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

Bernice Steinbaum Gallery
Bernice Steinbaum Gallery

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

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

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

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

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

This year’s featured artists include:

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

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

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

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

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

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

by appointment: 305-860-3681

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

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

Floating cubes
Floating cubes

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

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

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

Now, that investment is under threat.

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

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

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

🎯 What you can do:

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

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

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

Miami Art Week de 2025

Miami Art Week de 2025
Miami Art Week de 2025

Miami Art Week de 2025

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

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

Rafael Montilla textile

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

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

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

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

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

¿Dónde puedo exponer mi arte en Miami Art Week?

¿Donde promocionar mi arte en Miami?

Te podemos ayuda info (@) artmiamimagazine.com

Loni Johnson

Loni Johnson
Loni Johnson

OPEN STUDIO: Loni Johnson

Wednesday, August 13 · 6 – 8:30pm EDT

Ages 18+

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

Coral Gables Museum OPEN STUDIOLoni Johnson

A Series of Free Creative Mixers with The Things Lab

Wednesday, August 13, 2025

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

Step into the Summer of THINGS!

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

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

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

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

What to Expect

  • Engaging, hands-on activities designed for adults (18+)
  • Exploration of the theme of THINGS through art, storytelling, and personal expression
  • Professional South Florida-based artists sharing their work, vision, and experience
  • A welcoming environment to meet new people, nurture your creativity, and unwind midweek
  • Open Bar Hour with LALO Tequila between 6pm-7pm
  • Cash bar for wine and beer
  • Young Associate Members receive an additional free drink ticket

Why Join?

  • Discover new artistic skills and creative perspectives
  • Connect with a vibrant community of makers and thinkers
  • Enjoy a unique, enriching night out in the heart of Coral Gables

Mark your calendar, every other Wednesday.

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

Coral Gables Museum; 285 Aragon Ave, Coral Gables

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

Análisis Crítico y Curatorial: Lidy Prati

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

Análisis Crítico y Curatorial: Lidy Prati

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

La Audacia de la Invención

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

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

Concret A4: La Precisión del Color y la Forma

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

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

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

Soft Structures curated by Jen Wroblewski

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

Soft Structures
curated by Jen Wroblewski

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

Closing Friday, August 8th

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jane Lombard Gallery
Visit us at:
58 White Street
New York, NY 10013
Tel: 212.967.8040
Gallery
 Hours
Monday – Friday, 10AM – 5PM

Gary Nader Art Centre exhibition ‘From Picasso to Botero’

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

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

 A celebration of radical freedom by two giants of Modern Art

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

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

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

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

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

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

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

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

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

Proposals can be sent to [email protected].

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

ABOUT GARY NADER ART CENTRE:

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

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

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

For more information: 

Gary Nader Art Center  

Email: [email protected]

Phone: 305-576-0256

Web: www.garynader.com

62 NE 27th St, Miami, FL 33137

​​

Miami Art Week 2025

Miami Art Week 2025: A Creative Odyssey

Miami Art Week, running this year from December 1 to 7, 2025, brings together the world’s top art fairs, exhibitions, events, and public programs into one immersive experience. Here’s what to expect:

Key Anchor Events: Fair Highlights

Art Basel Miami Beach returns December 3-7 at the Miami Beach Convention Center, offering museum-quality works from around the globe. Public access begins December 5; VIP and private previews take place on December 3-4

Art Miami & CONTEXT Art Miami will run at One Herald Plaza from December 2-7. VIP First View on December 2, followed by public hours through the week

Satellite Fairs: Boutique Vibes & Emerging Voices

Throughout the week dozens of satellite events offer a wider artistic landscape:

  • photoMIAMI™ (Dec 5–7): The only fair dedicated to contemporary photography, held at 2300 N. Miami Avenue.
  • AfriKin Art Fair (Dec 1–7): Celebrating African and diaspora art, with VIP previews starting November 30.
  • Other standout events include Aqua Art Miami, Design Miami, INK Miami, NADA Miami, Pinta Miami, Red Dot, Spectrum, SCOPE, UNTITLED Art Miami, and more—each offering distinct curatorial perspectives and community energy.

Beyond the Fairs: Cultural Events & Public Engagement

  • The week officially kicks off with the Miami Art Week Kickoff Party™ on December 1 from 7–9 PM at a yet-to-be-confirmed venue (likely Coral Gables Museum).
  • Program highlights such as large-scale exhibitions in hotel lobbies—like “Faux Ecologies + Augmented Visions of the Micro-verse” at The Betsy—and interactive public art installations across Miami Beach define the broader public art environment.
  • Other noteworthy public exhibitions include shows at Wynwood Walls, Rubell Museum, Wolfsonian, and other key cultural institutions across the city.

Opening Festivities & Cultural Convergence

Miami Art Week merges visual arts with music, performance, and design. For example, Nashbash—a kickoff party hosted at the Miami Beach Bandshell—features live performances by Moon Taxi and Maggie Rose, celebrating cross-cultural connections through art and music The Grateful Web.

Miami Design District & Public Sculpture

Explore the Nader Sculpture Park in the Miami Design District, home to over 50 monumental artworks by internationally renowned artists such as Yayoi Kusama, Jeff Koons, Fernando Botero, and Carlos Cruz-Diez. This outdoor venue creates a dynamic dialogue between art, nature, and public space miamicurated.com.

Notable Local Talent

Artists like Antonia Wright—whose multidisciplinary work explores themes of emotion, power, and control—and Yanira Collado, winner of the 2024 Florida Prize in Contemporary Art, make significant contributions to the local creative landscape during Art Week en.wikipedia.org+1en.wikipedia.org+1.

Why It Matters

Miami Art Week immerses attendees in a rich artistic ecosystem. From monumental installations to boutique galleries, hyperlocal talent to global icons, it’s a celebration of creativity, diversity, and public engagement. A perfect intersection of art, dialogue, and exploration.

Planning your visit?

  • Visit miamiartweek.org for detailed schedules and exhibitor info Miami Art WeekMiami Art Week.
  • For press, collectors, or artists considering participation, exhibitor packages start from $119/year for emerging artists and scale up to gallery-feature tiers—complete with digital visibility, event access, and magazine space Miami Art Week.

Miami Art Week 2025 is not just about seeing art—it’s about experiencing it, engaging with it, and being part of its dynamic pulse.

Let me know if you’d like help curating your Art Week itinerary or discovering local artist highlights.

$12.8M Arts Cut Threatens $2.1B Economic Engine in Miami-Dade

Floating cubes
Floating cubes

$12.8M Arts Cut Threatens $2.1B Economic Engine in Miami-Dade

Arts Action Alliance Miami-Dade County – a county-wide coalition of cultural nonprofits, artists, and creative-economy businesses – warns that Miami-Dade’s cultural sector, a $2.1 billion annual driver supporting 32,000 jobs, could lose more than half of its county funding under Mayor Daniella Levine Cava’s proposed FY 2025-2026 budget. “Cutting arts funding by 52 percent saves pennies and risks billions,” said Beth Boone, Artistic & Executive Director of Miami Light Project. “Less than one percent of the county budget fuels one of Miami-Dade’s biggest job creators. Eliminating it is economic self-sabotage and an existential threat to Miami’s cultural community.”
Key Facts • Cultural sector returns an average $42 for every $1 the county invests• Generates $2.1B in local economic activity and 32,000 jobs• Draws 4.2M cultural tourists and $348M in public revenue annuallyGrants reach 300,000+ children and families each year through 100+ nonprofit partners• $12.8 million in cultural grants on the chopping block (52% cut)• Department of Cultural Affairs to be eliminated and merged with Library system• Cultural Affairs Director position eliminated, stripping dedicated arts leadership “Small and mid-sized arts organizations are the heartbeat of our neighborhoods and the backbone of our local economy,” said Renee Pesci, Executive Director of the Arts & Business Council of Miami. “Eliminating this funding would force theaters to go dark, galleries and nonprofits to close, and threaten the survival of the restaurants, businesses, and vendors that thrive alongside them.”

What’s at Risk Countless residents, especially families, students, and the elderly, stand to lose essential services, safe creative spaces, and the communal experiences that define Miami-Dade’s spirit. Tourists seeking Miami-Dade’s signature cultural vibrancy will find dark stages and closed doors, jeopardizing our reputation and revenue far beyond the arts sector alone. Hundreds of community-based arts organizations face closure. Thousands of artists, educators, and cultural workers could lose their livelihoods, wiping out free programs for
Timeline -Town Halls: Schedule and locations shown below-Budget Hearing #1: Thursday, September 4, 2025 at 5:01 pm-Final Budget Vote: Thursday, September 18, 2025 at 5:01 pmLocation: Stephen P. Clark Government Center, 111 NW 1st St., Miami Arts Action Miami Demands to the County• Restore the full $12.8M in cultural grants.• Keep the Department of Cultural Affairs independent and fully staffed.• Maintain dedicated arts leadership to steward Miami-Dade’s creative economy. How the Public Can Help• Sign the Petition: CLICK HERE • Contact Your Commissioner: https://www.miamidade.gov/global/government/commission/home.page and ask them to vote NO on the Mayor’s proposed budget cuts to cultural grants. • Email Mayor Levine Cava: [email protected] and demand the restoration of arts funding and keeping Cultural Affairs independent. • Attend Town Halls: Schedule below. • Attend the Commission Budget Meetings September 4th and 18th; Arrive by 3 PM to register for public comment.

Thursdays at PAMM: Summer Havens by Raw Figs

Pérez Art Museum Miami's latest event series
Pérez Art Museum Miami's latest event series

Pérez Art Museum Miami’s latest event series — perfect for any upcoming cultural or community events roundups you may be working on.

Thursdays at PAMM: Summer Havens by Raw Figs offers a cool, creative escape with weekly figure drawing sessions led by local artists, all taking place in PAMM’s air-conditioned Learning Theatre. Each of these evenings also include a happy hour, gallery access, and a welcoming community environment — ideal for a solo outing, a creative date night, or a family-friendly activity. All events are free with RSVP.

Full details below:

Thursdays at PAMM: Summer Havens by Raw Figs with Figure Drawing
August 7, 6–8pm
Join Raw Figs for a relaxed figure drawing session with live models and an atmosphere that encourages experimentation and expression — perfect for all levels.
RSVP here

Thursdays at PAMM: Summer Havens by Raw Figs with Artist-led Figure Drawing
August 14, 6–8pm
This session, guided by local artists, invites participants to explore gesture, form, and expression through live model drawing.
RSVP here

Thursdays at PAMM: Summer Havens by Raw Figs with Long-pose Figure Drawing
August 21, 6–8pm
Designed for deeper focus and refinement, this extended-pose session allows artists to take their time with form, detail, and technique.
RSVP here

VERA KURNEV, ACCOUNT COORDINATOR

CULTURAL COUNSEL

917-407-6185

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