Writing an artist statement is an important part of being an artist. It is a way for you to communicate your ideas about your work to others. It can also be a helpful tool for you to reflect on your own practice and to identify your goals
There is no one right way to write an artist statement. In fact, it is important to make your statement your own and to reflect your unique voice and perspective. However, there are a few tips that can help you get started:
Brainstorm your ideas. Before you start writing, take some time to brainstorm your ideas. What do you want to say about your work? What are your goals as an artist? What are your influences? Once you have a good understanding of your ideas, you can start to organize them into a coherent statement. Start with a strong introduction. The first sentence of your artist statement is important. It should grab the reader’s attention and make them want to learn more about your work. You can start with a strong statement about your work, or you can tell a story about how you became an artist. Be specific. Don’t just say that you are an artist who is interested in exploring the human condition. Be specific about what aspects of the human condition you are interested in exploring. What are your thoughts on the human experience? What are your hopes and fears for humanity? Use clear and concise language. Avoid using jargon or technical terms that your audience may not understand. Write in a way that is clear, concise, and easy to read. Proofread your work carefully. Before you submit your artist statement, be sure to proofread it carefully for any errors in grammar or spelling. You should also have someone else read it over to give you feedback. Here is an example of an artist statement:
“I am a painter interested in exploring the human condition. My work often focuses on themes of isolation, alienation, and loss. I am inspired by the work of other artists who have explored these themes, such as Edward Hopper and Frida Kahlo.
In my paintings, I often depict figures in empty or desolate landscapes. These figures are often alone and isolated. They appear to be lost in thought or contemplation. I am interested in the way that these figures represent the human experience. We are all alone in our own way, and we all experience loss and alienation at some point in our lives.
My work is not meant to be depressing or hopeless. It is simply a reflection of the reality of the human condition. I hope that my work will resonate with others who have experienced similar feelings of isolation and loss. I also hope that my work will inspire others to think about the human condition in a new way.”
LINCOLN ROAD WILL BE HOME TO ART WEEK’S CENTERPIECE WITH MONUMENTAL 45-FOOT-TALL BURNING MAN SCULPTURE DURING MIAMI ART WEEK
Artist Marco Cochrane Debuts Bliss Project’s “R-Evolution” for First Time in Florida on Lincoln Road
with Official Lighting Ceremony Nov. 14
R- Evolution 4, Photo Credit_ Eleanor Preger
Lincoln Road, the iconic outdoor shopping, dining and cultural destination situated in the heart of Miami Beach, announces the arrival of a monumental 45-foot-tall, 32,000-pound kinetic sculpture during Miami Art Week named ‘R-Evolution’, that will glow in the sun and illuminate at night thanks with RGB LED lights. The towering nude female sculpture, which will be showcased on the East Coast for the first time ever, first debuted at Burning Man and was designed by Marco Cochrane, the artist behind monumental sculptures seen at the Smithsonian Art Museum and the $4.3 billion Resorts World.
‘R-Evolution’ will be on display on the 400 Block of Lincoln Road starting November 14 and will be on display through April 2024. The ‘R-Evolution’ sculpture symbolizes feminine strength and liberation, featuring 16 motors in her chest to simulate breathing and demonstrate how her energy radiates into the world by involuntary forces. Using a Pantograph – a medieval-era enlargement tool – the sculpture was built by hand by Marco using classical sculpting techniques starting with a life-size original, enlarged first to 15 foot clay version, and then to her final metal form. The completed 45 foot sculpture is made of steel rod and tubing, utilizing two layers of geodesic triangles (necessitating 55,000 welds) covered by a stainless steel mesh. ‘R-Evolution’ is the third and final sculpture in Cochrane’s “The Bliss Project” series, intended to catalyze social change by challenging bystanders to see past the sexual charge surrounding the female body. To actualize the series, Cochrane worked with singer, songwriter, dancer, model, humanitarian and farmer Deja Solis as a collaborator and model and called upon hundreds of volunteers to take part in the creation. “Lincoln Road has been the epicenter of art and culture of Miami Beach since the 1960s and has strengthened since Art Basel began here more than 20 years ago,” said Anabel Llopis, executive director of the Lincoln Road Business Improvement District. “Every year, we curate game-changing exhibits that push the boundaries of what has been done on Lincoln Road, and we can’t wait to bring Marco Cochrane’s ‘R-Evolution’ to Miami Beach residents and visitors. Our mission is to be the largest public art museum and to provide access and engagement with art to all. The piece will draw thousands to the destination with her energy and the magnitude of her presence. Being steps away from the most iconic art show, Art Basel at the Miami Beach Convention Center and Design Miami, Lincoln Road will continue to serve as a premier hub for modern culture-seekers to discover free public outdoor art.” Lincoln Road’s broad public walkway is embellished with splashing fountains, tropical gardens, and an amphitheater, influenced by Modernist Architect Morris Lapidus who was commissioned in 1960 to redesign the road by creating a shopping esplanade in the Art Deco Style. Located just steps from the Miami Beach Convention Center, Lincoln Road is the most-visited open-air destination in South Florida, with over 8 million visitors annually. Lincoln Road showcases free outdoor public art year-round, displaying permanent works and pop-up installations by famous local, national and international artists at every turn. Works include Dan Graham’s “Steel-and-Glass Concave,” a fun house-like homage to architect Morris Lapidus; a mural inside H&M by local self-taught Cuban-American artist ABSTRK that bridges the gap between Miami Beach’s art deco architecture and the compositional lines of gestural graffiti; and a captivating work by contemporary artist Bradley Theodore on the exterior wall of Chotto Matte that celebrates the restaurant’s Peruvian roots with colorful icon depictions. This exhibition continues the rich history of previous exhibitions on Lincoln Road including 2020’s “Botero on Lincoln Road” public art show, a series of monumental bronze sculptures by world-renowned Colombian artist Fernando Botero, whose work has been showcased in famous destinations such as the Champs-Élysées in Paris, Yebisu Garden Place in Tokyo, the Lustgarten in Berlin and Park Avenue in New York City, and 2022’s open-air activation featuring bright, geometric, life-size animal statues from French artist Richard Orlinski’s Champs-Élysées exhibition.
R-Evolution 3, Photo Credit_ Eleanor Preger
About the Lincoln Road District
Situated in the heart of Miami Beach, the Lincoln Road District is a premier retail, lifestyle and cultural destination that is home to about 200 restaurants and shops, entertainment, and arts and cultural offerings. Lincoln Road ranked as the most-visited open-air destination in South Florida, with over 8 million visits in 2022. Affectionately referred to by some as “Miami’s living room,” there is nothing as quintessentially Miami Beach as Lincoln Road. It’s the street where models walk their dogs after runway shows, where stylish boulevardiers stroll past window shoppers, and where café culture overrules standard business meetings. Music and entertainment lovers will find refuge in the Lincoln Road District, home to the New World Symphony, Oolite Arts, Colony Theatre and Regal South Beach movie theater. Steps away is the newly remodeled Miami Beach Convention Center, which welcomes world-renowned Art Basel Miami Beach every December. For more information, visit lincolnroad.com
INTERVIEW WITH RICARDO CARBONELL/CONTEMPORARY COLLAGE
BY MILAGROS BELLO *
Venezuelan artist Ricardo Carbonell has been developing his work for over ten years. Quietly and patiently, intimately, and privately, without fanfare or demonstrations, the artist quietly carries out his creative work at home, where each day he dedicates time to his discoveries in contemporary collage, experimenting with new methods. One of his most active fronts currently he is working on a particular technique of contemporary collage that brings together objects from everyday life: stickers, commercial labels, luggage tags, tax stamps, stamps, beer cans, wine bottles, envelopes, ice cream sticks, bottle caps, business cards, maps, packaging, credit cards, out-of-circulation banknotes to restore time and give an identity to the collective memory characterized by consumption, accumulation, capitalist production strategies, and brand creation. The objects in Carbonell’s work function as remnants of time and as relics. Carbonell also uses, in his collages, an unorthodox approach that goes further: the meticulous cutting of electrical tape into small strips, which he “glues” in geometric numerical sequences, creating expansive and changing rhythmic visual pathways. He also incorporates crayons and markers in abstract interventions traced with rectilinear geometries in columns and spiral, triangular, and cubic shapes. A notable fact is that these lines and marks always hide structural numerology, the number 11 and its multiples, as a sharp political reference that marked the world and him, which were the events of September 11, 2001, in the USA. He works indistinctly on paper or canvas, paving the way for reflection on new directions that can be explored in contemporary collage. In a creative, systematic way, his works are produced in sets and series, each time linked by a conceptual thread. The work is meticulous and focused, requiring long hours of patient and determined labor. His studio is an intimate space no larger than a room, where in addition to his work desk, there are books, paintings, markers, crayons, and objects collected for over ten years, the product of a discerning eye honed in the throwaway society. Since 2019, he has consecutively participated in curated exhibitions at Curator’s Voice Art Projects and MIA Curatorial Projects. He has also been part of fairs such as West Palm Beach, Hamptons Art Fair, and ICFF New York. His work has been featured in two biennial editions at the European Cultural Center in Venice, Italy, in the context of the Venice Biennale (2019, 2022).
MILAGROS BELLO: What led you to use contemporary collage as a technique in your artistic work?
RICARDO CARBONELL: The root of my inclination for contemporary collage dates to a constant search for images. Since childhood, I have collected objects that captured my attention in a special box. They were all sorts of found elements, a passion for collecting, for preserving. Memories of the collages I admired at MOMA during the 1960s remain vivid, those by Picasso, Duchamp, Marx Ernst, and Kurt Schwitters. I was struck by how they repositioned fragments of different images. I was discovering a new reality.
Similarly, I was impressed by the iconic works of Andy Warhol. The famous Campbell’s soup cans were essentially a reappropriation of an image borrowed from another context that Warhol transferred to a new setting, creating new meanings. I was also impressed by the skill of artists like Alejandro Otero, who used newspapers, brushes, and saws in their works, a great creative technique I saw at the Museum of Fine Arts. Otero broke with traditional methods and opened a new avenue for the unrestricted use of materials, proceeding with great creative freedom. In the 1970s, I kept copies of the newspaper “El Nacional” for years, along with product labels, which planted the idea of storing materials for future use. For years, I maintained this practice of saving material that I could use later. I’ve been collecting them with an almost obsessive insistence, like anthropological collecting. Elements such as stamps, seals, luggage tags, packaging, and everything considered waste accumulate a history, reveal a historical or social moment, and show the permanence of realities and circumstances over time. There was a need to gather objects that represented experienced moments and then give them new life in a new narrative, as the “collagists” of the 1960s or Warhol did, harmonizing elements into unique units and blocks of new meanings. Discovering the existence of collages gave me the confidence that collecting could be effective. Patience has been my constant ally in creating each piece. However, I still want to tackle the challenge of producing large collages using heavier and more complex materials.
MB: What is the significance behind incorporating labels, luggage tags, consumer products, and other elements in your artwork?
RC: Within my artworks, I find meaning in the inclusion of a variety of elements: labels from cans, cardboard boxes, tax stamps on alcoholic beverages, fragments of sweetener packets, ice cream sticks, stickers, candy wrappers, credit cards, product packaging, and coins, as well as luggage and parking tickets, invoices, business cards, stamps, pens, wine labels, and metal plates. The purpose behind this choice is to resurrect and give new life to objects that have served their original purpose, allowing them to become a crucial part of my artistic compositions. I am intensely fascinated with collecting tax stamps; their presence evokes memories of when I discovered them at fifteen. Similarly, parking tickets, legally known as “tarjas,” old banknotes, and broken fragments of sweetener packets have obsessively captured my interest. Emphasis is placed on broken shards, as they reflect life’s unpredictable and non-linear nature. Just as we, as individuals, are composed of various elements and experiences that gradually come together, we are like a puzzle in constant formation. This amalgamation of elements finds cohesion in our values and the dimensions we can encompass.
MB: How would you describe the meticulous technique of cutting straight strips of electrical tape in various sizes in your creations?
RC: The technique I employ in my creations involves skillfully cutting electrical tape into various sizes and rectilinear shapes but always aiming for the organic nature of the cut, allowing subtle irregularities that reveal the movements of the hands rather than the cold precision of a machine cutting material. Making these cuts goes beyond the surface; it involves an inner challenge that tests my skill and perseverance. Each cut demands strength and concentration, serving as a self-evaluation exercise. Each cut requires dexterity and precision. The scissors become an essential tool in this process, demanding a more intensive skill set than what might be needed for a simple brush in other forms of artistic expression. Each cut is like a stroke on the canvas. The entire construction of my work is based on the pre-selection and arrangement of these “strokes” that exist in my mind before they are physically executed. My goal is to achieve visual surprises in the accidental tracing of cuts as an expression of the nature of human movement. Currently, I’m exploring the possibility of establishing a deep connection between my series of electrical tape-cut columns and the world of musical composition, seeking to create a unique and meaningful amalgamation of both artistic expressions.
MB: What role do the colors available in the industrial tape market play in your artistic process?
RC: In my artistic process, the colors available in the industrial tape market play an essential and unique role. I have developed a numerical system that allows me to categorize different colors. Despite the inherent limitations of the color palette of these industrial tapes, I have managed to transcend these restrictions and use them as a creative starting point rather than an inhibiting obstacle. In every new country I can visit, I explore the variations and options of adhesive tapes available in the local market. This constant research enriches my expressive possibilities. Currently, I am working on a series of canvas pieces where I blend colors, meticulously placing adhesive tape to form grids or networks. Collage transforms into something else, a leap into a different visual context.
MB: How do you use numbers to determine the organization of the rectangles of adhesive tape in each artwork, and what importance do these numbers hold in your creative work?
RC: Using numbers in the arrangement of adhesive tape rectangles within each artwork has a profound and multifaceted meaning in my creative approach. In particular, I have adopted the number 11 as a symbol in honor of the victims of September 11, 2001, an event that transformed the course of our civilization and marked a turning point in our history. My choice of this number seeks to pay tribute and remember its influence. The consistent presence of the number 11 in my work establishes an organizational system or method. It drives me to maintain regularity in my series without restricting my ability to explore other alternatives. In addition to the 11 series, I have developed the 46 and 19 series, each with its own set of implications and variations. Using numbers serves a pragmatic function by avoiding distractions and ambiguities in identifying my works while infusing a sense of order and coherence throughout them, similar to how the assigned numbers to Jackson Pollock’s works impacted their visual presentation. One of my most significant works is Symphony #21, a composition on paper that spans 10.08 meters (399 inches). This piece consists of 21 parts, each formed by seven segments of 3 columns, and each column is further divided into five parts, representing different colors. Each piece within this visual symphony carries harmony and meticulous balance, resonating throughout the composition. My approach to contemporary collage is where I’m venturing into new coordinates.
**Curator Milagros Bello holds a Ph.D. in Sociology with a doctoral thesis in Sociology of Art from the University of Sorbonne (Paris VII-Jussieu) and a master’s degree in art history from the University of Sorbonne (University of Paris I), both located in Paris, France. She earned a bachelor’s degree in psychology, specializing in Clinical Psychology, from the Central University of Venezuela and pursued postgraduate courses in Family and Individual Counseling in her home country, Venezuela. Dr. Bello is an art critic, a member of the International Association of Art Critics (AICA), and a member of the National Federation of Psychologists of Venezuela. She is an independent curator and directs MIA Curatorial Projects (formerly known as Curator’s Voice Art Projects, founded in 2010 in the Wynwood Art District of Miami). From 2010 to the present, Dr. Bello has curated numerous contemporary art exhibitions at both the national and international levels. During April-November 2022, as part of the 59th Venice Biennale, she curated the exhibition “Americans: Current Imaginaries,” which was on display until November 2022 at the European Cultural Center in Venice, Italy. She is a lecturer at museums and art institutes, a writer for local and international art magazines, and a former editor-in-chief of the art magazine Arte Al Dia International. For fourteen years, from 2000 to 2014, she taught as an art professor in various theoretical areas of specialization, including Critical Theories, Art History, Modern and Contemporary Photography History, and Sociology, at the postgraduate and undergraduate levels at American universities such as Florida International University (FIU), Florida Atlantic University (FAU), Miami International University (The Art Institute/Miami), and Istituto Marangoni/Miami. She is the director and chief curator of MIA Curatorial Projects in Miami (formerly Curator’s Voice Art Projects, founded in the Wynwood Art District in 2010). Dr. Bello is also a mentor and motivational coach for artists. You can find her on Instagram at @milagrosbellocurator and @miacuratorial, and you can contact her at [email protected].
In the immersive world of Clark Medley’s artistry, the boundaries of language and culture dissolve, giving rise to dynamic, convoluted abstract forms that seem to invade the pictorial space with invisible, pulsating energy. This curated exhibition invites you to explore the profound fusion of influences and inspirations that shape Medley’s work, from Civilization writings to the spiritual essence of Judaism, Japanese and Chinese calligraphy, and elements of Islamism, all woven together with his connection to the vibrant world of Street and Graffiti art. The paintings feature cryptic emblems and signages in fragmented wordings transcending conventional communication, inviting you to contemplate his introspective spirit and deeply personal approach to conversations and interrelations with his environment.
Clark Medley You Showed Me Sunshine When I only Saw The Rain, 2022 Mixed media oil enamel on canvas 72×48 inches
Imaginary Alphabets as Dynamic Abstract Forms
At the heart of Medley’s artistic vision lies the creation of imaginary ontological alphabets and fictional morphological letterings. His visual configurations challenge traditional concepts of written language by defying rigid structures and conventional symbols. Instead, they burst forth with kinetic drive, revealing intangible forces emanating from within the artist’s psyche. Medley has constructed a world where new idioms transcend the semantic and the linguistic realms.
Cultural References and Influences
The paintings delve into a rich tapestry of cultural references, drawing from Civilization writings, revealing a vast spectrum of human expression that surpasses time, and geography. Medley’s art becomes a bridge between different epochs and traditions, embodying the essence of civilizations’ legacy. The pieces display intricate letterforms, with stems, strokes, serifs, terminal and bowls in great variations, evoking Judaism inscriptions Japanese and Chinese calligraphy, and the geometric patterns of Islamism. They creatively converge and diverge, in a discourse that outdoes barriers and surpass limits of communication.
Clark Medley Why Do I Feel Comfortable Around Strangers 2023 Mixed Media oil enamel on canvas 60×48 inches
Clark Medley I Write A Language Nobody Understands, 2022 Mixed Media oil enamel and resin on canvas 72×48 inches
Street/Graffiti Art, and Art Deco: Personal Phrases and Life Experiences
As we explore the artist’s connection to Street and Graffiti art, we enter the urban realm where “writing” takes on a subjective dimension. Medley’s nonrepresentational scripts come to life from personal phrases drawn from his life experiences and the acoustic backdrop of daily conversations. They transform into living visual texts in the pictorial space. These phrases, – infused with raw genuineness, and set as his conscious connection to the world around him-, become the heartbeat of his work and his defining artistic statement. Art Deco patterns appear in the works as quotations of the historical style, cited as changing creative ornaments of sleek contours and geometric shapes, on the backgrounds. There is a profuse mixture of evocations of epochs, styles and techniques that intertwine in the creative and personal artist’s approach to art.
Clark Medley F.O.St. Future of Storytelling, 2022 Mixed Media oil enamel, resin, and metal flake on glass 60×33 inches framed.
Clark Medley Envy is the Knife You Hold To Your Own Throat, 2023 Mixed media oil, enamel on wood 80×36 inches
Clark Medley White Donkey, 2023 Mixed Media oil enamel on wood 80×24 inches
Artworks and Life.
Medley’s alphabets invite viewers to embark on a journey of self-reflection, where the boundaries between artist and observer blur. The work’s visual complex configurations encourage us to evoke our own interpretations, emotions, and inner experiences, fostering a meaningful dialogue between us and the artwork.
Take, for instance, his thought-provoking piece with a satirical statement: “Envy Is the Knife You Hold into Your Own Throat” that connects us to our human deeds; “Will These Dreams Still Follow Me?” in its self-questioning title, and its cryptic letterings over a dark somber background that takes us into our own life sense and legacy; the works “I Write a Language Nobody Understands” or “You Showed Me Sunshine When I only Saw the Rain” that play as metaphorical allusions to segmented poetries. Their pictorial marks interweave, offering reflections and thoughts of human interaction. Each title and visual rendering are selectively chosen for its significance to every human being.
Clark Medley Will These Dreams Still Follow Me, 2022 Mixed media oil enamel resin on wood 80×36 inches.
The visual language in Medley’s art is a universe of surprises, where polished structures of gleaming gold or silver glitter contrast with dark, blue, or black backgrounds. Shiny and silky surfaces harmonize with satiny and velvety textures, creating a visually captivating experience for the viewer. Every stroke and layer add depth and complexity to the narrative woven within each piece. His mixed media technique mixing oil enamel, crushed glass, gold and copper leaf, metal flakes, and resin, layered on different planes as successive visual windows of compositional ornaments and geometries exemplifies his artistic freedom. His choice for the support is either on canvas, glass or wood panels rendering a huge versatility to his creations.
Clark Medley Deco Gold, 2023 Mixed media oil enamel and resin on wood 80×24 inches
A highlight of Medley’s portfolio is his “Love Series,” where he delves into the core of humanity: Love as the epicenter of all human motivation. The Love Series questions the intricacies of connectedness through the lens of love liaisons. It’s within these works that Medley profoundly connects with the substance of existence and to the core of the individual.
Clark Medley’s art is deeply rooted in social culture and spirituality, transcending the ordinary and celebrating the extraordinary.
Clark Medley Love Series No. 3, Love Denied, 2021 Mixed Media oil enamel, resin, and metal flake on wood 80×36 inches
///Clark Medley Love Series No. 2, 2020 Mixed Media oil enamel, resin, and metal flke on wood 80×36 inches
///Clark Medley F.O.A.D, 2022 Mixed Media oil enamel, metal leaf, metal flake on reverse glass 63.5×33.5 inches
BIO CLARK MEDLEY
Born in 1971, Clark Medley is a renowned international artist whose creative journey has taken him across various mediums and landscapes. Currently, he divides his time between the serene town of Fairview Heights, Illinois, just outside of St. Louis, Missouri, and the vibrant lower 7th ward of New Orleans. With a career spanning 34 years, Clark has demonstrated his remarkable versatility, evolving from a professional tattoo artist to a multifaceted artist with a distinctive style that transcends various art forms.
In the early 2000s, Clark’s pursuit of artistic growth led him to Southern Illinois University Edwardsville, where he focused on sculpture, expanding his knowledge and skills to propel his career to new heights. By 2010, he embarked on a journey to explore the world of painting, using diverse mixed media techniques and references to different sources such as ancient writings and calligraphies, as well as evocations of Street art and Graffiti. His rich mixtures of metal flakes, oil enamel, and resin on canvas, wood, or glass reflect his complex attitude toward discovery and experimentation.
From 2015 until now, his works have been exhibited in numerous curated shows, art fairs, and international venues. Notably are his three-time selection and international participation in the European Cultural Center (ECC) in Venice, in the context of the Venice Biennale.
****Curator Milagros Bello holds a Ph.D. in Sociology with a doctoral thesis in Sociology of Art from the University of Sorbonne (Paris VII-Jussieu) and a master’s degree in art history from the University of Sorbonne (University of Paris I), both located in Paris, France. She earned a bachelor’s degree in psychology, specializing in Clinical Psychology, from the Central University of Venezuela and pursued postgraduate courses in Family and Individual Counseling in her home country, Venezuela. Dr. Bello is an art critic, a member of the International Association of Art Critics (AICA), and a member of the National Federation of Psychologists of Venezuela. She is an independent curator and directs MIA Curatorial Projects (formerly known as Curator’s Voice Art Projects, founded in 2010 in the Wynwood Art District of Miami). From 2010 to the present, Dr. Bello has curated numerous contemporary art exhibitions at both the national and international levels. During April-November 2022, as part of the 59th Venice Biennale, she curated the exhibition “Americans: Current Imaginaries,” which was on display until November 2022 at the European Cultural Center in Venice, Italy. She is a lecturer at museums and art institutes, a writer for local and international art magazines, and a former editor-in-chief of the art magazine Arte Al Dia International. For fourteen years, from 2000 to 2014, she taught as an art professor in various theoretical areas of specialization, including Critical Theories, Art History, Modern and Contemporary Photography History, and Sociology, at the postgraduate and undergraduate levels at American universities such as Florida International University (FIU), Florida Atlantic University (FAU), Miami International University (The Art Institute/Miami), and Istituto Marangoni/Miami. She is the director and chief curator of MIA Curatorial Projects in Miami (formerly Curator’s Voice Art Projects, founded in the Wynwood Art District in 2010). Dr. Bello is also a mentor and motivational coach for artists. You can find her on Instagram at @milagrosbellocurator and @miacuratorial, and you can contact her at [email protected].
La Mud Foundation donne le coup d’envoi de la Miami Art Week avec l’ouverture de Media Under Dystopia WISPer Edition, une exposition hybride présentant des artistes travaillant à l’intersection de l’art et de la technologie.
MIAMI, POUR DIFFUSION IMMÉDIATE
La Fondation MUD annonce Media under dystopia, WISPer edition, une exposition de réalité étendue présentant des projets d’artistes qui explorent la relation entre internet, la réalité étendue et la démocratisation de la création artistique.
La Mud Foundation organisera un vernissage, le 29 novembre à 19h (RSVP) qui donnera le coup d’envoi de la Miami Art Week, lorsque Miami deviendra durant une semaine le centre du monde de l’art avec plus de 20 foires d’art, 1 200 galeries et des milliers d’artistes et d’amateurs d’art en ville. L’exposition sera disponible en ligne pendant six mois jusqu’au 30 juin 2024.
Artistes:
Vuk Cosic Leo Castaneda Filio Galvez Jose Hernandez Vladan Joler Antonio Mendez Yucef Merhi Ernesto Oroza Rodolfo Peraza Rafael Rodriguez Alba Triana Ariel Baron-Robbins
Une exposition hybride avec 25 artistes locaux et internationaux
L’édition WISPer combine des œuvres physiques et digitales de 25 artistes, explorant Internet comme extension de leurs pratiques actuelles. Les visiteurs peuvent découvrir et interagir avec les œuvres d’art à la fois en personne et dans un domaine virtuel, devenant ainsi des participants actifs aux œuvres d’art elles-mêmes. Ce concept est au cœur de la mission de la Fondation MUD, faciliter des projets éducatifs et artistiques qui favorisent la sensibilisation à la culture numérique contemporaine et à son impact sur la société.
L’exposition se déroulera virtuellement sur le métaverse de la Fondation MUD (MUD Verse) et sur Loop.Onland.io, deux plateformes XR développées par l’organisation pour héberger des expositions et des programmes éducatifs sur Internet. Ces plateformes proposent une interaction en temps réel et des interfaces XR, utilisant la réalité augmentée et virtuelle via un navigateur Web.
Depuis son lancement en 2018, les programmes de la MUD Foundation XR (XRCamp) ont été présentés par le Perez Art Museum Miami, la Collection De La Cruz et le Bakehouse Art Complex, entre autres institutions. En 2022, la Fondation MUD a reçu le Knight Foundation New Work Award pour le développement du programme d’exposition Media Under Dystopia.
Cette exposition dévoile le programme WISPer, une initiative communautaire à l’avant-garde de la transformation du paysage numérique et artistique. “Au cœur de WISPer se trouve l’exploration de la manière dont la réalité étendue et les hotspots Internet peuvent tisser de nouvelles connexions entre diverses communautés au sein du paysage immersif de notre MUD Verse”, explique Rodolfo Peraza, artiste et fondateur de la Fondation MUD.
WISPer, dérivé de « Wireless Internet Service Provider » (WISP) et du mot « Whisper », incarne l’essence de la vision de MUD. L’exposition présente un réseau WISP enveloppant le site de la Fondation MUD et s’étendant au-delà, favorisant l’accessibilité à toutes les communautés pour participer au programme d’exposition de MUD et aux initiatives des partenaires communautaires.
Un aperçu de l’exposition
Au sein de l’exposition, l’artiste contemporaine Gretchen Andrew, connue pour son travail sur les moteurs de recherche et l’utilisation de l’intelligence artificielle, présentera une nouvelle série intitulée Wild Era Art mettant en lumière l’écart entre ce que sont les femmes et ce que les algorithmes suggèrent qu’elles devraient être.
Dans le travail de Laurence de Valmy, la place des médias sociaux pour les artistes est explorée à travers ses œuvres anachroniques POST, des tableaux revisitant l’histoire de l’art. Chaque tableau inclut l’histoire derrière l’œuvre disponible sur le site de l’artiste.
Lans King est un artiste interdisciplinaire qui s’est fait connaître pour son œuvre (Network of) Self, 2019 – en cours, pour laquelle il s’est fait implanter dans la main, une capsule de micropuce NFC, stockant un code cryptographique qui représente un registre de l’artiste lui-même.
L’œuvre vidéo de Dhiren Dasu intitulée Tech Highexamine la relation entre la technologie et nos réactions biochimiques aux médias – sociaux et autres. Une ruée vers les neurotransmetteurs alimentée par les outils numériques.
Les artistes participants à l’exposition comprennent Gretchen Andrew, Connie Bakshi, Martin Carrillo, Leo Castaneda, Dhiren Dasu, Laurence de Valmy, Richard Garet, Jose Hernandez, Lans King, Rodolfo Peraza, Amélie Schläeffer et Ariel Baron-Robbins, aux côtés des artistes résidents de LOOP : Angie Amaro, BBraio, cha, Wenjun Chen, AdrienneRose Gionta, Inbar Hagai, Ibuki Kuramochi, Joelle McTigue, Zhou Peng, Denis Rovinskiy, David Sainté, Ryan Seslow et Match Zimmerman.
L’édition WISPer se déroule comme un laboratoire de co-création, proposant des activités telles que des ateliers pratiques, des eTalks et le programme XRCamp. MUD aspire à évoluer vers un centre dynamique de collaboration centré sur l’art et la technologie, à la fois en ligne et en personne.
À propos de la Fondation MUD :
Organisation à but non lucratif centrée sur l’art et la technologie et dédiée à l’exploration de l’art, de la technologie et de l’éducation, la Fondation MUD se concentre sur l’élargissement des possibilités lorsque Internet, les données, la réalité étendue (XR) et l’art se croisent. MUD a été fondée en tant qu’organisation 503(c)1 en 2018 par l’artiste médiatique d’origine cubaine et basé aux États-Unis, Rodolfo Peraza, pour créer des programmes d’art et de technologie et favoriser la communauté des arts médiatiques à Miami et au-delà.
Les programmes de la Fondation MUD ont été présentés dans des institutions locales, nationales et internationales, notamment le SIGRAPH, le Perez Art Museum Miami, la De La Cruz Collection et le Bakehouse Art Complex, entre autres. En 2022, la Fondation MUD a reçu le Knight Foundation New Work Award pour le développement du programme d’exposition Media Under Dystopia.
D’autres soutiens essentiels sont la Knight Foundation, le National Endowment for the Arts, Florida Cultural Affairs, Miami Cultural Affairs et la startup co-fondatrice et partenaire technologique, Next Reality Digital.
Contact: Fondation MUD INC.
350 Northeast 75th Street, unité 360-123, Miami, Floride, 33138, États-Unis
Touch Turkey in the City: A Feathered Tale is happening on Sunday, November 12, 2023, at 3 PM EDT in Pinecrest Gardens.
Orchestra Miami Begins the 2023-24 Family Fun Series with Tough Turkey in the Big City
Touch Turkey in the City: A Feathered Tale is happening on Sunday, November 12, 2023, at 3 PM EDT in Pinecrest Gardens.
Orchestra Miami is thrilled to announce the 2023-2024 Family Fun Series at Pinecrest Gardens, beginning on Sunday, November 12, 2023, with Tough Turkey in the Big City: A Feathered Tale. The series, which features four different programs on Sunday afternoons at 3 PM, introduces your kids to the performing arts through performances that contain live music. This diverse series features symphonic music, dance, chamber music, Mariachi, opera and more! Each concert lasts approximately one hour, and juice and cookies are served after all the performances. Your entire family will enjoy these creative and entertaining concerts! This year, Orchestra Miami is serving up some turkey for Thanksgiving- Tom Turkey, that is! On November 12, 2023 at 3 PM, join Orchestra Miami at Pinecrest Gardens for the first concert in their Family Fun Concert Series! Tough Turkey in the Big City: A Feathered Tale is a Thanksgiving treat for the whole family with music by Bruce Adolphe and story by Louise Gikow. What happens when a turkey from the sticks meets a Park Avenue pigeon? With the feel of an old-time radio story, Tough Turkey in the Big City follows the comic blunders of Tom Turkey, who leaves the farm to try his luck in the big city. The story illustrates a close call with a menacing chef, a tussle at the “Turkey Club”, a brief romance with a pigeon, and a happy mix up at the Thanksgiving Day Parade. It’s a big-hearted story of a plucky bird on an unexpected journey. Tom is portrayed by the bass trombone and his barnyard friends by the violin and clarinet. The music of the farm is a swinging barnyard counterpoint, while the music of the city recalls the smoky jazz of film noire. There’s also some fun march music at the parade, and hot Latin rhythms at the Turkey Club. Tough Turkey will be performed by soloists from Orchestra Miami and narrated by Joanna Kaye. The performance is appropriate for all ages and takes place on Sunday, November 12, 2023 at 3:00 PM at Pinecrest Gardens, 11000 SW 57 Avenue, Pinecrest, 33156. The performance lasts approximately one hour and is appropriate for and guaranteed to delight children of all ages. Stay for complimentary cookies and juice after the concert. There is ample, on-site free parking. Tickets are $8 for Kids (3-17), $12 Seniors (65 & up) and $15 for Adults, and a Family Pack (2 Kids + 2 Adults) is available for just $39. Tickets available at http://www.OrchestraMiami.org or by calling (305) 274-2103.
You can subscribe to the entire four-concert series and receive 20% off single ticket prices for all four Family Fun Concerts, listed below. Subscription prices are $26 -Kids, $38- Seniors, $48- Adults, Family Packs (2 Kids + 2 Adults)- $147. For more information, visit https://www.orchestramiami.org/tough-turkey or call (305) 274-2103.
Orchestra Miami’s Family Fun Concert Series at Pinecrest Gardens Sunday, November 12, 2023 at 3 PM – Tough Turkey in the Big City: A Feathered Tale at Pinecrest Gardens! A feathered tale wit music by Bruce Adolphe and story by Louise Gikow. Come find out what happens with Tom a turkey from the sticks meets a Park Avenue pigeon in a comic blunder. An ideal way to start the Thanksgiving holiday season. Sunday, January 28, 2023 at 3 PM – Mad for Mariachi at Pinecrest Gardens! Learn about the historic and beautiful music of Mariachi as students from the Homestead Miami Mariachi Conservatory perform with musicians from Orchestra Miami. Sunday, March 17, 2024 at 3 PM – Little Red Riding Hood at Pinecrest Gardens! An operatic version of the classic fairy tale. Performed in a fully-staged production by three professional opera singers with music direction by Elaine Rinaldi. Sunday, April 7, 2023 at 3 PM – The King, the Cat, and the Fiddle at Pinecrest Gardens! This is the final concert in the Nicklaus Children’s Hospital Family Fun Concert Series. Your family will be treated to a performance of Bruce Adolphe’s tale with solo performances from Orchestra Miami and the narrator. Also, on the program is “Farmony”, an interactive piece for string quartet – and kids in the audience! In addition to the Family Fun Concert Series, Orchestra Miami offers a full season of concerts and events across Miami-Dade County, the first will be on November 12, 2023, with Tough Turkey in the Big City: A Feathered Tale in Pinecrest Gardens. Followed quickly by our New Year’s Eve Celebration in Collins Park with Special guest “The Latin Divos”. Advanced tickets are on sale now! Visit – https://www.orchestramiami.org/new-years-eve-2023
ABOUT ORCHESTRA MIAMI Founded in 2006 by Artistic Director Elaine Rinaldi, Orchestra Miami exists to fill the unique cultural needs of our community, and is successfully fulfilling its mission of bringing affordable concerts of quality symphonic music to all people in Miami-Dade County. Orchestra Miami’s goal is to provide people opportunities to experience art, build community, and educate through music. Orchestra Miami’s signature programs include its “Beethoven on the Beach” free outdoor concerts, and its many collaborations with the Miami Dade County Public Schools and its Family Fun Concert Series. Orchestra Miami consists of a select group of professional musicians, all permanent residents of South Florida, whose collective body is unparalleled in terms of excellence and experience. Led by Founder and Artistic Director Elaine Rinaldi, Orchestra Miami continues to exceed expectations in terms of programming and artistic quality. For more information, please visit our website at www.OrchestraMiami.org.
Elaine Rinaldi, Founder and Artistic Director PO Box 7598 Miami, FL 33255-7598 [email protected] – 305.274.2103
KUBE MAN PERFORMANCE SERIES: A Mesmerizing Performance Exploring Human Equality
A new live show called “Kube Man” is capturing audiences with its captivating visuals and powerful commentary on humanity’s shared essence. The show is conceived and performed by artist Rafael Montilla and features a figure covered in mirrors reflecting the spectators’ faces. This simple yet striking effect delivers a profound message – we are all equal, we are all one.
As Rafael Montilla explains, the inspiration for Kube Man comes from the iconic quote, “All men are created equal,” in the Declaration of Independence penned by Thomas Jefferson. The mirrored cube costume symbolizes how there are no divisions between human beings and, by literally reflecting the audience, it shows that we are all connected. When we look at Kube Man, we are actually staring at ourselves.
Beyond impressing with visual optics, Kube Man stimulates philosophical introspection. The experience invites contemplation on how people are fundamentally connected as part of the human ecosystem, regardless of superficial differences. As we recognize our shared identity, empathy and mutual care become possible.
This poignant mirror effect and its existential implications make for a show that lingers in the mind. It leaves audience members pondering their responsibilities towards others as fellow inhabitants of this planet. Kube Man proves the power of art to promote self-reflection and spark insight into the universal human condition.
The show’s message is vital in the current social fragmentation and environmental jeopardy. Kube Man reminds us to see ourselves in those around us and act accordingly to build a just, sustainable world. It brings the Declaration of Independence’s iconic words to life in an unforgettable multisensory experience.
Through innovative performance art, Rafael Montilla has created a platform to revive founding ideals of equality. Kube Man turns abstraction into a tangible feeling, cutting through divisions. More than mere entertainment, audiences must recognize that we all reflect each other beneath surface variances.
KUBE MAN PERFORMANCE SERIES
My performance is based on the quote, “All Men Are Created Equal,” part of the United States Declaration of Independence, penned by Thomas Jefferson in 1776 during the beginning of the American Revolution. The second paragraph in the Declaration of Independence states: The quotation “All Men Are Created Equal” is part of the sentence in the U.S. Declaration of Independence, which Thomas Jefferson penned in 1776 during the beginning of the American Revolution that reads, “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”
When you see the Kube Man, you’re watching yourself, and then you understand that you are me, and I am you: “We are one; we are the same.” We are all human beings. When we realize we are part of an ecosystem called planet Earth, we will start taking care of each other and the environment and thinking about future generations.
Famed Street Artists Bring One-of-a-Kind, Local Art to Hatch
Hatch is a new, trendy brunch restaurant that offers scrumptious and delicious takes on breakfast classics. Hatch’s knack for fun and creativity extends beyond the food and staff, with a unique and vibrant restaurant design. Lawrence Lessing, creator of Hatch and vice president of Lessing’s Hospitality Group, found it important to integrate unique, local artistry into the design when developing his new restaurant. The interior design includes custom and creative murals painted by nationally praised street artist Jeremy Fish. To enhance the restaurant’s sunny and bright décor, Florida local Eduardo Mendieta collaborated with Hatch to complete their “greetings” paintings along the hallways.
Jeremy Fish received recognition after completing one of the largest mural paintings in Miami’s Wynwood neighborhood. He was ecstatic at the opportunity to create his mural project for Hatch’s new Fort Lauderdale location. Fish’s artwork utilizes his library of characters and symbolism to tell a story using a bold, distinctive style. His vision for Hatch’s mural was to blend South Florida’s regional animals and plants with some of the restaurant’s signature selections. In the mural, Hatch’s locally sourced coffee and flight of pancakes can be found between the native mangrove trees and Florida panthers.
In recent years, Mendieta has gained recognition creating large-scale murals and curating public art throughout South Florida. His artwork has been displayed in numerous galleries throughout the state, most recently as part of the group show at the Cultural Council of Palm Beach County.
About Jeremy Fish: Jeremy Fish was born in Albany, N.Y., and relocated to San Francisco in 1994. His education and work experience led to a career as a fine artist and commercial illustrator. Fish has produced commercial illustration projects for a wide range of corporate and independent clients all around the world. His artwork has been exhibited across the U.S., and internationally in galleries and museums. Fish was the first-ever San Francisco Arts Commission artist in residency at San Francisco City Hall in 2015 to celebrate the 100th birthday of the building. In 2015, Mayor Ed Lee officially declared November 19 “Jeremy Fish Day” in the city of San Francisco. Fish created the Haight Street Bronze Bunny statue in 2016, which is the largest crowd-funded public bronze statue in California.
About Eduardo Mendieta: Eduardo Mendieta is originally from Union City, N.J., but has been a Florida resident for the last 26 years. His passion for the arts started at a young age when he began painting graffiti on abandoned buildings and walls. His graffiti art opened his mind to playing with the idea of scale, design, and the concept of public art.
Hatch Hatch is a modern American brunch restaurant with a unique take on breakfast classics. Owned and operated by Lessing’s Hospitality Group, Executive Vice President Lawrence Lessing launched Hatch in 2018 in Huntington, N.Y., after conceptualizing a restaurant that changes the perception of a typical brunch. Hatch’s knack for fun and creativity expands beyond the food and staff, with a hip, vibrant restaurant design. Hatch is located at 715 N. Federal Highway in Fort Lauderdale. For more information, visit hatchbrunch.com or call (754) 200-8747.
Lessing’s Hospitality Group Lessing’s Hospitality Group is comprised of over 115 locations throughout the Northeast and Florida. Lessing’s operates 20 wedding and catering venues, 19 full-service restaurants, more than 75 corporate and academic dining centers, a historic inn, and a presidential yacht. Steeped in over 130 years of tradition, Lessing’s Hospitality Group’s focus is on providing each guest and client with unique, personalized experiences and remarkable hospitality.
El pintor suizo Camille Graeser (1892-1980) fue una figura clave en el desarrollo del arte concreto en su país natal. Nacido en Zurich, Graeser pasó su infancia en Stuttgart, Alemania, donde inicialmente se dedicó al diseño de muebles. Luego, atraído por la pintura, se convirtió en pionero del movimiento concreto en Suiza.
De joven, Graeser trabajó como aprendiz de carpintero en Stuttgart. Para 1913 ingresó a la Academia de Bellas Artes de la ciudad, donde estudió diseño arquitectónico. En sus comienzos combinó la pintura con el diseño de muebles, área en la que ganó reconocimiento. Participó en importantes exposiciones de la asociación Deutscher Werkbund y en 1927 fue invitado por Mies van der Rohe para diseñar muebles en la Weissenhof Estate.
Sin embargo, el ascenso del partido Nazi en 1933 obligó a Graeser a huir de Alemania debido a sus inclinaciones socialistas. Se estableció permanentemente en Zurich, Suiza, donde se enfocó de lleno en la pintura. Allí se unió al grupo de artistas Allianz y encontró su voz creativa a través del arte concreto, corriente que buscaba la abstracción geométrica pura.
Junto a figuras como Max Bill y Richard Paul Lohse, Graeser creó obras basadas en formas, colores y composiciones rigurosas, en lugar de representaciones naturalistas. Sus pinturas de la década de 1930 y 1940 ejemplifican susexploraciones pioneras de ritmos visuales y armonías cromáticas. Obras emblemáticas incluyen Imagen Cuadrada (1934) y Composición con Rojo, Amarillo y Negro (1941).
Además de pintar, Camille Graeser enseñó diseño y color en la Escuela de Artes y Oficios de Zurich por casi tres décadas. También co-fundó la revista y galería Arte Concreto, difundiendo este movimiento. Su obra abstracta, de gran precisión formal, influenció generaciones de artistas suizos. Graeser dejó un valioso legado como impulsor del lenguaje no-figurativo en el arte de su país adoptivo. Murió en Zurich en 1980, a los 88 años.
Exhibit: Yolanda Sanchez: All the Light We Cannot See
The Deering Estate is proud to present Yolanda Sánchez: All the Light We Cannot See curated by Adriana Herrera. The exhibition will be on display daily, Sep. 8, 2023 – Nov. 12, 2023, 10AM – 4PM in the Deering Estate Great Hall Gallery.
Herrera describes “this is as the first solo exhibition devoted to Sánchez’ fiber art, a fusion and transformation of the textile legacies of the east and the west, a longstanding inquiry into the relationship between perception and color, also developed in her abstract painting. The exhibition consists of a site-specific, large-scale textile installation, a harmonic interactive experience of light and color, and two complementary works integrating ritual elements related to landscape as a way of seeing. Sánchez’ art links and alters a conduit for ancient cultural practices in order to construct her own language – a language that alludes to the beauty of nature, while at the same time placing us before the threshold of the invisible – at once, a passage into the spiritual universe which belongs to each one of us.”
The exhibition will include a printed catalog with essays written in English and Spanish by Yolanda Sánchez and Adriana Herrera.
COST: Included with General Admission, $15 for adults (ages 15+) and $7 for children (ages 4-14). Admission is free for Deering Estate Foundation Members and children under 4 years old. Non-Members can choose their date of visit / purchase General Admission tickets online here (choose your visit date between Sep. 8, 2023 – Nov. 12, 2023). Members do not need to reserve to view exhibit; please show your membership card at the Ticket Booth on the day of your visit, 10am-4pm. Become a Member today!
About the Artist
Born in Havana, Cuba, Yolanda Sánchez immigrated to the United States in February 1960. She obtained a Ph.D. in Clinical Psychology from Florida State University and has practiced and taught psychology at the graduate level for over 30 years. In her mid- thirties, Dr. Sánchez returned to school, obtaining a BFA and subsequently, an MFA from Yale University in painting. She is a Fulbright scholar, completing her fellowship as a painter in Spain for one year. Recently, she was a Visiting Scholar & Visiting Artist at the American Academy in Rome, Italy. She has received numerous awards including in 2023, an Artist Access Grant from the Miami-Dade Department of Cultural Affairs to support a residency in Oaxaca, Mexico. Sánchez has taught at Florida International University, the University of Miami, Nova University and Yale University. Currently, Dr. Sánchez is a full-time working artist, exhibiting nationally and internationally in numerous venues. In New York, she is represented by Kathryn Markel Fine Arts. She is also a curator and writer, and formerly Director of Fine Arts & Cultural Affairs at Miami International Airport, a position she held for 21 years. For more information please visit https://www.yolandasanchezstudio.com/.
About the Curator
Adriana Herrera earned her P.h.D. with an interdisciplinary dissertation in the fields of Literature and Art, proposing the concept of “Extreme Fiction” as derived from a particular way of its relation that ultimately filters reality. Her curatorial vision searches for the connection between the intimacy and the collective, the personal and the social realms, and the interest for the need and possibilities of imagination. She served as an art critic for El Nuevo Herald, worked as an editor advisor with Arte al Día International Magazine, and written for several other international art publications. In 2011, with Willy Castellanos she created Aluna Art Foundation, as an alternative art space which the aims to promote the dialogue among local and international artistic practices and explore unreeled practices in Miami. Since its founding, Aluna Curatorial Collective has curated, organized and/or produced more than 30 exhibitions that were hosted at Aluna’s space or in different galleries and museums in Miami, Siberia and Monaco.
