Oct 7
published in Articles
tags : antonia eiriz, art, Contemporary Cuban Art, Cuba, cuban american art, Cuban American artist, Cuban Art, cuban artist, Cuban Avante Garde, Cuban Culture, Eiriz, El nuevo Herald, freedom Tower, MDC, MDC Museum of Art + Design, MDC Museum of Arts + Design, Miami, The Miami Herald
Through November 17th, 2013
MDC Museum of Art & Design, Freedom Tower
600 Biscayne Blvd.
Miami, FL
The sweeping canvases of the late Cuban painter Antonia Eiriz are not always easy to view. That is not to say they are harsh and hard — very little overt violence is expressed in these works; but the blurred faces and figures are contorted, silently shouting out in pain, or they are just silently suffering.
Many of her works — thought to walk the line between expressionism and abstraction — are covering the walls of MDC Museum of Art + Design at the Freedom Tower, a huge space well-suited to this retrospective of an artist under-appreciated in the United States, and Miami (although not by many within the art community). In fact, this is the biggest exhibit of her work, called Antonia Eiriz: A Painter and Her Audience.
In an interesting addition, curator and artist Michele Weinberg has included a number of contemporary artists who have been influenced by Eiriz. The variety of works highlighted in this section — from Luisa Basnuevo and Nereida Garcia-Ferraz to Ana Mendieta, Glexis Novoa and Tomas Sanchez — underscore that Eiriz’s influence was far broader than simply imparting the tricks of the trade to a new group of emerging artists.
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Oct 5
published in Exhibits, Exhibits - Miami
tags : ACND Gallery, art, Contemporary Cuban Art, Cuba, cuban american art, Cuban American artist, Cuban Art, cuban artist, Cuban Avante Garde, Cuban Culture, Lizama, Miami, sights of construction, Silvia Lizama, The Miami Herald
9 November – 24 January 2014
Opening Reception November 9th from 7-9pm
ACND Gallery of Art
4949 NE 2nd Ave.
Miami, FL
A collection of photos depicting endless tracts of dirt stretching toward horizons set amidst the drama of tropical skies. Lizama has turned her camera lens to barren acres of earth awaiting construction of highways, shopping malls, office parks, and subdivisions. Black and white shots, using a medium format film camera, with surfaces of the printed images hand colored with photographic oils. Other images are digital and hand coloring is achieved with digital manipulation software.
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Sep 23
by:Jordan Levin
Miami Herald – September 22, 2013
For five years, visual artists Leyden Rodriguez Casanova and Frances Trombly were happily ensconced in a rent-free studio in the Design District, adding to the cachet that helped the neighborhood boom as a cultural destination.
As their landlord and patron, developer Craig Robins, began transforming the area into a luxury shopping destination, the couple went looking for a new home. They tried Miami Beach, Wynwood and Little River before moving last summer to Miami’s next cultural frontier: Downtown.
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Mar 27
Opened in 2009 in a specially built 300,000-square-foot building in the Design District, the light and airy space became the latest addition to Miami’s public exhibition halls founded and run by major private collectors.
The 2013 De La Cruz Collection exhibition runs through Oct. 12, at 23 NE 41 St., Miami; 10 a.m. to 4 p.m. Tuesday through Saturday, free.
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Jan 7
published in Articles
tags : Contemporary Cuban Art, Cuba, cuban american art, Cuban American artist, cuban artist, Cuban Avante Garde, Cuban Culture, lydia Martin, miami herald, Sori art gallery, The Miami Herald, Tomas Sanchez
Cuban artist Tomás Sánchez, whose paintings of idealized tropical landscapes have earned him a place among the island’s most important living artists and have nabbed as much as $800,000 at auction in New York, has dabbled with photography for several years, taking point-and-shoot cameras with him as he has traversed the beaches, rain forests and mountains of Costa Rica, which has been home for more than a decade.
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Jul 26
published in Articles
tags : art, bert rodriguez, Contemporary Cuban Art, Cuba, cuban american art, Cuban American artist, Cuban Art, cuban artist, Cuban Culture, Enrique Gomez de Molina, Ernesto Oroza, Gean Moreno, Guerra de la Paz, Jose Felix Perez, Miami, The Miami Herald
BY BETH DUNLOP
THE MIAMI HERALD
July 17, 2011
Nothing is quite what it seems in the exhibition Home: Dream Home, and yet everything is indeed exactly what it is.
A globe-shaped pendant lamp by Ernesto Oroza sparkles like glass. It’s actually layers — many layers — of Scotch tape, and at the same time, a fully functioning light fixture . (It’s called, whimsically enough, Little Havana Lampshade.)
….
Home: Dream Home, on view through Aug. 13 at Praxis International Art, is a showhouse like no other. Though it’s a gallery exhibition, you can touch, sit on or in the case of the “fur’’ rug — roll around on the art.
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Jun 24
published in Articles
tags : 80's generation, art, Contemporary Cuban Art, Cuba, cuban american art, Cuban American artist, Cuban Art, cuban artist, Cuban Culture, josé bedia, Miami, The Miami Herald
Of time and place
Eight artist-designed plazas strung along Crandon Boulevard celebrate Key Biscayne’s island lifestyle and environment
The Miami Herald, June 19, 2011
BY BETH DUNLOP
Key Biscayne has always been a magical place. The condos have come and conquered. The strip shopping centers line too much of Crandon Boulevard. There’s plenty of traffic. And yet, somehow despite everything, it still feels, and looks, like an island.
There is no better reminder than the series of eight small public plazas — place makers, really — created under the auspices of Key Biscayne’s admirable, ambitious and even visionary public-art program. They are works that speak to time and place, nudging us to pause and think about the island’s fragile ecology.
Seven of the plazas were designed by the Cuban-born Miami artist Jose Bedia and the last by the American-born artist Sarah Morris, who is based in London and New York. Wrought in terrazzo (by Bedia) and tile (by Morris), these installations offer momentary respite or the opportunity for long contemplation. Bedia’s, in particular, are a reminder of the fragility of the environment, though a long look at Morris’ two tiled pools might yield the conclusion that rather than being merely abstract geometries, they might also be saying something about a once-lush, once-native landscape now crisscrossed with roadways.
Also here
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