all matter when assessing value.

So, Which Is Better for Investment?

It depends on your goals.

GoalChoose Modern ArtChoose Contemporary Art
Long-term value & stability✅—
Prestige & blue-chip status✅—
High potential ROI (higher risk)—✅
Early access & personal discovery—✅
Supporting living artists & global voices—✅

Balanced Strategy: The Best of Both Worlds

Many seasoned collectors diversify between Modern and Contemporary works. A Modern piece anchors your collection with stability and credibility, while a Contemporary portfolio brings agility, cultural relevance, and higher growth potential.

Investing in both allows you to enjoy the historical depth of a Rothko while betting on the future brilliance of an artist like Amoako Boafo, Tschabalala Self, or Rafael Montilla.

Final Thoughts

Whether you lean toward the timeless abstraction of Modern art or the provocative urgency of Contemporary voices, smart investing requires education, curiosity, and a willingness to take calculated risks.

Don’t just chase trends. Collect with purpose. Invest with vision.

Miami’s Rising Stars: Contemporary Artists Worth Investing In Today

Por
AMM
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Jamilah Sabur, Untitled (rhombus: cradling Mars west of the Sargasso Sea), 2017. 2-channel video. Cornell Fine Arts Museum. Courtesy of the artist and Nina Johnson Gallery.
Jamilah Sabur, Untitled (rhombus: cradling Mars west of the Sargasso Sea), 2017. 2-channel video. Cornell Fine Arts Museum. Courtesy of the artist and Nina Johnson Gallery.

Miami’s Rising Stars: Contemporary Artists Worth Investing In Today

By an Art Critic & Art Investor

Miami has long been known as a hub of cultural vibrancy and global art trends. Home to Art Basel Miami Beach, a growing gallery scene, and a multicultural creative community, the city has become fertile ground for the emergence of serious contemporary talent. As collectors and investors search for the next Basquiat or Kusama, Miami offers compelling opportunities to invest in rising and mid-career artists before their market value skyrockets.

Here’s a curated look at several artists in Miami whose work deserves close attention—not just for its aesthetic strength, but for its long-term investment potential.

1. Morel Doucet

A Haitian-American ceramicist and multidisciplinary artist, Morel Doucet creates intricately detailed porcelain works exploring Black identity, climate change, and displacement. His work has already been collected by institutions such as Pérez Art Museum Miami and shown at Art Basel Miami Beach.

Why invest: Strong institutional support, critical recognition, and a unique voice that bridges social commentary and technical excellence.

2. Jamilah Sabur

Sabur blends performance, installation, video, and text to address geography, memory, and post-colonial identity. Her work is conceptually rigorous and emotionally resonant, and she has exhibited at The Bass Museum, ICA Miami, and internationally.

Why invest: Highly intellectual and original practice; her market is expected to grow as collectors increasingly seek out Black women artists with global narratives.

3. Rafael Montilla

Montilla is gaining attention for his geometric and conceptual artwork inspired by British Constructivist Marlow Moss, fused with Indigenous American symbolism and contemporary consciousness. His use of artificial intelligence, kinetic elements, and sacred geometry places him in a unique niche between the digital and spiritual.

Why invest: Thought-provoking, visually arresting work rooted in deep research and cross-cultural references; positioned well for collectors of both conceptual and digital-forward art.

4. T. Eliott Mansa

A multidisciplinary artist working in sculpture and assemblage, Mansa creates emotionally potent pieces that address trauma, mourning, and the Black experience in America. His work has appeared in major exhibitions throughout the U.S.

Why invest: Highly collectible due to his singular aesthetic language and the growing demand for powerful, socially relevant work.

5. Emmett Moore

A native Miamian, Moore merges sculpture and design, creating hybrid works that challenge the boundary between fine art and functional objects. He has shown at Design Miami, PAMM, and major galleries across the U.S.

Why invest: With the growing intersection of design and fine art, Moore is poised to become a blue-chip artist for collectors with a taste for the avant-garde and the practical.

Why Miami? Why Now?

Miami’s rise as a global art capital has created a dynamic environment where artists are no longer just passing through—they’re building careers here. The city’s diversity, combined with an expanding collector base, means that local artists have both visibility and a support system to grow. Smart investors understand that buying early in an artist’s career can yield massive returns—both financially and culturally.

Investment Tips:

  • Buy with passion and strategy: Look for artists whose work speaks to you—but also whose careers show momentum (gallery representation, institutional shows, awards).
  • Diversify your collection: Invest across media—painting, sculpture, installation, and digital.
  • Stay informed: Attend local gallery shows, studio visits, and art fairs like Art Basel, NADA, and Untitled.
  • Trust your instincts—but do your research: Emerging artists can become tomorrow’s blue-chip names, but only if their work holds critical and market weight over time.

The Miami art scene is more than just sunshine and spectacle—it’s a deep, evolving ecosystem of creative voices that reflect the complexities of our time. For investors who value not just beauty, but depth, relevance, and future potential, the Magic City offers a treasure trove of opportunities. Start collecting now—before the rest of the world catches on.

Gold 24K Jewelry: How Do You Build a Timeless Collection?

Por
AMM
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Joyas de Oro de 24K: ¿Cómo construir una colección atemporal?
Joyas de Oro de 24K: ¿Cómo construir una colección atemporal?

Gold 24K Jewelry: How Do You Build a Timeless Collection?
By a High-End Gold Jewelry Specialist

For true lovers of gold jewelry, nothing compares to the richness, warmth, and unmatched purity of 24K gold. It’s not just about beauty—it’s about legacy, culture, and the elegance of owning something truly eternal. But how do you begin building a 24K gold jewelry collection that reflects your taste, lifestyle, and long-term value?

Here’s your expert guide to curating a sophisticated, high-end 24K gold jewelry collection:

1. Start With the Classics

Your foundation should include essential, timeless pieces:

  • Solid 24K Gold Chains – Opt for a thick Cuban Link or a clean Franco Chain for versatility and impact.
  • Statement Rings – Choose bold designs with minimal ornamentation to let the gold speak for itself.
  • Elegant Bangles or Cuffs – Layerable and refined, they transition from day to evening effortlessly.
  • 24K Stud Earrings or Hoops – Pure, simple, and powerful.

These pieces will serve as the pillars of your collection and never go out of style.

2. Invest in Craftsmanship

Not all gold is equal. Look for:

  • Handcrafted artistry
  • Detailed finishing
  • Certified purity (always request a 24K hallmark)
    Work with jewelers or designers known for their mastery in working with high-karat gold, like Cartier, Bulgari, Tiffany & Co., or modern artisans specializing in 24K purity.

3. Diversify Your Styles

While classic is key, your collection should also reflect your individuality:

  • Add Tennis Chains with a white gold finish for contrast.
  • Include 5mm and 3mm Rope Chains—versatile, luxurious, and great for layering.
  • Try sculptural or geometric statement pieces inspired by global traditions and design eras.

Building variety helps you rotate and layer pieces without repetition.

4. Think Long-Term Value

24K gold isn’t just beautiful—it’s an investment.

  • Unlike plated or lower-karat gold, 24K retains intrinsic value.
  • It’s a smart way to store wealth discreetly while enjoying its aesthetic.
  • Prioritize chains in 18K gold as well for more wearable, durable daily pieces while keeping 24K for statements or heirlooms.

5. Protect and Preserve

Store your collection in velvet-lined boxes, avoid exposure to harsh chemicals, and gently polish with soft cloths. 24K gold is naturally soft—treat it as a treasure, not just an accessory.

Final Thought

To build a 24K gold jewelry collection is to express luxury, identity, and permanence. Choose each piece with intention. Let your collection grow slowly, guided by love, legacy, and taste—not trends.

Because when you wear 24K, you’re not just wearing gold.
You’re wearing power, history, and elegance in its purest form.

Progressive Art Brunch Jul 20, 2025

Por
AMM
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Progressive Art Brunch Jul 20, 2025
Progressive Art Brunch Jul 20, 2025

Experience contemporary art in a curated setting.

Open to the public.

Open to all visitors from 11—4 pm. Progressive Art Brunch brings together participating galleries several Sundays throughout the year. The event highlights the current programming at each venue and enables visitors a more intimate look at the exhibitions on view.

Progressive Art Brunch is thrilled to announce our first-ever curated selection of artworks, featuring one piece from each participating gallery. This initiative aims to further highlight our collective programming and celebrate the vibrant Miami arts community. With an emphasis on accessibility, many of the selected works will be priced to encourage new and seasoned collectors alike to support the local arts.

Dot Fiftyone Gallery

7275 NE 4 Ave #101,
Miami, FL 33138

Mahara+Co/ Tomas Redrado Art

224 NW 71 St,
Miami, FL 33150

Mindy Solomon Gallery

848 NW 22 St,
Miami, FL 33127

Pan American Art Projects

274 NE 67 St
Miami, FL 33138

Piero Atchugarry Gallery

5520 NE 4 Ave
Miami, FL 33137

Diana Lowenstein Gallery

326 NE 61 St
Miami, FL 33137

Ascaso Gallery

1325 NE 1st Ave
Miami FL. 33132

KDR

790 NW 22 St,
Miami, FL 33127

Andrew Reed Gallery

800 NW 22nd St,
Miami, FL 33127

Voloshyn Gallery

802 NW 22nd St,
Miami, FL 33127

La Cometa

1015 NW 23 St.
Unit 2,
Miami, FL 33127

Baker—Hall

1294 NW 29th St,
Miami, FL 33142

Progressive Art Brunch Jul 20, 2025
Progressive Art Brunch Jul 20, 2025

WOVEN LEGACIES

Por
AMM
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WOVEN LEGACIES
WOVEN LEGACIES

WOVEN LEGACIES
Indigenous Textile Traditions Across North America

Exploring Native Textile Art Across the United States and Canada

In the fibers of North America’s earliest garments, sashes, and blankets lie stories far older than any written archive. For Indigenous peoples of the United States and Canada, textiles have long served as vessels of memory, resistance, and identity. Rich in symbolism and ritual, these handcrafted works transcend aesthetic value—anchoring communities to their land, cosmology, and each other.

From the desert Southwest to the rainforests of the Pacific Northwest and the wide plains in between, Native textile arts reveal a vibrant panorama of cultural ingenuity and spiritual depth. While colonialism sought to unravel these practices, many survived—and today, Indigenous textile traditions are not only thriving but actively shaping the language of contemporary art and design.

The Sacred Geometry of the Diné

No conversation about Indigenous North American textiles is complete without acknowledging the Navajo (Diné) weaving tradition. Emerging in the 17th century and evolving through centuries of adaptation, Navajo rugs and blankets are characterized by precise geometry, spiritual symbolism, and meticulous craftsmanship.

Weaving is more than a technical skill—it is a sacred act. According to Diné cosmology, the loom itself reflects the structure of the universe. The warp threads represent life’s pathway; the weft, our individual experiences.

Many contemporary Navajo artists continue this practice today—among them, Melissa Cody, who fuses traditional weaving with glitch aesthetics, symbolizing cultural disruption and survival in the digital age.

The Chilkat Robes: Fiber and Spirit

In the lush coastal regions of Alaska and British Columbia, the Tlingit and Haida peoples have long practiced Chilkat weaving, a complex method that uses mountain goat wool and shredded cedar bark. These robes, with their flowing forms and symmetrical designs, were traditionally worn by leaders during ceremonies.

Each design is specific to a clan or lineage, representing animals and mythic ancestors. Today, artists like Lily Hope and Teri Rofkar (Tlingit) have revitalized this tradition, balancing innovation with cultural continuity.

Threads of Power: The Plains Nations

The artistic evolution of the Plains peoples—from quillwork to beadwork—stands as a testament to resilience. Before glass beads arrived via European trade, artists like the Lakota used dyed porcupine quills to decorate garments. After colonization, beadwork became not only an art form but a form of resistance.

These motifs, often vibrant and symmetrical, encode identity and heritage. Today, Plains beadwork features prominently in everything from powwow regalia to haute couture collaborations.

Fingerweaving and Métis Identity

The ceinture fléchée, or arrow sash, is perhaps the most iconic textile of the Métis Nation. Originally a practical garment for fur traders, it evolved into a symbol of Métis cultural pride. Woven by hand in bright colors and arrow-like patterns, these sashes are worn in celebration and protest alike.

Contemporary artists like Kristen Catherwood and Jean Assinewe are keeping fingerweaving alive—not just as craft, but as living archive.

Continuity and Contemporary Practice

While many of these textile traditions are rooted in ancient knowledge systems, today’s Indigenous artists are innovating fearlessly. Artists such as:

  • Jordan Ann Craig (Northern Cheyenne) blends geometric abstraction with Northern Plains motifs.
  • Tania Willard (Secwépemc Nation) explores land-based art through basketry and weaving.
  • Nika Collison (Haida) curates intergenerational fiber installations that combine old forms with new narratives.

Through these artists, textiles become not only visual statements, but blueprints for cultural sovereignty.\

Beyond the Fabric

The resurgence of Indigenous textile art also challenges Western art hierarchies. Traditionally dismissed as “craft” or “women’s work,” fiber art has emerged as a political and aesthetic force. Textile traditions offer slow, sustainable methods at odds with mass production—centering care, connection, and community.

In museums and galleries across North America, this shift is being acknowledged. Institutions like:

  • The Textile Museum of Canada (Toronto)
  • The Heard Museum (Phoenix)
  • The Museum of Contemporary Native Arts (Santa Fe)
  • And events like the Indigenous Fashion Arts Festival

…have played a crucial role in honoring and amplifying these practices.

Conclusion: A Living Thread

Indigenous textile arts of the United States and Canada are not relics of a lost past—they are vibrant, evolving expressions of Indigenous knowledge systems. Whether through the warp of a Diné rug, the feathers in a Chilkat robe, or the beads on a powwow vest, these traditions endure as powerful languages of identity, memory, and healing.

As we celebrate these works, we must also recognize their context—woven under pressure, in resistance, and with extraordinary grace. They do not ask to be preserved—they demand to be seen, heard, and honored.

Sidebar Suggestions for Print Layout:

• Artist to Watch: Melissa Cody, Navajo weaver redefining traditional motifs
• Glossary:
– Ceinture fléchée – Fingerwoven Métis sash
– Chilkat robe – Northwest ceremonial textile
– Quillwork – Decorative art using dyed porcupine quills

• Quote Box:
“Our ancestors wove prayers into their clothing. Every thread carried intention.” — Muriel Miguel, Kuna/Rappahannock artist

Voces que Construyen Miradas: Curadores y Críticos de Arte Mexicanos que Dejan Huella

Por
AMM
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Mexico-Jason-deCaires-Taylor-Sculpture
https://underwatersculpture.com/

Voces que Construyen Miradas: Curadores y Críticos de Arte Mexicanos que Dejan Huella

México, con su milenaria historia y su incesante ebullición creativa, ha sido y es un epicentro fundamental para el arte en América Latina. Detrás de sus vibrantes exposiciones y sus colecciones en constante crecimiento, se encuentran figuras clave: los curadores y críticos. Estos profesionales, hombres y mujeres con visiones agudas y un profundo conocimiento, son los artífices que tejen narrativas, dan contexto a las obras y abren nuevos caminos para la comprensión del arte. Su labor es vital para conectar a los artistas con el público y para posicionar el arte mexicano en el diálogo global.

Exploremos algunas de las voces más destacadas en la curaduría y crítica mexicana, quienes con su trabajo dejan una huella imborrable.

Pioneros y Fundadores de una Visión

La curaduría en México tiene raíces profundas, a menudo entrelazadas con la creación de instituciones culturales y la valoración del arte nacional.

Fernando Gamboa (1909-1990): Considerado uno de los grandes museólogos y curadores de México, Gamboa fue un visionario. Su capacidad para organizar exposiciones de arte mexicano a nivel internacional fue clave para la difusión de figuras como Frida Kahlo y Diego Rivera en el extranjero. Fue director de importantes museos y su enfoque siempre estuvo en la proyección global del arte de su país, además de la recuperación y conservación del patrimonio nacional.

Inés Amor (1908-1992): Aunque no fue una curadora en el sentido formal de hoy, Inés Amor, fundadora de la Galería de Arte Mexicano (GAM) en 1935, fue una figura esencial. Su olfato para el talento y su compromiso con los artistas modernos y contemporáneos la convirtieron en una especie de “curadora natural” y gestora cultural indispensable, apoyando a muralistas, surrealistas y la Ruptura. Su galería fue un espacio de exhibición y promoción de vanguardia.

Voces Consolidadas del Siglo XXI

En las últimas décadas, una nueva generación y figuras ya establecidas han llevado la curaduría y crítica mexicana a niveles de sofisticación y relevancia internacional.

Cuauhtémoc Medina (1965): Es, sin duda, una de las voces más influyentes en la curaduría y crítica de arte contemporáneo en México y a nivel global. Actualmente curador en jefe del Museo Universitario Arte Contemporáneo (MUAC) de la UNAM, Medina es reconocido por su rigor intelectual, sus textos incisivos y su capacidad para generar exposiciones que dialogan con la política, la historia y las complejas realidades sociales. Fue curador de la Bienal de Liverpool en 2010 y ha participado en innumerables proyectos internacionales.

Magalí Arriola (1969): Con una trayectoria impecable, Magalí Arriola es una curadora que ha dejado su marca en instituciones clave. Fue directora del Museo Tamayo Arte Contemporáneo y curadora asociada en la Fundación Jumex Arte Contemporáneo. Su trabajo se enfoca en el arte contemporáneo, con una especial atención a las prácticas conceptuales, la performance y la obra de artistas latinoamericanos en un contexto global. Su visión es a menudo experimental y profundamente reflexiva.

Taiyana Pimentel (1970): Directora del Museo de Arte Contemporáneo de Monterrey (MARCO), Taiyana Pimentel es una figura dinámica y con una vasta experiencia en gestión y curaduría. Anteriormente dirigió la Sala de Arte Público Siqueiros y el Museo Tamayo. Su labor se ha centrado en posicionar a las instituciones que dirige como referentes para el arte contemporáneo, con un enfoque en la producción actual y el diálogo entre distintas generaciones de artistas.

Daniela Pérez (1972): Es una curadora independiente y escritora con una destacada carrera en la escena contemporánea. Su trabajo se enfoca en proyectos específicos, muchas veces desafiando los límites de la galería tradicional y explorando nuevas formas de producción y exhibición. Ha colaborado con diversas instituciones y artistas, y su curaduría se caracteriza por su agudeza conceptual.

José Luis Barrios (1961): Filósofo, historiador y crítico de arte, José Luis Barrios es un referente académico y curatorial. Su trabajo en el MUAC y en otras plataformas ha explorado las intersecciones entre el arte, la cultura visual, la teoría crítica y la política. Sus exposiciones suelen ser rigurosas y desafiantes, invitando a una reflexión profunda sobre los fenómenos artísticos y sociales.

Pilar García (1972): Curadora e investigadora con un enfoque en el arte moderno y contemporáneo. Su trabajo en instituciones como el Museo Amparo en Puebla, donde fue directora, y en el Museo Nacional de Arte (MUNAL) ha sido fundamental para la investigación, curaduría y difusión del arte mexicano en un amplio espectro histórico.

Diana Wechsler (1961): Doctora en Historia del Arte, investigadora del CONICET (Argentina) y Vicerrectora de la UNTREF, donde dirige la Maestría en Estudios Curatoriales. Wechsler es la directora artístico-académica de BIENALSUR, una bienal de arte contemporáneo que se extiende por múltiples países, consolidándola como una figura clave en la curaduría transnacional con fuerte impacto en México.

Voces que Impulsan el Diálogo Actual

Roberto Rosique (1956): Crítico, curador, artista visual y gestor cultural, Roberto Rosique es una voz fundamental en el análisis y la promoción del arte contemporáneo mexicano. Radicado en Tijuana, es conocido por su énfasis en las prácticas fotográficas y los nuevos medios, además de su profunda reflexión sobre la imagen y su impacto en la sociedad actual. Su rol como fundador de la Facultad de Artes de la UABC (Universidad Autónoma de Baja California) y su labor como profesor y asesor en la creación de modelos curriculares, lo posicionan como un intelectual clave en la educación artística y la crítica desde la frontera.

Santiago García Navarro (1973): Escritor y curador con una trayectoria que abarca la literatura y las artes visuales. García Navarro es conocido por sus proyectos curatoriales que exploran la ficción, el ensayo y las nuevas narrativas en el arte contemporáneo, trabajando en Argentina y con impacto en la escena mexicana.

Andrei Fernández: Curador y docente, Fernández es una figura activa en el debate sobre la curaduría profesional en México, contribuyendo con reflexiones sobre el rol del curador y su práctica en el contexto actual.

Federico Baeza: Curador y docente, Baeza ha participado en importantes proyectos curatoriales y ha contribuido al diálogo sobre el arte contemporáneo mexicano, a menudo explorando nuevas formas de exhibición y mediación.

La Labor del Curador y Crítico: Más Allá de las Exposiciones

Estos curadores y curadoras, y muchos otros que enriquecen la escena mexicana, son mucho más que organizadores de muestras. Son:

  • Investigadores: Dedicados a desenterrar, estudiar y contextualizar las obras y trayectorias de los artistas.
  • Narradores: Tejen historias y discursos que dan sentido a las colecciones y a las exposiciones.
  • Mediadores: Crean puentes entre los artistas, sus obras y los diversos públicos.
  • Críticos: Ofrecen lecturas profundas que enriquecen el debate y la comprensión del arte.
  • Gestores: Lideran proyectos complejos que requieren visión, estrategia y capacidad de ejecución.

La contribución de estos profesionales es incalculable para el florecimiento del arte en México. Son las voces que, con su aguda mirada y su incansable labor, aseguran que la riqueza del arte mexicano sea no solo conservada, sino constantemente reinterpretada y proyectada hacia el futuro.

Fuentes Consultadas:

  • ARTEINFORMADO: Perfiles de curadores y noticias del sector artístico mexicano. https://www.arteinformado.com/
  • Museo Universitario Arte Contemporáneo (MUAC): Información sobre Cuauhtémoc Medina y José Luis Barrios. https://muac.unam.mx/
  • Museo Tamayo Arte Contemporáneo: Información sobre Magalí Arriola y su trayectoria. https://museotamayo.org/
  • MARCO (Museo de Arte Contemporáneo de Monterrey): Perfil de Taiyana Pimentel. https://marco.org.mx/
  • Fundación Jumex Arte Contemporáneo: Perfiles curatoriales. https://www.fundacionjumex.org/
  • BIENALSUR: Información sobre Diana Wechsler y su proyecto transnacional. https://bienalsur.org/
  • ArtNexus / Arte al Día: Publicaciones especializadas con artículos de críticos y curadores mexicanos.
  • Revista La Tempestad: Artículos y ensayos sobre arte y cultura.
  • Universidad Nacional Autónoma de México (UNAM): Perfiles académicos y publicaciones.
  • Roberto Rosique – Página web/Redes profesionales: (Información obtenida de su biografía provista y descripciones de su libro VISUALWORDS).
  • Facultad de Artes UABC (Universidad Autónoma de Baja California): (Información sobre su rol fundacional y académico).
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