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Mark Dion and Alexis Rockman: Journey to Nature’s Underworld

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Mark Dion and Alexis Rockman: Journey to Nature’s Underworld

Mark Dion and Alexis Rockman: Journey to Nature’s Underworld

February 13 – July 19, 2025

An artistic exploration of humanity’s complex relationship with the environment explores the shadowy depths of our threatened natural world. Mark Dion and Alexis Rockman: Journey to Nature’s Underworld, on view at the Lowe Art Museum, University of Miami from February 13 through July 20, brings together two pioneering environmental artists for their first joint exhibition.

This groundbreaking presentation features twenty-five works, including sculptures, paintings and works on paper, showcasing how these visionary artists anticipated today’s pressing ecological challenges. Visitors can experience Rockman’s large-scale landscape paintings alongside Dion’s immersive installations, which evoke traditional museum dioramas and specimen cabinets. Both artists blend scientific methodology with allegorical elements and dark humor to create compelling commentary on environmental issues.

The exhibition’s centerpiece is “American Landscape,” a new collaborative installation created specifically for this showing. This distinctive diorama, set on a golf course, presents a zoological group portrait featuring resilient species that have adapted to human-modified environments – offering a glimpse into what the artists consider our future global ecosystem.

This exhibition is presented through the American Federation of Arts, with support from Elizabeth Belfer and Victoria E. Triplett. Additional funding comes from various organizations including the Miami-Dade County Department of Cultural Affairs, the City of Coral Gables and Beaux Arts Miami, among others.

Mark Dion and Alexis Rockman are artists whose work probes our strained relationship with the environment. They were among the first to anticipate the epic ecological problems we now face. Throughout the course of their respective careers, both artists have collaborated on environmental research expeditions and publications. This exhibition is the first to consider both artists in a single presentation. Twenty-five sculptures, paintings, works on paper, and a new collaborative installation guide visitors on an absorbing journey into the shadowy depths of the threatened natural world.

While Rockman is a painter of large-scale landscapes, and Dion is known for immersive installations that recall museum dioramas or specimen cabinets, the artists share a common approach. Their work is informed by scientific methodologies and enlivened by allegory, dark humor, and popular culture tropes. Rockman’s paintings are shown alongside Dion’s installations throughout the exhibition. Both artists collaborated on American Landscape, a sculptural installation created especially for this exhibition. This zoological group portrait diorama, set on a golf course, features a cast of scrappy species that, according to the artists, successfully “exploit niches and opportunities generated by a human-transformed landscape” representing “the future global ecosystem.”

The exhibition was made possible by the American Federation of Arts, with support provided by Elizabeth Belfer and Victoria E. Triplett. The Lowe Art Museum’s presentation of this exhibition is made possible by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade Mayor and Board of County Commissioners; the City of Coral Gables; Beaux Arts Miami; the Lowe Advisory Council; Tony Ulloa; Waqas Wajahat; and Lowe members.  

Image: Alexis Rockman, The Farms, 2000. Oil and acrylic on wood panel, 96 x 120 inches. Collection of Joy of Giving Something, Inc., New York. Courtesy American Federation of Arts.

Lowe exhibitions and programs are funded in part by the State of Florida, Department of State, Division of Arts and Culture, the Florida Council on Arts and Culture, and the National Endowment for the Arts; the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, Miami-Dade Mayor and Board of County Commissioners; the City of Coral Gables; Beaux Arts Miami; Lowe Advisory Council; and Lowe members.

Jaye Rhee: Fragile Terrain

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Jaye Rhee: Fragile Terrain

Locust Projects premieres a new large-scale multimedia installation exploring identity, memory, and the emotional connections.

Fragile Terrain invites audiences to reflect on the delicate

balance between nature and technology through a

mesmerizing handmade seascape.

Locust Projects proudly presents Fragile Terrain, a newly commissioned large-scale multimedia exhibition by internationally recognized multimedia artist Jaye Rhee. The exhibit, inspired by the intersection of nature and technology, opens with a Meet the Artist.

Reception on Thursday, February 13 from 7–9pm and a VIP Press Preview

from 6–7pm.

Stepping into Locust Projects’ expansive 2800 sq. ft. Main Gallery, visitors will encounter a captivating, sculptural

seascape crafted from over 600 meticulously folded pixelated paper cubes and 100 rounded paper objects.

Constructed entirely from hand-folded, custom-printed recycled paper, the assembled forms create an abstracted image reminiscent of the ocean or beach – a direct nod to Miami’s unique environment. Rhee’s vision for Fragile Terrain was born during the pandemic, when she found herself confined to her Manhattan apartment. Seeking relief from isolation, she decided to stay with her sister in New Jersey. It was there that she observed her niece and nephew engaging with the world almost exclusively through screens, sparking a profound reflection on how technology mediates our relationship with reality. “The project evolved out of my own confinement during those months,” says Rhee. “During that time, I noticed how much of life was being experienced through screens – people living through someone else’s lens rather than their own. It made me think about how technology reshapes our perceptions and distances us from authentic experiences. With Fragile Terrain, I wanted to reflect on that dynamic while exploring the fragility of the earth and ocean, as well as the fragility of the materials used in the piece. ”In her work, Rhee employs a labor-intensive process to create her pixel-like cubes. Starting with hand-drawn sketches using oil crayons and color pencils, she digitizes these sketches in Photoshop to generate unique pixelated designs.

These are then printed, cut, folded, and assembled into cubes ranging in size, the largest being 20 cm by 20 cm.

As visitors explore the installation, they will notice subtle video projections that further enhance the immersive experience. The videos, composed of stop-motion time-lapse recordings, document the painstaking process of creating the seascape. This layering of physical and digital elements raises poignant questions about the ways in which technology shapes our identities and perceptions of the environment. Rhee’s project explores the complex emotional bonds humans form with technology, drawing a connection to historical concepts of man’s relationship with nature depicted by 19th century romantic landscape painters who sought to capture the sublime power of nature unspoiled by human intervention.

Fragile Terrain invites us to reflect on the shifting boundaries between our natural and virtual worlds,” said Lorie Mertes, Locust Projects executive director.

“Jaye’s thoughtful approach and attention to detail create an experience that is both visually stunning and intellectually provocative. It’s a perfect example of Locust Projects’ mission to support artists in pushing the boundaries of their practice.”

The exhibit’s title, Fragile Terrain, speaks to both the environmental fragility of the ocean and the delicate nature of the materials used. Rhee notes that while the installation may appear digitally constructed from afar, a closer look reveals its handcrafted intricacies, echoing the imperfect beauty of the natural world.

“I want viewers to feel a sense of wonder, but also a sense of urgency, ” Rhee adds.

“Our relationship with nature is increasingly mediated by technology, and I hope this work inspires conversations about what that means for our future.”

The exhibition runs from February 13, 2025, to April 12, 2025, with public hours Wednesday to Saturday from 11 a.m.

to 5 p.m. To learn more, visit www.locustprojects.org.

Fragile Terrain is supported by the Knight Foundation’s Digital Commissions initiative, which fosters artistic exploration at the intersection of art and technology. Additional funding is provided by the Ministry of Culture, Sports and Tourism of Korea, Korea Arts Management Service, Korean Foundation for International Cultural Exchange, and the Fund for Korean Art Abroad. The exhibition is also supported in part by Samwha Paper.

ABOUT THE ARTIST

Jaye Rhee is an internationally acclaimed multi-media artist celebrated for her innovative explorations of video, photography and performance. Born in Seoul, South Korea, and based in New York City, she earned her MFA from the School of the Art Institute of Chicago. Her work has been exhibited globally at prestigious institutions, including the Buffalo AKG Art Museum, Mori Art Museum in Tokyo, the Norton Museum of Art and the Seoul Museum of Art. Rhee has also participated in prominent international exhibitions such as the 12th Seoul Mediacity Biennale and La Triennale di Milano.

Locust Projects presents

MAIN GALLERY:

JAYE RHEE

Fragile Terrain

Exhibition Dates: February 13, 2025 – April 5, 2025

Opening Event Thursday, February 13, 2025

6–7pm, VIP Press Preview

7–9pm, Meet the Artists Reception

Related Programs

Saturday, February 18, 2025

12–5pm, Little Haiti/Little River

Art Days

Public Hours:

Wednesday to Saturday

11am–5pm

MEDIA CONTACT:

Sid Wolf

[email protected]

305-576-8570

Press kit and images: Available here

Also on view: PROJECT ROOM: WENDY WISCHER:

Open Water

Bart van der Leck

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Editorial
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Bart van der Leck

Bart van der Leck (1876-1958): Pioneering Modernism and the De Stijl Movement

Abstract
Bart van der Leck (1876-1958) was a Dutch painter, designer, and key figure in the development of modern art in the early 20th century. As a founding member of the De Stijl movement, van der Leck played a crucial role in shaping the principles of abstraction and geometric composition that defined the movement. This paper explores van der Leck’s life, his artistic evolution, his contributions to De Stijl, and his lasting influence on modern art and design.

Introduction
Bart van der Leck was a visionary artist whose work bridged the gap between figurative painting and pure abstraction. Born on November 26, 1876, in Utrecht, Netherlands, van der Leck’s career spanned a transformative period in art history, marked by the rise of modernism and the search for new forms of expression. His collaboration with Piet Mondrian and Theo van Doesburg in the De Stijl movement, as well as his independent explorations of color and form, established him as a pioneering figure in 20th-century art.

Early Life and Artistic Beginnings
Van der Leck’s early training was rooted in traditional techniques. He studied at the Rijksschool voor Kunstnijverheid (State School for Applied Arts) in Amsterdam and later worked as a stained-glass designer, which influenced his later use of bold colors and geometric forms. His early works were primarily figurative, focusing on themes of labor and everyday life, rendered in a stylized, almost symbolic manner.

By the 1910s, van der Leck began to move toward abstraction, simplifying his forms and experimenting with flat planes of color. This shift was influenced by his exposure to avant-garde movements and his desire to create a universal visual language that could transcend cultural and linguistic barriers.

The De Stijl Movement
In 1917, van der Leck co-founded the De Stijl movement alongside Piet Mondrian, Theo van Doesburg, and other artists and architects. De Stijl, which means “The Style” in Dutch, sought to create a new aesthetic based on harmony, order, and abstraction. The movement’s principles were rooted in the use of primary colors (red, blue, and yellow), non-colors (black, white, and gray), and geometric forms (rectangles, squares, and straight lines).

Van der Leck’s contributions to De Stijl were significant, particularly in his exploration of color and composition. His painting Composition No. 5 (The Cow) (1917) is a seminal work that demonstrates his transition from figuration to abstraction. In this series, van der Leck reduced the image of a cow to its essential geometric forms, creating a dynamic interplay of shapes and colors that retained a sense of the subject’s essence.

However, van der Leck’s relationship with De Stijl was not without tension. He disagreed with Mondrian and van Doesburg’s strict adherence to pure abstraction and their rejection of any figurative elements. This philosophical difference led to van der Leck’s departure from the group in 1918, though he continued to explore many of its principles in his own work.

Independent Work and Later Career
After leaving De Stijl, van der Leck pursued an independent path, developing a unique style that combined abstraction with figurative elements. He believed that art should remain connected to the real world, even as it embraced modernist principles. This approach is evident in works such as The Storm (1916) and The Factory (1918), where he used geometric abstraction to convey the dynamism and energy of modern life.

Van der Leck also applied his artistic principles to design, collaborating with architects and industrial designers to create integrated environments that reflected his vision of harmony and order. His work with the Dutch furniture company Metz & Co. in the 1930s, for example, resulted in a series of rugs and textiles that showcased his mastery of color and form.

Key Contributions to Modern Art
Bart van der Leck’s work was characterized by several key innovations that had a lasting impact on modern art and design:

  1. Geometric Abstraction: Van der Leck’s use of geometric forms and primary colors helped define the visual language of De Stijl and influenced the development of abstract art.
  2. Figurative Abstraction: Unlike many of his contemporaries, van der Leck maintained a connection to the real world, using abstraction to distill the essence of his subjects rather than eliminate them entirely.
  3. Integration of Art and Design: Van der Leck’s work in applied arts demonstrated his belief in the unity of art and everyday life, a principle that would later influence the Bauhaus and other modernist movements.
  4. Color Theory: Van der Leck’s innovative use of color, particularly his exploration of how colors interact and create spatial relationships, was a major contribution to modernist aesthetics.

Legacy and Influence
Bart van der Leck’s influence extends far beyond his lifetime. His work laid the groundwork for the development of abstract art and modernist design, influencing artists such as Mark Rothko, Ellsworth Kelly, and Josef Albers. His emphasis on the integration of art and design also foreshadowed the rise of interdisciplinary approaches in contemporary art and architecture.

Van der Leck’s legacy is preserved in major museum collections, including the Museum of Modern Art in New York, the Stedelijk Museum in Amsterdam, and the Gemeentemuseum in The Hague. His work continues to be celebrated for its boldness, innovation, and enduring relevance.

Conclusion
Bart van der Leck was a trailblazer in the world of modern art, whose contributions to the De Stijl movement and beyond helped shape the course of 20th-century aesthetics. His ability to balance abstraction with figuration, his mastery of color and form, and his commitment to integrating art into everyday life make him a pivotal figure in the history of modernism. As we continue to explore the boundaries of art and design, van der Leck’s work serves as a reminder of the power of simplicity, harmony, and innovation.

References

  • Jaffé, Hans L. C. De Stijl: 1917-1931 – The Dutch Contribution to Modern Art. Amsterdam: J. M. Meulenhoff, 1956.
  • Welsh, Robert P. Bart van der Leck: A Pioneer of Modern Art. New York: Solomon R. Guggenheim Museum, 1994.
  • Blotkamp, Carel. Mondrian: The Art of Destruction. London: Reaktion Books, 1994.
  • Janssen, Hans, and Michael White. The Story of De Stijl: Mondrian to Van Doesburg. London: Lund Humphries, 2011.

(Note: This paper provides a general overview of Bart van der Leck’s life and work. Further research into primary sources, such as his letters and sketches, could provide additional insights into his artistic process and philosophy.)

Bart van der Leck
HGM81160 Composition, 1918 by Leck, Bart Anthony van der (1876-1958); 52.5×52.5 cm; Private Collection; (add.info.: by Bart Anthony van der Leck). Please note: The artwork in this photograph is in copyright. It is your responsibility to ensure this additional copyright is cleared prior to use through the appropriate national collecting society: DACS (UK), ADAGP (France), ARS (USA), SAIE (Italy), VG Bild-Kunst (Germany) or the sister society in your territory.

Call for Artists: Women’s History Month at Kissimmee City Hall

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Call for Artists

Call for Artists: Women’s History Month at Kissimmee City Hall

About the Event

CALL FOR ARTISTS: Osceola Arts is looking to celebrate the rich history and accomplishments of women in Central Florida with the annual Women’s History Month Exhibition at Kissimmee City Hall. Central Florida is home to a vibrant community of women artists with diverse respective practices who are all invited to apply for their work to be shown. 

The exhibition will run from March 10 – May 9, 2025, highlighting the creativity and individuality contributed by women to Central Florida’s cultural heritage.

Eligibility: Artwork must be created by women artists living and creating art in Central Florida.

No fee to apply. 

All mediums accepted.

Artists must be 18 or older and a Florida resident. 

Osceola Arts does not take a commission on works for sale. Deadline to apply: February 21

Apply here.

_________________________

Osceola Arts partners with the City of Kissimmee to create the “Art in Public Places” lending program.

Kissimmee City Hall showcases artwork created by Florida artists, providing artistic and cultural displays to engage and enrich the community. All artwork submitted will be reviewed for suitability based on community standards and should be practical for a public space that is open to people of all ages.

We’re looking forward to your participation!

For more information contact [email protected] or [email protected].

Un legado en constante evolución

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Editorial
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Moss, Marlow, 1889-1958; Balanced Forms in Gunmetal on Cornish Granite
Moss, Marlow; Balanced Forms in Gunmetal on Cornish Granite; Tate; http://www.artuk.org/artworks/balanced-forms-in-gunmetal-on-cornish-granite-290043

Un legado en constante evolución

Los movimientos del arte visual son un testimonio de la creatividad humana y de su capacidad para adaptarse a los cambios y para expresar sus ideas y emociones a través de la imagen. El arte, en su constante evolución, sigue sorprendiéndonos y emocionándonos, invitándonos a reflexionar sobre el mundo que nos rodea y sobre nuestra propia existencia.

Academicismo (Siglos XVII-XIX)
Bajo la influencia de las academias europeas, este estilo buscaba mantener la tradición artística, evitando cambios radicales. Artistas como Paul Delaroche y Thomas Couture siguieron las normas de la Académie des Beaux-Arts, combinando elementos del Neoclasicismo y el Romanticismo para preservar la seguridad y el orden en el arte.

Arte Contemporáneo

El arte contemporáneo, a partir de la segunda mitad del siglo XX, se caracteriza por su diversidad y su pluralidad. Los artistas contemporáneos, influenciados por las nuevas tecnologías y por los cambios sociales, exploran una amplia gama de temas y de técnicas, desde la performance y la instalación hasta el videoarte y el arte digital.

Art Deco (1920-1940)
Originado en París en la década de 1920, el Art Deco se destacó por su estilo decorativo y ornamental, influyendo en arquitectura, diseño y artes visuales. Con elementos del Cubismo y el Futurismo, artistas como Tamara de Lempicka crearon obras que reflejaban la modernidad y el lujo de la época.

Art Nouveau (1890-1910)
Este movimiento internacional, inicialmente llamado “estilo Mucha”, se caracterizó por sus líneas fluidas y dinámicas. Artistas como Alphonse Mucha, Gustav Klimt y Henri de Toulouse-Lautrec exploraron diseños decorativos en arquitectura, carteles y artes aplicadas.

Ashcan School (1900-1915)
Este movimiento realista estadounidense, liderado por John Sloan y Robert Henri, retrató la vida cotidiana en los barrios pobres de Nueva York, combinando arte y periodismo para mostrar la realidad urbana.

Barroco (1600-1750)
Originado en Roma, el Barroco se extendió por Europa con su dramatismo, iluminación exagerada y emociones intensas. Fue una respuesta a la Reforma Protestante, glorificando la fe católica y el poder de la Iglesia y la monarquía. El Barroco se caracterizó por su dinamismo, su exuberancia y su dramatismo. Los artistas barrocos, como Caravaggio, Bernini y Rembrandt, buscaban emocionar al espectador a través de la intensidad de sus imágenes y la riqueza de sus detalles.

Cubismo (1907-1920)
Pioneros como Pablo Picasso y Georges Braque revolucionaron el arte al descomponer objetos en formas geométricas y representarlos desde múltiples perspectivas, desafiando las convenciones tradicionales.

Dadaísmo (1916-1920)
Como reacción a los horrores de la Primera Guerra Mundial, los dadaístas como Marcel Duchamp y Georg Grosz celebraron el absurdo, la irracionalidad y el caos, rechazando la lógica y las normas sociales.

Edad Media

Durante la Edad Media, el arte estuvo fuertemente ligado a la religión cristiana. El arte románico, con sus formas macizas y su expresividad austera, se desarrolló principalmente en la arquitectura de las iglesias y monasterios. El arte gótico, por su parte, se caracterizó por su ligereza y su luminosidad, como se puede apreciar en las catedrales góticas, con sus vidrieras y sus altas torres.

Edad de Oro Holandesa (Siglo XVII)
Artistas como Rembrandt y Vermeer florecieron durante este período de prosperidad en los Países Bajos, destacándose en retratos, paisajes y escenas cotidianas.

Early Netherlandish (Siglos XV-XVI)
Pintores como Jan van Eyck y Hans Memling trabajaron en ciudades como Brujas y Gante, creando obras detalladas y simbólicas que marcaron el inicio del Renacimiento en el norte de Europa.

Renacimiento

El Renacimiento marcó un renacimiento del interés por la cultura clásica y por el humanismo. Los artistas renacentistas, inspirados en los modelos de la Antigüedad, buscaron la representación realista del mundo y del ser humano, como se puede apreciar en las obras de Leonardo da Vinci, Miguel Ángel y Rafael.

Renacimiento Temprano (Siglo XV)
Artistas como Masaccio y Piero della Francesca sentaron las bases del Renacimiento italiano, centrándose en la perspectiva, la anatomía y el humanismo.

Experimental (Siglo XX)
Artistas como Joan Miró exploraron técnicas innovadoras, rechazando las convenciones tradicionales y abrazando la libertad creativa.

Expresionismo (1905-1920)
Este movimiento alemán, liderado por Ernst Ludwig Kirchner y Franz Marc, distorsionó la realidad para expresar emociones intensas y angustia existencial.

Fauvismo (1904-1908)
Henri Matisse y André Derain lideraron este movimiento, caracterizado por el uso audaz del color y formas simplificadas.

Arte Popular (Siglo XIX-XX)
Este arte, representado por figuras como Anna Robertson Moses, se centró en la vida cotidiana y los objetos utilitarios, con un estilo naíf y accesible.

Romanticismo
El Romanticismo exaltó la libertad, la pasión y la individualidad. Los artistas románticos, como Goya, Delacroix y Turner, se inspiraron en la naturaleza, en la historia y en los sentimientos humanos para crear obras llenas de fuerza y expresividad.

Romanticismo Alemán (Siglo XVIII-XIX)
Artistas como Caspar David Friedrich exploraron la naturaleza y la espiritualidad, buscando una conexión emocional con el mundo.

Gótico (Siglo XII-XV)
Este estilo medieval, con artistas como Giotto, se caracterizó por su enfoque en la religión y la arquitectura, con figuras más expresivas y paisajes detallados.

Alto Renacimiento (1490-1520)
Leonardo da Vinci, Miguel Ángel y Rafael llevaron el arte renacentista a su máximo esplendor, combinando técnica, belleza y humanismo.

Escuela del Río Hudson (Siglo XIX)
Pintores como Thomas Cole capturaron la belleza sublime de los paisajes americanos, inspirándose en el Romanticismo.

Impresionismo (1870-1880)
El Impresionismo revolucionó la pintura al capturar la fugacidad de la luz y del instante. Los impresionistas, como Monet, Renoir y Degas, utilizaron pinceladas sueltas y colores vibrantes para transmitir sus impresiones visuales. Claude Monet y Édouard Manet revolucionaron el arte al capturar la luz y el movimiento con pinceladas sueltas y colores vibrantes.

Renacimiento Italiano (Siglo XIV-XVI)
Este período de renacimiento cultural, con artistas como Botticelli y Tiziano, marcó la transición entre la Edad Media y la modernidad.

Gótico Tardío (Siglo XV)
Este estilo, con artistas como Jan van Eyck, combinó detalles realistas con temas religiosos, preparando el camino para el Renacimiento.

Les Nabis (1890-1900)
Artistas como Pierre Bonnard y Édouard Vuillard se inspiraron en el arte japonés y el modernismo, creando obras decorativas y simbólicas.

Manierismo (1520-1580)
Este estilo, con artistas como El Greco, se caracterizó por su sofisticación intelectual y formas alargadas, reaccionando contra el naturalismo del Alto Renacimiento.

Modernismo (Siglo XX)
Artistas como Henry Moore y Fernand Léger rompieron con las normas tradicionales, explorando nuevas técnicas y formas de expresión.

Neoclasicismo (Siglo XVIII-XIX)
Inspirado en la antigüedad clásica, este movimiento, con artistas como Jacques-Louis David, enfatizó la simetría y la claridad.

Renacimiento del Norte (Siglo XV-XVI)
Artistas como Albrecht Dürer y Hans Holbein llevaron los ideales renacentistas a Alemania y los Países Bajos, combinando realismo y simbolismo.

Op Art (1960)
Este movimiento, con artistas como Victor Vasarely, exploró ilusiones ópticas y efectos visuales, desafiando la percepción del espectador.

Orientalismo (Siglo XIX)
Artistas como Jean-Léon Gérôme retrataron escenas exóticas de Oriente Medio y Asia, reflejando la fascinación europea por lo desconocido.

Puntillismo (1886)
Georges Seurat y Paul Signac desarrollaron esta técnica, utilizando pequeños puntos de color puro para crear imágenes vibrantes.

Arte Pop (1950-1960)
Andy Warhol y Roy Lichtenstein transformaron imágenes de la cultura popular en obras de arte, desafiando las fronteras entre el arte y el consumismo.

Postimpresionismo (1886-1905)
Artistas como Paul Cézanne y Vincent van Gogh exploraron formas geométricas y colores expresivos, sentando las bases para el arte moderno. El Postimpresionismo reunió a un grupo de artistas que, partiendo del Impresionismo, desarrollaron sus propios estilos y exploraron nuevas formas de expresión. Van Gogh, Gauguin y Cézanne, cada uno a su manera, dejaron una huella profunda en la historia del arte.

Prerrafaelitas (1848-1850)
Este grupo, liderado por John Everett Millais, buscó revivir la pureza y simplicidad del arte anterior a Rafael.

Pre-Surrealismo (Siglo XIX-XX)
Artistas como Giorgio de Chirico y Hieronymus Bosch exploraron lo onírico y lo metafísico, anticipando el Surrealismo.

Precisionismo (1920-1930)
Charles Demuth y Charles Sheeler capturaron la industrialización americana con formas geométricas y claridad visual.

Realismo (Siglo XIX)
Artistas como Gustave Courbet e Ilya Repin retrataron la vida cotidiana con un enfoque directo y sin idealizaciones.

Renacimiento (Siglo XIV-XVII)
Este período de renacimiento cultural, con artistas como Donatello y Tiziano, transformó Europa a través del arte, la ciencia y la filosofía.

Rococó (Siglo XVIII)
Este estilo, con artistas como Jean-Antoine Watteau, se caracterizó por su elegancia, ligereza y decoración ornamental.

Romanticismo (1800-1840)
Artistas como William Turner exploraron la emoción, la naturaleza y lo sublime, reaccionando contra la industrialización.

Surrealismo (1920-1930)
Liderado por André Breton, este movimiento, con artistas como Salvador Dalí y René Magritte, exploró el subconsciente y lo irracional.

Simbolismo (1880-1900)
Artistas como Gustav Klimt utilizaron símbolos y formas abstractas para expresar ideas espirituales y emocionales.

Tonalismo (1880-1900)
Artistas como George Inness y James McNeill Whistler crearon paisajes atmosféricos con tonos suaves y melancólicos.

Vanguardias del Siglo XX

El siglo XX fue un período de grandes cambios y transformaciones que se reflejaron en el arte a través de las vanguardias. El Cubismo, el Futurismo, el Dadaísmo, el Surrealismo y el Expresionismo, entre otros movimientos, rompieron con las convenciones tradicionales y exploraron nuevas formas de representación y de expresión.

Open call for Artists National Women’s History Month

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Editorial
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Open call
Open call

Call for Artists National Women’s History Month

Be Part of the Special Edition of Art Miami Magazine!
Are you a visual artist? This is your chance to showcase your work on an international platform!
Art Miami Magazine is inviting artists all genders from all disciplines to be part of our special edition for National Women’s History Month, in March 2025.

Why Participate?

  • Exposure online and in the printed magazine.
  • Global reach to an audience passionate about art.
  • Connection with galleries, collectors, and other artists.

How to Participate?
Send us your portfolio and artist statement by 02/27/2025, to artmiamimag(@)gmail.com
Don’t miss the chance to feature your work in a prestigious publication.

For more information and to submit your materials, visit our website:

Art Miami Magazine

Where Art Meets Miami the Magic City.

If you have any questions, contact us

    Alexander Dorner

    Por
    Editorial
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    Alexander Dorner
    Alexander Dorner

    Alexander Dorner (1893-1957): A Visionary in Museum Theory and Practice

    Abstract
    Alexander Dorner (1893-1957) was a pioneering figure in the field of museum studies and art history, whose innovative ideas and practices reshaped the role of museums in the 20th century. As a museum director, educator, and theorist, Dorner sought to transform museums from static repositories of art into dynamic, interdisciplinary spaces that engaged with contemporary society. This paper explores Dorner’s life, his contributions to museum theory, his influential tenure at the Hannover Museum, and his lasting impact on the field of museology.

    Introduction
    Alexander Dorner was a German-American art historian and museum director whose work bridged the gap between traditional museum practices and modernist ideas about art, education, and public engagement. Born in Königsberg, Germany (now Kaliningrad, Russia), in 1893, Dorner’s career spanned a tumultuous period in European and American history, including two world wars and the rise of modernism. His vision for museums as living, evolving institutions rather than static archives of the past remains influential today.

    Early Life and Education
    Dorner studied art history and philosophy in Germany, earning his doctorate in 1919. His academic background laid the foundation for his interdisciplinary approach to art and museum studies. Influenced by the intellectual currents of his time, including the Bauhaus movement and the works of thinkers like Wilhelm Worringer, Dorner developed a keen interest in the relationship between art, technology, and society.

    The Hannover Years: A Revolutionary Approach to Museums
    Dorner’s most significant contributions to museology began during his tenure as director of the Landesmuseum in Hannover (1925-1937). Here, he sought to break away from traditional museum practices, which he viewed as outdated and disconnected from contemporary life. Dorner’s approach was deeply influenced by modernism and the Bauhaus philosophy, which emphasized the integration of art, design, and technology.

    One of Dorner’s most notable achievements in Hannover was his collaboration with El Lissitzky, the Russian avant-garde artist. Together, they created the Abstract Cabinet (1927-1928), an innovative exhibition space that used movable panels, dynamic lighting, and interactive displays to create an immersive experience for visitors. The Abstract Cabinet was a radical departure from conventional gallery design, reflecting Dorner’s belief that museums should be spaces of active engagement rather than passive observation.

    Dorner also championed the idea of the museum as a Kraftwerk (power station), a place where art and ideas could generate energy and inspire social change. He believed that museums should reflect the dynamism of modern life and foster a dialogue between the past, present, and future.

    Exile and the American Years
    With the rise of the Nazi regime in Germany, Dorner’s progressive ideas and Jewish heritage made him a target of persecution. In 1937, he fled to the United States, where he continued his work as a museum professional and educator. Dorner served as the director of the Rhode Island School of Design (RISD) Museum from 1938 to 1941 and later worked as a consultant and lecturer.

    In the U.S., Dorner adapted his ideas to the American context, advocating for museums as democratic institutions that could bridge cultural divides and promote social cohesion. His book The Way Beyond “Art”: The Work of Herbert Bayer (1947) further articulated his vision for a new kind of museum that integrated art, science, and technology.

    Key Contributions to Museum Theory
    Dorner’s work was grounded in several key principles that continue to influence museum practice today:

    1. Interdisciplinarity: Dorner believed that museums should transcend traditional boundaries between art, science, and technology. He envisioned museums as spaces where diverse fields of knowledge could intersect and inform one another.
    2. Dynamic Exhibition Design: Rejecting static displays, Dorner advocated for flexible, interactive exhibition spaces that could evolve with changing artistic and societal trends.
    3. Public Engagement: Dorner saw museums as vital cultural institutions that should actively engage with their communities. He emphasized the importance of education and accessibility, striving to make museums relevant to a broad audience.
    4. Modernism and Innovation: Dorner’s embrace of modernist aesthetics and technologies set him apart from more conservative museum professionals of his time. He believed that museums should reflect the spirit of innovation and experimentation that defined the modern era.

    Legacy and Influence
    Alexander Dorner’s ideas were ahead of their time, and while not all of his projects were fully realized, his influence on museum theory and practice is undeniable. His emphasis on interdisciplinarity, dynamic design, and public engagement anticipated many of the trends that define contemporary museums. Institutions like the Centre Pompidou in Paris and the Guggenheim Museum in Bilbao, with their innovative architecture and interactive exhibits, can be seen as heirs to Dorner’s vision.

    Dorner’s work also laid the groundwork for the concept of the “post-museum,” a term used by contemporary museologists to describe institutions that prioritize social relevance, community involvement, and experiential learning over traditional curatorial practices.

    Conclusion
    Alexander Dorner was a visionary whose ideas transformed the way we think about museums and their role in society. By challenging conventional norms and embracing modernism, he redefined the museum as a dynamic, interdisciplinary space that could inspire and engage the public. Although his career was marked by upheaval and displacement, Dorner’s legacy endures in the many museums and exhibitions that continue to draw inspiration from his pioneering work. As museums grapple with the challenges of the 21st century, Dorner’s vision of the museum as a Kraftwerk—a source of energy and innovation—remains as relevant as ever.

    References

    • Dorner, Alexander. The Way Beyond “Art”: The Work of Herbert Bayer. New York: Wittenborn, Schultz, 1947.
    • Staniszewski, Mary Anne. The Power of Display: A History of Exhibition Installations at the Museum of Modern Art. Cambridge, MA: MIT Press, 1998.
    • Grasskamp, Walter. The Book on the Floor: André Malraux and the Imaginary Museum. Los Angeles: Getty Research Institute, 2016.
    • Lissitzky, El, and Alexander Dorner. “The Abstract Cabinet.” Museum International, vol. 49, no. 1, 1997, pp. 7–11.

    (Note: This paper is a general overview and can be expanded with further research into primary sources and specific case studies related to Dorner’s work.)

    Atributos, símbolos, simbolismo, iconografía e iconología

    Por
    Editorial
    -

    Atributos, símbolos, simbolismo, iconografía e iconología son conceptos fundamentales en la creación de obras de arte visuales. Cada uno de ellos tiene un papel específico en la transmisión de significado, interpretación cultural y conexión con la historia del arte. A continuación, te explico brevemente cada uno:

    1. Atributos

    Los atributos son características específicas o elementos visuales que se asignan a un personaje, objeto o tema dentro de una obra de arte, que tienen un significado particular. Estos atributos permiten identificar a ciertos personajes, como santos, dioses o figuras mitológicas. Por ejemplo, el atributo de San Pedro en el arte cristiano es la llave, que simboliza su autoridad para “abrir y cerrar” el Reino de los Cielos. En la pintura, estos atributos ayudan al espectador a reconocer la identidad de las figuras representadas.

    2. Símbolos

    Los símbolos son objetos, colores, animales o elementos visuales que representan algo más allá de su apariencia física y que suelen tener un significado cultural, religioso o espiritual. El corazón es un símbolo universal de amor, mientras que una paloma puede simbolizar la paz. Los símbolos tienen la capacidad de condensar una gran cantidad de ideas en un solo elemento visual, creando una conexión emocional y mental con el espectador.

    3. Simbolismo

    El simbolismo en el arte es un movimiento y una técnica que busca transmitir ideas abstractas, emociones y conceptos complejos a través de símbolos y representaciones visuales. Los artistas simbolistas recurren a imágenes que tienen significados más allá de su forma literal, a menudo reflejando temas como la espiritualidad, el misticismo o los estados psicológicos. Este movimiento surgió en el siglo XIX y se caracteriza por la búsqueda de lo oculto y lo misterioso en la representación artística.

    4. Iconografía

    La iconografía se refiere al estudio y la interpretación de los símbolos y representaciones visuales dentro de una obra de arte. Implica identificar los elementos visuales, sus significados y cómo estos elementos están relacionados con la historia, la religión o la cultura en la que se originaron. Un ejemplo sería el análisis de la iconografía en una pintura religiosa, donde se identifica el uso de símbolos como el cáliz (sagrado), la luz (divinidad), y otras representaciones que tienen una función narrativa o espiritual.

    5. Iconología

    La iconología es un enfoque más profundo del análisis de la obra de arte. No solo se centra en la identificación de los símbolos (como lo hace la iconografía), sino que también busca comprender el contexto histórico, cultural y filosófico que da significado a esos símbolos. A través de la iconología, se exploran los temas subyacentes, las intenciones del artista y las interpretaciones culturales del momento. Mientras que la iconografía se interesa por “qué” se muestra en la obra, la iconología indaga sobre el “por qué” y “cómo” esos elementos se relacionan con las creencias o ideologías de una época o sociedad.

    En resumen:

    • Atributos: Elementos visuales específicos que identifican personajes o temas.
    • Símbolos: Objetos o representaciones que tienen un significado más allá de lo visual.
    • Simbolismo: Movimiento artístico que usa símbolos para expresar ideas abstractas.
    • Iconografía: El estudio de los símbolos y sus significados en una obra de arte.
    • Iconología: El análisis más profundo de los símbolos dentro de su contexto histórico, cultural y filosófico.

    Estos conceptos son esenciales para comprender y analizar obras de arte visuales, ya que permiten interpretar tanto lo evidente como lo oculto en las imágenes, revelando múltiples capas de significado.

    Estilos de arte visual

    Por
    Editorial
    -
    Japanese Art
    Japanese Art

    En las artes visuales, el estilo se refiere a una manera distintiva y reconocible en que se realiza una obra de arte. Es un conjunto de características que permiten agrupar obras en categorías relacionadas, ya sea por su época, movimiento artístico, técnica, o la visión particular de un artista.

    ¿Qué implica el estilo en las artes visuales?

    • Elementos visuales distintivos: El estilo se manifiesta en el uso particular de elementos visuales como la línea, el color, la forma, la textura, la composición, y la perspectiva.
    • Técnicas y materiales: La forma en que se utilizan los materiales y las técnicas también contribuye al estilo de una obra. Por ejemplo, un pintor impresionista utiliza pinceladas visibles y yuxtapuestas para capturar la luz y el movimiento, mientras que un artista realista busca una representación más precisa y detallada de la realidad.
    • Expresión y visión personal: El estilo también refleja la expresión y la visión personal del artista. A través de su estilo, el artista comunica sus ideas, emociones y perspectivas sobre el mundo.
    • Contexto histórico y cultural: El estilo de una obra de arte también está influenciado por el contexto histórico y cultural en el que se crea. Los movimientos artísticos, las tendencias estéticas y las influencias sociales pueden dejar su huella en el estilo de un artista o de un grupo de artistas.

    ¿Por qué es importante el estilo en las artes visuales?

    • Identificación y clasificación: El estilo permite identificar y clasificar las obras de arte, lo que facilita su estudio y comprensión.
    • Apreciación estética: El estilo contribuye a la apreciación estética de una obra de arte. Al reconocer y comprender el estilo de un artista, podemos apreciar mejor su creatividad, su técnica y su visión personal.
    • Comunicación y expresión: El estilo es un medio de comunicación y expresión para el artista. A través de su estilo, el artista puede transmitir mensajes, emociones y experiencias al público.

    El estilo en las artes visuales es un concepto complejo y multifacético que abarca una amplia gama de elementos visuales, técnicos, expresivos y contextuales. Al comprender el estilo de una obra de arte, podemos apreciarla más plenamente y comprender mejor la intención del artista y su lugar en la historia del arte.

    Todos los estilos de arte visual

    Abstracción Lírica 
    
    Académico 
    
    Alto Renacimiento 
    
    Art Deco 
    
    Art Informel 
    
    Art Nouveau 
    
    Arte Abstracto Geométrico 
    
    Arte Abstracto 
    
    Arte Bajo 
    
    Arte Basura 
    
    Arte Bizantino 
    
    Arte Bruto 
    
    Arte Cinético 
    
    Arte Conceptual 
    
    Arte Confesionario 
    
    Arte Copto 
    
    Arte De Fantasía 
    
    Arte Digital 
    
    Arte Existencial 
    
    Arte Gótico 
    
    Arte Ingenuo / Primitivismo 
    
    Arte Medieval 
    
    Arte Metafísico 
    
    Arte Nativo 
    
    Arte Neo Figurativo 
    
    Arte Neo Pop 
    
    Arte Pop 
    
    Arte Singulier 
    
    Banky 
    
    Barroco 
    
    Biedermeier 
    
    Bizantina 
    
    Bunjinga 
    
    Campo De Color 
    
    Ciberarte 
    
    Cielo 
    
    Clasicismo 
    
    Clásico 
    
    Cloisonnism 
    
    Concretismo 
    
    Constructivismo 
    
    Contemporáneo 
    
    Costumbrismo 
    
    Cubismo Analítico 
    
    Cubismo Sintético 
    
    Cubismo 
    
    Cubo-futurismo 
    
    Cubo Expresionismo 
    
    Cubo Futurismo 
    
    Dadaísmo 
    
    Dada 
    
    Dadismo 
    
    Divisionismo 
    
    Edad De Oro 
    
    Edad Dorada Del Edredón 
    
    El Ejercicio 
    
    Escuela De Ashcan 
    
    Escuela Del Río Hudson 
    
    Estilo Escolar Kanō 
    
    Expresionismo Abstracto 
    
    Expresionismo Figurativo 
    
    Expresionismo 
    
    Fauvismo 
    
    Fotorealismo 
    
    Futurismo 
    
    Geométrica 
    
    
    César Paternosto 
    
    Gótico Arte 
    
    Gótico 
    
    Hiper Realismo 
    
    Hudson River School 
    
    Impresionismo 
    
    Intimismo 
    
    Inventista 
    
    Japonismo 
    
    Joseon Dinastía 
    
    Kitsch 
    
    La Moda 
    
    Lettrism 
    
    Luminismo 
    
    Luz Y Espacio 
    
    Minimalismo 
    
    Modernismo 
    
    Muralismo 
    
    Naturalismo 
    
    Ne-dada 
    
    Neo Byzantine 
    
    Neo Dada 
    
    Neo Geo 
    
    Neo Impresionismo 
    
    Neo Minimalismo 
    
    Neo Ortodoxismo 
    
    Neo Romanticismo 
    
    Neo Suprematismo 
    
    Neobaroque 
    
    Neoclásico 
    
    Neoclismo 
    
    Neoconcretismo 
    
    Neodada 
    
    Neoexpresionismo 
    
    Neoplásico 
    
    Nihonga 
    
    Nouveau Réalisme 
    
    Nuevo Casualismo 
    
    Nuevo Medievialismo 
    
    Nuevo Realismo 
    
    Op-art 
    
    Op Art 
    
    Orfismo 
    
    Orientalismo 
    
    Período De Abbatida 
    
    Pesquismo 
    
    Pictorialismo 
    
    Pintura Espacial India 
    
    Pointillism 
    
    Pop Surealism 
    
    Post-impressionism 
    
    Post Minimalismo 
    
    Postcolonial Art 
    
    Postimpresionismo 
    
    Pre-raphaelites 
    
    Precisión 
    
    Primitivismo 
    
    Proto Renacimiento 
    
    Punillismo 
    
    Purismo 
    
    Realismo Americano 
    
    Realismo Analítico 
    
    Realismo Clásico 
    
    Realismo Contemporáneo 
    
    Realismo Fantástico 
    
    Realismo Mágico 
    
    Realismo Socialista 
    
    Realismo Social 
    
    Realismo 
    
    Regionalismo 
    
    Renacimiento Alto 
    
    Renacimiento Italiano 
    
    Renacimiento Norte 
    
    Renacimiento Septentrional 
    
    Renacimiento Temprano 
    
    Renacimiento 
    
    Rocococo 
    
    Rococo 
    
    Romanticismo 
    
    Seguro De Pop 
    
    Shin Hanga 
    
    Simbolismo 
    
    Sintetismo 
    
    Street Art 
    
    Suiboku Ga 
    
    Sumi E 
    
    Supremacía 
    
    Suprematismo 
    
    Surrealismo 
    
    Tachisme 
    
    Temprano Netherlandish 
    
    Tenebrismo 
    
    Tonalismo 
    
    Transautomatismo 
    
    Transavantgarde 
    
    Tubismo 
    
    Ukiyo-e 
    
    Ukiyo E 
    
    Verismo 
    
    Yamato E 

    Medios de Comunicación de las Arte Visuales

    Por
    Editorial
    -
    Marlow Moss, Untitled (White, Black, Blue and Yellow), 1954.
    Marlow Moss, Untitled (White, Black, Blue and Yellow), 1954.

    Los medios de comunicación en las artes visuales son las herramientas y materiales que los artistas utilizan para plasmar su visión creativa en una obra. Estos medios no solo afectan la estética final de la pieza, sino que también influyen en la técnica y el mensaje que se desea transmitir. Cada material tiene sus características únicas, lo que permite una amplia gama de posibilidades expresivas.

    Estos materiales son solo algunos ejemplos de los diversos medios utilizados en las artes visuales, cada uno ofreciendo su propio conjunto de posibilidades y retos para los artistas, lo que permite una riqueza y diversidad en la expresión artística.

    Aceite
    Aceite A Bordo
    Aceite En Cobre
    Aceite En Faberboard
    Aceite En Panel
    Aceite Sobre Lienzo
    Aceite Sobre Papel
    Acrílico
    Acrílico Sobre Lienzo
    Acrílico Sobre Papel
    Acuarela
    Aguatinta
    Alivio
    Aquatint
    Carbón
    Cemento
    Cepillo
    Cera
    Chalk
    Cobre
    Collage
    Contrachapado
    Crayon
    Cristal
    Dibujo
    Emulsión
    Encaus
    Escultura
    Escultura Bronce
    Estampado De Madera
    Etching
    Fresco
    Frescos
    Gouache
    Grabado
    Grafito
    Grisaille
    Hoja De Oro
    Impresión
    Junta
    Laca
    Lana
    Lápices De Colores
    Lápiz
    Lápiz Grafito
    Lavar
    Lienzo
    Madera
    Madera Cortada
    Manuscrito
    Mármol
    Masonita
    Medios Mixtos
    Metal
    Objet Trouvé
    Oro
    Panel
    Papel
    Papel Japonés
    Parchment
    Pen
    Piedra
    Pigmento
    Plata
    Pluma
    Punto De Plata
    Punto Seco
    Roble
    Sanguine
    Satinado
    Screenprint
    Seda
    Socorro
    Tallado
    Tapiz
    Técnica Mixta
    Tela
    Tempera On Panel
    Terracota
    Terracotta
    Tinta India
    Tinta Sobre Papel
    Tiza
    Vellum
    Vidrio
    Yeso

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