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2025 Art on the Plaza Artists

2025 Art on the Plaza Artists
2025 Art on the Plaza Artists

2025 Art on the Plaza Artists

The Museum of Contemporary Art North Miami (MOCA) is pleased to announce the 2025 Art on the Plaza Artists: Avi Young, Nathan Justice Moyer, and Magnus Sodamin. As part of this annual public art initiative, each artist will debut a site-specific, temporary installation on MOCA’s front plaza throughout the year.

The 2025 installations will be presented sequentially, inviting visitors to explore themes of connection, community, and environmental awareness. Together, these works create a dialogue about relationships—between people, nature, and place—encouraging reflection on coexisting and interacting with our surroundings.

Opening in March, Bearing Bonds is a public art installation by queer Afro-Latinx artist Avi Young (b. 1999, they/them), celebrating cultural heritage and storytelling. Bearing Bonds symbolizes connection and collective healing, with figures’ outstretched hands reflecting the challenges of human connection and ceramic chimes serving as a metaphorical bridge, illustrating the possibility of communication even across separation. The installation will be on view through June.

Poetry on the Plaza by Nathan Justice Moyer (b. 1980, he/him) opens in July. This commission transforms discarded materials into art, emphasizing sustainability and reinvention. Through the Plastic Poetry program—developed with O, Miami and Free Plastic—the project engages the North Miami community in a poetry workshop and cleanup initiative. This work will be on view through September.

As part of this annual public art initiative, each artist will debut a site-specific, temporary installation on MOCA’s front plaza throughout the year. 

Joan Lehman Building
770 NE 125 Street
North Miami, FL 33161
305-893-6211

Hours

Monday : Closed

Tuesday : Closed

Wednesday : 12 – 7 PM

Thursday : 10 AM – 5 PM

Friday : 10 AM – 5 PM

Saturday : 10 AM – 5 PM

Sunday : 10 AM – 5 PM

De Stijl & Neoplasticismo

1917, Red Blue Chair, Gerrit Rietveld
1917, Red Blue Chair, Gerrit Rietveld

De Stijl & Neoplasticismo

el movimiento De Stijl y el Neoplasticismo están estrechamente relacionados y, en esencia, se refieren a lo mismo. Sin embargo, hay algunos matices que vale la pena aclarar:

  1. De Stijl:
    • Este fue el nombre del movimiento artístico fundado en 1917 en los Países Bajos por Theo van Doesburg y otros artistas, incluido Piet Mondrian.
    • El nombre De Stijl (que significa “El Estilo” en holandés) también se refiere a la revista que publicaron, la cual sirvió como plataforma para difundir sus ideas y principios.
    • El movimiento abarcó no solo la pintura, sino también la arquitectura, el diseño gráfico, el mobiliario y otras disciplinas artísticas.
  2. Neoplasticismo:
    • Este término se refiere específicamente a la teoría artística desarrollada por Piet Mondrian, que fue uno de los pilares del movimiento De Stijl.
    • El Neoplasticismo se caracteriza por el uso de formas geométricas básicas (líneas rectas, cuadrados y rectángulos), colores primarios (rojo, azul y amarillo) y tonos neutros (blanco, negro y gris).
    • Mondrian publicó sus ideas en el Manifiesto Neoplasticista, donde defendía la pureza y la abstracción en el arte, eliminando todo lo superfluo y figurativo.

Relación entre De Stijl y Neoplasticismo

  • El Neoplasticismo es la base teórica que inspiró gran parte del movimiento De Stijl, especialmente en sus inicios.
  • Sin embargo, De Stijl evolucionó con el tiempo y adoptó enfoques más flexibles bajo la dirección de Theo van Doesburg, quien introdujo elementos como la diagonal en sus obras, algo que Mondrian rechazaba.
  • Mientras que Mondrian se mantuvo fiel a los principios del Neoplasticismo, otros miembros de De Stijl exploraron variaciones y aplicaciones más amplias del estilo.

En resumen, el Neoplasticismo es la teoría artística desarrollada por Mondrian, mientras que De Stijl es el movimiento más amplio que incorporó estas ideas y las expandió a otras disciplinas. Por lo tanto, aunque están estrechamente vinculados, no son exactamente lo mismo.

Marlow Moss

Netty Nijhoff and Marlow Moss in Lamorna
Netty Nijhoff and Marlow Moss in Lamorna c.1950, black and white photograph by unknown photographer

1890 — London, United Kingdom | 1958 — Penzance, United Kingdom

British painter and sculptor.

Born to an upper class family, Marlow Moss first studied piano but was forced to stop after she contracted tuberculosis. When she recovered, she turned to dance and movement. Her guardian – she had lost her father – promised her the best teachers on the condition that her artistic practice remain non-professional. She rebelled by enrolling in the St John’s Wood School of Art, later cutting off ties with her family to study at the Slade School of Fine Art from 1917 to 1919 before withdrawing to Cornwall. Upon returning to London, she shaved her head, began to wear men’s clothing and adopted a masculine name. By doing so, she became a new person whose “costume says to the man: I am your equal”, as Madeleine Pelletier famously put it (La Suffragiste, No. 46, 1919). She was self-taught, immersing herself in Rimbaud and Nietzsche at the British Museum Reading Room and studying the works of Van Gogh and Rembrandt. She arrived in France in 1927 at the age of 37; in a photograph – often published without mention of her name – she is seen wearing a tie, holding a cigarette, sporting very short, slicked-back hair and a face free of makeup. As for painting, she chose the path of abstraction. While studying at the Académie Moderne under Fernand Léger and Amédée Ozenfant, she found herself deeply impressed by a work of Piet Mondrian. She met the painter two years later, and the artists seem to have remained in contact from 1929 to 1938.

M. Moss is thought to have painted her first Neo-plasticist work in 1929: two lines intersecting at a right angle on a white background. Because P. Mondrian never taught her his pictorial technique, she is thought to have invented her own first “deviation” from the vertical-horizontal grid, which she deemed too static: the double line. Historians have noted that these types of compositions only appeared in P. Mondrian’s works two years later. M. Moss would subsequently do away with this type of structure, instead choosing to exploit as much of the white’s brightness as possible, and combining several types of monochromatic canvases to create all-white reliefs. To these, she sometimes added lines of string painted in white or bare rope to express tension, instead of using colour to do so. She became a member of the Surindépendants and of the group Abstraction-Création, and experimented in her immaculate phalanstery studio at Gauciel (known as château d’Évreux), where she and her partner Antoinette H. Nijhoff received passing artists. The studio and its entire contents would later be destroyed in a bombing. In 1939, M. Moss left France for the Netherlands. The following year, the German invasion forced her to flee by boat to England, where, an orphan and a stranger, she reluctantly took architecture classes, which sparked an interest in sculpture. Her acquaintance with a naval engineer enabled her to begin working on metal structures. She converted a small carpenter’s workshop into a studio and spent the post-war years attempting to recreate some of her lost works. Exhibitions of her work during her lifetime (Hanover Gallery, London, 1953), and after her death (Stedelijk Museum, Amsterdam, 1962) focused on rehabilitating the autonomy of her visual approach, with Germaine Greer underlining its influence on British art. In spite of this effort, M. Moss’s work is still not sufficiently recognised for its importance within interwar abstract movements.

Élisabeth Lebovici

Translated from French by Lucy Pons.

From the Dictionnaire universel des créatrices
© Éditions des femmes – Antoinette Fouque, 2013
© Archives of Women Artists, Research and Exhibitions, 2019

Neoplasticismo vs. De Stijl

arte De Stijl
arte De Stijl

Neoplasticismo vs. De Stijl: La delgada línea que separa el movimiento artístico de la filosofía artística

Neoplasticismo y De Stijl se utilizan a menudo indistintamente, pero entender la distinción entre ambos puede iluminar la matizada evolución de la abstracción moderna a principios del siglo XX. Aunque estrechamente relacionados, estos conceptos proceden de aspectos diferentes pero complementarios de la misma revolución artística: uno se centra en la filosofía de la abstracción pura y el otro engloba todo un movimiento dedicado a traducir esa filosofía en forma visual.

En el centro de esta transición artística se encuentra Piet Mondrian, una figura fundamental cuyas primeras exploraciones de la abstracción conducirían finalmente al nacimiento del neoplasticismo. Este enfoque filosófico, que él defendía, hacía hincapié en la simplicidad, el equilibrio y la armonía. Nacido tras la Primera Guerra Mundial, el neoplasticismo rechazó las representaciones caóticas y naturalistas del pasado, con el objetivo de crear un lenguaje visual que transmitiera verdades universales a través de la forma pura. En su obra de referencia Composición con rojo, azul, amarillo, negro, blanco y gris (1922), Mondrian personificó este nuevo enfoque: una disposición cuadriculada de formas rectangulares llenas de colores primarios enmarcadas por estrictas líneas horizontales y verticales.

La esencia del neoplasticismo puede destilarse en unos pocos principios clave: el rechazo de la representación naturalista, el uso exclusivo de colores primarios (rojo, azul, amarillo), blanco y negro, y la adhesión a formas rectilíneas, sencillas, geométricamente puras y dispuestas de forma armoniosa. El objetivo era claro: establecer un lenguaje visual libre de las distracciones del mundo natural, donde la abstracción pudiera evocar una comprensión más profunda y universal de la existencia.

Sin embargo, aunque el neoplasticismo de Mondrian se convirtió en la columna vertebral filosófica del movimiento De Stijl, ambos términos no son sinónimos. De Stijl, que significa «El Estilo» en neerlandés, fue un movimiento artístico y arquitectónico fundado por Mondrian y Theo van Doesburg en 1917. Van Doesburg, artista polifacético y escritor, desempeñó un papel crucial en el movimiento, no sólo como cofundador, sino también como promotor y teórico. Este movimiento pretendía poner en práctica las ideas del neoplasticismo no sólo en el arte, sino en todas las disciplinas del diseño, desde el mobiliario y la arquitectura hasta el diseño gráfico y la tipografía. De Stijl, por tanto, es el paraguas más amplio bajo el que las ideas de Mondrian encontraron su expresión más significativa.

La distinción fundamental es que el neoplasticismo representa una filosofía artística, mientras que el De Stijl es el movimiento que llevó esa filosofía a una cultura visual más amplia. El neoplasticismo persigue la abstracción pura y la simplificación de la forma, mientras que el De Stijl trataba de aplicar esos principios a la vida cotidiana, desde el diseño de edificios hasta el interiorismo doméstico. El papel de Mondrian como principal defensor del neoplasticismo dio al movimiento su columna vertebral teórica. Al mismo tiempo, artistas como Gerrit Rietveld, uno de los principales arquitectos del De Stijl, tradujeron esas ideas en diseños funcionales, como su icónica Silla Roja y Azul (1917), que evitaba las formas tradicionales y adoptaba la simplicidad rectilínea defendida por Mondrian.

Sin embargo, a pesar de las diferencias, el De Stijl y el neoplasticismo están inextricablemente unidos. Ambos compartían el objetivo de crear un nuevo orden visual que contrastará con la agitación de la guerra y el desorden del mundo moderno. Mientras que el neoplasticismo se centraba en la armonía a través de la abstracción, De Stijl pretendía manifestar la armonía en formas físicas y tangibles. A los artistas del De Stijl no sólo les preocupaba el uso abstracto del color y la forma, sino también cómo podían aplicarse al entorno construido, lo que dio lugar a diseños arquitectónicos minimalistas que daban prioridad a la función sin sacrificar la pureza estética. Su visión compartida y su compromiso con la creación de un nuevo orden visual es una inspiración que sigue resonando en el mundo del arte.

La influencia del De Stijl se extendió mucho más allá de su época y lugar inmediatos, configurando el desarrollo de la arquitectura, el diseño y las artes gráficas modernas a lo largo del siglo XX. Los principios de las estructuras cuadriculadas, la abstracción geométrica y las combinaciones de colores primarios serían más tarde fundamentales en movimientos como la Bauhaus, el constructivismo y el minimalismo. Es en este legado perdurable donde reside la relevancia de De Stijl: su aplicación del neoplasticismo en un contexto más amplio marcó un punto de inflexión clave en la relación entre el arte y la vida cotidiana, y su influencia perdurable es un testimonio de su importancia en la evolución del arte moderno.

En resumen, aunque el neoplasticismo y De Stijl están profundamente entrelazados, no son idénticos. El neoplasticismo es la filosofía artística desarrollada por Mondrian, que aboga por una abstracción que encarna la armonía universal a través de formas geométricas y colores primarios. Esta «armonía universal» se refiere a la idea de que la simplicidad y el equilibrio de estos elementos pueden resonar en todos los espectadores, trascendiendo la experiencia individual. De Stijl, por su parte, es el movimiento que adoptó y promovió estas ideas en la pintura, la arquitectura y el diseño, con el objetivo de crear un entorno cohesivo y armonioso tanto en el arte como en la vida. Juntos, forman una coyuntura crítica en la evolución del arte moderno, que pretendía crear un lenguaje visual universal para el mundo de posguerra, trascendiendo la experiencia individual y avanzando hacia un futuro más equilibrado y armonioso.

Best Art Dealers in Coral Gables

Best Art Dealers located in Coral Gables

Coral Gables is home to some of the best art dealers, offering a dynamic range of fine art, contemporary pieces, and rare collectibles. These galleries provide expert curation and personalized service, making them a destination for collectors and art enthusiasts alike, contributing to the area’s vibrant cultural scene.

ArtLabbé Gallery

Google rating 5-star

ArtLabbé Gallery, with its deep-rooted philosophy of art as a bridge between cultures, has established itself as a cultural beacon both in Chile and the United States. Since its inception in 2005, this visionary gallery has successfully merged art with purpose, aiming not only to showcase exceptional work but also to facilitate cross-cultural dialogue. Through a carefully curated selection of emerging and established artists, ArtLabbé Gallery celebrates the richness of both Chilean and Latin American art while fostering global connections.

The gallery’s directors, Néstor Soto Godoy, a Ph.D. in Theology and Philosophy, and María-José Fuentes Labbé, a Visual Arts graduate, have created an environment where art becomes a tool for healing, inspiration, and unity. Their mission goes beyond simply exhibiting artwork; they aim to engage with diverse communities and promote art’s power to transcend borders.

Notably, ArtLabbé has earned recognition for its collaboration with government embassies and cultural organizations. These partnerships have enabled the gallery to bring Latin American art to international fairs, particularly in Florida, where it expanded its presence in 2018 with the opening of ArtLabbé Gallery LLC in Coral Gables. The gallery’s commitment to cultural exchange is further reflected in the creation of two foundations—Fundación ArtLabbé in Chile (2016) and Foundation for the Arts in the U.S. (2019)—both of which focus on promoting art’s profound societal impact.

ArtLabbé Gallery is not just an art gallery; it is a cultural institution that brings art to life, creating emotional and intellectual connections that resonate long after the art is viewed.

Address: 2522 Ponce de Leon, Coral Gables, FL 33134

Phone: USA: +1 805 689 2195

Email: [email protected]

Chile: Avenida Nueva Costanera 3605,local 102 A, Vitacura, Santiago.

Phone: +569 6215 8029

Email: [email protected]

NÉSTOR SOTO GODOY
Director ArtLabbé
Fundador Fundación ArtLabbé

MARÍA-JOSÉ FUENTES LABBÉ
Directora Galería ArtLabbé
Fundadora de Fundación ArtLabbé
Licenciada en Artes Plásticas

RDZ Fine Art LLC

Google rating 5-star

ArtLabbé Gallery, with its deep-rooted philosophy of art as a bridge between cultures, has established itself as a cultural beacon in Chile and the United States. Since its inception in 2005, this visionary gallery has successfully merged art with purpose, aiming to showcase exceptional work and facilitate cross-cultural dialogue. Through a carefully curated selection of emerging and established artists, ArtLabbé Gallery not only celebrates the richness of both Chilean and Latin American art but also fosters global connections, making you feel part of a larger cultural community.
The gallery’s directors, Néstor Soto Godoy, a Ph.D. in Theology and Philosophy, and María-José Fuentes Labbé, a Visual Arts graduate, have created an environment where art becomes a tool for healing, inspiration, and unity. Their mission goes beyond simply exhibiting artwork; they are committed to engaging with diverse communities, making you feel included and valued, and promoting art’s power to transcend borders.
ArtLabbé has earned significant recognition for its collaboration with government embassies and cultural organizations. These partnerships have enabled the gallery to bring Latin American art to international fairs, particularly in Florida, where it expanded its presence in 2018 with the opening of ArtLabbé Gallery LLC in Coral Gables. The gallery’s commitment to cultural exchange is further reflected in the creation of Fundación ArtLabbé in Chile (2016) and Foundation for the Arts in the U.S.

Address: 147 Giralda Ave, Coral Gables, FL 33134

Phone: (305) 720-5172

Email: [email protected]

Torna Prado Fine Art Collect

5 Star Google review 

Nestled in the heart of Coral Gables, Florida, Torna Prado Fine Art Collect stands as a beacon for art enthusiasts and collectors alike. This distinguished gallery has been a cornerstone of the local art community for over 26 years, offering a unique blend of contemporary and traditional artworks that captivate visitors from around the world.

Address: 3306 Ponce de Leon, Coral Gables, FL 33134

Phone: (305) 476-8444

Chromatic Art Gallery

Chromatic Art Gallery LLC, located in the vibrant art scene of Miami, offers a captivating selection of contemporary artworks from both emerging and established artists. The gallery serves as a dynamic platform, fostering creativity and allowing artists to showcase their work in an inspiring space. Art enthusiasts can explore a rich variety of styles, mediums, and artistic expressions, making it a must-visit destination for anyone looking to discover new talent or deepen their appreciation for contemporary art. With its commitment to innovation and inclusivity, Chromatic Art Gallery is a true gem in Miami’s cultural.

Chromatic art gallery opened as an innovative mixed space located in miami, florida. since 2017, our mission has been to promote significant art pieces to high-end collectors, joining forces with curated, one of the top vintage supercar dealers industry, which allowed us to carve our beginnings by building a network of industry leaders and players in one of the fastest growing art capitals in the world.

After more than 20 events, 5 group exhibitions, 6 solo shows, over 3500 visitors, 15 represented artists and hundreds of secondary market consignments, we continue to do business and are proud to offer culturally significant artworks by brokering deals with fairness and transparency.

Address: 75 Valencia Ave, Coral Gables, FL 33134

Phone: (863) 266-7613

Email: [email protected]

The Art Plug

Google Rating: 5 stars

Art Plug, a vibrant hub where art transcends boundaries and ignites creativity. At Art Plug, we are dedicated to fostering a dynamic community of art enthusiasts, collectors, and creatives globally. Our multifaceted platform, comprising Art Plug Gallery and Art Plug Services, offers a unique and enriching experience to everyone who shares our passion for art.

Address: 179 NW 23rd St, Miami, FL 33127
Description: A renowned art dealer offering a variety of art pieces, including paintings, sculptures, and prints.

Cernuda Arte

A respected dealer of modern and contemporary art, with a special focus on

Google Rating: 4.6 stars
Address: 3155 Ponce de León Blvd, Coral Gables, FL 33134

Artists:

. Eduardo Abela
· Angel Acosta León
· Enrique Agramonte
· Carlos Alfonzo
·  Anónimo
· Francisco Antigua
· José Arburu Morell
· Jorge Arche
· Pastor Argudín
· Miguel Arias
· Maria Ariza
· Belkis Ayón
· Gumersindo Barea
· R.C. Bears
· Dulce H. Beatriz
· José Bedia
· José A. Bencomo Mena
· Cundo Bermúdez
· Joel Besmar
· Gabriel Bodenehr
· Tania Bruguera
· Servando Cabrera Moreno
· Humberto Calzada
· Jorge Camacho
· José Campeche
· Hipólito Canal Ripoll
· Benjamín Cañas
· María Capdevila
· Enrique Caravia
· Agustín Cárdenas
· Agustín Cárdenas drawings
· Williams Carmona
· José Carol
· Mario Carreño
· Ramón Carulla
· Enrique Casas
· Humberto Castro
· Mirta Cerra
· Augusto Chartrand
· Esteban Chartrand
· Philippe Chartrand
· Henry Cleenewerck
· Guillermo Collazo
· Hugo Consuegra
· Enrique Crucet
· Miguel Cubiles
· José Cuchi Arnau
· Arturo Cuenca
· Sandú Darié
· José Nicolás De la Escalera
· Sandro De La Rosa
·  Demi
· Juan Roberto Diago
· Roberto Diago
· Miguel Díaz Salinero
· Nelson Domínguez
· Li Domínguez Fong
· Elías Durnford
· Giosvany Echevarría
· Antonia Eiriz
· Yasiel Elizagaray
· Carlos Enríquez
· Gonzalo Escalante
· Vicente Escobar
· Eberto Escobedo
· Francisco Espinosa Dueñas
· Tomás Esson
· Roberto Estopiñán
· Roberto Fabelo
· Emilio Falero
· Agustín Fernández
· Aristides Fernández
· Oscar Fernández Morera
· Reynier Ferrer
· Miguel Florido
· Flora Fong
· Ever Fonseca
· Enrique Gay García
· Fernando García
· Víctor Manuel García
· Evelio García Mata
· Oscar García Rivera
· Lilian Garcia-Roig
· Antonio Gattorno
· Florencio Gelabert
· Juan Gil García
· Lourdes Gómez Franca
· Raciel Gómez Golpe
· Ismael Gómez Peralta
· Carmelo González
· Dayron González
· Irina Elén González
· Julio González
· Nicolás Guillén
· Noel Hernández
· Vicente Hernández
· Juan Emilio Hernández Giró
· J. Adolf Hoeffler
· Teodulo Jiménez
· Miguel Jorge
· Wifredo Lam
· Wifredo Lam (Lithographs)
· Víctor Patricio Landaluze
· Eduardo Laplante
· Julio Larraz
· Raquel Lázaro
· Guido Llinás
· Rolando López-Dirube
· Miguel A. Loredo
· Tiburcio Lorenzo
· Ramón Loy
· Alfredo Lozano
· Fernando Luis
· Federico Martínez
· Raúl Martínez
· Elvira Martínez de Melero
· Luis Martínez Pedro
· Aurelio Melero
· Miguel Melero
· Miguel A. Melero
· Danuel Méndez
· Ana Mendieta
· Manuel Mendive
· Armando Menocal
· Manuel Mesa Hermida
· Mariano Miguel
· José Mijares
· Raúl Milián
· Eduardo Morales
· Rafael Moreno
· Clara Morera
· Pedro Pablo Oliva
· Tomás Oliva
· Felipe Orlando
· Miguel Padura
· Amelia Peláez
· Rigoberto Peláez
· Gina Pellón
· Alberto Peña
· Umberto Peña
· Enoc Perez
· Fidelio Ponce de León
· J Pons
· René Portocarrero
· Domingo Ramos
· Teodoro Ramos Blanco
· Domingo Ravenet
· Jesse Ríos
· Teodoro Ríos
· Emilio Rivero Merlín
· Enrique Riverón
· Arnaldo Roche Rabell
· Arturo Rodríguez
· David Rodríguez
· Mariano Rodríguez
· Antonio Rodríguez Morey
· Leopoldo Romañach
· Baruj Salinas
· Emilio Sánchez
· Gabriel Sánchez
· Tomás Sánchez
· Antonio Sánchez Araujo
· César Santos
· Jorge Luis Santos
· Valentín Sanz Carta
· Hermanas Scull
· Dominique Serres
· Carlos Sobrino
· Loló Soldevilla
· Uver Solís
· Rafael Soriano
· Alfredo Sosabravo
· Juan Miguel Suárez
· Federico Sulroca
· Juan Tapia Ruano
· Fernando Tarazona
· José Joaquín Tejada
· Omar Torres
·  Unknown
· Jaime Valls
· Ramón Vázquez
· Roberto Vázquez
· Manuel Vega
· Antonio Vidal
· Ed Willmann

Art Miami Magazine’s Top Pick: A Must-See Exhibition

stanek gallery
stanek gallery

Art Miami Magazine Review: Opening Reception of “Dualities” at Stanek Gallery

It was a privilege to be part of the exclusive opening of Dualities at Stanek Gallery on January 25, 2025. The exhibition, featuring the mesmerizing works of Michael Bartmann, Stanka Kordic, and Katherine Stanek, delved into the intricate interplay between reality and imagination. Each piece on display, with its profound depth and introspective qualities, drew the audience into the artist’s creative processes, making it an unforgettable experience.

Art Miami Magazine’s Top Pick: A Must-See Exhibition

While the artwork was exciting overall, Michael Bartmann’s piece particularly captured my attention. His oil paintings on firm support create industrial interiors that are familiar and entirely fictional, born from urban compilations only found in his mind. In this new collection, the window plays a prominent role, acting as a metaphor for time and space, questioning the barriers that separate us. Bartmann masterfully blends layers of technique and color, rendering architectural compositions that invite the viewer to wander through empty spaces, both in their recollections and within his uniquely nostalgic, forward-looking world. His work brings the exhibition to life, offering an introspective journey through a newly informed reality, stimulating the mind with its thought-provoking themes.

The intimate atmosphere at Stanek Gallery, located at [address], in Little River, provided the perfect setting to connect with the artists and fully immerse oneself in the concepts they explored. Clearly, this exhibition, the gallery’s first in Miami, will be remembered as a key event in the city’s art scene. If you haven’t yet visited, I highly recommend it—the show continues until March 15, 2025.

The exhibition left me eagerly anticipating more from these incredible artists. I’m sure their future works will continue to captivate and inspire.

Statement

Stanka Kordic, Michael Bartman and Katherine Stanek reshape reality with their layered techniques that weave a rich dialogue between past influences and future visions in this intimate, contemplative journey of becoming.

Stanek Gallery Miami is pleased to present Dualities, a three-person exhibition examining our domain over reality, memory, mind and matter. Featuring new work by Michael Bartmann, Stanka Kordic, and Katherine Stanek, the exhibition brings together a diverse group of artists weaving unique approaches to dialogue exploring process vs intention, decision vs. evolution and becoming vs belonging, while creating an intimate, contemplative space where reality and imagination intertwine to shape something entirely new.

stanek gallery
Stanek Gallery Miami

Miami Location

8375 NE 2nd Ave
Miami, FL 33138
305.713.9454
[email protected]

Walk-in Hours
Thursday – Friday – Saturday
12 – 7pm
12 – 7pm
12 – 5pm

Michael Bartmann

Bartmann works in oil on firm support to create innately familiar, yet completely fictional industrial interiors forged from urban compilations found only in his mind to create a newly informed, forward-looking yet remarkably nostalgic reality. In his new collection, the window is a prominent character that serves as a metaphor for both time and space questioning barriers that separate. He satiates his appetite for color while expertly rendering these architectural compositions encouraging you to wander the empty spaces in your own recollection as well as in his two-dimensional world. 

Katherine Stanek

Stanek’s sculpture in concrete with exposed steel, bronze and other media demonstrate a masterful ability to create enigmatic depths that entice intrinsic and existential dilemma of what can be seen and what is hidden, what is ours by passage and what is fated. By allowing her work to be process driven, Stanek uses decisive destruction to incorporate fractures, fragments and the natural tendency of the material as part of her visual language, leaving room for questions, new perspectives and personal connections, merging and layering these different visual codes in works that seem simultaneously contemporary and classical. 

Stanka Kordic

Kordic’s figures are graceful experimentations of characters emanating through the space between imagination and nescience, holding you in their gaze as if coming or fleeting events are casting their light and shadows before them.  Using oil on various supports, she fuses highly emotional moments with her visceral decisions as reactions to the evolving imagery. The protagonist is a feeling, an expression, an overwhelming sense of fragility in the attempt to create an experience and emotion rather than a specific person from her memory.

Ruth Asawa

Ruth Asawa wire art, sculpture
Photo credit: Ruthasawa.com

Ruth Asawa wire art

Ruth Asawa was an influential American artist renowned for her innovative wire sculptures encapsulating her unique artistic vision and personal history. Her work serves as a poignant commentary on themes of identity, race, and equality, making her one of the prominent figures in America’s art scene.

Early Life and Education

Born on January 24, 1926, in San Francisco, California, Ruth Asawa grew up in a Japanese American family. Her early experiences as a child of Japanese immigrants, especially during World War II when her family was interned, shaped her perspective on race and identity. These experiences informed her artistic worldview, prompting her explorations of form and material in her later works. Asawa’s education at Black Mountain College from 1946 to 1949 exposed her to various artistic practices and philosophies, fostering her creativity and promoting her understanding of art as a medium for social commentary.

Wire Sculptures

Asawa is best known for her intricate wire sculptures, characterized by their looping forms and biomorphic shapes. These sculptures evolved from her early experiments with wire crochet inspired by her biology classes, where diagrams depicted the complexities of life. Her biomorphic works evoke imagery of dividing cells and primordial forms, suggesting a connection between the biological processes that underpin all life and her reflections on racial equality. ​The sculptures exemplify Asawa’s ability to transform simple materials into profound expressions of her thoughts on life, nature, and social justice.​

Ruth Asawa’s wire sculptures are deeply rooted in her personal experiences, education, and the broader context of social issues such as race and identity. The influences that shaped her distinct artistic approach can be categorized into various key aspects.

Educational Influences

Ruth Asawa’s time at Black Mountain College from 1946 to 1949 played a pivotal role in inspiring her wire sculptures. During her studies, she encountered various artistic philosophies and techniques, including concepts involving organic forms and abstraction. Asawa credits her biology classes, where illustrations of invertebrates and cellular structures were prominent, for her initial inspiration. Her earliest wire works were directly influenced by diagrams and images from her biology textbooks such as “The Invertebrata” and “Winchester Zoology,” leading her to explore the connections between art, nature, and life forms.

Personal Experiences

Asawa’s life experiences, particularly her internment as a Japanese American during World War II, significantly shaped her worldview and artistic expression. This period of her life instilled in her a profound sense of the importance of identity and equality. The themes of displacement and resilience echoed throughout her work, as she aimed to reinterpret her personal history and cultural heritage into universal symbols of existence and connection through her wire sculptures.

Thematic Exploration

The aesthetic and thematic explorations that characterize Asawa’s work are also evident in the biomorphic forms that she created. Her sculptures evoke imagery of life processes such as division and growth, resonating with her reflections on racial equality and social justice. The fluid, interwoven nature of her wire pieces suggests interconnectedness, serving as a metaphorical representation of how all life is intertwined, regardless of race or background.

Art as Social Commentary

​Asawa’s wire sculptures serve not only as artistic expressions but also as forms of social commentary.​ In a time marked by racial discrimination, her work pushed against the boundaries of conventional art and challenged the prevailing narratives surrounding race. By utilizing a material as simple as wire and transforming it into intricate and evocative forms, Asawa’s art communicated powerful messages about equality and humanity without needing a vocal platform.

Through these influences, Ruth Asawa’s wire sculptures emerged as a synthesis of her educational background, personal experiences, and thematic concerns, enabling her to forge an artistic path that highlights the importance of race and identity in contemporary discourse.

Message of Racial Equality

As a Japanese American woman, Ruth Asawa’s art often grappled with the theme of racial equality. Her wire sculptures were a powerful tool to challenge and redefine the racial hierarchies that influenced art perception during her lifetime. Asawa’s works were not just a personal rebuttal to the racial characterizations of her art, but a universal call for equality. She intentionally crafted pieces that transcend cultural aesthetics, emphasizing the universality of life. This pursuit of equality is not just her personal journey, but a shared advocacy for inclusion and representation in the arts community.

Legacy

Ruth Asawa’s legacy is not confined to the past, but continues to resonate today. She is celebrated for her contributions to contemporary art and her pioneering spirit. Her works, once overlooked, have gained significant recognition in the art market, showcasing the evolving appreciation of her artistic expression. Museums and collectors now actively seek her sculptures, a testament to the enduring relevance of her message regarding equality and art’s role in society. Asawa’s work stands as a powerful reminder of the timeless capacity of art to convey profound social messages and inspire change.

How is Ruth Asawa’s message of racial equality reflected in contemporary art today

Ruth Asawa’s message of racial equality is echoed strongly in contemporary art, serving as a foundation for many contemporary artists advocating for social justice and inclusivity. This connection manifests through various artistic practices and movements that tackle themes of race, identity, and representation, building on Asawa’s pioneering approach.

Amplification of Marginalized Voices

\Contemporary art has witnessed a significant rise in artists utilizing their platforms to amplify marginalized voices and challenge racial inequalities. Artists like Kehinde Wiley and Ai Weiwei draw inspiration from Asawa’s commitment to addressing racial issues within their works. Wiley, known for his vibrant portraiture that showcases Black subjects in heroic postures, gestures to the importance of representation that Asawa championed throughout her career. Similarly, Weiwei’s work often critiques oppressive regimes, thus highlighting the intersection of art and activism, much like Asawa’s engagement with racial equality through art.

Ruth Asawa wire art, sculpture
Photo credit: Ruthasawa.com

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Marlow Moss, su declaración

Marlow Moss
Marlow Moss (with cravat and cigarette) c.1950s, black and white photograph by Stephen Storm, private collection

Una declaración de «Marjorie Moss» en francés de 1932, publicada en «Abstraction-Création: Art Non-Figuratif’, número 1, París

French

Marlow Moss. 1931

puisque c’est le but de cet almanach d’introduire le public dans le domaine de l’art non-figuratif, je veux me limiter Ici a une brève explication des raisonnements qui m’ont poussée vers cette nouvelle plastique.

jusqu’aujourd’hui la peinture a employé comme moyen d’ex- pression les formes déjà faites par la nature. pourtant le but de l’artiste n’a jamais été de donner simplement une re- présentation de ces formes. l’artiste se sentait attiré vers les formes naturelles, parce que malgré l’évidente muabilité de leurs formes limitées, elles semblaient lui communiquer une vérité immuable et universelle. sans éprouver pourtant. le besoin d’approfondir cette vérité. il l’acceptait comme un mystère.

mais le peintre moderne ne se contents plus de ce sentiment de mystère. il suit ce raisonnement si en effet les formes naturelles contiennent un élément d’une vérité universelle et immuable, cela veut dire alors que ces formes sont compo sées de deux éléments, c’est-à-dire d’un élément changeable. en tant qu’elles sont formes visibles, et d’un élément inchan- geable en tant qu’elles appartiennent à cette vérité univer- selle, et qui n’est pas visible. leur vraie valeur ne se trouve donc pas dans leur forme visible mais dans la relation qui existe entre cette forme et l’univers. la tâche de l’homme. est donc d’approfondir sa conscience de l’univers afin de pouvoir établir l’équilibre de rapports qui doit exister mu tuellement entre ces formes visibles et l’invisible. formé une fois une conception mentale de l’univers il ne pourra plus se servir des formes naturelles pour exprimer cette conception, parce que ces formes naturelles et limitées. n’ayant qu’une valeur relative témoignent de cette vérité sans l’exprimer en sa totalité.

le peintre a done été obligé de se créer une nouvelle plasti- que. voilà ce que l’art non-figuratif cherche à accomplir. 1 veut construire la plastique pure qui pourra exprimer en totalité la conscience de l’artiste envers l’univers.

English

Marlow Moss. 1931
since it is the purpose of this almanac to introduce the public to the field of non-figurative art, i will limit myself here to a brief explanation of the reasons which led me to this new plasticity.
until now, painting has employed as a means of ex- pression the forms already made by nature. yet the artist’s aim has never been simply to give a re- presentation of these forms. the artist felt drawn to natural forms, because despite the obvious mutability of their limited forms, they seemed to communicate to him an unchanging and universal truth. yet without feeling the need to delve deeper into this truth. he accepted it as a mystery.

but the modern painter is no longer content with this sense of mystery. he follows this line of reasoning if indeed natural forms contain an element of universal, unchanging truth, then this means that these forms are composed of two elements, i.e. a changeable element insofar as they are visible forms, and an unchanging element insofar as they belong to this univer- sal truth, which is not visible. their true value therefore lies not in their visible form, but in the relationship that exists between this form and the universe. man’s task is therefore to deepen his awareness of the universe in order to establish the balance of relationships that must exist mutually between these visible forms and the invisible. once he has formed a mental conception of the universe, he will no longer be able to use natural forms to express this conception, because these natural and limited forms, having only a relative value, bear witness to this truth without expressing it in its totality.
This is what non-figurative art seeks to achieve. 1 wants to build the pure plastic that can fully express the artist’s awareness of the universe.

In 1932, Moss wrote ‘…natural forms contain, in effect, an element of an unchanging and universal truth, this means that these forms are composed of two elements, that is, one changeable element, in that they are visible forms, and one unchangeable element, in that they belong to this universal truth, which is not visible. Their true value is therefore not found in their visible form but in the relation that exists between this form and the universe… [I aim] to construct pure plastic art that will be able to express in totality the artist’s consciousness of the universe.’

Moss saw Constructivism as an artistic lingua franca that overrides both personality and biography.

Españaol

Marlow Moss. 1931

“No soy pintor, no veo formas, sólo veo espacio, movimiento y luz” – Marlow Moss,

El pintor moderno ya no se conforma con este sentido del misterio. Si las formas naturales contienen, efectivamente, un elemento de verdad universal e inmutable, esto implica que dichas formas están constituidas por dos elementos: uno cambiante, al ser formas visibles, y otro inmutable, al pertenecer a una verdad que no es visible. Su verdadero valor, entonces, no radica en la forma visible, sino en la relación entre esa forma y el universo. El propósito del ser humano es profundizar su conciencia del universo para poder establecer el equilibrio entre las relaciones que existen entre lo visible y lo invisible. Una vez que se ha formado una concepción mental del universo, ya no será posible utilizar las formas naturales para expresarla, ya que, al ser limitadas y relativas, las formas naturales solo dan testimonio de esa verdad sin poder expresarla plenamente.

Esto es lo que busca el arte no figurativo: construir una plástica pura que pueda expresar de manera completa la conciencia del artista sobre el universo. Marlow Moss, 1931.

Dado que el objetivo de este almanaque es introducir al público en el campo del arte no figurativo, me limitaré a ofrecer una breve explicación sobre las razones que me llevaron a esta nueva forma de arte plástico. Hasta ahora, la pintura ha utilizado las formas ya presentes en la naturaleza como medio de expresión. Sin embargo, el objetivo del artista nunca ha sido simplemente reproducir estas formas. El artista se sintió atraído por las formas naturales porque, a pesar de la evidente mutabilidad de sus límites, parecían comunicarle una verdad inmutable y universal. No obstante, sin la necesidad de profundizar en esta verdad, la aceptó como un misterio.

En 1932, Moss escribió “«”…las formas naturales contienen, en efecto, un elemento de una verdad inmutable y universal, lo que significa que estas formas se componen de dos elementos, es decir, un elemento cambiante, en el sentido de que son formas visibles, y un elemento inmutable, en el sentido de que pertenecen a esta verdad universal, que no es visible. Por tanto, su verdadero valor no se encuentra en su forma visible, sino en la relación que existe entre esta forma y el universo… [Mi objetivo es construir un arte plástico puro que sea capaz de expresar en su totalidad la conciencia que el artista tiene del universo».
Moss veía el Constructivismo como una lengua franca artística que anula tanto la personalidad como la biografía.”

Native Tribes Art of the United States and Canada

Native Tribes Art of the United States and Canada
Native Tribes Art of the United States and Canada

Native American art in the United States and Canada is a rich and varied tradition that includes paintings, carvings, pottery, woven rugs and blankets, silver jewelry, and more.

Native Tribes Art is rich, diverse, and deeply connected to cultural, spiritual, and historical practices. Each tribe has unique artistic traditions, materials, and symbolism that reflect their ways of life, beliefs, and relationship with nature. Here’s an overview of the art from various Native tribes across the United States and Canada:

1. Navajo (Diné) Art

One of the largest Native American tribes, the Navajo, is known for its intricately woven rugs and blankets, silver jewelry, and sand paintings. Their weaving techniques often incorporate geometric patterns and symbols representing harmony and balance. Navajo jewelry, especially turquoise pieces, is recognized for its detailed silverwork and use of symbolic motifs such as the thunderbird.

2. Hopi Art

The Hopi, from the Southwestern United States, are renowned for their pottery and Kachina dolls. Their pottery, often featuring geometric designs and symbols related to the spiritual and natural worlds, holds significant cultural value. Kachina dolls, representing spirits, are used in Hopi ceremonies to teach children about the belief system and cultural practices. The Hopi also create masks for ceremonial dances, often painted with symbolic designs.

3. Sioux (Lakota, Dakota, Nakota) Art

The Sioux tribes are known for their beadwork, quillwork, and leather goods. Their artwork, often depicting animals, spiritual symbols, and imagery reflecting their nomadic lifestyle and close relationship with nature, serves both functional and symbolic purposes. Beaded moccasins, decorative items, and war shields are examples of Sioux art that not only serve practical functions but also carry deep symbolic meanings.

4. Cherokee Art

The Cherokee are known for their basket weaving, pottery, and beadwork. Their pottery often includes intricate geometric patterns, while their beaded garments and regalia are essential in cultural and ceremonial contexts. Cherokee art emphasizes themes of balance, nature, and community.

5. Iroquois Confederacy (Haudenosaunee) Art

The Iroquois Confederacy, consisting of the Mohawk, Oneida, Onondaga, Cayuga, Seneca, and Tuscarora nations, is known for its wampum belts and beadwork. Wampum, made of shells, was used as currency and a way to record important treaties and historical events. The Iroquois also made beautiful birch bark baskets and carved wooden masks used in their religious ceremonies.

6. Zuni Art

The Zuni, a Pueblo people from New Mexico, are known for their silver jewelry, turquoise work, and pottery. Zuni fetish carvings, small sculptures representing animals and spirits, are highly prized for their detailed craftsmanship. Zuni pottery is often decorated with symbolic and geometric patterns, and their turquoise jewelry incorporates intricate silverwork.

7. Pueblo Art

The Pueblo peoples, including the Hopi, Zuni, and Taos, are famous for their pottery and woven textiles. Pueblo pottery often features intricate, geometric designs, and woven rugs are highly valued for their bold, symmetrical patterns. Pueblo art is deeply connected to the spiritual practices of the community, often representing religious symbols or natural elements.

8. Tlingit Art

The Pacific Northwest Coast Tlingit people are renowned for their wood carving, totem poles, and masks. These works of art often represent animals and spirits and serve ceremonial functions, including potlatches. The Tlingit also produce embroidered garments and woven baskets that reflect their culture’s deep connection to the natural world.

9. Nez Perce Art

The Nez Perce, originally from the Pacific Northwest, are known for their beadwork, quillwork, and horse culture artifacts. They also create beautifully decorated hides featuring animals and elements of the natural world. Nez Perce’s beadwork, with its vibrant colors and symmetrical designs, is often incorporated into clothing and accessories.

10. Blackfoot Art

The Blackfoot Confederacy, which includes the Siksika, Kainai, and Piikani nations, is known for its beadwork, buffalo-hide art, and quillwork. Blackfoot art often incorporates the buffalo, which is central to their nomadic lifestyle, as well as geometric patterns representing spiritual beliefs and the interconnectedness of all life.

11. Algonquin Art

The Algonquin people of the northeastern U.S. and Canada are known for their basket weaving, beadwork, and wood carvings. Their art often features animals, geometric patterns, and natural elements. Beaded garments, including moccasins and headdresses, are central to their artistic tradition.

12. Shoshone Art

The Shoshone, from the Great Basin and Western U.S., are known for their beadwork, basketry, and rock art. Shoshone rock art is often found on cliffs and rock faces. It features geometric designs and representations of animals, symbolizing spiritual and natural connections.

13. Tewa Art

The Tewa, a group of Pueblo people, are renowned for their pottery, which features intricate, symbolic, and geometric patterns. Tewa pottery is often used in religious ceremonies and is central to their cultural identity. Mural paintings and woven textiles are also essential aspects of Tewa art.

14. Haida Art

The Haida people, from the Pacific Northwest Coast, are known for their elaborate wooden totem poles, masks, and carvings. Haida art typically incorporates animal and spiritual motifs, representing their ancestors, clan identity, and deep connection to the environment.

15. Mi’kmaq Art

The Mi’kmaq people of eastern Canada are known for their intricate beadwork, basketry, and wampum belts. Their art often depicts animals, spiritual symbols, and scenes from everyday life. Birch bark scrolls record their history, while quilted textiles and woven garments reflect their connection to nature.

Vidas paralelas: Marlow Moss y Claude Cahun en la Galería de Arte de Leeds

marlow moss
marlow moss

Vidas paralelas: Marlow Moss y Claude Cahun en la Galería de Arte de Leeds

Sarah Brown, Curadora de Exposiciones en la Leeds Art Gallery, presenta una mirada detrás de las escenas de las exposiciones actuales que están en proceso de instalación: dos exposiciones individuales de los artistas Marlow Moss y Claude Cahun.

El título de la exposición, Parallel Lives, reúne a ambos artistas. Vivieron y murieron con pocos años de diferencia, compartiendo muchas similitudes tanto en lo personal como en lo artístico. Ambos trabajaron en París: Marlow Moss lo hizo junto a Piet Mondrian, mientras que Claude Cahun lo hizo con figuras como André Breton y Henri Michaux, así como otros artistas surrealistas. Aunque sus vidas fueron paralelas, sus trabajos fueron increíblemente distintos.

Marlow Moss es conocida por su pintura y escultura abstracta, mientras que Claude Cahun es famosa por su asombroso cuerpo de trabajo fotográfico, especialmente sus autorretratos y naturalezas muertas, que dejó a la Jersey Heritage Trust.

Esta exposición también marca el inicio de un esfuerzo por restablecer a Marlow Moss como una artista británica relevante, ya que muchos aún no la conocen, aunque su obra está bien representada en importantes colecciones de Europa, especialmente en los Países Bajos. En el Reino Unido, solo posee dos obras en la colección TAP y una en la colección de Leeds. La mayor parte de su trabajo está en colecciones privadas.

Moss comenzó su carrera en París en la década de 1930, siendo miembro fundador del grupo Abstraction-Création, junto a figuras más conocidas como Mondrian. Exibió regularmente en París y se relacionó estrechamente con otros artistas de la misma época. Sin embargo, cuando estalló la Segunda Guerra Mundial, regresó a Inglaterra debido a su nacionalidad británica, pero no tuvo las mismas conexiones en Inglaterra que en Europa. Esto la llevó a trabajar en relativo aislamiento en Cornualles durante los últimos 18 años de su vida. Gran parte de las obras en esta exposición provienen de esa época, especialmente de la década de 1950, donde se sigue viendo la fuerte influencia de Mondrian y otros constructivistas europeos.

Por otro lado, una de las razones que me atrajo trabajar con Claude Cahun fue su extraordinario trabajo en autorretratos, que no solo reflejan su identidad como escritora y performer, sino también su experimentación con la fotografía. Muchos de estos trabajos nunca antes han sido exhibidos. Todo el trabajo proviene de la Jersey Heritage Trust, donde Cahun vivió tras huir de París debido a la ocupación nazi. Se trasladó a la isla de Jersey, donde comenzó a experimentar con el paisaje local, sus flores y la costa.

Una de las series fotográficas más destacadas de Cahun es de 1932, donde experimenta con el proceso fotográfico, la impresión y el uso de su propio cuerpo en el paisaje. Lo más impresionante de estas fotos es cómo Cahun se involucra con el proceso creativo, haciendo de su propio cuerpo y entorno parte integral de la obra. La interacción entre la performer, la cámara y el espacio crea una atmósfera fascinante y única.

En cuanto a Marlow Moss, su impacto también ha sido significativo en la teoría de género y estudios queer. A menudo, se la podría confundir con un hombre debido a su aspecto: cabello perfectamente peinado, una actitud elegante y masculina, y el uso frecuente de cigarrillos y gatos en sus retratos. Aunque nunca escribió sobre su elección de vestimenta, es claro que se identificaba con una estética andrógina. Cambió su nombre de Margerie Je Moss a Marlow Moss, adoptando una apariencia más masculina o neutral en sus atuendos, incluso en fotografías casuales. Este cambio fue parte de su adaptación a la figura del artista moderno.

Lo emocionante de estas exposiciones es que tanto Marlow Moss como Claude Cahun son figuras poco conocidas, lo que hace que sea aún más importante darles la visibilidad que merecen. Este tipo de exposiciones no solo buscan traer a estos artistas al presente, sino que también marcan el comienzo de un reconocimiento mayor de su legado.

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