Rafael Montilla: “The Color Continuum”

Por

-

Rafael Montilla: “The Color Continuum”

El artista venezolano, radicado en Miami, inaugura el 19 de junio una exposición individual en la galería del Miami Dade College Hialeah Campus

Juan Antonio González

Una muestra antológica del artista venezolano Rafael Montilla, afincado en Miami desde 2002, será inaugurada el jueves 19 de junio de 2025, a las 4:00 pm, en la galería del Miami Dade College Hialeah Campus, ubicada en el 1780 W 49th St, Hialeah, FL 33012.

Con la curaduría de Noor Blazekovic, en colaboración con Myriam Álvarez, la exposición, titulada The Color Continuum, reúne 41 obras realizadas en distintas etapas de la carrera artística de Montilla, quien ha centrado su trabajo en la abstracción geométrica con miras a exteriorizar su mundo interior, su espiritualidad.

Sobre el significado de The Color Continuum, dice el artista: “Representa el color como testimonio de la existencia. En mi obra, el color es una fuerza vital: vida, luz, alegría, esperanza, futuro… Cada pieza está impregnada de múltiples colores, reflejando la persistencia de la vida en una humanidad que, aunque ha evolucionado externamente, ha descuidado su ‘ser interno’. Si sigue a este ritmo, la humanidad se acabará en menos de 100 años”.

La exposición presentará, además, dos piezas recientes de Rafael Montilla: Falla social, “estos cuadros, realizados con un sistema que intencionalmente hacen que siempre se verán ‘mal colocados’, simbolizan nuestro punto crítico como especie. Creemos que estamos al borde de una falla geológica social, destruyéndonos mutuamente y a la naturaleza por una ignorancia voluntaria, olvidando que somos parte de ella”, dice el artista de esta propuesta.

La segunda serie, que se denomina Move (Muévete), “exige al observador cambiar de perspectiva; las obras no pueden verse desde un solo ángulo. Es una paradoja: un llamado a romper con los dogmas, a dejar de ser ‘monos con celulares’ y a retomar nuestra verdadera evolución”, explica Montilla.

En el texto de sala de The Color Continuum escribe el crítico de arte y curador cubano Dennys Matos: “En el sentido poético, la muestra despliega todo un repertorio interpretativo de la figura del cubo, como una especie de leitmotiv que atraviesa buena parte de la obra de Montilla en su exploración inmersiva sobre las dimensiones materiales y espirituales de esta figura geométrica. Las obras aquí presentes, nos descubren cómo el artista estudia y trabaja la representación tridimensional. Y lo hace en base a la alta simetría que presenta el cubo puesto en una perspectiva simbólica sociocultural del lenguaje abstracto o geométrico de las artes visuales de finales del siglo XX y principios del XXI”.

“En el sentido discursivo -prosigue Matos-, la obra de Montilla está empapada de una metafísica espiritual que parte de una comprensión humanista del mundo. El encuentro de las dos caras del cubo, por ejemplo, en orden simbólico, puede ser interpretado como pares de oposiciones formales dentro-fuera, público-privado, arriba-abajo, entre otras. Todas ellas nos invitar a pensar desde el terreno de la abstracción geométrica como un lenguaje que habla de una realidad inaprensible, de una realidad que no es explícita o literal. Es también una manera de organizar y ordenar espiritualmente, a través de la belleza de las figuras abstractas, el caos reinante en el reino de este mundo”.

De muestra en muestra
Dos días después de la apertura de The Color Continuum, Rafael Montilla también estará presente en la exposición Hey, Look Me Over! (¡Hola, mírame!), con la que Bernice Steinbaum Gallery, ubicada en el 2101 Tigertail Avenue, Coconut Grove, FL 33133, celebra la llegada del verano y también el vibrante talento de artistas emergentes y consagrados, algunos de ellos representados por esta galería y otros en busca de espacios para mostrar sus trabajos.

Finalmente, del 18 de julio al 2 de octubre de este año, Montilla hará otra exposición individual. Se trata de Marlow Moss. La conciencia del Universo, que se presentará en la Biblioteca Regional de Westchester, del 9445 Coral Way, Miami, FL 33165. Aquí el artista expondrá una serie de piezas inspiradas en las obras de Marlow Moss (1889 /1958), considerada la primera artista constructivista británica.

“La conexión entre Marlow Moss y mi obra radica en nuestra filosofía común: la búsqueda de la verdad universal y la reflexión sobre el papel del arte en la evolución de la humanidad”, concluye Rafael Montilla.

Perez Art Museum PAMM

Coral Gables Museum Open Studio:

Por

AMM

-

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio:

A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Jun 18 / Jul 2 / Jul 16 / Jul 30 / Aug 13 / Aug 27

(every other Wed, 6:00pm – 8:30pm)

Join us every other Wednesday, beginning June 18 with Kerry Phillips, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

What to Expect

Engaging, hands-on activities designed for adults (18+).
Exploration of the theme of THINGS through art, storytelling, and personal expression.
Professional South Florida-based artists sharing their work, vision, and experience.
A welcoming environment to meet new people, nurture your creativity, and unwind midweek.
Cash bar on site featuring LALO Tequila, open from 6 to 7 PM for a relaxed social atmosphere.
Young Associates Members receive a free drink from LALO Tequila.

Why Join?

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

Mark Your Calendar and RSVP today!

Jun 18 / Jul 2 / Jul 16 / Jul 30 / Aug 13 / Aug 27

June 18 with Kerry Phillips

My parents grew up on farms. One grandmother collected things (kept things) and the other was a Grand Storyteller. Both influenced me greatly. I create sculptures and installations using materials available in a given place at a given time – ranging from things found to collected experiences and retold stories. Often, I’ll alter a space using architectural interventions and enlist the public’s participation in the gathering of materials or through performative interactions.

I used to find and keep objects for their potential but I now have a more immediate approach to working with materials and sites: finding, using and letting go. I’ve drastically limited my bounty of resources, forcing myself to rely heavily on insight, good oldfangled farm know-how (thanks, Dad) and my MacGyver-like resourcefulness.

Limiting my resources has also led me to engage viewers more directly in scheduled events and unscheduled mini-events – like the “farm tours” I’ve given in various places where I guide groups around, pointing out and describing bits of my father’s farm (site of the ongoing “The Farms Project”) as if we were actually there; collecting phrases in French from French people in France; using masking tape to write large letters to crushes I’ve had; getting people to “draw a line” for a bound book of 524 lines on 524 pages by 524 people; or in building tents in people’s living rooms using materials they have on hand.

I remain fascinated by collections – even if a bit wary. I abstain from collections by giving myself art-or-else deadlines. Sometimes your things… is such a project, covering the walls with homemade cardboard shadowboxes filled with things found and kept over the years. My parents’ junk drawer… reveals my attraction to meaningless objects that I am, nonetheless, charmed by and have fond memories of.

I’ve been focused on the tendency towards accidental collections, like junk drawers, and highlighting my many accidentals (as in all the extension cords from my studio, all the sheets, all the yarn, or all the tape, etc.) and combining them with objects or architectural elements found on site. This immediate way of responding to sites and the current contents of my studio becomes a candid representation of a specific moment in time.

bio

Kerry Phillips is an installation artist whose artwork borders on performance and social practice. Phillips’ work with found objects is intuitive, often site-specific, and steeped in remembrance and storytelling. She uses common objects in unexpected ways, working collaboratively with viewer-participants to reveal an exchange of value, the importance and limitations of memory, and the vitality of play.

Phillips earned an MFA from University of Arizona and has participated in numerous solo and group exhibitions, including at the Orlando Museum of Art, Locust Projects, Pérez Art Museum Miami, Museum of Contemporary Art North Miami, Boca Raton Museum of Art, and Bridge Red Projects. She has solo projects opening Summer 2023 at The Bass Museum and Locust Projects in 2024.

She has exhibited and completed residencies in Ohio, Vermont, New York, North Carolina, and internationally in Berlin, Krakow, Mexico, and France. Her work is held in the collections of the Orlando Museum of Art, The Girls’ Club, and Mosquera Collections. Originally from Texas, Phillips works in Miami and, contrary to her family’s wishes, doesn’t paint pretty pictures.

June 2025

Wed18

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

June 18 @ 6:30 pm – 8:30 pm Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Thu19

A woman observes an exhibition panel about the restoration of the Giralda's facades, featuring images and information on the project.

June 19 @ 6:00 pm – 8:00 pm

Master Lecture “The Restoration of La Giralda”

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Join renowned architect-restorer Eduardo Martínez Moya for an in-depth look at the award-winning restoration of La Giralda or Bell Tower of Seville, a masterpiece of World Heritage, and a cultural, historical, and artistic landmark for Seville, Andalusia, Spain, and Europe. Martínez Moya has been recognized with the 2024 Hispania Nostra Award in the category of Heritage Conservation as a Factor of Economic and Social Development for his research, documentation, restoration, and communication of the Giralda façades.

Thu26

June 26 @ 6:00 pm – 9:00 pm

Art Off The Wall

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Join us for a bold and immersive art experience like no other as we celebrate Coral Gables’ centennial with a special summer edition of Art Off The Wall. This vintage-inspired evening will feature live art by talented local artists creating masterpieces in real time, giving you the chance to interact with them and discover the inspiration behind their work. Groove to retro sounds spun by vinyl DJs, setting the perfect vibe for a nostalgic celebration, and savor vintage cocktails curated to match the evening’s aesthetic. Throughout the Museum, enjoy interactive activations including photo-worthy moments, creative installations, and centennial-themed surprises.

July 2025

Wed2

July 2 @ 6:30 pm – 8:30 pm Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Wed16

July 16 @ 6:30 pm – 8:30 pm Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Wed30

July 30 @ 6:30 pm – 8:30 pm Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

August 2025

Wed13

August 13 @ 6:30 pm – 8:30 pm Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Wed27

August 27 @ 6:30 pm – 8:30 pm Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

September 2025

Wed10

September 10 @ 6:30 pm – 8:30 pm Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Wed24

September 24 @ 6:30 pm – 8:30 pm Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum 285 Aragon Avenue, Coral Gables, FL, United States

Step into the Summer of THINGS! Join us every other Wednesday, beginning June 18, for a series of participatory creative mixers at the Coral Gables Museum, curated by The Things Lab and led by local South Florida-based artists. These summer sessions are your invitation to explore creativity, connect with makers, and be part of a community celebration leading up to our fall exhibition: 100 Years of Coral Gables Through Objects.

Thethingslab.org

The Things Lab is an artist-led socially-engaged participatory project and start-up non-profit created by Susan Caraballo & Kerry Phillips.The Things Lab emphasizes creativity as a resource for resiliency and adaptability centering on three complementary aspects: the collaborative, ever-changing immersive art installation/reuse center where one determines the pricing, paying what they value items to be worth within their budget; a lending library of things that meaningfully benefits the neighboring communities; and a series of arts & community workshops and events that serve as a meeting place connecting creativity, sustainability, memory, shared knowledge and compassion.The Things Lab’s first iteration in Little River is officially closed. We are hosting the next collaborative THINGS SWAP with Miami Time Swap on Saturday, June 21 at LnS Gallery located 2610 SW 28th Lane in Miami. Events below for more information.Reservations can still be made for the Lending Library.If you’d like to support our efforts, we encourage you to become a MEMBER or simply donate by clicking on SUPPORT below.

Perez Art Museum PAMM

Unlocking Your Vision: A Guide to Paints for Artists

Por

AMM

-

The Dance of Light and Hue: Professor Anya Hurlbert's Exploration of Colour Perception

Unlocking Your Vision: A Guide to Paints for Artists

Art Supply Paints: Acrylics, watercolors, oils, craft paints, and specialty finishes.

The world of paint offers an incredible spectrum of possibilities, each medium bringing its own unique characteristics, challenges, and expressive potential to the artist’s palette. Understanding these differences is key to choosing the right material for your vision. From the quick-drying versatility of acrylics to the luminous depth of oils, let’s explore some of the most common types of paints and specialty finishes.

Acrylics: The Modern Workhorse

Acrylic paints are a modern marvel, celebrated for their versatility and rapid drying time. Made from pigment suspended in an acrylic polymer emulsion, they can be thinned with water to mimic the transparency of watercolors or applied thickly to achieve impasto textures akin to oils. Their quick drying nature allows for fast layering, but also means you have to work relatively quickly. Acrylics are incredibly durable and flexible once dry, adhering to a wide range of surfaces like canvas, wood, paper, and even fabric. They’re also known for their vibrant, lightfast colors and easy cleanup with soap and water.

Watercolors: Lightness and Transparency

Watercolors are all about luminosity and transparency. Composed of finely ground pigment mixed with a binder (typically gum arabic), they are reactivated and thinned with water. The magic of watercolor lies in its ability to create delicate washes, subtle gradients, and luminous glazes where the white of the paper often plays a crucial role as the lightest tone. They dry quickly and are known for their portability, making them popular for sketching and plein air painting. Mastering watercolor involves understanding water control and layering, as mistakes can be harder to correct due to their transparent nature.

Oils: Richness and Depth

Oil paints are perhaps the most revered medium in art history, known for their rich colors, luxurious texture, and extended drying time. Pigments are bound with a drying oil, most commonly linseed oil. This slow drying allows artists ample time for blending, layering, and manipulating the paint on the canvas, enabling incredibly subtle transitions, deep glazes, and expressive impasto. Oil paints offer exceptional color saturation and permanence. While they require solvents for cleanup and can be a slower process, the depth and luminosity achieved with oils are often unmatched, making them a favorite for portraiture, landscapes, and traditional techniques.

Craft Paints and Specialty Finishes: Beyond Fine Art

Beyond the traditional fine art mediums, a vast array of craft paints and specialty finishes cater to specific decorative or functional purposes. These are generally acrylic-based but formulated for ease of use and adhesion to diverse surfaces.

Craft Paints: Often found in tubes or bottles, these are designed for general crafting on wood, ceramic, fabric, and paper. They are typically opaque, fast-drying, and durable, making them ideal for DIY projects, stenciling, and decorative applications.
Fabric Paints: Formulated with a binder that allows the paint to remain flexible and adhere to textiles without cracking or flaking after washing.
Glass and Ceramic Paints: Designed to adhere to non-porous surfaces, often requiring heat-setting to become permanent and dishwasher safe.
Metallic and Iridescent Paints: Contain fine metallic or interference pigments that create shimmering, reflective effects.
Glow-in-the-Dark Paints: Contain phosphorescent pigments that absorb light and then emit it in darkness.
Texture Pastes and Gels: These are not paints themselves but mediums mixed with paints or applied directly to create various textures, from gritty sand effects to smooth, sculptural impasto.

Choosing the right paint for your project depends entirely on your artistic goals, the surface you’re working on, and the effect you wish to achieve. Experimenting with different types will undoubtedly expand your creative toolkit and help you discover new ways to bring your visions to life.

Perez Art Museum PAMM

JORGE MENA; Un idealizador de broncíneos cuerpos

Por

Julio César Briceño Andrade

-

Un idealizador de broncíneos cuerpos

Por Julio César Briceño Andrade.

Jorge Mena y yo compartimos una anécdota singular. Ambos fuimos rechazados en el III Salón Nacional de Jóvenes Artistas del año 1985. Como forma de protesta ante esta decisión, organizamos una colectiva que denominamos “Estética de la Ética”, la cual se exhibió en la Galería El Muro de La Castellana y en la Galería G de Las Mercedes, ambas en Caracas. Aunque mi nombre no figura en el catálogo por haber llegado tarde a la convocatoria, la muestra incluyó obras de un grupo significativo de artistas, todos ellos rechazados del Salón: Arturo Carrión, Humberto Cazorla, Frank Cisnero, Maruja Contreras, Iván Dávila, María Egea, Susana Goldin, Elizabeth González, Juan Loyola, JORGE MENA, Consuelo Méndez, Nelson Montezuma, Ismael Mundaray, Gazniella Pagazani, Salvador Rodríguez, Gloria Rojas, Carlos Sánchez Vezas y Julio César Briceño.

Ligia De Briceño — Mi esposa Ligia De Briceño, junto a la Obra en bronce *Los Trabajadores van al Banco* y de fondo las dos obras de Juan Loyola expuestas en la Galería el Muro de Caracas en la exposición La Estética de la Ética (1985)

Es importante destacar que Frank Cisnero, Jorge Mena e Ismael Mundaray asumieron la vocería del grupo ante los medios de comunicación, denunciando lo que percibían como un intento por parte de un sector de la cultura de imponer una tendencia artística específica en ese momento. Lo verdaderamente llamativo de esta historia es que, cuarenta años después, muchos de los artistas aceptados en aquel Salón ya no ejercen el arte, mientras que la mayoría de los rechazados de nuestro grupo sí logramos alcanzar nuestro sueño artístico.

La protesta más contundente de aquel entonces la protagonizó el indomable Juan Loyola. El día de la inauguración del III Salón Nacional de Jóvenes Artistas, en el Museo de Arte Contemporáneo de Caracas, y ante la presencia de la directora del museo, Sofía Imber, y del Ministro de Cultura, José Antonio Abreu, Loyola derramó tres latas de pintura —amarilla, azul y roja— en el suelo. Acto seguido, se lanzó al piso y se revolcó en la pintura, vociferando críticas. Luego se levantó y salió caminando, dejando un rastro de color por el piso hasta que fue detenido. En nuestra colectiva de la Galería El Muro, Juan Loyola exhibió dos cuadros que incorporaban los retazos de su camisa manchada, los cuales, casualmente, sirvieron de fondo a una de mis propias obras, titulada “Los trabajadores van al banco”, una forma de protesta por el colapso bancario que afectó a Venezuela en esos años.

Esa fue la primera vez que me encontré con Mena, un joven robusto, de cabello largo, bigotes y una pequeña barba. Desde entonces, nuestros caminos se fueron reencontrando en cada una de sus exposiciones individuales, pues admiro profundamente la forma en que imagina los cuerpos y la tenacidad con la que, personalmente, funde y termina sus obras en bronce. Sé por otros colegas que él domina el proceso de principio a fin, lo que le confiere todo mi respeto.

Jorge Mena y Julio César Briceño Andrade

Coincidimos notablemente en su exposición individual “CUERPOS PSÍQUICOS” (1992) en la Galería UNO de Las Mercedes. Al observar esas esculturas, interpreté esos “cuerpos psíquicos” como una manifestación de crecimiento personal y espiritual. Los percibí como humanoides imaginarios en alta tensión, quizás en un intento por superar patrones emocionales y mentales en su propio desarrollo. De aquella muestra, la obra “Alicia” captó mi atención de manera especial, donde percibí un ser hermafrodita de cuerpo firme y una gracia femenina singular.

Luego, en 1997, me sorprendieron gratamente las obras de su individual “OFRENDA”, en la misma Galería UNO. En esa muestra, sentí un homenaje profundo a la mujer, interpretada con una fuerza creativa más delicada y cuerpos más femeninos. Mena idealizaba a la mujer latinoamericana, sin duda su fuente de inspiración, logrando en sus figuras una conexión palpable con lo divino. Como bien expresa la curadora Milagros Bello en su cuidadoso análisis del catálogo: “Mena retoma el sentido trascendente que signaron los clásicos al cuerpo: esteticismo sutil en los efluvios composicionales y en los movimientos, graciosos y de fuerza potente (terribilitá) en la devoradora sensualidad de las curvas, serenidad mística en las entregas y ofrendas”. De esa exposición, la obra “Akita” me cautivó por su entrega total a la mirada del espectador.

En 2002, nos volvimos a encontrar en la Galería Dimaca de Los Palos Grandes para su exposición individual “PIEL”. En esta muestra, Mena representaba simbólicamente su concepto de la mujer ideal, una figura sin fronteras entre el mundo interior y exterior, sin desconexiones entre el cuerpo y el espíritu, y sin las inquietudes habituales entre el bien y el mal. Como escribió el maestro Oswaldo Vigas en el catálogo: “…cuán difícil es disociar estas figuras del símbolo de la sexualidad más salvaje que se esconde en el seno del alma masculina”. En esa muestra, la obra “Roraima” se erigía como la Reina de aquel mundo onírico donde Mena era el Rey.

Después de “PIEL”, las circunstancias se volvieron más complejas, aparecieron los retratos imaginarios, y desde entonces, Jorge y yo solo nos vemos virtualmente a través de las redes sociales. (Julio César Briceño – Escultor)

Perez Art Museum PAMM

opa projects Presents “Out of LA : Contemporary Voices”

Por

AMM

-

opa projects Presents “Out of LA : Contemporary Voices” — A Tribute to Resilience in the Los Angeles Art Scene

Exhibition Dates: July 10 – September 26, 2025 Opening Reception: Wednesday, July 10, 6–9 PM Location: opa projects, 7622 NW 4 CT St, Miami, FL 33127

opa projects is proud to present Out of LA : Contemporary Voices, a powerful group exhibition spotlighting the contemporary art scene of Los Angeles in the wake of the devastating wildfires that struck Southern California in January 2025. Running from July 10 through September 26, the exhibition features the work of eight LA-based artists, some of whom were directly affected by the fires.

Through painting, sculpture, and mixed media, Out of LA : Contemporary Voices explores themes of survival, regeneration, and cultural vibrancy amidst destruction. Among the featured artists is Cleon Peterson, who tragically lost both his home and studio during the fires. The exhibition also includes seminal works by Ed Ruscha, Kenny Scharf, Kour Pour, Emily Ferguson, Nicolas Shake, Jessica Taylor Bellamy, and Zoe Walsh — voices that together form a diverse and vital portrait of Los Angeles’ artistic

“This exhibition is both a tribute and a call to attention,” says gallery director Billy

Tartour. “We want to honor the strength and resilience of artists whose lives and

practices were deeply impacted, and to highlight the cultural force that continues to

rise from the ashes of crisis.”

opa projects, known for its commitment to emerging and established contemporary voices, aims to foster dialogue between art communities across coasts. Out of LA : Contemporary Voices marks a significant moment of solidarity between Miami and Los Angeles, both cities shaped by creative risk-taking and environmental vulnerability.

A portion of proceeds from the exhibition will be donated to recovery funds supporting artists affected by the California wildfires.

opa projects

+1 516 807 5419 – [email protected]

7622 NE 4 CT, Little River, 33138 Miami

opaprojects.com

instagram.com/opa.projects

Perez Art Museum PAMM

La Elección del Lienzo: La Base Perfecta para Tu Visión Artística

Por

AMM

-

La Elección del Lienzo: La Base Perfecta para Tu Visión Artística

Seleccionar el lienzo adecuado es una decisión fundamental que puede influir drásticamente en el resultado final de tu pintura. No se trata solo de tamaño, sino de la textura, el tipo de imprimación y la estructura, especialmente cuando consideramos estilos tan diversos como el figurativo, el abstracto, las obras con mucha textura, el hard-edge o el color field. Cada estilo tiene exigencias particulares que el lienzo debe satisfacer.

Pintura Figurativa: Detalles y Sutileza

Para la pintura figurativa, donde la precisión, el detalle y la representación fiel son clave, la elección del lienzo es crucial.

Superficie: Generalmente, se prefieren lienzos con una trama de algodón o lino de grano fino a medio. Una textura demasiado pronunciada puede interferir con los detalles delicados de rostros, anatomías o elementos realistas.
Imprimación: Una imprimación suave y uniforme (gesso) es ideal, ya que permite que el pincel se deslice sin esfuerzo, facilitando las transiciones suaves, el sfumato y la aplicación de capas finas y detalladas.
Tensión: Un lienzo bien tensado es esencial para evitar distorsiones que puedan afectar la precisión del dibujo subyacente.

Pintura Abstracta: Libertad y Expresión

La abstracción ofrece mayor libertad, pero la elección del lienzo sigue siendo importante para apoyar la expresión.

Superficie: Puedes optar por lienzos de grano medio a grueso, que pueden añadir un interés táctil intrínseco a la obra, o incluso superficies más lisas si buscas una fluidez de color sin interrupciones.
Resistencia: Para técnicas con mucha aplicación de pintura, gestos enérgicos o capas gruesas, un lienzo robusto y bien estirado es fundamental para soportar el peso y la manipulación sin ceder.
Tamaño: La abstracción a menudo se beneficia de grandes formatos que permiten al artista trabajar con todo el cuerpo, pero lienzos pequeños pueden invitar a una abstracción íntima y concentrada.

Pintura con Textura (Impasto, Medios Mixtos): Resistencia y Adherencia

Cuando la textura es un elemento principal, el lienzo debe ser un aliado.

Soporte Fuerte: Es vital elegir un lienzo con un bastidor grueso y resistente que pueda soportar el peso de las capas de pintura densa, pastas de modelar o elementos de medios mixtos sin deformarse con el tiempo.
Trama Visible/Robusta: Una trama más abierta o gruesa en el lienzo de lino o algodón puede proporcionar una base excelente para que los materiales se adhieran, creando una interacción textural interesante.
Imprimación Robusta: Una imprimación con buena adherencia es crucial para que las capas pesadas no se agrieten ni se desprendan.

Hard-Edge y Color Field: Suavidad y Superficie Impecable

Estos estilos exigen una superficie casi perfecta para lograr sus efectos característicos.

Hard-Edge:
- Superficie: Elige lienzos de grano muy fino o extra-fino, o incluso paneles de madera o MDF. La clave es una superficie lo más lisa posible para permitir líneas nítidas y bordes definidos sin que la textura del lienzo cause irregularidades.
- Imprimación: Una imprimación multicapa, lijada entre capas, para obtener una superficie perfectamente lisa y no absorbente que evite que la pintura se “corra” bajo las cintas de enmascarar o difumine los bordes.
Color Field:
- Superficie: Similar al hard-edge, una superficie muy lisa o de grano extremadamente fino es preferible para permitir una aplicación de color uniforme y sin interrupciones, donde el color en sí mismo es el protagonista.
- Absorción: Dependiendo de la técnica (veladuras, tinción), la absorbencia de la imprimación puede variar, pero la uniformidad de la superficie es lo más importante para evitar marcas de pincel indeseadas o manchas.

En última instancia, el lienzo es el primer punto de contacto entre tu visión y la realidad material de la obra. Elegirlo con intención, considerando el estilo, la técnica y el efecto deseado, es el primer paso para asegurar que tu pintura no solo se vea bien, sino que esté construida sobre una base sólida y adecuada para su propósito artístico.

Categorías populares de artículos de arte en las tiendas

Pinturas: Acrílicos, acuarelas, óleos, pinturas para manualidades y acabados especiales.
Lienzos y papel: Desde lienzos en miniatura hasta grandes rollos de lienzo; además de cuadernos de bocetos, acuarelas y blocs para técnicas mixtas.
Instrumentos de dibujo: Lápices, carboncillo, pasteles al óleo, rotuladores, bolígrafos pigmentados y estuches de caligrafía.
Pinceles y accesorios: Varios tipos de pinceles, paletas, medios acrílicos, barnices, caballetes y bastidores.

Perez Art Museum PAMM

El Lenguaje Silencioso del Lienzo: Fundamentos de la Composición Pictórica

Por

AMM

-

El Lenguaje Silencioso del Lienzo: Fundamentos de la Composición Pictórica

La composición es el andamiaje invisible sobre el que se construye toda pintura cautivadora. No se trata solo de dónde colocas los elementos, sino de cómo los organizas para guiar el ojo del espectador, crear armonía, tensión y, en última instancia, comunicar tu visión. Comprender los principios básicos de la composición es como aprender la gramática de un lenguaje visual. Aquí exploramos algunas de las herramientas fundamentales que todo artista debería dominar.

El Equilibrio: Peso Visual y Armonía

El equilibrio es un principio compositivo esencial que distribuye el “peso visual” de los elementos en una obra de arte para crear una sensación de estabilidad y armonía. Este peso visual no se refiere al peso físico, sino a la capacidad de un objeto, color, forma o línea de atraer la atención del ojo. Un buen equilibrio asegura que ninguna parte de la composición domine de manera abrumadora o se sienta demasiado vacía.

Existen dos tipos principales de equilibrio: el equilibrio simétrico y el equilibrio asimétrico. El equilibrio simétrico, como se mencionó con la regla de la simetría, implica una distribución igual de elementos a ambos lados de un eje central, evocando formalidad y quietud. Por otro lado, el equilibrio asimétrico logra la estabilidad a través de la tensión y el contraste, donde elementos de diferente tamaño, forma o color se distribuyen de manera desigual, pero su peso visual compensa, creando una composición más dinámica y a menudo más interesante para el ojo. Dominar el equilibrio permite al artista guiar la mirada del espectador de forma fluida y mantener la coherencia visual de la obra.

La Regla de los Tercios: Simplicidad y Dinamismo

Quizás el concepto compositivo más accesible, la Regla de los Tercios es una poderosa herramienta para crear un interés visual equilibrado sin recurrir a la simetría central estática. Imagina tu lienzo dividido en nueve secciones iguales por dos líneas horizontales y dos verticales equidistantes.

La clave de esta regla es colocar los elementos más importantes de tu pintura –puntos focales, líneas principales, o elementos clave de tu narrativa– a lo largo de estas líneas, y especialmente en sus intersecciones. Esto genera un equilibrio más dinámico y natural que simplemente centrar el sujeto. Un horizonte en el tercio superior o inferior, o un rostro en una de las intersecciones, puede transformar una imagen plana en una escena vibrante que invita al ojo a explorar.

La Simetría: Orden, Equilibrio y Reflexión

La simetría en la composición se refiere a la correspondencia exacta en tamaño, forma y posición de las partes en lados opuestos de una línea divisoria (eje). Puede ser:

Simetría Axial (o Bilateral): Cuando la imagen se refleja perfectamente a lo largo de un eje central, como un rostro humano o una arquitectura clásica. Transmite una sensación de orden, formalidad, estabilidad y equilibrio. Puede evocar calma o solemnidad.
Simetría Radial: Cuando los elementos se organizan alrededor de un punto central, como los radios de una rueda o los pétalos de una flor. Implica movimiento circular o un enfoque centrípeto.

Aunque la simetría perfecta puede a veces resultar estática o predecible, su uso consciente puede ser increíblemente efectivo para crear un impacto visual fuerte y una sensación de armonía inquebrantable. A menudo, se utiliza una casi simetría o una simetría rota para añadir interés sin perder el sentido de equilibrio.

La Composición Triangular: Estabilidad y Tensión Dinámica

La composición triangular es una técnica que utiliza formas triangulares (implícitas o explícitas) dentro de la estructura de la pintura para crear estabilidad, jerarquía y a veces tensión. Al disponer los elementos clave de una escena de manera que formen un triángulo (o varios), se logra:

Estabilidad y Solidez: Una base ancha y un vértice superior (como una pirámide) confieren una sensación de permanencia y arraigo. Los maestros del Renacimiento, como Leonardo da Vinci, la usaban frecuentemente para dar monumentalidad a sus figuras.
Dinamismo y Dirección: Un triángulo invertido o inclinado puede introducir tensión o movimiento. La dirección de las líneas del triángulo puede guiar la mirada del espectador a través de la obra.
Puntos Focales: Los vértices del triángulo a menudo actúan como puntos naturales de interés o dirigen la atención hacia ellos.

La forma triangular, subyacente o visible, es una de las estructuras compositivas más poderosas por su capacidad inherente de sugerir tanto quietud como energía.

La Proporción Áurea: La Belleza Matemática de la Naturaleza

La Proporción Áurea (también conocida como la proporción divina, sección áurea o número phi, aproximadamente 1.618) es un principio matemático que ha fascinado a artistas y pensadores desde la antigüedad. Se encuentra en la naturaleza (espirales de conchas, patrones de hojas) y ha sido empleada en el arte y la arquitectura para crear composiciones que se perciben como inherentemente armoniosas y estéticamente agradables.

Para aplicarla:

Rectángulo Áureo: Un rectángulo en el que la proporción del lado largo al corto es la proporción áurea. Al eliminar un cuadrado del extremo, el rectángulo restante es otro rectángulo áureo.
Espiral Áurea: Generada por una serie de rectángulos áureos que se van reduciendo, creando una espiral que se curva hacia un punto focal.

Aunque su aplicación no siempre es consciente o estricta en todas las obras, la Proporción Áurea sugiere una forma orgánica y “perfecta” de organizar el espacio, dirigiendo naturalmente el ojo del espectador hacia un punto de interés y creando una sensación de equilibrio y fluidez que resuena profundamente con nuestra percepción de la belleza.

Dominar la composición es un viaje continuo. Experimenta con estas reglas, rompe algunas cuando el arte lo exija y, sobre todo, deja que guíen tu intención para crear pinturas que no solo sean vistas, sino que se sientan y se entiendan en un nivel más profundo.

Perez Art Museum PAMM

Rhode Island School of Design

Por

AMM

-

Rhode Island School of Design

RISD is a nonprofit college and museum founded in 1877 in the city of Providence, RI. Today 2,518 students from 57 countries engage in 44 full-time bachelor’s and master’s degree programs, supported by a committed faculty and worldwide network of more than 33,000 alumni.

By cultivating expansive and elastic thinking, RISD equips artists, designers and scholars to generate and challenge the ideas that shape our world.

Leadership

Guided by President Crystal Williams, our leadership furthers the reach and champions the transformational power of creative education.

Crystal Williams believes that education, art and design, and commitments to equity and justice are essential to transforming our society. Williams has more than two decades of higher education experience. She is an institutional catalyst, helping to envision, define and achieve greater outcomes for students, faculty and staff. As a faculty member, she has focused on advancing artistic inquiry and engagement. As a leader, she ensures through her work that institutions are more effective, mission-aligned and diverse, equitable and inclusive.

RISD is a college and museum located in Providence, Rhode Island.

1 401 454-6100

20 Washington Place
Fourth floor
Providence, RI 02903

[email protected]

History and Tradition

As one of the first independent colleges of art and design in the US—incorporated on March 22, 1877 as both a school and museum—Rhode Island School of Design has always stood out as something of a maverick.

By the time RISD began offering full bachelor’s degree programs in the 1930s, our reputation for vision and leadership in advanced studio-based education had already begun to grow.

Started by a group of women well before any woman had the right to vote in the US, RISD has always embraced art and design’s capacity to stoke curiosity and spur progress.

Mission and Values

The mission of Rhode Island School of Design, through its college and museum, is to educate its students and the public in the creation and appreciation of works of art and design, to discover and transmit knowledge and to make lasting contributions to a global society through critical thinking, scholarship and innovation.

Land Acknowledgement

Rhode Island School of Design is built on what is now called College Hill, part of the ancestral homelands of the Narragansett Indian Tribe. Indigenous people from many tribes and nations—near and far—live, study and work in Providence today. The amplification of Native voices and histories is crucial to rectifying the many violent legacies of colonialism, and we gratefully acknowledge the ongoing critical contributions of Indigenous people across our state, region and nation.

Our values

We value the material practices of artists and designers as principal modes of engagement with the wider world.

We value the necessary and crucial contribution of deep disciplinary understanding to effective interdisciplinary practice.

We value collaborative interplay across design, fine arts and the liberal arts to cultivate deep literacies, to shape cumulative understanding, to transform thought and to expand making practices.

We value experimental, contextual and culturally diverse methods of creative practice and rigorous scholarship as essential ways of creating knowledge and engaging with complexity and uncertainty.

We value enlightened engagement with emerging and evolving technologies, along with critical reflection on the interests those technologies serve and the impact they have on diverse peoples, communities and the planet.

We value a classroom, studio and campus environment that advances principles of social equity and inclusion, environmental and climate justice, and equal access to resources and opportunities.

We value the development of lifelong skills that integrate the physical, emotional and mental well-being of our entire community.

We value the careful stewardship of our human, financial and physical resources.

We value our role as a place-based institution with a commitment to furthering progress in Providence and Rhode Island through mutually beneficial engagement with the community.

Social Equity and Inclusion

At RISD, our commitment to social equity and inclusion is embedded in our mission, structure, policies and strategic plan. In identifying institutional strengths and challenges, we help enhance a sense of belonging on campus—for all community members. Learn more below about our SEI vision and how we live it in practice.

Since launching our first Social Equity and Inclusion (SEI) Action Plan in 2017, RISD has built upon a series of core values inspired by student activity and input across our community. Among others, these include:

embedding social equity and inclusion in all institutional structures and processes.
fostering a campus culture that welcomes difference, promotes student agency and enables collective community building.
increasing diversity among students, faculty and staff.
making RISD more accessible across a diverse range of social groups.
ensuring equal access for all students to the supports they need for academic success.

Ensuring RISD’s commitment to social equity and inclusion, in principle and practice, is a cross-collaborative, community-wide effort. We realize this commitment through contributions by institutional leadership, faculty across all disciplines, and a network administrative offices that put key initiatives into action, as well as uphold our values in how we engage our community and the world. And critical to our collective work toward a truly equitable, inclusive RISD is the input, activity and creative contributions of our students and alumni, and their work toward a more just institution and world.

Founding RISD: women lead the way

A radical experiment

RISD was founded and nurtured by a small group of women well before any woman in America gained the right to vote. That year Helen Adelia Rowe Metcalf urged 34 members of the Rhode Island Women’s Centennial Commission to invest their group’s surplus funding of $1,675—which they had raised for RI’s contribution to the Philadelphia Centennial Exhibition in 1876—in founding a school of art and design (instead of building a public fountain, one of the other options on the table).

The idea behind the college was driven by the desire to support the state’s thriving textiles and jewelry industries in particular, with the first courses of study offered at RISD addressing two main areas: Freehand Drawing and Painting and Mechanical Drawing and Design.

Under Metcalf’s able leadership, the women who founded RISD embarked on a radical experiment that set a precedent for its ongoing commitment to challenging expectations.

Forwarding the family legacy

In pouring her time, energy, vision and funds into running the institution and ensuring its survival, Metcalf was joined by her daughter Eliza Radeke (pictured), who from 1913–31 was the first woman to serve as RISD’s president.

An avid and eclectic collector, Radeke worked closely with artists, dealers and museum directors to develop the RISD Museum’s extensive collection and funded the construction of the gallery that connects Pendleton House to the 1926 museum building named in her honor.

Radeke was then succeeded by her niece Helen Metcalf Danforth, who was president from 1931–47 before serving RISD’s first Board of Trustees chair from 1947–65. It was during her tenure that RISD earned the right to grant college degrees (as opposed to certificates) in 1932 and became a fully accredited college in 1949.

Perez Art Museum PAMM

“Still We Rise”: Addonis Parker’s Powerful Solo Exhibition Opens at The ARC in Celebration of Juneteenth

Por

AMM

-

“Still We Rise”: Addonis Parker’s Powerful Solo Exhibition Opens at The ARC in Celebration of Juneteenth

OPA-LOCKA, FL The Ten North Group is proud to announce the opening reception of “Still We Rise: The Art of Addonis Parker,” a compelling solo exhibition by Miami-based artist Addonis Parker. This powerful show, celebrating themes of art, identity, and resilience, will launch tonight, Friday, June 13, 2025, from 6:00 PM to 10:00 PM EDT at The ARC (Arts & Recreation Center), located at 675 Ali Baba Avenue, Opa-locka, FL 33054.

Presented by Ten North Group, this vibrant exhibition arrives just ahead of Juneteenth, a fitting tribute to the spirit of freedom and perseverance. Through his signature powerful visuals and dynamic storytelling, Addonis Parker invites viewers on an evocative journey through themes deeply rooted in the African American experience. His work — ranging from iconic large-scale murals that command attention in public spaces to intricate and deeply personal canvas paintings — is directly inspired by Maya Angelou’s unforgettable poem, “Still I Rise.”

Parker’s art serves as both a reflection and a celebration of identity, resistance, heritage, and resilience. Visitors to “Still We Rise” will have the opportunity to experience firsthand the emotional depth and masterful technique that define his unique artistic voice.

This opening reception promises to be an inspiring evening, fostering community engagement and providing a platform for vital cultural dialogue.

Event Details: What: Still We Rise: The Art of Addonis Parker – Opening Reception When: Friday, June 13, 2025, from 6:00 PM – 10:00 PM EDT Where: The ARC (Arts & Recreation Center), 675 Ali Baba Avenue, Opa-locka, FL 33054 Admission: Free and open to the public.

Perez Art Museum PAMM

The Scandal of the Art World: The Mystery of Frida Kahlo’s Missing Masterpieces

Por

AMM

-

Vanished- The Scandal of Frida Kahlo’s Lost Works

A Shadow Falls Over Casa Azul: The Scandal of Missing Frida Kahlo Masterpieces

A bombshell revelation has shaken the art world, with allegations surfacing that a significant number of works by iconic Mexican artist Frida Kahlo have vanished from the very institutions tasked with preserving her legacy. Hilda Trujillo Soto, who served as director of the Diego Rivera Anahuacalli and Frida Kahlo museums in Mexico City for nearly two decades, has publicly claimed that at least two oil paintings, eight drawings, and several pages from Kahlo’s intimate diary are missing from the Casa Azul collection.

Masterpieces Misplaced- Uncovering the Scandal Behind Frida Kahlo’s Lost Art

The allegations, detailed by Trujillo Soto in an extensive blog post, paint a disturbing picture of potential mismanagement and negligence. She claims that evidence of these disappearances, brought to the attention of museum trustees as early as 2009 and again in 2013, was seemingly ignored. Some of these allegedly missing works, she suggests, have even appeared in U.S. galleries and auction houses, despite strict Mexican laws prohibiting the permanent export of works by Kahlo and Diego Rivera without specific permits.

Frida Kahlo’s Vanishing Act- Artworks Missing, Questions Mounting

Among the most poignant losses are pages from Kahlo’s diary, a deeply personal chronicle of her later life, her declining health, and her profound relationship with Diego Rivera. Six specific folios from March 1953 were reportedly found missing when Trujillo Soto compared the original diary to its 1994 facsimile. The diary’s spontaneous drawings and cathartic writings are not just artistic artifacts; they are a crucial part of Mexico’s cultural heritage. Further concerns have been raised about other potentially missing pages, including one drawing allegedly valued at $10 million, which was controversially claimed to have been burned at a party as part of a failed NFT project in 2022.

Lost & Priceless- The Frida Kahlo Works That Disappeared Without a Trace

The institutions overseeing the museums, including the Bank of Mexico trust, have responded by stating that Trujillo Soto never filed formal complaints during her tenure, and have even suggested her contract was terminated due to administrative irregularities. However, these claims have gained significant traction among art experts, with German art historian Helga Prignitz-Poda, a leading Kahlo specialist, confirming long-standing knowledge of missing works. Linda Downs, former executive director of the College Art Association, also corroborated awareness of missing notebooks and sketches from the Casa Azul archive as far back as 2014.

Stolen Beauty? The Enigma of Frida Kahlo’s Missing Artworks

This scandal emerges at a particularly sensitive time, as the museum finalizes loan agreements for major upcoming Kahlo exhibitions at the Museum of Fine Arts, Houston, and London’s Tate Modern. The allegations cast a long shadow over the provenance and security of invaluable cultural treasures.

Missing Fridas- The Untold Story of Lost Masterpieces and Museum Missteps

The alleged disappearance of these works raises critical questions about accountability, the protection of national artistic heritage, and the ethics of the international art market. As investigations continue and the art world grapples with these revelations, the hope remains that clarity will emerge, and any missing pieces of Frida Kahlo’s extraordinary legacy can be rightfully returned to their intended home.

Where Are Frida’s Masterpieces? Inside the Disappearance of Priceless Art

Perez Art Museum PAMM

Rafael Montilla: “The Color Continuum”

Coral Gables Museum Open Studio: A Series of Free Creative Mixers with The Things Lab

Coral Gables Museum Open Studio:

A Series of Free Creative Mixers with The Things Lab

(every other Wed, 6:00pm – 8:30pm)

What to Expect

Why Join?

Mark Your Calendar and RSVP today!

bio

June 2025

July 2025

August 2025

September 2025

Thethingslab.org

Unlocking Your Vision: A Guide to Paints for Artists

Art Supply Paints: Acrylics, watercolors, oils, craft paints, and specialty finishes.

Acrylics: The Modern Workhorse

Watercolors: Lightness and Transparency

Oils: Richness and Depth

Craft Paints and Specialty Finishes: Beyond Fine Art

opa projects Presents “Out of LA : Contemporary Voices” — A Tribute to Resilience in the Los Angeles Art Scene

Exhibition Dates: July 10 – September 26, 2025 Opening Reception: Wednesday, July 10, 6–9 PM Location: opa projects, 7622 NW 4 CT St, Miami, FL 33127

La Elección del Lienzo: La Base Perfecta para Tu Visión Artística

Pintura Figurativa: Detalles y Sutileza

Pintura Abstracta: Libertad y Expresión

Pintura con Textura (Impasto, Medios Mixtos): Resistencia y Adherencia

Hard-Edge y Color Field: Suavidad y Superficie Impecable

Categorías populares de artículos de arte en las tiendas

El Lenguaje Silencioso del Lienzo: Fundamentos de la Composición Pictórica

La Regla de los Tercios: Simplicidad y Dinamismo

La Simetría: Orden, Equilibrio y Reflexión

La Composición Triangular: Estabilidad y Tensión Dinámica

La Proporción Áurea: La Belleza Matemática de la Naturaleza

Rhode Island School of Design

Leadership

RISD is a college and museum located in Providence, Rhode Island.

History and Tradition

Mission and Values

Land Acknowledgement

Our values

Social Equity and Inclusion

Founding RISD: women lead the way

A radical experiment

Forwarding the family legacy

“Still We Rise”: Addonis Parker’s Powerful Solo Exhibition Opens at The ARC in Celebration of Juneteenth

A Shadow Falls Over Casa Azul: The Scandal of Missing Frida Kahlo Masterpieces

Recent Posts

Follow us on Instagram @https://www.instagram.com/artmiamimag/

EDITOR PICKS

POPULAR POSTS

POPULAR ART CATEGORY