"Ellas" – A Historic Art Exhibit Celebrating Women Artists During Miami Art Week and International Day for the Elimination of Violence Against Women
“Ellas” – A Historic Art Exhibit Celebrating Women Artists During Miami Art Week and International Day for the Elimination of Violence Against Women
In anticipation of and during Miami Art Week, a historic art exhibition will shine a spotlight on the often-overlooked contributions of women artists to the world of visual art. In honor of the International Day for the Elimination of Violence Against Women, this groundbreaking exhibit confronts the ultimate form of violence against women – invisibility – and seeks to make these women seen, heard, and celebrated.
Women and young girls rarely see themselves reflected in the walls and halls of museums worldwide. It is estimated that only 14.9% of the artwork in major U.S. museums is created by women (source: artnet). Beyond icons like Frida Kahlo, Georgia O’Keeffe, and Yayoi Kusama, where are the women artists? For far too long, their art has been marginalized, labeled as “feminine,” and often lost to history.
“Ellas” challenges this narrative. This exhibition celebrates a new generation of living women artists from Mexico and Spain who are defying historical silencing. Working in the United States, these women are changing the course of art history by refusing to accept anything less than gender parity. These trailblazers are no longer invisible – they are making their mark on the art world and beyond.
The exhibit features original works by leading contemporary artists: Jimena Cardenas, Alejandra Cue, Monica Czukerberg, Angela Gómez Durán, Danié, Constanza Laguna, Gloria Loizaga, Marcia Lorente Howell, Irene Marzo, Magy Pérez Marrón, Isabella Méndez, Serrot, and Susana Villa.
The exhibition is proudly presented by the Consulate Generals of Mexico and Spain in Miami and curated by Surfergirl.
“Ellas” – A Historic Art Exhibit Celebrating Women Artists During Miami Art Week and International Day for the Elimination of Violence Against Women Where: Instituto Cultural de México, 2555 Ponce de Leon Blvd, 5th Floor, Coral Gables, FL Opening: November 20, 2024, 6-9 PM
Exhibit Details:
Where: Instituto Cultural de México, 2555 Ponce de Leon Blvd, 5th Floor, Coral Gables, FL Opening: November 20, 2024, 6-9 PM
Join us in celebrating the power, vision, and creativity of these extraordinary women artists, and stand with us in the fight against the invisibility that has historically erased their contributions. The “Ellas” exhibit is a call for recognition, equality, and a new future where women are seen and heard.
Greater Miami Convention & Visitors Bureau Celebrates 10 Years of Art of Black Miami
Greater Miami Convention & Visitors Bureau Celebrates 10 Years of Art of Black Miami
—In the last decade, the initiative has grown into a year-round cultural program that drives tourism and supports local artists and businesses —
The Greater Miami Convention & Visitors Bureau (GMCVB) celebrates a decade of Art of Black Miami (AOBM), a program launched in Greater Miami’s heritage neighborhoods of Little Haiti, Little Havana, Coconut Grove and Historic Overtown that’s now a countywide initiative showcasing the destination’s vibrant art scene and its deep connections to the Black diaspora.
“What began as a seasonal celebration has become a year-round platform to promote our heritage, history, neighborhoods and most importantly, our people,” said David Whitaker, GMCVB president and CEO. “This program is also a way to promote equity in the arts.”
AOBM has emerged as a pivotal 365-day catalyst, bringing recognition to Greater Miami’s Black artists. Renowned talents such as Sanford Biggers, Basil Watson, Hank Willis Thomas and Deborah Roberts have all been part of this transformative program, cementing the destination’s reputation as a hub for groundbreaking artistic expression. It elevates local voices and attracts global attention to Greater Miami and Miami Beach’s arts and cultural offerings.
Today, AOBM plays a crucial role in the GMCVB’s Tourism Business Enhancement efforts linking the destination’s vibrant art scene with economic opportunities for local small businesses. AOBM events provide businesses with increased visibility, engaging both residents and visitors. This drives economic activity year-round, extending beyond the major events and ensuring continued growth for Greater Miami’s diverse communities.
“Through our programming, we’re not only spotlighting the remarkable talent within our community, but also creating a platform for Black and Afro-Latino artists to showcase their unique expressions of Greater Miami and Miami Beach through their lived experiences,” notes GMCVB Senior Vice President of Multicultural Tourism and Development Connie Kinnard. “By partnering with local businesses and educating them on leveraging the cultural economy, we’re amplifying the importance of our neighborhoods across the county, driving year-round tourism and solidifying Miami-Dade’s reputation as a cultural destination that thrives well beyond peak seasons.”
Kicking off its 10th anniversary season on Nov. 18, AOBM 2024-2025 will feature a dynamic celebration of creativity and cultural exchange including a presentation by the likes of Deborah Roberts whose work art has been exhibited internationally, including collections at the Whitney Museum of American Art, Brooklyn Museum, The Studio Museum in Harlem and the Jorge M. Pérez Collection. With thought-provoking art and powerful narratives, this year’s lineup promises to deepen audience engagement featuring established artists and emerging voices.
In 2021, the GMCVB expanded AOBM programming with the launch of the AOBM podcast series. Now in its fourth season, the AOBM podcast is available on all major streaming platforms, the podcast provides a platform for local artists to address how Greater Miami and Miami Beach’s cultural vibrancy shapes their work.
For more details on Art of Black Miami and its upcoming events, visit www.ArtofBlackMiami.com.
About the Greater Miami Convention & Visitors Bureau
The Greater Miami Convention & Visitors Bureau (GMCVB) is an accredited, independent not-for-profit sales and marketing organization whose mission is to attract visitors to Greater Miami and Miami Beach for leisure, business, meetings and conventions. For additional information, visit www.MiamiandMiamiBeach.com/About-GMCVB or call 305-539-3000. Stay connected with the GMCVB by following us on our corporate communications and external affairs social media channels: Instagram and X/@GreaterMiamiCVB and LinkedIn.com/GreaterMiamiConvention&VisitorsBureau
Hector Hyppolite, 3 Marassa, 1947. National Gallery of Art, Promised Gift of Beverly and John Fox Sullivan. Photograph by Luke Christopher.
Haitian artists in the spotlightCreative voices connected to the Caribbean island nation are slowly getting the recognition they deserve
By Rob Goyanes
There is a saying in Haitian Creole that goes: Chak zarenyen gen 1,000 pitit fi; chak pitit yo gen yon sèl manman (Each spider has 1,000 daughters; each spider has just one mother). The adage could definitely be applied to Haiti’s artistic voices, which are diverse yet united by a common legacy rooted in the country’s history and syncretic traditions. A number of current exhibitions throughout the US are helping shed light on Modern and contemporary artists connected to the island nation, many of whom have developed totally distinct styles that blend everyday realism, politics, and mythology.
Twentieth-century painters such as Hector Hyppolite, Rigaud Benoit, and Jean Wilner – currently on view in the exhibition‘Spirit & Strength: Modern Art from Haiti’ at the National Gallery of Art in Washington, DC – developed a Modernist aesthetic that blended everyday life, fantasy, biblical tales, and political struggle. Hyppolite, who was crypticallyproclaimed the ‘guardian of a secret’ by André Breton, painted with brushes, his fingers, and chicken feathers; his work The Congo Queen (1946) depicts Erzulie Dantor, the deity responsible for protecting women and children. Jean Wilner’s Arrest of Toussaint L’Ouverture, June 7, 1802 (1971), which depicts a historical moment featuring Haiti’s most important revolutionary general, is an uncanny, brilliantly toned work. The general’s sword is defiantly raised, a vase of flowers is knocked to the floor, and a seafoam wall backgrounds an eerie calm for the rushing French soldiers. Indeed, Haiti’s complex history has had an important impact on its creative output.
In the 20th century, the country’s society was ravaged by the father-and-son dictator regime of the Duvaliers and their Tonton Makout death squad. After François Duvalier (Papa Doc) assumed power in 1957, artist Hervé Télémaque fled Haiti and settled in New York, where he fell under the spell of Abstract Expressionism and Surrealism. Fed up with the racism of the US, he relocated to Paris in 1961. Influenced by everyday objects, comic strips, and his psychoanalysis sessions, Télémaque developed a compelling vocabulary, drawn from Haitian Vodou as well as consumer material culture. Haitian Vodou should not be confused with the often reductive depictions of ‘voodoo’ across Western media and pop culture. In the psychedelic cosmology of Haitian Vodou, Lwa are the spirit intermediaries between humans and the supreme divinity known as Gran Mèt. Lwa include tricksters, mermaids, three-testicled bulls, warriors, and healers; some estimate they number over a thousand. Haitian Vodou is not only a spiritual system. It helps make meaning of power at every scale, from the home to the state, and serves as one of the soils that Haitian artists work within.
In 1980, during the rule of Jean-Claude Duvalier (Baby Doc), Haitians fled en masse to the US, and to South Florida in particular, where they experienced mass deportations and racism. Viter Juste, a Haitian-born community leader and activist in Miami, advocated for the establishment of a ‘little Port-au-Prince,’ and the neighborhood Little Haiti was born. Currently the site of climate gentrification, the neighborhood – much of it adorned in colorful murals by Serge Toussaint – is anchored by the Little Haiti Cultural Complex, an architectural gem of A-frames and gingerbread detailing. The center is hosting the outdoor exhibition ‘Haiti in the Heartland’, a collection of reproductions by Haitian masters such as Benoit and Paul Lalibert. Haitian-American artists, some of whom grew up in Little Haiti, are receiving increasing institutional and commercial recognition.
Hervé Télémaque, Fonds d’actualité No1 (Current Affairs No1). Installation view in the exhibition ‘Hervé Télémaque: A Hopscotch of the Mind’, Serpentine Galleries, London, 2021-2022. Photograph by Hugo Glendinning.Hervé Télémaque, One of the 36,000 Marines over our Antilles. Installation view in the exhibition ‘Hervé Télémaque: A Hopscotch of the Mind’, Serpentine Galleries, London, 2021-2022. Photograph by Hugo Glendinning.
Born in Massachusetts, Naudline Pierre has created her own feminine mythology, mostly in painting but also in wrought-iron gates and panels. Pierre’s characters, informed by the stories she heard while growing up in a religious household to Haitian immigrant parents, are a mix of spritely and devilish, angel-winged and scaly. The female figures dance and flit about and tenderly hold each other among explosive flames and sunbursts or amid cool melancholic blues and greens – all mystical spaces, where the clouds and stars are characters unto themselves.
On PAMMTV, the digital art platform for the Pérez Art Museum Miami, audiences can discover several video works by artists from the Haitian diaspora. Monica Sorelle’s Reeds/Wozo: Movement Study I (2022), shows two women – both spotlit in a dark room, their respective locations and time periods in Haiti and Miami obscured – performing domestic labor and spiraling their hips as a voice recounts the role of women in the Haitian revolution. Another video work, iBrooks (2022) by Edny Jean Joseph, transforms an 18th-century engraving of a slave ship’s floorplan into binary code, the lime-green zeros and ones drawing a direct line from the brutality of the Atlantic slave trade to the racism of the digital age.
Naudline Pierre, A Remembering, 2024. Photograph by Dan Bradica. Courtesy of the artist.Naudline Pierre, Suspended in Tempo, 2024. Photograph by Dan Bradica. Courtesy of the artist.
In Port-au-Prince itself, one of Haiti’s most pivotal institutions for Modern and contemporary art is El-Saieh Gallery. The gallery was founded in the mid 1950s by Issa El-Saieh, a bandleader who merged jazz, rara, and Afro-Cuban sounds. Today it is run by his family, including his grandson Tomm El-Saieh, whose entrancingly patterned paintings, soon on view at Luhring Augustine’s booth at Art Basel Miami Beach, pull from the history of abstract painting, Vodou’s psychological states, and percussion. He also organized ‘Ayiti Toma II’, a show of Haitian artists at Luhring Augustine in New York, on view through January 11, 2025.
‘Ayiti Toma II’ articulates the importance of family in Haitian art history. Philomé Obin and his younger brother Sénèque, who both exhibited at this year’s Venice Biennale, have developed their own school of painting. Philomé’s figurative work includes social scenes with dense narratives, including carnival ceremonies in front of shuttered healthcare offices. His painting Crucifixion de Charlemagne Peralte pour la Liberte (1964) references a photograph taken by US troops following their 1919 execution of Péralte, a revolutionary who fought US occupation, and which was used for psychological warfare. Viktor El-Saieh, Tomm’s younger brother, merges Haitian mythologies, sci-fi-like settings, glowing palettes, and Modernist grids, painting figures like Fet Chaloska, the carnival character with terrifying teeth inspired by the brutal head of Haiti’s national police in the early 1900s.
Rigaud Benoit, Woman Picking Mangos, 1969. National Gallery of Art, Gift of Kay and Roderick Heller.Myrlande Constant, Guede Djable 2 Cornes, n.d. National Gallery of Art, Gift of Beverly and John Fox Sullivan.
During Art Basel’s show in Miami Beach, local gallery Central Fine will host a parallel exhibition to Luhring Augustine’s, titled ‘Ayiti Toma III’. On view will be works by Maksaens Denis, whose practice includes documentary footage of daily life in Haiti digitally manipulated into colorful fractals, overlaid with sculptural, three-dimensional frames made from cut metal that appear like abstract and figurative altarpieces. A sculpture by the renowned Georges Liautaud – a playful, shadow-world mermaid, also made from cut metal – will be shown too. Born in 1899 in Croix-des-Bouquets, Liautaud repaired train tracks for the sugar industry and made crosses for a cemetery. His flat-plane sculptures include abstract representations of cats and Vodou spirits, and such reuse of mechanical material became a staple of Haitian art. Softer materials will also be shown: Collaged quilts by Mark Fleuridor are populated by figures who, instead of facial features, contain cosmic flower motifs.
The diversity of Haitian life and culture is severely under-discussed in the US and the West generally. From Frankétienne, the Nobel Prize-nominated novelist and painter of boldly intricate monochromatic figures, to Myrlande Constant, whose brilliant drapo Vodou banners are made with thousands of colorful beads with the help of her family, Haitian artists have rarely gotten the recognition they deserve, though things are starting to change. As the incoming US administration considers revoking Haitian immigrants’ temporary protected status – currently held by over 200,000 people – lessons can be gleaned from those who established an ingenious artistic and cultural identity despite colonial repression, climate crises, political turmoil, and violence. Haitian artworks are not merely a balm for bad times, they can help chart a way forward, in this realm and others, especially at a moment when ingenuity, strength, and imagination are sorely needed.
‘Spirit & Strength: Modern Art from Haiti’ National Gallery of Art, Washington D.C. Until March 5, 2025
Art Basel Miami Beach will take place from December 6 to 8, 2024. Learn more here.
Rob Goyanes is a writer and editor from Miami, Florida. His writing has appeared in the Paris Review, Los Angeles Times, New York Review of Books, Frieze, Harper’s Bazaar, and elsewhere. He lives in Los Angeles.
Caption for header image: Naudline Pierre, The Only Way Out Is In (detail), 2024. Photograph by Dan Bradica. Courtesy of the artist.
Kinetic art is a genre that combines art and motion, captivating audiences through its dynamic interplay between form and movement. Unlike traditional static artworks, kinetic art integrates mechanical, optical, or other physical movement as a critical element of its composition. Through mechanical motors, natural forces like wind or gravity, or viewer interaction, kinetic art transforms passive viewing into an active experience, blurring the line between art and life.
Origins and Development
The roots of kinetic art can be traced back to the early 20th century, with several movements and technological advancements laying the groundwork for its rise. While artists had experimented with motion in their work long before, it wasn’t until the advent of industrial technology and new materials that the full potential of kinetic art could be realized.
In the 1920s and 1930s, European artists in the Dada and Constructivist movements began exploring motion within their works. Artists like Naum Gabo and Antoine Pevsner pushed the boundaries of sculpture, creating works incorporating movement as a critical component. They were among the pioneers who first coined the term “kinetic art” in the early 20th century, although the full embrace of kinetic principles wouldn’t come until the 1950s.
The 1950s and 1960s marked the true flourishing of kinetic art, fueled by new technologies, materials and a growing fascination with the relationship between art and science. This period saw a movement of artists dedicated to exploring motion in innovative ways, creating artworks that could move either through mechanical means or natural forces. Among the key figures of this period were Alexander Calder, whose mobiles became iconic symbols of kinetic art, and Jean Tinguely, whose chaotic, motorized sculptures challenged traditional notions of art and machinery.
Key Features of Kinetic Art
Kinetic art is defined by its essential characteristic: motion. However, the type and nature of motion can vary dramatically, leading to a rich diversity of forms within the genre.
Mechanical Motion: Some kinetic artworks use motors, gears, and other mechanical devices to create motion. These works can be fully automated or require the viewer to engage directly, activating the movement through touch or interaction. Tinguely’s Métamatic series, which featured motorized sculptures that seemingly “created” art through their movements, exemplifies this aspect of kinetic art.
Natural Forces: Kinetic art can also rely on natural forces, such as wind, gravity, or water, to create motion. Calder’s mobiles, for example, are designed to respond to air currents, giving them an ever-changing appearance as they gently sway and spin. Other artists have used pendulums or gravity-driven systems to create fluid, organic movements.
Optical Motion: Some kinetic art involves optical illusions and visual tricks to create the impression of motion. The use of spinning wheels or interlocking patterns that create the appearance of movement is a hallmark of Op Art, a movement closely related to kinetic art. One of the movement’s most prominent figures, Victor Vasarely, created works where static patterns appear in motion, engaging the viewer’s perception and making them a part of the experience.
Interactive Art: Increasingly, contemporary kinetic art invites interaction from viewers, making the movement dependent on the viewer’s participation. Some installations are designed to respond to touch, sound, or even the viewer’s presence, blurring the line between the artwork and its audience.
Notable Artists and Works
Alexander Calder (1898–1976)
Contribution: Calder is widely considered the pioneer of kinetic art. He is best known for inventing the mobile, a hanging sculpture that moves with air currents. His work introduced movement into sculpture in a way that had never been done before.
Famous Works: Lobster Trap and Fish Tail (1939), Flamingo (1974), and many of his mobiles.
Style: Calder’s mobiles were characterized by balance, simplicity, and fluid motion. They often incorporated abstract, organic shapes that transformed as they gently swayed in response to the environment.
Jean Tinguely (1925–1991)
Contribution: Tinguely was a Swiss artist known for his mechanical sculptures designed to move and perform chaotic, often absurd, actions. His works challenged traditional notions of art by integrating the ideas of destruction, impermanence, and randomness.
Famous Works: Homage to New York (1960), a self-destructing machine; Méta-matics (1959–1967), a series of motorized sculptures that would create drawings.
Style: Tinguely’s work often used motorized components and junk materials, creating sculptures that were noisy, mechanical, and unpredictable. His works were sculptures and performances that interacted with the environment and the viewers.
Niki de Saint Phalle (1930–2002)
Contribution: A close collaborator with Jean Tinguely, Niki de Saint Phalle was a French-American artist known for her colorful and imaginative kinetic sculptures and her interactive art that invited public participation.
Famous Works: The Tarot Garden (1979–1998), a large sculpture park in Italy with monumental, kinetic sculptures; Tirs (1961), paintings that viewers were invited to shoot with rifles, causing the paint to splatter.
Style: Saint Phalle’s works often blended kinetic and interactive elements, focusing on bright colors, playful shapes, and feminist themes. She was interested in personal and social transformation, using her work to challenge the traditional boundaries of art.
Victor Vasarely (1906–1997)
Contribution: While not strictly a “kinetic” artist in the traditional sense, Vasarely is considered one of the founding figures of Op Art. This movement plays with optical illusions and visual perception to create the illusion of motion.
Famous Works: Zebra (1938), Vega-Nor (1969).
Style: Vasarely’s work often used geometric shapes and vibrant color contrasts to create the illusion of movement or depth on a flat surface. His exploration of perceptual dynamics laid important foundations for the later development of kinetic art, particularly concerning how the viewer’s eye could be manipulated into perceiving motion.
George Rickey (1907–2002)
Contribution: Rickey was an American artist known for his precise, mechanical, kinetic sculptures. His work is known for its delicate balance and minimalism, with many of his sculptures using wind to create motion.
Famous Works: Two Open Triangles Gyratory (1972), Vertical Mobile (1964).
Style: Rickey’s kinetic sculptures often used stainless steel and other materials to create geometric forms that moved in response to air currents. His work is known for its elegant simplicity and how the sculptures create a serene, meditative experience as they slowly rotate or pivot in space.
Bridget Riley (1931–Present)
Contribution: A leading figure in the Op Art movement, Riley’s works explore the interaction between geometric patterns and optical illusions to create the illusion of motion.
Famous Works: Movement in Squares (1961), Current (1964).
Style: Riley’s paintings and works on paper use repetitive patterns and contrasting colors to create a sense of movement or vibration. Although her work doesn’t physically move, it relies on the viewer’s perception to “move” the image visually.
Rafael Lozano-Hemmer (1967–Present)
Contribution: A contemporary Mexican-Canadian artist, Lozano-Hemmer is known for his large-scale interactive installations that combine technology, light, and motion to create immersive, kinetic art experiences.
Famous Works: Pulse Room (2006), 33 Questions per Minute (2000), Zoom Pavilion (2008).
Style: Lozano-Hemmer’s installations often use sensors to respond to the movements, sounds, or presence of the audience, creating a dynamic relationship between the viewer and the artwork. His work explores surveillance, interactivity, and the intersection of technology with human experience.
Theo Jansen (1948–Present)
Contribution: A Dutch artist and engineer, Jansen is best known for creating Strandbeests, large kinetic sculptures that appear to walk independently using wind power.
Famous Works: Strandbeests (1990s–present).
Style: Jansen’s works combine art, engineering, and biology to create walking machines that move along beaches and other landscapes. His “Strandbeests” blend art and mechanics, often resembling creatures or animals that seem to live autonomously but are powered by wind.
Carlos Cruz-Diez (1923–2019)
Contribution: Cruz-Diez was a Venezuelan artist whose work focused on color theory and the perception of movement through optical phenomena. He is a key figure in kinetic and optical art.
Famous Works: Chromosaturation (1965), Physichromies (1959).
Style: Cruz-Diez’s work often involves the manipulation of light and color, creating pieces that seem to move or change depending on the viewer’s position. His exploration of the relationship between color, light, and perception adds a kinetic dimension to his work, as the colors seem to shift and transform.
Terry Fox (1943–2021)
Contribution: Fox was an American artist known for his experimental and interactive kinetic sculptures, which often invited audience participation and explored the relationship between the artwork and its viewers.
Famous Works: X-Static (1986), Osmose (1995).
Style: Fox’s work involved mechanical and human interactions, creating complex sculptures that viewers could activate or manipulate. His work often used technology, sound, and light to encourage intellectual and physical engagement.
Kinetic Art in Contemporary Culture
Today, kinetic art continues to evolve, particularly with the integration of digital technologies, robotics, and artificial intelligence. Artists are increasingly exploring new ways to engage viewers in an immersive experience that combines movement, sound, and interaction. Virtual reality (VR) and augmented reality (AR) also push the boundaries of how kinetic art is experienced, creating new opportunities for digital motion within physical and virtual spaces.
Kinetic art’s appeal lies in its ability to surprise and engage viewers in novel ways. The motion in these works is often unexpected, unpredictable, or entirely controlled by the observer, adding complexity to the artwork and inviting a more active form of engagement.
Moreover, motion within art speaks to broader cultural themes of change, transformation, and temporality. Just as the world around us is in constant motion, kinetic art mirrors the fluidity of contemporary life, constantly shifting and evolving before our eyes.
Kinetic art is a testament to the fusion of creativity, technology, and human interaction. Introducing movement into art redefines traditional boundaries and invites viewers to participate actively in the creation and experience of the artwork. From its early pioneers in the mid-20th century to the innovative works of today, kinetic art continues to evolve, proving that motion itself can be a powerful medium for artistic expression. Whether mechanical, natural, or optical, kinetic art challenges our perceptions of what art can be, turning static objects into dynamic, ever-changing experiences that captivate and inspire.
Left: Sagarika Sundaram. Photo credit: Anita Goes. Right: Sarah Zapata. Photo credit: Martina Tuaty.
Conversations: Transformation: Craft, Identity, and Materiality in Art
a UBS presented talk
Art Basel Miami Beach 2024, December 7
Sagarika Sundaram, Artist, New York Sarah Zapata, Artist, New York Moderator: Larry Ossei-Mensah, Curator and co-founder ARTNOIR, New York
Transformation: Craft, Identity, and Materiality in Contemporary Art is a conversation moderated by curator and ARTNOIR co-founder Larry Ossei-Mensah, featuring artists Sagarika Sundaram and Sarah Zapata. Both explore how fiber can reshape contemporary art by transforming it into powerful and immersive artworks at the intersection of textile and architecture. Zapata’s installation, Upon the Divide of Vermilion, presented in the UBS Art Studio in collaboration with ARTNOIR, encompasses viewers in an experience that feels both personal and architectural. Concurrently, Sundaram’s Released Form, on view in the UBS Lounge, uses hand-dyed felted wool and silk to reshape viewers’ perception of space.
This conversation offers a unique insight into how these artists are expanding the language of contemporary art by engaging with materiality, cultural narratives, space, and personal histories. Join us for a thought-provoking dialogue about art that challenges conventional boundaries of artmaking and invites new perspectives on the role of craft and material in shaping modern expression.
About the Artists’ Presentations at Art Basel Miami Beach 2024:
In Sagarika Sundaram’s Released Form, commissioned by the UBS Art Collection for the UBS Lounge, the surface breaks open like a concertina, tripling in size and pushing the boundaries of its form. The installation, which can be reconfigured, creates an immersive experience, where form and void, surface and structure, become tangible forces.
Sarah Zapata’s installation, Upon the Divide of Vermilion, presented in the UBS Art Studio in collaboration with ARTNOIR, has created an immersive space, where textile forms, inspired by classical and ancient structures, guide visitors through the installation. It reflects on how identities and histories are constructed over time while reimagining the role of fiber in art.
This talk is presented by UBS.
Sagarika Sundaram describes her process as one of transformation: ‘There’s an alchemy to it,’ she says of her work, ‘It changes in its final form.’ This sense of transformation and alchemy has been a central theme throughout Sundaram’s career, where she uses wool, silk, and dyes to create textile sculptures, reliefs, and installations. These works bridge the bodily and the botanical, using the materiality of wool to explore internal, external, and imagined landscapes.
Sarah Zapata employs weaving, tufting, and traditional craft techniques to create loud, architecturally responsive installations that traverse themes of gender, colonialism, and fantasy. Zapata’s site-specific works reflect her intersecting identities as a Queer woman of Peruvian heritage raised in evangelical Texas and now based in New York. Her work is in the permanent collections of the Stedelijk Museum Amsterdam, Museo de Arte de Lima, and the Museum of Arts and Design, New York, among others. She currently teaches on the Painting graduate program at the Yale School of Art. Zapata lives and works in Brooklyn.
Larry Ossei-Mensah is a Ghanaian-American curator and cultural critic redefining art and society through his innovative and inclusive approach. His global footprint includes exhibitions in Manila, London, Athens, São Paulo, and Rome, showcasing his dedication to contemporary art and culture. Ossei-Mensah has collaborated with trailblazing artists including Steve McQueen, Melissa Joseph, Catherine Opie, Chase Hall, and Judy Chicago. As the former Susanne Feld Hilberry Senior Curator at Museum of Contemporary Art Detroit and the Curator-at-Large at Brooklyn Academy of Music, Ossei-Mensah has made it his mission to drive significant change in the art world. Co-founder of the nonprofit ARTNOIR, he champions racial equity by amplifying the voices of creatives, curators, and communities of color. His curatorial projects include exhibitions at Museum of the African Diaspora, San Francisco; Massachusetts Museum of Contemporary Art; Artpace San Antonio; the 7th Athens Biennale, Ben Brown Fine Arts in Hong Kong and London, Denver Art Museum, and the Institute of Contemporary Art San Francisco.
Venue
Miami Beach Convention Center 1901 Convention Center Drive Miami Beach, FL 33139
Conversations take place in the Auditorium (Grand Ballroom), Level 2, North.
Conversations are free and open to the public, booking is recommended.
Please save the event to your calendar to receive a reminder and access your free ticket on the Art Basel app. You are also welcome to join on a first come first serve basis onsite.
A recording of the Conversation will be available on our website and youtube channel after the event
Lucid Design District proudly presents CHROMA 2024, the third annual group exhibition featuring the works of 20 national and international artists. Opening during Miami Art Week, which runs concurrently with Art Basel Miami Beach, CHROMA 2024 offers an immersive art experience that celebrates diversity, creativity, and community in the heart of the Miami Design District.
CHROMA 2024: Miami Art Week Exhibition at Lucid Design District
Opening Reception: Tuesday, December 3, 2024 | 4:00 – 7:00 pm | Free with RSVP
“CHROMA 2024 is a testament to the vibrancy and diversity of the global art community,” says Payal Tak, owner of Lucid Design District and participating artist. “We’re thrilled to support our 20 exhibiting artists, whose works reflect the richness of our collective identities. This exhibition invites visitors to engage with art that transcends boundaries, set against the dynamic backdrop of the Miami Design District during Miami Art Week.”
Celebrating 20 Exhibiting Artists
Curated by Graciela Montich, CHROMA 2024 showcases a diverse array of mediums—including sculpture, mixed media, wall art, and wearable art—fostering a dialogue on inclusivity, community, and the shared human experience. The participating artists are:
Libro sobre Jorge Chacón, pintor paisajista venezolano, se presenta en Coral Gables.
El 23 de noviembre de 2024, a las 5:00 p.m., será presentado en la librería Books & Books de Coral Gables el libro Jorge Chacón. El paisaje renovado, una publicación de los autores venezolanos Katherine Chacón y Fernando Méndez Castro, cuyo objetivo es difundir y revalorizar la obra del reconocido pintor paisajista venezolano Jorge Chacón.
Basado en una selección de obras del pintor, y producido por la editorial Rojo Espeso como una iniciativa de su fundador, el coleccionista de arte Fernando Méndez Castro, este libro examina las diversas etapas de la carrera creativa de Jorge Chacón, destacando aspectos clave de su vida.
Bajo la concepción editorial de Fernando Méndez Castro y la coordinación editorial de la curadora e investigadora de arte Katherine Chacón, la publicación también proporciona información sobre el papel de Jorge Chacón en la persistencia del género paisajístico en Venezuela, así como de su liderazgo en el Grupo de Sabaneta, un círculo de pintores radicado en los valles de Aragua, Venezuela.Además, incluye una extensa bibliografía del artista, junto con traducciones completas al inglés y al francés.
Según destaca Katherine Chacón en la introducción del libro, tanto Jorge Chacón como sus compañeros del Grupo de Sabaneta realizaban hermosos paisajes de la zona central del país. “Recurrían a un brillante cromatismo y a una ejecución que mezclaba eclécticamente los aportes de los movimientos de la primera modernidad europea (…) En los pintores de Sabaneta la subversión de la función representativa del color era descollante, así como los inusuales tratamientos espaciales y la emoción de las pinceladas. La experiencia, pasión y maestría de Jorge Chacón los atraía como un imán en este propósito de tratar el entorno con una mirada renovada dentro del contexto de las artes plásticas nacionales”.
“La pintura de Jorge Chacón había logrado algo difícil: establecerse en un estilo que la hacía inconfundible. Era diferente, audaz, personal. Su callada aparición se nos figura como el estruendo de un río subterráneo, conformando el eslabón necesario para conectar la amada tradición paisajista del país con las posibilidades de articulación de un paisaje contemporáneo (…). En este libro, realizado gracias a la inmensa admiración que la pintura de Jorge Chacón despertó en un caraqueño –Fernando Méndez Castro–, hemos querido dar a conocer al pintor a través del estudio de las etapas más destacadas de su trayectoria”, afirma Katherine Chacón.
Nacido en San Cristóbal, estado Táchira, Jorge Chacón (1933-1992) fue un pintor paisajista venezolano de orígenes humildes, radicado en Sabaneta de El Consejo (estado Aragua), que desarrolló un lenguaje pictórico único que lo llevó a obtener importantes premios y reconocimientos. Méndez Castro señala en los apuntes biográficos sobre Chacón, que “habiendo llegado al mundo del arte a una edad madura –alrededor de sus treinta años–, fue un ávido estudioso de la historia de la pintura. Amaba los movimientos postimpresionistas y especialmente a los grandes creadores de la escuela fauvista, principalmente a Maurice de Vlaminck en quien se inspiró para desarrollar un estilo de expresión cautivante, con trazos fuertes y colores exaltados (…) El maestro Chacón es descubierto por casualidad por el galerista y promotor de arte José de Jesús Mayz Lyon quien se convirtió en su representante a partir de 1967. Esta relación originó un periodo extraordinario y muy productivo en la vida del artista durante los años setenta, en el que se sumerge en los paisajes de los valles de Aragua y, posteriormente, de Sabaneta —poblado al que se mudó alrededor de 1980—, mostrando arboledas, siembras y la vida campesina”. Chacón realizó más de veinte exposiciones individuales y, en 1982, recibió el Premio Municipal de Artes Plásticas del Distrito Federal, Caracas. Sus obras forman parte de colecciones en la Galería de Arte Nacional y el Banco Central de Venezuela, en Caracas.
En el libro Jorge Chacón. El paisaje renovado participó un equipo de profesionales del arte de altísimo nivel: Félix Hernández y J. J. Moros con enriquecedores textos; Gladys Yunes, en la investigación documental; Anny Bello en el levantamiento de la bibliohemerografía y lista de exposiciones y reconocimientos del artista. Las traducciones fueron llevadas a cabo por Fernando Méndez Castro, y la corrección de estilo en español por Anny Bello y Katherine Chacón. La fotografía de las obras estuvo a cargo de Moris Moreno, y Carlos Germán Rojas contribuyó con dos expresivos retratos de Jorge Chacón. El diseño gráfico fue realizado por el destacado diseñador venezolano Pedro Mancilla.
Durante la presentación del libro se realizará una conversación a cargo de los autores Katherine Chacón y Fernando Méndez Castro, moderada por el investigador en artes visuales Félix Suazo.
La invitación es para el 23 de noviembre de 2024 a las 5:00 p.m., en la librería Books & Books, ubicada en 265 Aragon Ave, Coral Gables, Estados Unidos.
Sobre los autores
Katherine Chacón (Caracas, 1964) es una curadora de arte, escritora y crítica de arte radicada en Estados Unidos. Está especializada en arte venezolano y latinoamericano y tiene una amplia experiencia en gestión de museos y administración cultural. Ha realizado proyectos curatoriales internacionales y coordinado, editado y escrito destacadas publicaciones de arte. Ocupó el cargo de Curadora Jefe de la Colección de Arte Latinoamericano en el Museo de Bellas Artes de Caracas. Fue directora general del Museo Armando Reverón (Macuto, 1994-2001), del Museo de la Estampa y el Diseño Carlos Cruz-Diez (Caracas, 2001-2006) y del Museo Alejandro Otero (Caracas, 2006-2008).
Fernando Méndez Castro (Caracas, 1968) es un emprendedor y coleccionista de arte radicado en Estados Unidos. Como empresario, fue consultor en McKinsey & Co. y luego fundó diversas empresas de tecnología en Brasil, México y Estados Unidos, sirviendo a clientes como Microsoft y Amazon. Como coleccionista, su enfoque ha sido el paisaje venezolano y el apoyo a artistas emergentes. Para este fin, fundó la galería virtual Rojo Espeso (www.rojoespeso.com). Es Ingeniero Industrial egresado de la Universidad Católica Andrés Bello, Caracas, y obtuvo un máster en negocios del Massachusetts Institute of Technology (MIT).
Celebración y Proclamación en Honor a Ella Fontanals-Cisneros: Un Tributo a la Cultura y el Arte en Doral
Celebración y Proclamación en Honor a Ella Fontanals-Cisneros: Un Tributo a la Cultura y el Arte en Doral
El 7 de noviembre de 2024, la ciudad de Doral fue el escenario de una celebración muy especial en honor a Ella Fontanals-Cisneros, una de las figuras más influyentes en el mundo del arte y la cultura. En una ceremonia encabezada por la alcaldesa Christi Fraga, junto con el vicealcalde Oscar Puig y los concejales Maureen Porras, Digna Cabral y Rafael Piñeyro, se realizó la proclamación de Ella Fontanals-Cisneros como figura de honor dentro de la ciudad, destacando su contribución invaluable al arte contemporáneo y su impacto en la comunidad cultural de Miami y más allá.
La ceremonia tuvo lugar en el marco de la Feria Internacional de Arte de Doral, un evento que reúne a artistas, coleccionistas y amantes del arte de todo el mundo. A partir de las 6:00 PM, el Doral Cultural Arts Center (8363 NW 53rd St, Doral, FL 33166) se convirtió en el punto de encuentro para aquellos que celebran la pasión por el arte, la cultura y la contribución de Fontanals-Cisneros a la escena artística global.
Ella Fontanals-Cisneros es conocida por su arduo trabajo en la promoción del arte latinoamericano contemporáneo. Fundadora de la Cisneros Fontanals Art Foundation (CIFO), ella ha dedicado su vida a impulsar las artes visuales, proporcionar una plataforma para artistas emergentes y ofrecer un espacio para la apreciación y el entendimiento del arte en su más alta expresión. Su influencia en la cultura y su labor como coleccionista, filántropa y mecenas del arte han dejado una huella significativa en la región y en la comunidad global de artistas.
La proclamación en Doral destacó su incansable apoyo a las artes y la cultura, y se enmarcó dentro de la feria que cada año se realiza en la ciudad, con la participación de destacados artistas y galerías internacionales. Durante el evento, la alcaldesa Christi Fraga subrayó la importancia de reconocer a personas como Ella Fontanals-Cisneros, cuyo trabajo en la promoción del arte no solo enriquece a la comunidad, sino que también coloca a Doral como un centro cultural vibrante y en constante crecimiento.
Pamela J. Joyner, Collector, Businesswoman and Philanthropist, Montreaux, Nevada and New York Hall W. Rockefeller, Founder, Less than Half, New York City Moderator: Coline Milliard, Executive Editor, Art Basel
The history of Modern and contemporary art has been profoundly influenced by female collectors. From Gertrude Stein to Peggy Guggenheim and the Museum of Modern Art founders Lillie P. Bliss, Mary Quinn Sullivan, and Abby Aldrich Rockefeller, these visionaries have left an indelible mark on the art world. This panel explores the ongoing work of women who continue this illustrious legacy. With unwavering dedication, they shape artistic narratives by creating spaces for underrepresented artists and enhancing their visibility in both the market and institutional holdings. As a new generation of female collectors emerges, this conversation delves into how women can harness their collective power to maximize their impact on the artistic canon.
Pamela J. Joyner has nearly 30 years of experience in the investment industry. She is the Founder of Avid Partners, LLC, where her expertise has been the alternative investment arena. She is currently focused on her philanthropic interests in the arts and education. Joyner is a trustee of the Art Institute of Chicago, the J. Paul Getty Trust, and the San Francisco Museum of Modern Art. In 2020, she joined the board of trustees of the Museum of Modern Art in New York, where she became the co-chair of the Painting and Sculpture Committee. In 2020, with several others, she founded the Black Trustee Alliance for Art Museums. Previously, Joyner’s philanthropic involvements have included serving as a member of President Obama’s Committee on the Arts and Humanities; a trustee of Dartmouth College; a trustee of the New York City Ballet; a trustee and co-chair of the San Francisco Ballet Association; as well as other arts and educational organizations.
Hall W. Rockefeller is a speaker, writer, and advocate for women artists. She is the founder of Less Than Half, an education platform dedicated to raising the profile of women artists, as well as the LTH Matrons of the Arts, a movement-driven membership for women committed to addressing the art world’s gender imbalance through education, advocacy, and community action.
The Art Basel Miami Beach 2024 Conversations program is curated by Kimberly Bradley.
Conversations take place in the Auditorium (Grand Ballroom), Level 2, North.
Conversations are free and open to the public, booking is recommended.
Doors will open 10 min before the event.
Please save the event to your calendar to receive a reminder and access your free ticket on the Art Basel app. You are also welcome to join on a first come first serve basis onsite.
A recording of the Conversation will be available on our website and youtube channel after the event
Museum of Contemporary Art North Miami, North Miami
Museum of Contemporary Art North Miami, North Miami
Miami Art Week Reception | MOCA
Andrea Chung, ‘Colostrum IV’, 2020, Collage, ink, rhinestones, pins and beads on paper handmade from traditional birthing cloth Framed: 22 x 17 x 2 in. Collection of Stephanie and Timothy Ingrassia
Join us for the Museum of Contemporary Art’s Miami Art Week Reception, celebrating our fall exhibitions. Guests will mingle with the artists, explore great art, and enjoy cocktails and special live performances.
Tue, Dec 3, 2024
8:30pm – 10:30pm Museum of Contemporary Art North Miami 770 Northeast 125th Street North Miami, FL 33161 United States
Exhibitions on view during the fair:
Andrea Chung: Between Too Late and Too Early
Smita Sen: Embodied
For more information, please visit www.mocanomi.org
