Baker—Hall is pleased to present Everything Mixing Always, Regina Durante Jestrow’s first solo exhibition with the gallery. On view from September 6 through October 11, 2025, the exhibition debuts a new body of textile-based works that build on Durante Jestrow’s longstanding investigation into the symbolism and structure of American quilt traditions.
In her latest series, Durante Jestrow draws from the spiderweb quilt pattern, its historical, folkloric, and personal meanings serving as both a formal and conceptual foundation. Referencing Victorian-era superstitions around embroidered webs as charms for luck, and the emotional resonance found in the work of artists like Louise Bourgeois, she explores the spider as a figure of protection, intuition, and labor. Within these compositions, geometric shapes unfold in directional tension—spiraling, colliding, reforming, and suggesting movement and transition.
The works further echo an intuitive choreography shaped by music. Durante Jestrow approaches the act of making like a dancer in motion, rhythm and improvisation guiding her hand. The title Everything Mixing Always is a nod to musical theory and the layered approaches of composers and sound engineers, meant to evoke the constant interplay of influence, memory, and process. Like a good mix, her compositions ask: what voice should be heard now—and how can the rest hold it up?
Durante Jestrow works with hand-dyed fabrics combined with second-hand materials sourced from all over South Florida, including unconventional materials like sequins and neoprene. Her use of reclaimed textiles reflects her commitment to sustainability and a broader engagement with place, echoing the textures and tones of Miami’s natural and cultural landscape.
Regina Durante Jestrow is a Miami-based artist whose work reimagines the language of quilting through abstraction, improvisation, and material experimentation. Deeply influenced by American folk art, mid-century abstraction, and the expressive power of pattern, her work has been exhibited widely throughout Florida and beyond.
About Regina Durante Jestrow
Regina Durante Jestrow’s practice explores the reinterpretation of American quilting traditions by investigating textile history and geometric pattern symbolism. Her early exposure to sewing as a child paved the way for a journey combining quilt-making with improvisation, contrast, and repeat patterns. Jestrow draws inspiration from the vibrant natural landscapes of South Florida, weaving the colors, textures, and structures of the region into her work using a diverse palette of new, second-hand, and hand-dyed textiles. An integral part of her artistic ethos is consciously incorporating thrifted and second-hand clothing and fabrics. By doing so, she aims to reflect Miami’s culture and address the pressing issue of textile waste plaguing our society.
She employs symbolic geometric quilt patterns as a foundation, transforming and manipulating these shapes to create dynamic movement and evoke a sense of transformation. To reflect the essence of the Miami landscape, she uses colors inspired by the rich tapestry of its diverse population, complemented by dyes derived from locally sourced plants and rust. Her use of unconventional materials, such as neoprene, sequins, and faux leather, pays homage to the pop culture that permeates Miami’s artistic identity.
Her artistic journey is guided by a profound appreciation for American folk art quilts and a deep admiration for geometric-abstract artists from the mid to late twentieth century. Visionaries like the Gees Bend quilters, Elizabeth Murray, Helen Frankenthaler, Rosie Lee Tompkins, and Gego have left an indelible mark on her creative perspective. These influences have been powerful motivators, driving her to produce quilts with significant personal symbolism and to weave intricate narratives within their patterns.
Miami Performance International Festival ’25 (M/P ’25)
Miami Performance International Festival ’25 (M/P ’25)
September 5 & 6, 2025 Edge Zones Art Center, Allapattah, Miami
Curated by Gabriela Keddell & Marianna Angel Live and Video Performance Art | Free & Open to the Public YouTube: @edgezonesartprojects4698
Now in its 14th edition, Miami Performance International Festival ’25 (M/P ’25) returns with renewed urgency and purpose—centering performance as a tool for connection, resistance, and radical imagination. Taking place at Edge Zones Art Center in the vibrant Allapattah neighborhood, with the title Bodies in Resonance the festival runs September 5 and 6, 2025, and includes live performances, video screenings, public interventions, and audience participation.
Highlights Include:
September 5: Streaming Launch (8–10PM) A curated program of video performances, artist talks, and interviews available via YouTube, bridging local and global audiences and blurring the line between physical and digital presence.
September 6: Live Performances An evening of embodied practices, spoken word, experimental sound, and participatory works that transform Edge Zones and the surrounding neighborhood into a stage for cultural exchange.
Through its hybrid format, M/P ’25 becomes a resonant space—a live and virtual echo chamber where performance extends beyond the gallery, inviting viewers to engage as collaborators. By amplifying voices from the margins, the festival affirms performance art’s role in addressing the social, spiritual, and environmental concerns of our time.
This year, M/P ’25 responds to the evolving realities of contemporary life: environmental precarity, migration, post-pandemic hybridization, and the urgent need for collective joy. The festival draws artists from Miami and around the world who are rethinking the role of the body in art—as archive, protest, ritual, and transmission.
“M/P ’25 creates a laboratory for intergenerational dialogue, experimentation, and cultural hybridity,” says artist and Edge Zones founder Charo Oquet. “People come to Allapattah not just for art, but for connection—across disciplines, across cultures. This festival is a space where unpredictable collaborations happen.”
Miami PERFORMANCE international festival 25 LIVE Performance Program September 6, 2025 Edge Zones Art Center
El legado de Alfred Sisley es el de un poeta del paisaje impresionista, un artista que dedicó su vida a capturar la belleza de la naturaleza en todas sus formas. A menudo eclipsado por sus contemporáneos más notorios como Monet y Renoir, Sisley fue, sin embargo, un purista del Impresionismo, manteniéndose fiel a sus principios hasta el final.
Su contribución más importante fue su maestría en la representación de la atmósfera, el agua y el cielo. Sisley tenía una habilidad inigualable para capturar la cualidad transitoria de la luz y los efectos del clima. Sus lienzos, a menudo saturados de los sutiles matices del gris, el azul y el verde, reflejan su fascinación por los cielos nublados y las superficies del agua. Sus paisajes irradian una profunda quietud y melancolía, a diferencia de la efervescencia de Renoir o la intensidad de Monet.
Sisley no buscaba la innovación dramática ni la confrontación; en cambio, se enfocaba en la observación paciente y la fidelidad a la naturaleza. Su obra es un testimonio de la belleza serena y la armonía del mundo natural. A pesar de las dificultades financieras que enfrentó a lo largo de su vida, nunca comprometió su visión artística. Su legado perdura en la pureza de sus paisajes, que nos recuerdan que la verdadera grandeza se encuentra en la dedicación inquebrantable a una visión singular y en la capacidad de ver la belleza en lo cotidiano.
The CAMP Gallery Presents Dual Exhibition Opening: Aquí No Pasa Nada by Hermes Berrio and Fair Play by Katrina Majkut Opening Reception: Friday, September 5, 2025 | 6:00 – 8:30 PM
The Contemporary Art Modern Project (The CAMP Gallery) is pleased to announce the opening of two new exhibitions on Friday, September 5, from 6:00 PM to 8:30 PM, featuring Hermes Berrio and Katrina Majkut, two artists whose work invites viewers to reconsider the narratives embedded in everyday life.
In Aquí No Pasa Nada, Miami-based painter Hermes Berrio captures seemingly uneventful moments and elevates them through vibrant, layered compositions. Drawing from daily life, Berrio transforms the mundane into meditative visual experiences—inviting audiences to slow down and discover beauty in overlooked spaces and actions.
In Fair Play, New York-based artist Katrina Majkut uses embroidery to subvert traditional representations of masculinity in sports. By partially covering iconic baseball cards and revealing only athletes’ accomplishments, Majkut challenges the gender norms of athletic culture and opens a dialogue about visibility, representation, and equality.
Together, these exhibitions highlight what is often unseen or undervalued—urging viewers to reflect on presence, potential, and the stories we tell about success and identity.
Berrio has this to say about the recent series: “I walk, observe, absorb, and translate. This work doesn’t begin in the studio; it begins in the streets of Miami: Little River, Allapattah, Overtown. I’m not inventing new realities; I’m amplifying the ones we pass by every day, the visual noise of the city, the discarded, the improvised, the overlooked. Aquí No Pasa Nada is a series rooted in stillness; in the everyday moments that rarely make it into the frame. A slouched chair on the sidewalk. A sagging wire fence. A soggy cardboard box splitting open after the rain. These are not landmarks or symbols. They’re simply there. And that’s exactly why I paint them. These images don’t romanticize poverty or decay. Instead, they call for a kind of radical attention; to see the poetry in the peripheral. Each work is built from real places and found moments: an ice cream truck plastered with chaotic signage and cartoon stickers; a “No Trespassing” zone turned into a playground for a sun-faded teddy bear on a rusted truck; an alligator crossing a handicapped parking space, part myth, part reality, entirely Miami. Rendered in mixed media; acrylic, gold leaf, spray paint, fabrics, charcoal; these paintings are tactile, dense, and full of interruptions. They mirror the city’s layered, chaotic texture. The human figure is mostly absent, but never far. Every image carries the trace of someone: the person who built the fence, hung the laundry, fed the birds, or left the chair behind. These scenes are haunted by labor, improvisation, and the quiet resilience of everyday life. Miami appears here not as spectacle, but as a patchwork of gestures. The work resists grand narratives in favor of the intimate and the fragmentary. There’s no agenda; only an invitation to slow down, to pay attention, and to notice the strange beauty pulsing just beneath the surface. To find gold in the gutter. These are scenes for no one in particular; which is exactly why they matter.” Between Berrio’s work and in the sister exhibition with Katrina Makjut, each artist asks the viewer to slow down, to look and to focus on both possibility and accomplishment – let everything else become silent.
Exhibition Details Opening Reception: Friday, September 5, 2025 Time: 6:00 PM – 8:30 PM Venue: The CAMP Gallery Address: [Insert Gallery Address if needed] Website:www.thecampgallery.com
Mattine Guillaume is a Miami-based wardrobe stylist, creative director, and founder of T.A.M.E. (Trendy And Made Elegant)—a personal styling brand that empowers individuals to embrace their unique identity through fashion as a form of self-expression. Of Haitian descent, Mattine brings her Caribbean heritage, intuitive resourcefulness, and an unmistakable artistic lens to every project she touches. With a background in fashion education and years of hands-on industry experience, she launched her career in 2015 as a style coach, helping professionals cultivate a confident and creative personal image.
Through Tame Your Style, Mattine curates looks tailored not just to a client’s lifestyle and budget, but also to their inner narrative—treating fashion as both mirror and canvas. Her approach is attentive and sincere, rooted in love, empowerment, and transformation.
As an artist, Mattine’s practice transcends conventional styling. She creates wearable sculpture, reshaping everyday and industrial materials—like brass wire, burlap, soda-can tabs, and zip ties—into pieces of adornment that radiate power and storytelling. Her works, such as the Chain Veil and Pull-Tab Kimono, reflect themes of intimacy, resilience, and alchemical beauty.
From editorial styling to her fashion line VOIR, Mattine Guillaume continues to redefine the intersection of art, fashion, and identity—offering not just style, but a living, breathing form of visual poetry.
Artist Statement
I create wearable sculpture that transforms humble often industrial materials into luxe adornment. Brass wire, chains, burlap, shells, soda-can tabs, and zip ties are reshaped through draping, hand-sewing, and assemblage to feel regal on the body. This series explores alchemy: protection and bloom, structure and movement. “Gilded Bloom” frames the body in floral brass; “Pull-Tab Kimono” reimagines refuse as evening armor; “Chain Veil” studies intimacy and power; “Sea Relic Set” honors coastal memory; and “Fringe Alchemy” converts zip ties into kinetic fringe. As a Miami-based creative of Haitian descent, I draw from the Haitian tradition of resourcefulness and handcraft transforming the overlooked into beauty and resilience. I treat the set as part of the garment so each image reads like a living artifact: fashion as sculpture, craft as luxury, and everyday materials reborn.
Short Bio
Mattine Guillaume is a Miami-based wardrobe stylist and creative director of Haitian descent, and the founder of Tame Your Style. Her practice merges couture sensibilities with upcycled and natural materials to craft sculptural looks for editorials, runway, and art installations. Rooted in Caribbean heritage, her work explores transformation, resilience, and cultural storytelling turning ordinary objects into statement pieces. She has styled music artists, private events, and fashion editorials, and is developing VOIR, a Creative fashion line Through image-making and live creative direction, she champions confidence, creativity, and craftsmanship.
Pareja arrestada en Venezuela por falsificar obras de Carlos Cruz-Diez
Falsificar a Cruz-Diez: un delito contra la cultura
En el estado Miranda, cercano a Caracas, una pareja fue detenida por el Cuerpo de Investigaciones Científicas, Penales y Criminalísticas (CICPC) tras ser acusada de falsificar y comercializar obras atribuidas al artista cinético venezolano Carlos Cruz-Diez, uno de los referentes más importantes del arte óptico y cinético del siglo XX.
Según explicó el comisario Douglas Rico, el hombre había dedicado tiempo a estudiar minuciosamente la obra del maestro para reproducirla con notable precisión. Con ayuda de una mujer, presentaban las piezas como originales, alegando que provenían de una supuesta herencia familiar. Algunas de estas obras falsas fueron vendidas por hasta 90.000 dólares. El dinero, según reveló la investigación, fue gastado en juegos de azar, siendo completamente perdido.
Durante el operativo, las autoridades incautaron diversas evidencias: dos réplicas de obras tituladas Fisicromía, 28 frascos de pintura, pinceles, recortes de cartón, estuches de óleo, documentos de traspaso, y un comunicado emitido por la Fundación Carlos Cruz-Diez que certificaba la falsedad de las piezas.
Este caso, más allá del fraude económico, constituye un atentado simbólico contra la memoria artística y el patrimonio cultural de Venezuela. Falsificar una Fisicromía no es simplemente imitar una técnica; es intentar apropiarse de una visión que revolucionó la percepción del color y el movimiento en el arte contemporáneo.
Cruz-Diez, radicado en París desde 1960 hasta su fallecimiento en 2019, fue un pionero en transformar la luz y el color en experiencias dinámicas y autónomas. Su obra va mucho más allá de lo visual: es una exploración profunda de la percepción, el tiempo y la interacción entre espectador y entorno.
La falsificación de su legado afecta no solo a coleccionistas e instituciones, sino al tejido cultural mismo. En un mercado del arte ya afectado por la especulación y la opacidad, la circulación de obras falsas erosiona la autenticidad y alimenta la desinformación.
Por ello, más allá de la necesaria sanción penal, este caso debería servir como punto de partida para reforzar la educación visual, apoyar a las instituciones que protegen el legado de artistas como Cruz-Diez y fomentar una cultura de respeto y responsabilidad en torno al arte. La falsificación no solo es un crimen económico; es una forma de violencia simbólica que borra la memoria, distorsiona la historia y empobrece el espíritu colectivo.
Minimalism Art, also known as Minimal Art, emerged in the United States in the late 1950s and flourished during the 1960s and 1970s. It is one of the most influential movements of the 20th century, not only in visual arts but also in design, architecture, music, and lifestyle.
Here’s a concise breakdown for you:
Definition
Minimalism is an art movement characterized by simplicity, clarity, and a focus on the essentials. Artists eliminated personal expression, symbolism, and narrative, emphasizing instead the object itself, its materials, and its relationship with space.
Key Characteristics
Reduction to essentials: Stripped down to basic shapes, lines, and colors.
Geometric abstraction: Squares, rectangles, cubes, and grids are common.
Monochrome or limited color palette: Often neutral tones, sometimes bold single colors.
Industrial materials: Steel, concrete, glass, aluminum, neon, or plexiglass.
Repetition and seriality: Works often use repeated units or modular structures.
Focus on space and viewer interaction: The meaning emerges in how the work interacts with its environment and how the viewer perceives it.
Key Artists
Donald Judd – Known for his modular sculptures and “specific objects.”
Dan Flavin – Famous for fluorescent light installations.
Carl Andre – Floor sculptures using simple arrangements of raw materials like bricks or metal plates.
Agnes Martin – Minimalist painter celebrated for subtle grids and lines that evoke tranquility.
Frank Stella – Early pioneer with his “Black Paintings.”
Themes & Philosophy
“Less is more” – simplicity creates impact.
Objectivity – remove the hand of the artist; let the materials and forms speak.
Anti-illusionism – focus on the real presence of the object, not representation.
Meditative quality – works often invite contemplation and silence.
Influence
Minimalism profoundly shaped contemporary art, design, and architecture. In design and lifestyle, it evolved into a philosophy of living with fewer possessions and focusing on essentials — ideas still highly relevant today.
LnS Gallery Launches 2025 Season with “TEASE The Season” and Solo Exhibition by T. Eliott Mansa Opening Reception: Friday, September 5 | Coconut Grove
Event Details: Opening Reception: TEASE The Season & Mementos of the Sun by T. Eliott Mansa Date: Friday, September 5, 2025 Time: 6 – 9 PM Venue: LnS Gallery Address: 2610 SW 28th Lane, Miami, FL 33133
LnS Gallery warmly invites the public to its First Friday Reception on Friday, September 5, from 6 to 9 PM, celebrating the start of its 2025 exhibition calendar. The evening features “TEASE The Season,” a vibrant group presentation of represented artists, offering an energetic preview of the gallery’s upcoming program. The reception will take place at LnS Gallery, 2610 SW 28th Lane, Miami, FL 33133.
In tandem with the collective showcase, LnS Gallery proudly presents the first solo exhibition of the season: Mementos of the Sun by acclaimed Miami-based artist T. Eliott Mansa. The exhibition emerges from four years of personal transformation and creative introspection. Known for his evocative use of found materials and repurposed objects, Mansa constructs poetic assemblages that speak to memory, mourning, resilience, and collective healing.
With this powerful body of work, Mansa invites viewers into an emotional landscape shaped by lived experience, cultural legacy, and a search for spiritual grounding—offering artworks that resonate as both personal altars and shared symbols of remembrance.
Join us for an evening of dialogue, reflection, and discovery as we celebrate a new chapter in Miami’s contemporary art scene.
T. Eliott Mansa: Mementos of the Sun
Mementos of the Sun: A Prelude in Shared Purpose
by Sergio Cernuda
Mementos of the Sun by T. Eliott Mansa, emerges as a result of four years of deep reflection and personal exploration. Vis a vis works assembled from everyday materials and found objects—repurposed and transformed—Mansa offers a glimpse into his truth, accordingly conveying a profound narrative of memory, mourning, and resilience while inviting a shared experience of emotion, connection, and solace.
Mansa’s innovative approach to assemblage where unconventional elements are gathered with specific intention, echoes the layered aesthetics of roadside memorials, Southern vernacular sculpture, and West African ritual traditions. Drawing on cross-cultural iconography—navigation charts, ritual artifacts, and ancestral symbols—Mansa expands the language of materiality to honor the endurance and sacrifices of the African diaspora. A testament and visual poetry, Mementos of the Sun brings viewers into a sacred space where materials hold remembrance and history is embedded in every texture. In Mansa’s hands, these assemblages become both an homage to the past and an assertion of presence.
About the Artist
T. Eliott Mansa (b. 1977, Miami, FL) is a multidisciplinary artist creating assemblages, paintings, and sculptures. Mansa’s intention is to trigger the radical imagination of viewers, encouraging them to subvert the status quo and find socio-political agency in their own communities. The artist attended the Yale School of Art (2013) and received his MFA from CUNY Hunter College (2018). He received the Creator Award from Oolite Arts (2019, 2022) and the Miami Foundation (2019), and in 2020 had his debut solo presentation at LnS Gallery titled, For Those Gathered in the Wind, (December 2, 2020 – February 27, 2021) a sobering exhibition centered around themes Black mourning and grief in response to racism and extrajudicial violence. T. Eliott Mansa was awarded residencies include the five-week Home + Away residency through Oolite Arts at Artpace in San Antonio, Texas (March 2021), and a studio at Oolite Arts in Miami Beach, FL (2020 – 2022). Mansa’s work forms part of the Pérez Art Museum, Miami, Miami, FL, and The African American Museum of the Arts, Deland, FL. The artist lives and works in Miami, FL.
T.ELIOTT MANSA Born in 1977 in Miami, FL Lives/Works in Miami, FL
EDUCATION M.F.A. Hunter College, New York – 2018 Yale School of Art, New Haven, CT – 2013 B.F.A. University of Florida/New World School of the Arts, Miami, FL – 2000 Maryland Institute College of Art, Baltimore, MD (3 semesters of coursework)
PROFESSORS Hunter College Nari Ward Carrie Moyer Juan Sanchez Drew Beattie Daniel Bozhkov Lisa Corinne Davis Paul Ramirez Jonas Thomas Weaver
Yale School of Art Robert Storr Robert Reed Sam Messer Rochelle Feinstein Byron Kim Anoka Faruqee William Villalongo Sarah Oppenheimer
MUSEUM COLLECTIONS Pérez Art Museum, Miami – Miami, FL The African American Museum of the Arts – Deland, FL
PRIVATE COLLECTIONS The Collection of Jorge & Darlene Pérez The Ricardo Pau-Llosa Collection The Collection of Recording Artist KRS-ONE The Collection of Carter Wiggins LCSW, SAP The Collection of Linda Adler The Collection of Rosario Martinez-Cañas The Collection of Andrew and Penny Needle
AWARDS Thalheimer Scholarship from the Maryland Institute College of Art Baltimore, MD 2019 Creator Award from Oolite Arts and the Miami Foundation 2022 Creator Award from Oolite Arts and the Miami Foundation
RESIDENCIES Oolite Arts 2020 Studio Resident Miami, FL Bakehouse Art Complex Miami, FL
SOLO EXHIBITIONS
2022 Room for the Living/Room for the Dead Locust Projects, Miami, FL
2021 T. Eliott Mansa: On Memory and the Radical Black Imagination Arts and Culture Center / Hollywood, Hollywood, FL
Ethnobotanical Negotiations of Cultural Space: On Samara’s Wing Frank Art Gallery,Pembroke Pines, FL
2020 For Those Gathered in the Wind LnS Gallery, Miami, FL
2017 WOTY 1.2, New Work by T. Eliott Mansa Hunter East Harlem Gallery, East Harlem, NY
2013 BFI Presents T. Eliott Mansa Bas Fisher Invitational, Miami, FL
2011 Looking Into the Fish Bowl The Ladder Room Art Gallery, Miami, FL
2009 Mary Don’t You Weep/Martha Don’t You Moan African American Museum of the Arts, Deland, FL
SELECTED GROUP EXHIBITIONS
2022 And the record of the time PT3 Emerson Dorsch, Miami, FL
At The Edge Oolite Arts, Miami, FL
2019 Reconstructing Identity Miami Museum of the African Diaspora, Miami, FL
Notices of a Mutable Terrain Piero Atchugarry Gallery, Miami, FL
Radio Silence The Project Space, Fat Village, Ft. Lauderdale, FL
2016 Alumni Series: Painting New World Gallery, Miami, FL
2015 My Big Black America Rush Arts Gallery, Brooklyn, NY
2014 Resurgence – Works from the Collection Yeelen Gallery, Miami, FL
Shades of Black II Little Haiti Cultural Center, Miami, FL
2013 For Ed; Splendour in the Grass Green Hall Gallery at Yale University, New Haven, CT
Water Rites Audrey Love Gallery at Bakehouse, Miami, FL
44 Evolve the Gallery, Sacramento, CA
Black History Month Exhibition Amodlozi Gallery, African Heritage Cultural Center, Miami, FL
2012 Annual Kuumba Kwanzaa Art Exhibition Amadlozi Gallery, African Heritage Cultural Center, Miami, FL
Puro Coconut Grove Museum, Miami, FL
INK Mandarin Oriental, Miami, FL
Smash and Grab Locust Projects, Miami, FL
Midsummer’s Night Dream Part 2 Warehouse Alternative Space, Miami, FL
Young Blood: Homecoming ArtSeen, Miami, FL
The 12th Annual Oscar Thomas Memorial People’s Art Exhibit Amadlozi Gallery, African Heritage Cultural Center, Miami, FL
Art and Real Life: The Last Works of Master Artist Purvis Young The Purvis Young Art Museum, Miami, FL
Legacy Magazine Black History Month Exhibit Downtown Macy’s, Miami, FL
Artist Showcase from the African Diaspora Majestical Lips, Miami, FL
Slavery to Self Determination University of Miami CAS Gallery, Coral Gables, FL
2011 80 Inches of Art The Sagamore Hotel, Miami Beach, FL
Art Fallout Girls’ Club Foundation, Ft. Lauderdale, FL
Smash and Grab Locust Projects, Miami, FL
Young Blood: So Fresh Flagler Art Space, Miami, FL
Secrets, Regrets, Joys & Truths The Christopher Miro Gallery, Miami, FL
In Black and White The Ladder Room Art Gallery, Miami, FL
Xerox as a Verb Tomm El Saih Presents, Miami, FL
SELECTED GROUP EXHIBITIONS (Continued)
2010 I’m from Miami *****!!! Zona Verde, Miami, FL
Natural Selection Hunter Gallery, Miami, FL
Crossing the Line Buena Vista Building, Miami Design District, Miami, FL
Young Blood; New Wave ArtSeen Gallery, Miami, FL
2009 Allow Me To Re-Introduce Myself David Castillo Gallery, Miami, FL
2000 Rock(y) Bullwinkle Studio 10o3, Miami, FL
1996 Dakar Gallery 918, Baltimore, MD
ART FAIRS
2017 Prizm Art Fair Miami, FL
2016 Prizm Art Fair Miami, FL
2015 Prizm Art Fair Miami, FL
2014 Prizm Art Fair Miami, FL
2013 Prizm Art Fair Miami, FL
2012 artAfrica Miami, FL
The Historic Lyric Theater Miami, FL
2011 artAfrica Miami, FL
The Historic Lyric Theater Miami, FL
BIBLIOGRAPHY 2019 “Miami Museum of Contemporary Art of the African Diaspora Hosts Pop-Up Exhibition this June” (with artist T.Elliot Mansa), featured in Hy-Lo News, June 8, 2019, Web
2013 Tshida, Anne “T Eliott Mansa Earns Street Cred for Miami’s Urban Artists”, WLRN, 2, May 2013, Web
Saati, Briana “Miami Artist T. Eliott Mansa’s Talent Propels him to Yale and Beyond”, The Miami New Times, 26, April 2013 web
2012 Mc Nair, D. Kevin, “Rising Artist to be Featured at Art Africa Exhibit: Native Son T. Eliott Mansa Uses Art to Showcase Scenes from the Hood” The Miami Times, November 28, 2012
Jenkins Fields, Dorothy, “Overtown Will Participate in Art Basel”, The Miami Herald, November 25, 2012
2011 Mc Nair, D. Kevin, “Art Africa Miami Debuts in Overtown”, The Miami Times, December 8, 2011
Suarez De Jesus, Carlos, “The GUILD, eight Miami artists, pushes art ahead at the Ladder Room, Miami New Times, April 21, 2011
Batet, Janet, “Guild: renacimiento del gremio en el siglo XXI?” (Guild Renaissance XXI century?), El Nuevo Herald, April 17, 2011
Pau-Llosa, Ricardo, “The Emergence of GUILD”, The Ladder Room Art Gallery Series Catalogue, 2011
El legado de Pissarro es el de un maestro y mentor, una figura paternal dentro del movimiento impresionista. A menudo se le llama el “padre del Impresionismo”, no solo por su antigüedad en el grupo, sino por su constante dedicación a los principios del movimiento y su generosidad al guiar a las generaciones más jóvenes.
Su contribución más importante al movimiento fue su enfoque en la representación de la vida rural y de las escenas de la calle con una perspectiva única. Pissarro fue el único impresionista que expuso en todas las ocho exposiciones del grupo. Su trabajo se distingue por su profunda honestidad y su compromiso con la representación del campesinado y las dinámicas de la vida en el campo y en la ciudad. A través de sus paisajes, a menudo pintados desde un punto de vista elevado, capturó la esencia del trabajo y la vida de la gente común, infundiendo a sus obras un sentido de humanidad y dignidad.
Pissarro se caracterizó por su espíritu experimental y su apertura a nuevas ideas. Aunque su estilo es netamente impresionista, a lo largo de su carrera se acercó y se alejó de otras corrientes, como el puntillismo, lo que demuestra su constante búsqueda de nuevas formas de expresión. Más allá de su obra, su legado como mentor de artistas como Cézanne y Gauguin fue crucial. Su guía y apoyo les ayudaron a desarrollar sus propios estilos distintivos, lo que, irónicamente, llevó a la evolución del Postimpresionismo. La obra de Pissarro es un testimonio de la belleza de la vida ordinaria y un ejemplo de cómo la humildad y el compromiso con la experimentación pueden influir en el curso de la historia del arte.
Opening Reception – Friday, September 5 | Allapattah, Miami
KDR Gallery is proud to announce the opening of Honoring Purvis Young: The Purvis Young Legacy Collection, a special exhibition featuring rarely seen works from the 1990s by the late legendary Miami artist. The opening reception will take place on Friday, September 5, from 5 to 8 PM, at KDR Gallery, 790 NW 22nd St, Miami, FL 33127. The exhibition will remain on view through October 11, 2025.
This powerful collection showcases works that have been held in private storage for decades—originally acquired directly from Purvis Young in the late 1990s. Many of these pieces have never been shown publicly, offering a rare opportunity to engage with a pivotal moment in the artist’s creative journey.
Purvis Young (1943–2010), a self-taught artist of Bahamian descent, transformed discarded materials from the streets of Overtown into visual testaments of social struggle, resilience, and spiritual vision. His assemblage-style paintings, constructed from urban detritus, speak to a legacy of community, protest, and hope.
Young’s work is held in major collections including the Metropolitan Museum of Art, Whitney Museum of American Art, Centre Pompidou, Rubell Museum, and the Smithsonian American Art Museum.
Join us as we honor a true icon of Miami’s cultural history.
