Miami’s thriving art scene doesn’t have to break the bank. You can immerse yourself in world-class art without spending a dime, thanks to various free admission days and always-free institutions across the city. Whether you’re a long-time art lover or just curious to explore, there are plenty of opportunities to discover captivating exhibitions and engage with compelling works.
Free Admission to Miami’s Flourishing Art Community:
Bass Museum of Art (2100 Collins Ave., Miami Beach)
Phone: (305) 673-7530
Enjoy free admission on the third Thursday of every month from 6–9 PM. They also host a free Family Day on the last Sunday of each month from 2–4 PM. Bank of America cardholders and Miami Beach/Surfside residents with ID can get in free on the first full weekend of the month.
MOCA North Miami (770 NE 125th St.)
Phone: (305) 893-6211
Experience their popular Jazz at MOCA series for free on the last Friday of every month from 7–10 PM. North Miami residents with ID and Bank of America cardholders (on the first full weekend) also receive free admission.
Pérez Art Museum Miami (PAMM) (1103 Biscayne Blvd.)
Phone: (305) 375-3000
Get free entry on the second Saturday of every month, all day, with art activities running from 11 AM–3 PM.
The Wolfsonian–FIU (1001 Washington Ave., Miami Beach)
Phone: (305) 531-1001
Admission is free every Friday from 6–9 PM. Florida residents and the SUSF community with ID also enjoy free entry.
NSU Art Museum Fort Lauderdale (1 E Las Olas Blvd.)
Phone: (954) 525-5500
Take advantage of their “Sunny Days/Starry Nights” free admission on the first Thursday of every month from 11 AM–7 PM.
Always Free Admission:
Several institutions offer free admission year-round, making art accessible at any time:
Discover Miami’s Thriving Art Scene – No Cost, Just Culture!
Frost Art Museum – FIU (10975 SW 17th Street, Miami, FL 33199)
Phone: (305) 348-2890
Open Tuesday–Sunday, 11 AM–5 PM.
ICA Miami (61 NE 41st Street, Miami, FL 33137)
Phone: (305) 901-5272
Open Wednesday–Sunday, 12–6 PM. Remember to reserve your tickets in advance.
Lowe Art Museum, UM (1301 Stanford Dr, Coral Gables, FL 33146)
Phone: (305) 284-3535
Open Wednesday–Saturday, 10 AM–4 PM.
Make sure to save this list so you never miss an opportunity to discover the incredible art offerings throughout Miami!
Bernice Steinbaum Gallery Unveils "HEY, LOOK ME OVER!" – A Celebration of Miami's Diverse Artistic Talent
Bernice Steinbaum Gallery Unveils “HEY, LOOK ME OVER!” – A Celebration of Miami’s Diverse Artistic Talent
The Bernice Steinbaum Gallery is thrilled to announce its much-anticipated annual summer exhibition, “HEY, LOOK ME OVER!” welcoming art enthusiasts to celebrate the vibrant and diverse talents of both emerging and established artists. The opening reception is scheduled for Saturday, June 21st, 2025, from 4:00 to 8:00 PM, at the gallery’s location at 2101 Tigertail Ave, Miami FL 33133.
This annual event is a cornerstone of the Miami art calendar, not only featuring compelling new work from artists currently represented by the Bernice Steinbaum Gallery but also shining a crucial spotlight on extraordinary artists who are yet to find gallery representation – but unequivocally deserve it.
“HEY, LOOK ME OVER!” promises an exciting range of works across various mediums, inviting attendees to immerse themselves in a rich tapestry of contemporary art. The exhibition proudly showcases the talents of:
Guests will have a unique opportunity to meet the artists, engage in meaningful conversation about their creative processes, and explore the cutting-edge art shaping Miami’s cultural landscape.
This exhibition is more than just a show; it’s a celebration of creativity and community, serving as a powerful reminder that Miami is home to an abundance of talented artists, often exceeding the limited number of galleries available to showcase their exceptional work.
The Bernice Steinbaum Gallery extends a warm invitation to all to join for an inspiring evening of art, connection, and discovery.
Learn how to clean a paintbrush properly, to ensure that your paintbrush has a long lifespan!
The sign of a happy paintbrush is one that is gooped in paint, dripping with color, and skipping freely across a canvas – gleefully leaving behind a trail of peppy pigment. A happy paintbrush is a faithful sidekick and as such, deserves to be well-treated. It’s important to take good care of your paintbrushes, so that you can enjoy one another’s company for a long time to come!
So to keep your paintbrushes happy, remember these few points:
1. Never let acrylic paint dry on a paintbrush
The most important thing to remember in terms of brush care when working with acrylics is that acrylic paint dries very quickly. Always keep your brush wet or moist. Whatever you do – don’t let the paint dry on the brush! The longer it is allowed to dry on the brush, the harder the paint will become, which makes it more difficult (if not downright impossible) to remove. Dried acrylic paint on a brush basically ruins the brush, effectively turning it into a crusty stump. Even if you know how to clean a paintbrush, there’s really no way to de-crustify a crusty stump of a paintbrush.
What happens if you do happen to let acrylic dry on your paintbrush? Is all hope for the brush lost? Not so, read here to find out what you can do with crusty brushes!
Because acrylics dry so quickly and I want to avoid letting the paint dry on the brush, I typically work by using one brush at a time. On those rare moments when I do use more than one, I keep a close eye on the ones that are not in use, occasionally dipping them in water and shaking off the excess, just to keep them moist. When I’m not using them, I rest them across the rim of my cup of water. As soon as I think I’m done using one of the brushes, I’ll thoroughly clean it before continuing with the painting.
2. Don’t get paint on the ferrule
Let’s refresh our knowledge of the basic parts of a paintbrush:
You see that silvery bit that connects the hairs of the brush with the handle? That part of the brush is called the ferrule. In general, try not to get paint on the ferrule. When paint gets on the ferrule, it’s usually connected in a large blob between the ferrule and the hairs, and the result (even after you wash it) is that the hairs will spread apart and wind up frayed. So try your best not to get paint on this part of the brush!
3. Don’t rest your paintbrush with bristles down in a cup of water
This is another important point – never leave your brush with the hairs down in a cup of water – not even for a few minutes. This will cause the hairs to bend and/or fray and go all wonky, and the effect is irreversible. If your brushes are precious to you, then this is a definite no-no. Even if the hairs don’t bend, for example if it’s a rather stiff brush, the hairs will still spread in the water and become frayed and puffed when dry. It will basically never be the same paintbrush ever again!
If you make a purchase via the links below I receive a small commission, which helps support this site.
When actively using more than one paintbrush at a time, it is best to place the brushes that are on “stand-by” in such a way that the bristles are not touching your palette or tabletop, especially if there is paint on the brush. One easy solution is to lay them horizontally with the bristles hanging over the edge of your work table. This is what I do when I’m working in a place where the floor is either protected or allowed to get paint stains. A more posh solution is this Porcelain Brush Holder. You can rest the paintbrushes in the grooves, keeping the bristles raised. The brush holder is heavy enough that it won’t slide around or easily fall over.
Here’s another solution for keeping your paintbrushes upright and easily accessible whilst painting. It also serves as a safe solution for transporting your beloved paintbrushes! The Alvin Prestige Paintbrush Holder is made from sturdy black nylon with a handy velcro enclosure.
This brush holder folds up to protect your brushes during transport, and when you’re ready to paint, simply pull the drawstring elastic to prop the holder upright, making your paintbrushes easy to reach. The Alvin Prestige Paintbrush Holder is available in two sizes.
4. What to do in an emergency?
Sometimes the unexpected happens. If there’s a sudden emergency or interruption (the phone ringing, for example) and you need to dash off in a rush, try to take the extra 10 seconds to do this:
Quickly swish your paintbrush in water, then squeeze out the excess paint and water in a paper towel or rag. Then quickly swish it again in the water and leave it gently resting across the rim of your water cup.
This simple procedure can be done in under 10 seconds. This way, if you’re gone for awhile, the brush will stand a better chance of being saved. Leaving it hairs-down in a container of water will surely ruin it, so why take the chance?
Of course, use common sense though. For example, if your studio is on fire, save yourself. You can always buy new brushes! That’s an extreme example, but you know what I mean.
5. What if I do ruin my brush?
So what happens if you do wind up with a crusty stump instead of a paintbrush? To look at the positive side, you don’t necessarily have to throw it away. Perhaps out of a deep sense of loyalty, I always have difficulty throwing brushes away after they’ve become crusty or frayed. So I keep them, and use them as “alternative” art-making tools. Even if the bristles of the brush become hard and brittle, they can still be used to apply paint onto a canvas, albeit in a more rough, expressionistic way. This makes them great for painting abstract art or other styles of artwork that don’t require intricate precision or gentle brushstrokes. You can also use the handle of the brush to scrape designs into a thick layer of paint on the canvas.
Be aware that the hairs of your brush may (and will, eventually) get tinted to whatever color you’ve been using. This is normal and nothing to worry about. The stained color is locked into the bristles, so the color won’t stain or intermix with your paint the next time you use it. Don’t worry, if your brush gets tinted with color, it’s not ruined!
Caring for your paintbrush is mainly a matter of common sense. If you treasure your tools, you’ll intuitively know how to treat them. Just follow these guidelines and you will have a set of happy paintbrushes on your hands!
MBUS ART TALK 2025 with Christopher L. Mitchell Wednesday, June 11 | 6:30 PM FIU MBUS Design Gallery | 420 Lincoln Road, 4th Floor, Miami Beach, FL Free and Open to the Public
Florida International University’s Miami Beach Urban Studios (MBUS), in collaboration with the School of Architecture and the Department of Art + Art History, invites the public to an inspiring evening of conversation and creativity at MBUS Art Talk 2025, featuring artist Christopher L. Mitchell.
Join us on Wednesday, June 11 at 6:30 PM for a powerful live talk where Mitchell will delve into his photographic work that explores cultural memory, resistance, and the shifting landscapes of Haiti and the Haitian diaspora. From the electrifying rhythms of Kanaval Jacmel to the quiet transformation of Little Haiti, Mitchell’s work captures stories of ritual, resilience, and identity.
This special evening takes place at the FIU MBUS Design Gallery, located at 420 Lincoln Road, 4th Floor, Miami Beach. Admission is free and open to all, whether you’re an artist, student, cultural worker, or a member of the broader community.
This event is presented with the support of the City of Miami Beach Department of Tourism and Cultural Development, Office of Cultural Affairs, and the Miami Beach Mayor and City Commissioners.
On View: Agwe et La Siraine at Laundromat Art Space
In addition to the upcoming talk, my pop-up installation Agwe et La Sireine is currently on view at Laundromat Art Space.
This immersive work draws on Haitian cultural symbols of the sea. Inspired by the lwa Agwe and La Sireine, the installation invites viewers into a dreamlike marine realm that speaks to the sacred, the submerged, and the unseen.
Laundromat Art Space 185 NE 59th St, Miami, FL
About the Artist
Christopher Mitchell is a Haitian-American multidisciplinary artist who grew up in South Florida and explores cultural memory, migration, and transformation across the Caribbean and its diaspora. Rooted in long-term fieldwork and analog practices, Mitchell uses film photography and documentary to archive resilience and ritual in the face of erasure. His work often focuses on Haitian traditions, most notably Kanaval Jacmel and Vodou ceremonies, as well as the gentrifying landscape of Little Haiti in Miami, where he currently lives and works.Mitchell was recently the subject of Shattered Structures, a solo exhibition at FIU’s Miami Beach Urban Studios marking the 15th anniversary of Haiti’s 2010 earthquake. Other exhibitions include Les Sirènes at MOCA Miami and a solo show at the African American Research Library. His ongoing projects include a documentary on Vodou in Souvenance and on Kanaval Jacmel, filmed in Haiti while living there for 15 years.
Beyond the Canvas: A Conversation with Lauren Clancy
Lauren Clancy’s art doesn’t just hang on a wall; it lives, breathes, and often aches. Her mixed-media paintings, rich with the tactile presence of newspaper fragments, raw color, and layered textures, feel less like compositions and more like archaeological digs into the human spirit. They are visceral landscapes where memory, grief, and resilience bleed through, inviting viewers to confront the chaos of existence and find a surprising sense of release.
In this candid interview, Clancy pulls back the curtain on her deeply personal process. She speaks with an unvarnished honesty about navigating life’s tumultuous fires—illness, loss, and profound betrayals—and how these experiences forge the very essence of her work. This isn’t art created for external validation but rather born from an intrinsic compulsion—a sacred act of survival and self-discovery. As we delve into her unique relationship with language, her journey through multiple creative disciplines, and her unwavering commitment to truth, it becomes clear that Clancy’s art is not merely biographical; it’s a resonant vibration, a raw testament to the human condition that calls us to feel “something”—discomfort, recognition, release, or perhaps, all of it at once.
AMM: Your work feels like it’s been torn straight from the soul—fragments of newspaper, color, memory, grief. When you’re creating, are you trying to make sense of the chaos or just survive it?
LJC: I create when I’m compelled, when something in my soul needs to be made tangible. I don’t always know what I want to make, or how it will turn out. Sometimes I wrestle with my own inner ego. Will this work? Will it make sense in the end? I am my own worst critic. The inner turmoil I’ve experienced through painting is something I’ve had to both relinquish and reckon with in order to keep pushing forward. I’ve had to move past my own boundaries and keep creating anyway.
And then, at some point, I remember… there’s almost no need for all that doubt. It always comes together in some way. And if it doesn’t, you just paint over it. That’s the beauty of painting.
My life outside the studio is often very structured. It’s busy, fast-paced, and full. But when I step into the studio, it’s like I can finally breathe. I put on music, let go, and just pour it all out. That space becomes sacred. It’s meditative. It’s freeing. Sometimes it feels like mindlessness. Other times, it feels like survival.
All my life, I never made art to show other people or to sell. I only began sharing it within this past year, after reaching a turning point in my life and really just gathering the courage to. But even now, I’ll always strive to create from that original place, making what I’m compelled to make, not what I think people want to see or what might sell.
We live in a world where coercion is commonplace, where people compromise themselves in nearly every facet. I witnessed that deeply during COVID. And while it may be controversial to say, it marked something in me. My integrity, my truth, and honoring myself will always mean more to me than being liked, praised, or profitable. If that doesn’t resonate with galleries or collectors or anyone else… so be it. I’ll still keep making my art, the way I need to.
I’m a truth seeker. In my life and in my work, I go to the deepest depths, through grief, memory, excavation, and intuition, in order to reach the truth of something. I refuse to compromise. For me, it’s almost: give me truth or give me death. That’s how vital it feels.
AMM: You’ve lived through fire: illness, loss, rebirth—how do you keep the canvas from becoming therapy, and instead make it art that sings with something bigger than biography?
LJC: I’m not sure a canvas shouldn’t be therapy… or biography, for that matter. Why not let it be both? For me, painting is about capturing the essence of a moment, an emotion, a lived experience. It’s like a snapshot of the soul. There’s something deeply beautiful about honoring that.
When I was diagnosed at age 30 with stage 3A Hodgkin’s lymphoma, I felt like my life was shattered. Everything I thought I knew had to be picked up, re-examined, and rearranged into something new… something that made sense in the aftermath. I’ve had the rug ripped out from under me more times than I can count, especially in love, betrayal, and loss. But I’ve also experienced moments of immense bliss, joy, and spiritual connection.
For every depth of agony I’ve walked through, I’ve also touched the highest of highs. I feel fortunate to have lived a rich emotional experience… and if I’m being honest, I’m grateful for all of it. It’s shaped who I am as a woman, and as an artist.
I’m the antithesis of complacent in life. always in motion, always evolving, always peeling back new layers. I believe this pursuit is essential for my soul, because I’m always seeking to reach my highest self. I invest in my own growth, spiritually, emotionally, creatively, because I believe that’s where my best work comes from.
How do I know when the art has transcended the personal? I think it goes back to what I said earlier… something else just takes over. It’s no longer about me. It’s like the spirit within me moves, and suddenly what was once mine alone becomes something more. Something universal. Something meant to be shared.
I had a period of years after cancer where, in retrospect, I was dimming my own light. I held myself back with a certain restraint. I didn’t want others to feel envious of anything I was doing, whether perceived or real. I’m very conscious of energy, and I felt I needed to safeguard my own and any energy being negatively directed toward me. That much hasn’t changed, although I’ve learned better tools for handling and protecting myself. And while I live a beautiful life, I used to worry that fully stepping into it might “be too much.”
I also had a few scary experiences, two stalkers actually, that left a real imprint on me. But it wasn’t just them. I think it was also the trauma of cancer, and the heartbreak, and the betrayals from people I gave my whole heart to. Over time, I just didn’t feel safe… physically, emotionally, spiritually. I began unconsciously pulling back. In my younger years, I was more apt to live openly, to stand in the spotlight with a kind of raw, naïve trust in the world. But slowly, through those circumstances, I became shelled.
It took time to recognize that. To reconcile with it. But once I did, and I’m still on my journey with it, I began to find my way back. Not all at once… but slowly, and fully. And now, I believe that the more I allow myself to shine… to live in love, to be authentically and unapologetically myself… maybe others will be inspired to step into their own divine light with more warranted authority. And that’s the kind of light I want to send into the world.
AMM: Words show up in your paintings like ghosts—cut-out, buried, resurfacing. What’s your relationship to language now: is it your weapon, your anchor, your witness?
LJC: I’ve always had a fascination with books. I almost always have one with me, and I buy more than I could ever read in my very little spare time. In middle school, I used to walk around with an electronic dictionary… just because I loved learning new words. My father was an editor of a newspaper, and I have these vivid memories of newspapers scattered all over our house. I didn’t like them at the time, but now I see them as oddly comforting… an imprint of a certain time, of who we were.
Sometimes it makes me sad that newspapers and print are nearly extinct and being replaced by digital. I long for the tangible feeling of a crisp newspaper, a book. I still handwrite my own calendar. I just don’t think I’ll ever change in this digital world.
I love literature. I almost majored in it. I love expanding my vocabulary. It might sound a little dorky to say that, but it’s one of my passions. Words have always helped me make sense of the world. The more language we have, the more clearly we can express how we feel. And I believe that’s everything. Communication is everything.
As an ode to my past, and as a way to capture time itself, I often incorporate newspaper into my work. Not in every piece, but often. Even when the text isn’t fully visible, there’s something powerful in knowing it’s there. It’s like a quiet time capsule… subtle or sometimes not so subtle… but always present.
So yes, I would say language is my weapon, my anchor, and my witness. It doesn’t move quietly through my work. It’s potent, direct, and visceral… just like it is in my life.
AMM: You move between disciplines—acting, writing, painting—as if they’re all limbs of the same beast. What does each form give you that the others can’t?
LJC: I never really used the word “artist” to describe myself, which is kind of ironic considering how much of my life has been shaped by creative expression. Maybe it’s because I studied business in college, or maybe it’s the strong entrepreneurial side of me that kept me leaning into other kinds of pursuits. I’ve always been creative, but I often channeled that creativity into building things… businesses, ideas, stories, solutions. Business has always been grounding for me. It’s given me a sense of stability and structure, a kind of safety that allowed other parts of me to flourish. And while the business world doesn’t always feel fluid or soulful, creating my own company was, in its own way, an artistic act. I approached it with vision and imagination. I built it from the ground up using my creativity… just through a different medium.
Introspectively, perhaps I never used the word “artist” because, deep down, I didn’t feel worthy of it. To me, it’s always felt like an esteemed word. Noble, even. And for a long time, I wasn’t sure I had earned that kind of title. That says more about my own inner barriers than anything else, but it’s true. I had to grow into the courage to claim it. To realize that being an artist isn’t about permission. It’s about truth.
Since I was little, I’ve been dancing, writing, painting, performing… it’s always been part of me. Not something I took on, but something I came in with. These disciplines have moved through my life like different languages I’ve learned to speak. Sometimes all at once. Sometimes one louder than the others. But always there.
As an adolescent, I never thought I was any more talented than anyone else. I didn’t see myself as particularly gifted. I just figured everyone danced, everyone painted, everyone wrote. It wasn’t until later, looking back from a place of more self-awareness, that I realized how fortunate I am to have these abilities. I’ve come to appreciate how much these forms have shaped me and how naturally they’ve always flowed. It feels silly in hindsight, but for so long, I didn’t differentiate myself. I didn’t name what was special. My inner world is a very humbled one, possibly to my detriment.
For most of my life, I would make art and just put it away. I have pieces still sitting in my parents’ garage, buried in bins and corners. Even with the pieces I kept near me, I’d often finish them and slide them into a closet, then forget about them entirely. Creating was instinctual, but it was also deeply private… almost like a personal ritual. I didn’t really want anyone to see it. For a long time, that part of me felt too intimate to share. Most of my family knew, but many of my friends—even people I was close with, had no idea I made art at all. I didn’t make it to show… I made it because I had to.
But one day, while I was moving, I laid out around sixteen of my paintings across the floor. And for the first time, I really saw them. I saw the story. I saw the pain. I saw the evolution. And I felt something shift.
I took a few photos. And then I remembered… I had just met a photographer. I thought, maybe he can come over and snap a few professional ones before I put them away. I started writing down their names on a piece of paper. Scribbled their dimensions in the margins. It was nothing formal, nothing planned… just a quiet, almost mundane moment that felt strangely important. Like I was preserving something without quite knowing why.
Art Basel and Miami Art Week were swiftly approaching, and that inner nudge got louder. Submit. But it wasn’t just about showing the work. It felt spiritual. I was deep into a Sanskrit mantra practice, calling in higher alignment, trying to elevate my life. And something opened in me. A deeper passion. A sense of readiness that hadn’t been there before.
Until then, I hadn’t felt safe exposing that part of myself. I hadn’t wanted to bare my soul in that way. I worried… would anyone like it? Would I be judged? Would they laugh my work off the wall? I wrestled with that for years. But when I finally did show my work, it was received with such warmth and depth that I knew… I had to keep going.
Dance brings me into bliss, into presence, into spirit. Writing helps me make meaning… I’ve written poems, stories, essays, journals for as long as I can remember. And now, I’m in the process of writing a memoir, which has become a way to reclaim and reframe some of the most pivotal moments of my life.
Acting taught me emotional honesty and deep listening. Yoga brought me into a relationship with breath, stillness, and subtlety. These forms aren’t separate chapters in my life. They’re different expressions of the same essence.
So no, I didn’t always call myself an artist. And maybe the label doesn’t matter. What matters is that it’s in me. And I’m honored if others see it too.
AMM: When someone stands in front of your work—raw texture, emotion bleeding through—what do you want them to feel first: discomfort, recognition, release… or all of it at once?
LJC: Honestly, what matters most to me when someone stands in front of my work is that they feel “something.” That maybe they take a pause. Maybe they lean in a little closer. Maybe they see something in it that evokes a feeling or reminds them of a memory. That they find their own meaning in it.
I keep coming back to the word resonance, because that’s what I hope for…a vibration, a moment of recognition. The humanness of that, that connection through feeling, is what ties us all together.
I don’t paint with a fixed outcome in mind. Some pieces come from personal emotion, others from what’s happening in the world; politically, socially, or culturally. And sometimes it’s all of that at once. Through my use of newspaper clippings and other found materials, I try to reflect what’s unfolding around me in real time.
Some works, like Hidden Love, arrive with clarity. I saw that one in its entirety before I even began and had to build the puzzle pieces, quite literally, to match that vision. But more often, I start with a feeling or a fragment and let myself be guided. I pause, revisit, shift direction. The process is rarely linear.
And when I finish a piece, I sometimes step back and think, How did I even make that? It’s like I get so immersed that it just becomes what it needs to be. I’m not sure I could recreate some of them if I tried.
I think what I’m most drawn to in both making and sharing the work is the space it creates for someone else to enter. A woman once told me that my piece Narcissist reminded her of riding the subway in the Bronx as a child. It had nothing to do with my intention, but it became hers, and I loved that. That’s what art should do: create room for others to see themselves in it, in whatever way they need.
At the height of the depression in the 1930s, Sam Golden joined his uncle Leonard Bocour as a partner in Bocour Artist Colors. Leonard and Sam produced hand-ground oil colors for artists. The shop on 15th Street in Manhattan became a hangout for artists from the 1930s through the early 1950s. Artists such as Barnett Newman, Mark Rothko, Willem de Kooning, Jackson Pollock, Helen Frankenthaler and Jack Levine would go to the shop to visit with Leonard, talk to Sam and get paint.
January 01, 1950
Creating the First Acrylic
During one visit an artist gave Sam a honey-like resin and asked if it could be made into paint. Sam recognized that this idea would require experimentation as the early batches of the new paint seemed to dry before the paint was applied. Between 1946 and 1949, and after much trial and error, the first artist acrylic paint was ready for production. One of the earliest artists to use the paint “Magna”, was Morris Louis. Sam eventually developed a more popular waterborne version of the acrylic, “Aquatec.” He continued to refine the chemistry of acrylic paints, working with artists for the next 20 years to find what worked and what did not.
June 01, 1980
Golden Artist Colors Begins in 1980
After 30 years in the paint making business, Sam retired and moved to picturesque New Berlin, New York. Sam planned to fish and golf, but quickly grew bored with retirement and found himself “going to the barn to make paint for friends.” At the age of 67 Sam decided to come out of retirement.
Golden Artist Colors, Inc. began in June of 1980 in a 900 square foot, renovated barn. Sam, his wife Adele, son Mark and daughter-in-law Barbara Golden, along with partner Chuck Kelly, founded a new company that would embody Sam’s dedication to professional artists, work Sam described as simply “making tools for artists.”
The first four years were financially challenging. Sam and Adele used every resource they had to keep the business alive. Mark took weekly trips to New York City to sell products to artists and continue the conversation that had made Bocour so successful.
The business began to succeed with very loyal support the product was gaining from professional artists.
January 01, 1985
GOLDEN Expands in 1985
In 1985, the addition of a factory to the original cow barn gave the company 6,200 square feet of space. As the building grew, so did the product lines. The original Heavy Body and Iridescent Acrylics grew to include Fluid, Matte and Interference Acrylics.
June 01, 1990
GOLDEN Celebrates 10th Anniversary
As the GOLDEN brand gained respect in the artist community, more and more retail stores began to sell GOLDEN product. To meet the growing demand, another addition to the corporate headquarters was completed in 1990. The 13,000 square foot expansion added office, production and inventory space as well as a gallery. In July 1990, Golden Artist Colors celebrated its tenth anniversary and Sam Golden’s 50th anniversary of paint making.
The company received many local and national awards including the 1991 Business Arts Award by the Chenango County Chamber of Commerce and the Council of the Arts. Mark Golden received the 1996 Small Business Person of the Year from the US Small Business Administration and Golden Artist Colors was featured on the NBC Nightly News as a successful small business. In 1998 Mark Golden was selected by Fortune Magazine to appear in a video series on small business.
March 01, 1997
Sam Golden’s Legacy
GOLDEN added 31,000 square feet to the facility in 1997 and took down the “old barn”. But the surge in growth, sales and employees that year was eclipsed by sadness when Sam Golden died at age 82, on March 11, 1997. Sam left behind a legacy of participation in the creative process of artists and their materials.
June 01, 2002
GOLDEN Becomes Employee Owned
Golden Artist Colors, Inc. became an employee owned company in 2002 and in 2010, employees became the majority owners of the company. Despite worldwide distribution, GOLDEN product is still created on the grounds of the original barn in New Berlin using the highest standards for consistency and quality.
May 01, 2008
OPEN Acrylics Launched
In 2008 Golden Artist Colors launched OPEN Acrylics, a new line of colors and mediums with exceptionally slow-drying characteristics to allow artists to blend and rework acrylic paint in ways previously only possible with oils. OPEN introduces a completely new opportunity for artists and represents the kind of product innovation and commitment to artists that Sam imparted on the company that bears his name.
May 21, 2010
GOLDEN Acquires Williamsburg Artist Oil Colors
Golden Artist Colors assumes responsibility for realizing Carl Plansky’s dream for truly unique oil paints and mediums that reflect not only the traditions of painting in Europe and North America, but the artist’s passion that drives them forward. Carl himself claimed that only Golden Artist Colors could make oil paints with the integrity and style he envisioned and today Williamsburg Artist Oil Colors offers the largest palette of oil colors available. Read more about the History of Williamsburg Artist Oil Colors here.
May 01, 2012
Committed to Excellence
Today GOLDEN maintains a culture of individual excellence and community involvement. GOLDEN has sponsored “Paint Day,” to provide the people who make paint the experience of painting, and “Kids Day” when kids come and see where their parents work and get to use the product. The “Seconds Program” offers paint that does not meet GOLDEN standards and offers it at little or no cost to employees, local artists and nonprofit organizations.
GOLDEN constantly strives to outdo itself by operating on three principles: 1) Make the best products, 2) Provide customers with the best service, and 3) Find people who can make the first two happen. These principles are the essence of Sam Golden’s commitment to artists and their tools, and how we hope to grow a sustainable company dedicated to creating and sharing the most imaginative and innovative tools of color, line and texture for inspiring those who turn their vision into reality.
April 30, 2014
QoR Artist Watercolors is launched
Golden Artist Colors introduces QoR Artist Watercolors, a new line of watercolors that offers artists color strength, range and versatility unmatched in the history of watercolors. QoR’s exclusive binder gives color greater intensity and clarity, while retaining the best qualities of traditional watercolors. Read about the Science of QoR here.
June 23, 2014
Opening of Norwich Facility
GOLDEN acquired the former Apple Converting manufacturing building located at 65 Hale Street in Norwich, NY. The 45,000 square foot commercial space significantly increased the company’s warehousing and distribution capacity. Having this additional space also freed up manufacturing floor space within the company’s current facility in Columbus, NY.
October 01, 2021
GOLDEN Becomes 100% Employee Owned
The culmination of a plan put in place in 2002, when the company implemented an Employee Stock Ownership Plan (ESOP) for staff. In May 2010, GOLDEN staff became one of only 4,000 other companies across the entire United States to be majority owned by its employees. According to Mark Golden, “Implementing 100% ownership for staff is unique and something our family has dreamt about since the company’s beginning, on the premise that ‘what you care about will grow.’ Golden Artist Colors has grown far beyond any dreams we had starting out in my parent’s kitchen. Through four decades we’ve grown in the most wonderful ways through the care and dedication of employees who have taken this journey with us and made this place part of themselves.”
November 02, 2022
Acquisition of PanPastel and Sofft Tools
Golden Artist Colors adds PanPastel® and Sofft Tools® to its comprehensive fine art material offering for professional artists. “[Colorfin Co-Founder] Ladd’s incredible capacity to think between the spaces of our industry, his engineering mastery along with [Colorfin Co-Founder] Berni’s expertise and marketing ingenuity, quickly built brands that are recognized and sought after worldwide.”
GOLDEN will earn and sustain the trust of PanPastel supporters by keeping the tradition of this unique soft pastel color product – retaining the characteristics that make the pastel medium special: its directness and purity of color – but in a patented pan format that makes it function like paint.
GOLDEN President & COO, Barbara Schindler shared, “This acquisition has been a partnership between the two companies, focused on one goal: watching the PanPastel and Sofft Tools brands flourish and grow.”
On View: June 7, 2024 – August 13, 2025 Opening Reception: Saturday, June 7, 6:00 pm – 9:00 pm
Dot Fiftyone Gallery is proud to present Labyrinth of Thread, a pair of concurrent solo exhibitions with a collaborative component, curated by New York-based critic and curator Saul Ostrow. The show explores the textile practices of artists Laura Marsh and Inés Raiteri, focusing on their individual relationships to embroidery, fiber, and painting, as well as their ongoing teaching and community-based work.
Though both artists work with thread, needle, and fabric, they approach textile art from distinctly nontraditional, postmodern perspectives. They challenge expectations by using embroidery not simply as decoration, but as a means of engaging audiences in social commentary and self-reflection. Marsh’s work examines the flamboyant pageantry of middle America, while Raiteri’s practice—rooted in communal rituals—explores the expressive and spiritual dimensions of modernist geometry.
“Behind their use of embroidery as a common medium lie complex matters and histories. The juxtaposition of the works of these two women—of differing generations and cultural backgrounds—creates a lively dialogue that guides us on a mythic journey through the labyrinth of identity and human experience.” — Saul Ostrow, independent critic and curator
Born in 1982, Laura Marsh (Binghamton, NY) is known for her textile works and installations addressing history, affirmations, personal memory, social conditions, diverse perspectives, and American identities. Inés Raiteri, born in 1963 in Mar del Plata, Argentina, is recognized for her installations, textiles, paintings, and social practice projects, which explore themes such as urban design, architecture, body-space relationships, community, memory, and intimacy.
At the heart of Labyrinth of Thread is a collaborative installation featuring three large-scale textile works and community samplers. These tapestries reflect the dynamic interplay between Marsh and Raiteri’s distinct artistic perspectives and teaching practices. One of the works originated in a community workshop led by Raiteri and was later incorporated into Marsh’s adult embroidery class in Miami Springs. The resulting large-scale embroidery sampler is a testament to collective effort and shared creativity. The other two tapestries were co-created by Marsh and Raiteri, emphasizing the synergy of their collaboration. Together, the works move throughout the gallery space, inviting continued, threaded participation.
One piece—begun by Marsh and completed by Raiteri—depicts a symbolic “highway of life,” divided into north and south motifs. It traces a conceptual journey through time and place, blending Marsh’s northern storytelling roots with Raiteri’s emphasis on communal ritual. In contrast, the second work—a densely embroidered geometric composition—was initiated by Raiteri and finished by Marsh utilizing the shisha Indian technique of embedding mirrors through embroidery, inviting good omens, and underscoring their shared exploration of textiles as a language. These collaborations highlight each artist’s approach while also transforming embroidery into a medium for shared artistic dialogue. Alongside these works, the exhibition features individual pieces from each artist, demonstrating the breadth of their solo practices.
“While both artists use embroidery to embody a spirit of connection and perseverance, their viewpoints diverge. Raiteri’s practice functions as an anthropological exploration—interweaving personal and collective histories to question community, identity, and place. Marsh’s approach, on the other hand, is archaeological—focusing on the appropriation and display of heraldic symbolism to reinterpret fading cultural rituals. Much like Ariadne’s thread guiding Theseus through the labyrinth, Raiteri and Marsh use their work to navigate identity and history, unraveling hidden narratives and offering pathways to shared meaning.” — Saul Ostrow
“Labyrinth of Thread” will remain on view until August 13, 2025. Dot Fiftyone Gallery is located at 7275 NE 4th Ave, Miami, with gallery hours from Monday to Friday, 12:00 pm – 6:30 pm, and Saturday, 2:00 pm – 6:00 pm.
Essay of the show
Inés Raiteri and Laura Marsh Final – Embroidery
Laura Marsh and Inés Raiteri : Labyrinth of Thread
The divide between craft and art has dissolved. Artists incorporate techniques, practices, and materials associated with art and craft together. This is a recognition of crafts’ challenge of aesthetic hierarchies and critique of mass production and replication. This transformation in critical boundaries is central in the works of Laura Marsh and Ines Raiteri. They reimagine practices linked to craft as a medium conveying complex conceptual and aesthetic narratives.
Born in 1982, Laura Marsh hails from Binghamton, NY and is known for her textile works iand installations, which address themes of family history, personal memory, and rural middle- class America. Inés Raiteri was born in Mar del Plata, Argentina, in 1963, and is known for her installations, textiles, paintings, and social practice projects, which explore such diverse themes as urban design, architecture, community interactions, body-space relationships, memory, and intimacy. Behind their use of embroidery as a common medium there lurk complex matters and histories. Subsequently, the juxtaposition of the works of these two women of differing generations and cultural backgrounds generates a lively dialogue that guides us on a mythic journey through the labyrinth of identity and the human experience.
Though both artists use thread, needle, and fabric in their work, they approach textile art from a distinctly non-traditional — Postmodern perspective. They disrupt expectations by using embroidery not merely as a decorative medium but as a tool for engaging audiences in social commentary and self-reflection. Marsh’s work examines the flamboyant nature of middle-America’s pageantry, while Raiteri’s art, rooted in communal rituals, explores the expressive and spiritual dimensions of modernist geometry. While both artists are women, their aesthetic approaches reflect contrasting engagements with gendered cultural narratives. Raiteri’s work, with its delicate forms and textures, evokes intimate, traditionally feminine moments, while Marsh’s narratives are drawn from the culture of public display and social rituals often associated with masculinity. This juxtaposition underscores how their works uniquely engage with and subverts the gender associations tied to textiles as a medium.
To fully grasp the significance of Marsh and Raiteri’s varied practices, it is essential to reflect on embroidery’s shifting cultural and historical role, from a domestic pastime to a medium of artistic and social critique. At present, embroidery tends to be nostalgically associated with craft or a tedious pastime that grandmothers sought to teach to granddaughters in the era before-social media. This loss of stature begins with the advent of mechanical reproduction in the 19th century, when embroidery carried contradictory connotations: as a symbol of wealth, a leisurely hobby, or a form of folk art. However, these modern perceptions obscure the deeper historical and cultural significance that Raiteri and Marsh tap into.
Across centuries and continents, embroidery has been far more than mere decoration or handicraft—it has served as a bridge connecting cultures, generations, and personal histories. Peoples from various diasporas and colonized communities have relied on embroidery to preserve their national identity, using it as a medium to sustain cultural heritage and resist erasure. Whether crafted by artisans, passed down through families, or used as embellishment, embroidery has embodied stories of identity and continuity. Therefore, the current reductive view of skills like embroidery distorts their rich histories and profound meanings.
This rich history finds contemporary expression in the works of Marsh and Raiteri. Their various projects demonstrate how embroidery can serve as a platform for individual expression and collective creativity. The contrast in their approaches to their medium converge in their collaborative projects, which exemplify how embroidery can transcend individual narratives to create shared meaning. At the heart of this exhibition are three tapestries that highlight the dynamic interplay between Marsh and Raiteri’s distinct perspectives. The first is a community project initiated by Raiteri during an adult workshop and later incorporated into Marsh’s adult embroidery and materials class. The result is a large-scale embroidery sampler that reflects collective effort and shared creativity. The other two tapestries were co-created by Marsh and Raiteri, further emphasizing their collaborative synergy.
One piece, begun by Marsh and completed by Raiteri, features imagery that forms a symbolic “highway of life,” divided into north and south motifs. This work represents a conceptual journey through time and space, blending Marsh’s interest in storytelling with Raiteri’s focus on communal rituals. In contrast, the second piece—a densely embroidered geometric work—was started by Raiteri and handed off to Marsh for completion, showcasing their mutual exploration of textiles as a medium. These collaborative works not only highlight the artists’ unique approaches but also underscore how their partnership transforms embroidery into a powerful tool for shared artistic dialogue. Meanwhile also included in the exhibitions are examples of each artist’s own distinctive works.
While both these artists use embroidery to embody a spirit of connection and perseverance, their viewpoints diverge. Raiteri’s use of embroidery can be seen as an anthropological exploration—weaving together personal and collective histories to create narratives that probe the complexities of community, identity, and place. In contrast, Marsh’s approach functions as an archaeological endeavor, focusing on the use and appropriation of heraldic symbolism and its public display to uncover and reinterpret the fading cultural practices and rituals. Much like Ariadne’s thread guiding Theseus through the labyrinth, Raiteri and Marsh use their works to navigate the complexities of identity and history. Together they unravel stories that might otherwise be lost while offering pathways to meaning within the intricate narratives of our shared experience.
Saul Ostrow NYC April 2025
Saul Ostrow is an independent critic and curator. He has been the Editor of the book series Critical Voices in Art, Theory and Culture published by Routledge, London, Co-Editor of Lusitania Press (1996-12004) and since1987 has been the Art Editor for Bomb Magazine. He has curated over 80 exhibitions in the US and abroad. His own writings have appeared in numerous art magazines, journals, catalogues and books in the USA and Europe.
Miami, FL — MiFa Miami is proud to announce a multifaceted opening reception on Saturday, June 7, 2025, from 6 to 8 PM, showcasing three distinct exhibitions that highlight the diversity, talent, and vision of contemporary artists from across the globe.
🎨 Pagan Poetry Solo Exhibition by Raphael del Rosario Winner of 1st Place at the MIFA Juried Show 2024, Pagan Poetry presents a hauntingly lyrical body of work that explores sensuality, spirituality, and personal mythology. Curated by Shirley Moreira and William Alonso
🌍 Neither Here Nor There A compelling group exhibition featuring artists grappling with identity, memory, migration, and the in-between spaces of belonging. Artists: Salua Ares, Aleli Egues, Jose Luis Garcia, Juan Henriquez, Rebeca Lopera, Pablo Matute, Ana Mosquera, Veronica Pasman, Gustavo Plascencia, Evelyn Politzer, Débora Rosental, Nicole Salcedo, Carlos Sánchez-Tatá, Leticia Sanchez Toledo, Aida Tejada, Tonya Vegas Curated by Yin Chin Hsieh
🌊 Bossa Nova: Serenity Between the Waves Solo Exhibition by Maricy Clark, graduate of the MIFA Printmaking Program, explores rhythm, nature, and nostalgia through elegant printmaking and mixed media. Curated by Helio Salcedo
Join us for an evening of powerful visual narratives and vibrant community exchange. Meet the artists, engage with curators, and enjoy this immersive celebration of contemporary art.
📍 Location: MiFa Miami, 5900 NW 74th Ave, Miami, FL 33166 🕕 Time: 6 – 8 PM 🎟️ Free and open to the public
Saturday, June 7, 2025 | 12 – 6 PM Ariano Design Studio + Marina Font Studio 901 NW 62nd Street, Miami, FL 33150
Ariano Design Studio and Marina Font Studio invite you to an exciting one-day Art & Design Pop-Up Event on Saturday, June 7, 2025, from 12 to 6 PM in Liberty City.
This dynamic gathering brings together over 40 artists and designers for a special showcase of small works and design objects—a celebration of creativity across disciplines, from fine art to functional design. Presented in collaboration with @collective62, this pop-up offers a vibrant look at Miami’s contemporary art scene in an intimate, community-focused setting.
Explore a curated selection of works from celebrated creatives such as Carol Jazzar, Carola Bravo, Lisu Vega, Marina Font, Nicolas Leiva, Michelle Weinberg, and many more. This event is an opportunity to discover new voices, connect with the artists, and collect unique pieces directly from their creators.
Which paintbrushes do I need to start painting with acrylics?
The kind of paintbrush that you use can make all the difference in how well your painting turns out. Some brushes are more suited to particular techniques than others. So, how do you know which paintbrushes to choose?
First, familiarize yourself with the different kinds of paintbrushes recommended for use with acrylics. This Acrylic Paint Brush Guide will explain what each type of brush is used for. Narrow down which paintbrushes you will need based on the size and style of painting you would like to do.
In general, if you’re just starting out with acrylics and you’re on a tight budget, I’d recommend getting one round and one flat brush. That’s enough to accomplish most of what you need with acrylics. Two brushes is really all you need to get started with acrylics. Then if you decide you like it, you can go out and buy more artist paint brushes!
If you’re buying paintbrushes for the first time, I suggest going to your local art supply store and seeing them in person first. This will allow you the opportunity to see the wide variety for yourself. Then, once you’ve fallen in love with certain artist paint brushes, you’ll know exactly what to get if you want to buy them online.
At the store, you can pick up the artist paint brushes and run your fingers along the bristles, getting a feel for the different types of hairs. Some bristles stay firmly in place, while others are floppy. Some are soft to the touch, while others are stiff and coarse. For acrylics, you’ll usually want something that is between the softness of a watercolor brush and the coarseness of an oil painting brush.
To select a paintbrush, hold it in your hand and see how it feels. Check the bristles as described above. When you settle on a brush that “feels right” to you, check to make sure that it doesn’t have any stray or frayed hairs. If it does, put it back and get another one.
Should I get a paintbrush with natural hairs or synthetic hairs?
For acrylics, it’s better to get artist paint brushes with synthetic hairs. These hairs are made from a polyester called Taklon. They will stay stiffer than natural hairs when they are wet. In addition, the chemicals in acrylic paint can have an adverse affect on artist paint brushes with natural hairs, and in some cases, they can become ruined. If that’s not enough to convince you, just ask yourself: would you really want to paint with a brush whose hairs were plucked from the back end of a pig? (That’s what hog bristles are!)
Do I need a brush with a long handle or a short handle?
The handles of acrylic paintbrushes can be long or short. The short ones are about the length of a pencil, so they feel quite natural in one’s hand. The long ones can be as long as a 12-inch ruler, making it a bit awkward for those who aren’t used to it.
The main difference between the two is that long-handled brushes are intended for easel work, when you want to stand away from the painting, rather than close-up. The length of the handle allows you more distance from the painting surface. In contrast, short handles allow for easier close-up work. I usually prefer short handles, because I prefer to work up close. Choose your own brushes based on your own work preference!
What size paint brush should I get?
Now what about sizes? Brushes come in an assortment of sizes, from teeny tiny to super large. For total beginners, I suggest getting a medium or average size brush – somewhere in the middle. Don’t overwhelm yourself with a huge monster of a paintbrush, and don’t strain yourself with a microscopic paintbrush!
Settling on the right one will depend on your personal artistic needs. Just use common sense when buying your brushes, and you’ll be fine.
Paint brush sizes vary from brand to brand, meaning that a size 0 round in one brand may differ from a size 0 round in another brand. Because there is no industry standard regulating the brush sizes, if you decide to switch brands and you want the same size as your previous brush, it’s best to handle brushes in person so you’ll know exactly what you’re getting.
Brushes may be measured by length, diameter, and width.
What brands of paintbrushes do you recommend for beginners?
I’ll tell you a little secret: I don’t buy expensive brushes. All my artwork is created with brushes that cost less than $5. Some of them, less than $2. With proper care, they can last several months. When one gets frayed, I simply set it aside to use on abstract artwork. I almost never throw away paintbrushes! They will always find some use, somewhere, somehow.
Laundromat Art Space
