Nothing can vanquish art and culture, not time, distance, or a viral pandemic. Drive-by-Art is here to prove that culture is enduring and here to stay. For visitors driving on the East End of Long Island Saturday and Sunday May 9th-10th, there is a panoply of options to experience art in a time of social distancing. A myriad of artists, including Clifford Ross, Joan Jonas, Keith Sonnier, Eileen O’Kane Kornreich, Jeremy Dennis and more, will be featuring their artistic prowess in outdoor sculpture and installation visible from the roadside. Art lovers can drive right up to the space where these artworks are featured and explore a new form of public art in a time of socially distanced cultural appreciation.
In addition to a recent online talk coordinated by Corinne Erni of the Parrish Art Museum, featuring initiative founder and artist Warren Neidich, Artist and Chair of Fine Arts, SVA Suzanne Anker, Artist and Shinneock Indian Nation member Jeremy Dennis, and Artist Almond Zigmund (found at DrivebyArtOrg.) Featuring artists’ work on view throughout the Hamptons from Southampton out to Montauk, from 12 noon to 5 pm on Sat and Sun May 9-10, the exhibition takes the artwork from the studio out into the environment, with a range of artists bringing something new and innovative to a diverse audience riding through the neighborhood.
Sponsored in part by local iconic institutions Guild Hall and the Parrish Art Museum, Drive-by-Art uplifts the spirits of art lovers across the area, giving artists the chance to feature what they’ve been working on during the pandemic in a socially responsible manner. Make sure to go by and to tag the art you encounter on Facebook and Instagram ( #drivebyart )- and take a peek at the jewels others have uncovered along the way!
ANTE Mag is focusing on ten projects that span creative disciplines and seek to build wider community ties between creative disciplines in our new series of interviews, 10xCommunity. Featuring artistic projects, community-building initiatives and interdisciplinary platforms, ANTE is sharing these interviews on the mag and across social media that spotlight these endeavors through the current social crisis to pivot to sharing positivity and uplifting creative news to our audience. Social Distanzine is a joint effort by co -editors Allison Remy Hall, a Jersey City-based curator, and Detroit-based artist and illustrator Narciso Espiritu.
The Instagram platform features art created during the Zeitgeist of the CoVid-19 Pandemic. We discussed their initiative to learn more about the ripples it has made in the larger arts community.
ANTE: Allison, Narciso, thank you both for chatting with us about this project – can you start by sharing the genesis of this with our readers?
Allison Remy Hall: Like a lot of people in the midst of the coronavirus crisis, I was following an impulse to start a project that would help to pass the time indoors. For me, the primary joy of curatorial work is that exhibitions are generative of community. I wanted to do something that would manifest virtual elements of those in-person encounters with art and people that we are all missing now. I asked my friend and illustrator @narcisoespiritu if he would come aboard as co-editor, and together with a few other contributors we have set about creating a document of the experiences and work of the global arts community during this time.
Narciso Espiritu: Initially, Allison approached me with a few tentative names for something that would function as a document of this time in the arts, and I quickly embraced the idea. I’ve had experience with art publications of my own, so I felt like I could lend a hand in this effort. Also, we have worked pretty well together on previous projects, so it feels like a smooth collaboration.
ANTE: Social_Distanzine serves as a platform for the wider art community to unify (remotely) in the time of CoVid-19; can you talk to us about what you are hoping to highlight with this initiative?
ARH: I think sharing the work of all mediums that artists are making now, as well as interviews with people across the arts community, is a way to collect and connect subjective experiences and impressions of this moment. This in turn creates a record through which we can consider the whole of this time, and perhaps be reminded of the smallness of our current physical separation from each other. Of course we also want to give artists as much visibility as possible–Times are tough psychically and materially.
NE: This time is important for everyone. It allows for everyone to pause, take note of what they really appreciate, and evaluate what’s broken or doesn’t work quite as well as they want it to. Artists of all disciplines are kind of the arrowhead here. Folks are absorbing what’s going on, and they’re gonna funnel that energy into something. Even if it doesn’t quite make sense now. There has to be a way to express this strange feeling a lot of people are living with.
ANTE: Does the platform have a particular lens on art that engages with the covid-19 pandemic, or merely works made during this time, and why?
ARH: As described, this is kind of an overarching archival or historical approach–we’re doing our best not to exclude any works–Even if they don’t reference covid-19 directly, they are still products of the time. We are really keen to maintain a diverse exhibition in terms of medium, and are hoping to see more performing arts, writing, and musical works in addition to all of the amazing visual arts submissions we’re receiving.
NE: I think we’re all processing the pandemic in our own ways. We could be checking the numbers every day, zoning out to some activity, or actually helping on the front lines– but it doesn’t diminish the importance of it on a granular level. Because we all matter here. Personally, the work I’m making is not reflective of the pandemic. Maybe I’ll make something related to my mental experience during this time later on, but it’s just a lot of information and anxiety that I don’t quite know how to transform.
ANTE: You’ve provided insights through interviews on remote residencies and opportunities available to artists; what about this aspect of engaging the art community is critical to your team?
ARH: The interviews were Narciso’s idea. This is a really tough time for the arts and other related creative industries, and we felt there could be some practical benefit to sharing not only opportunities, but a kind of inside-perspective. We describe these interviews as lo-fi chats with people in the arts community across the world. We hope that adding these voices to the chronicle will lead to a better understanding of what people are doing/dealing with now, and what the arts might look like later. Our first one was with Matt Davis at @perfectlyacceptable, a risograph press and publishing house based in Chicago.
NE: Interviews with creatives and other notable folks in the local Jersey City arts community was something I used to do with a publication I used to run, called Instigatorzine. It was a vehicle for me to meet people and learn about how they got to that point in their lives, but I also just enjoyed the process and results. Sharing the personalities and work of many people with many people fulfilled me in a unique way. Doing the SD Interviews is very special for the moment we’re all in, because we’re delivering this perspective that you won’t likely see in other media. Inviting folks to see and listen to the people behind the artwork is important, especially now.
ANTE: In terms of the submissions you feature on the platform, can you speak to the challenges in presenting certain mediums given the format of the platform (are some projects/works easier to present than others?)
ARH: Totally. We are doing our best to do justice to everything that is submitted. Instagram isn’t ideal for some works, which is why I also set up a webpage for the webzine at nosucharts.com/social_distanzine (a work in progress). We are playing with the idea of creating a print edition, which of course would pose other challenges for our inclusive approach.
ANTE: Can you walk us through the types of responses you hope to inspire in your audience?
ARH: I want people to feel less alone, and have the opportunity to experience a small form of collective engagement aside from our inexorable shared suffering.
NE: I moved to Detroit a few months before COVID got serious in the States. While I’ve been to the city several times over, it’s still new and I have a relatively small social circle compared to when I lived on the East Coast. Working with Allison on SD helps me feel less alone out here. It’s good that the SD audience can experience this unity, too.
ANTE: What are your plans for this platform post-pandemic?
ARH: It is so difficult to think beyond the end of a single day right now. There’s kind of a fog over the future, but we are doing some brainstorming about creating print issues (though that may happen before the end of pandemic?). Who knows!
NE: Honestly, I get kind of upset that I cannot note time passing some days. It’s easy to get ahead of ourselves because of that. I tend to go galaxy-brain on this stuff, so I write things down instead and return to them later. I’ve always believed in printed material, but that’s a bridge I can’t see yet.
As usual, a visit to Independent Art Fair in New York doesn’t disappoint. On view this weekend at Spring Studios (50 Varick Street) in Lower Manhattan from 12-7 Sat 3/7 and 12-6 Sunday 3/8, this carefully curated fair is presented with minimal spectacle and maximum impact. Eschewing an the aesthetic of the uncontained, Independent N.Y. allows space for fair goers to step back and digest the diverse palettes presented by exhibitors.
Cannupa Hanksa Luger continues to push the envelope forward with human rights and indigenous visibility with a presentation at Garth Greenan gallery, while Company gallery stuns with a simultaneously personal yet abstracted group presentation. The insurmountable genius of Wolfgang Tillmans emerges at the Maureen Paley gallery presentation. Exhibitors have exhibited the ability to pull inspiration from multiple sources, sensorially and intellectually, without muddying the waters beyond comprehension.
Installation remains a key part of Independent presenters’ motive, with multiple perspectives available for visitors to access. Where the creeping influence of design and interdisciplinary approaches meets a surge in identity politics, the breath of fresh contemporary wonder that is Independent lies at the ready to strike into the heart of visitors’ imaginations.
A wealth of mediums and conceptual rigor greet the fair visitor. Make sure not to miss the chance to step into the refreshing space inhabited by Independent NY in 2020 before it closes this Sunday.
Hysteria is a dirty word, and those who use it may not be aware of its context as a means of subjugating women to prejudice for.. millennia. As long ago as Ancient Greece, philosopher Hippocrates applied a related Greek term to women as a means of classifying them as incapable of rational thought. Vogue notes, “The womb, thought Plato (and Hippocrates), was believed to lurch up and down the body, upsetting a woman’s delicate constitution. This illness was called hysterike pnix, or “the suffocation of the womb,” and was believed to cause erratic and unreliable behavior.” The exhibition “Female Trouble” opens January 10, 2020 at Western Exhibitions, co-produced by the women-led Elijah Wheat Showroom, features artists Amanda Joy Calobrisi, Lilli Carré,Qinza Najm, Kathryn Refi and Frances Waite in dialogue with the legacy of misogyny pervading modern and contemporary culture, directly challenging this long-held belief through a conceptual, interdisciplinary lens.
The topic of women’s bodies is addressed with particular fervor in “Female Trouble.” Works by the artists depict the implied body, or the power of the presence (or absence) of the female body in their works. The pervasive power balance delineating gender is at play in these works, on view at Western Exhibitions through Feb 22, 2020.
Frances Waite approaches the body as it relates to the larger environment, inhabiting both the corporeal and the Anthropocene in equal measure. The artist presents drawings that inhabit both reality and the hyper-real, envisioning humans as mammals inhabiting their larger realm. Kathryn Refi inhabits the realm between information and interpretation, where data meets translation into results. Her work, while abstract, presents images that create an abstracted visual of our everyday lives.
Amanda Joy Calobrisi explores erotica and female empowerment- a means of embracing women’s genitals as a means of impressing power forward onto the viewers’ psyche. Lille Carré similarly implies women’s’ bodies in her interdisciplinary practice. Her clay works especially embrace both the abstract and the implications of gender simultaneously.
Artist Qinza Najm approaches the misogynist roots of hysteria with a lens as a woman with roots in a culture historical marginalized over centuries of colonialism. She notes of her approach to the body as primary mode of interpretation in her interdisciplinary works, “I often use motifs of bodies stretched, deconstructed, distorted, and pushed beyond their limits. A manipulated body is a reflection of how power is exerted upon our being.” Perhaps there is no more appropriate encapsulation of the necessity of claiming female bodily autonomy and agency in an era in which women’s rights to claim their body as they wish are constantly being eroded by privileged men in positions of power.
The earth beneath our feet serves as the subject of choice for artist Esperanza Cortes in her current exhibit, “Arrested Symphony,” on view at Jonathan Ferrera gallery in New Orleans, LA with an opening celebration from 6-9 pm on Sat, Jan 4th. The artist is specifically interested in the minerals and elements that can be mined and utilized from the soil: extracted ethically or… otherwise. Cortes’ work shines a light on the darker sides of gemstones, investigating the implications of how rare and precious substances become a source of geopolitical trauma. The Colombian-born, America-based artist works with an object-based approach to examine injustice in contemporary society. The fragmentary faces and delicate, shimmering cascade of chains defining works such as “Arrested Symphony” (2017) (below) serve as both an elegy and a hopeful perspective, a longing for renewal.
The underpinning themes of injustice and the human cost of labor simmer beneath the surface of Cortes’ delicate and evocative artworks. The artist has a penchant for cretaing artwork that appeals to the sense: inspiring a lingering sense of wanting to touch: wanting to examine more closely. Her hanging installation works in particular – “Suspended Thoughts” – utilizes beads, clay and wood to comment on hierarchy and hegemony. The artist’s lingering dialogue with the effects of colonialization permeate the exhibition: a concurrent theme running alongside the inquiry into how blood diamonds and mining for uranium have been produced at tragic human cost. Cortes has the subtle talent of hinting around the issues that underpin our society. Her work serves to provoke a reconsideration of the means by which we have arrived at where we are now. Through a measured blend of texture and material, Cortes creates new pathways of discovering – and uncovering – why we are living in the world today by examining what we built in the past.
With this exhibition, the artist returns to the borders of the Carribbean that reach the shores of her homeland Colombia, as New Orleans rests on the shoulders of the Gulf of Mexico. The weight of examining the context of the post-colonial in contemporary art is especially poignant in this colonial port city. Her engagement with postcolonial dialogue persists through various fellowships with the Joan Mitchell Foundation, the Lower Manhattan Cultural Council, BRIC Arts and the John Simon Guggenheim Memorial Fellowship. Through these initiatives, the artist mounts a multi-disciplinary practice that continues to push the boundaries of contemporary art’s ability to grapple with this complex, convoluted legacy. The exhibit opened on December 18, and will host an opening reception on Saturday, January 4th from 6-9 pm during the New Orleans Art District’s upcoming Saturday Arts Walk. With a second opening to fête the exhibition those same evening hours on February 1, the exhibit remains open through Friday, February 14, 2020.
Navigating the complex paths presented to visitors at Art Miami is no small feat. Faced with the mountain of galleries on view, we’ve pulled together a handy reference guide for must-see presentations at this year’s Art Miami. Located at One Herald Plaza in Miami (NE 14th Street and Biscayne Bay,) the fair shares the grounds with its sister fair, Context.
From secondary market prospects to mid-career artists, Art Miami marks a diverse cross-section of modern and contemporary art reflecting a wide assembly of tastes. From the merging of digital and material to the large-scale mid-century modernists, no other fair holds quite the range of gems on display at Art Miami.
Make sure to survey the show, and keep an eye out for the following art galleries (Booth numbers indicated below.)
Helwaser Gallery(AM521) – Featuring sculpture, mixed media and works on paper, Helwaser’s presentations span from the mid-century to late 20th century. “Shadenfreude” by John Chamberlain lies at the outskirts of the booth, enticing passersby, while various works by the likes of Noland, Condo and LeWitt offer insights into these artists’ practice. Helwaser’s clean and meticulous presentation only serve to heighten the quality of the artworks on view. A definite stop on any fair-goers list.
C24 Gallery(AM304) – Stunning combinations of scale and material wait to delight visitors to C24’s Art Miami presentation. Christian Vincent, Katja Loher and Mike Dargas present compelling visions at the booth, with Dargas’ paintings taking honey as a departure point for imagining new visual textures. Katja Loher’s mixed media digital installations confound, while Christian Vincent’s representational paintings leave narratives to the viewer’s imagination. Not far from the VIP lounge, C24 is easy to discover and well worth the visit.
Berry Campbell(AM122) – Frank Wimberley and Syd Solomon steal the show at Berry Campbell gallery’s presentation, while stunning pieces by Nancy Graves, Elaine de Kooning and others round out an impressive survey of painters and mixed-media artists spanning from the post-war period to the present day. Wimberley’s ruminations on texture and minimalism alone feel shockingly contemporary. Syd Solomon’s work will be featured in an upcoming solo show at the Ringling Museum of Art in Sarasota, so take a peek at his works on view here to familiarize yourself with his style and deft mastery of color tones.
Goya Contemporary (AM111) – Baltimore-based Goya Contemporary presents Louise Fishman and Louisa Chase along with Joyce J. Scott and Elizabeth Talford Scott at this compelling Art Miami presentation. Open over 20 years, Goya Contemporary and Goya-Girl Press play a definitive role in the arts community in Baltimore and have helped secure the legacy of Baltimore-based artists while also exhibiting international renowned artists such as Louise Bourgeois. This compelling survey of paintings and sculptures offers incredible access to modern and contemporary artists, particularly woman artists, in a fair that benefits from this diverse showing.
The Bonnier Gallery (AM402) – Miami-based Bonnier Gallery presents inside looks into the practice of established artists such as Christo and Mark di Suvero. Featuring drawings, sculpture and mixed-media work, The Bonnier Gallery is a local stalwart with an international focus. Focused on minimalism and with significant conceptual art on hand, the gallery marks a breath of fresh air in a market leaning heavily on Pop Art. A must-see.
James Goodman Gallery (AM218) – Early works by Milton Avery and other mid-century Modern painters populate James Goodman Gallery’s Art Miami booth. The options for collectors seeking obscure works by artists in the established canon are endless. Jim Dine, Sam Francis and others populate the robust offerings on hand at James Goodman, with a range of paintings and sculpture greeting the visitor. Another centrally located booth on view, James Goodman Gallery is well worth checking out.
Whether seeking out a study by a Modern Master or seeking something fresh and contemporary, Art Miami has a wide array of gems hidden in plain sight. Grab a cocktail and wander through the fairs – a Frank Stella, Sol LeWitt or soon-to-be future Warhol awaits you out on the floor!
“I always think that my work speaks for itself, because I’m really a traditional painter.” -Roni Sherman Ramos
It’s morning, and shafts of light are pouring in through the windows of Ramos’ Brooklyn studio. Paintings on canvas jostle for attention with nearby works on paper, while ceramic works fill the remaning space. I carefully step through the space, afraid to awaken the spirits seemingly captured in Ramos’ elevated works: nighttime scenes – or are they abstractions with flecks of bright light winding through them? – share a wall with vibrant ochre red compositions that seem to leap for joy at being created. Ramos is studious – rarely a season goes by when she’s not pursuing professional development to deepen her understanding of her artistic practice. She is also reflective and thoughtful, ruminating on the painters and other interdisciplinary artists she has taken absorbed wisdom from. We spoke in November 2019 as she was celebrating the results of a recent trip to the kiln, diving into both her paintings – where her traditional roots lie as an artist – along with her work in the expanded field.
Roni Sherman Ramos:Even though my work is abstract, there are always elements viewers can understand…from a representational standpoint. People are always seeking familiar things in artworks – especially if they are abstract (works). I like to give viewers the freedom to find a mountain, or a face… before recently, I wasn’t even titling my work so that it could speak for itself. I’ve come to realize my work is rooted in nature and rooted in the land, and it has elements of land-driven [representation]… so I’m now calling these paintings abstract landscapes. Now, I’m embracing this impulse toward nature: it looks like nature to me, there’s no denying it.
ANTE. Mag: That’s a big leap!
RSR:Right, I’ve always tried to disguise this impulse before. I can deny it, and put lines through it or..
AM:…cover it in markings or…
RSR: …right or cover these in markings, or disguise it. But it remains. My process is a process of destroying, and re-inventing and resurrecting, as Amy Sillman says. I work in layers – sanding, scraping, destroying and then building [the work] up again and finding things from the past that rise to the surface, then making new marks. What I strive toward is making sure there are a variety of marks: places where the eye can rest, and places where color leads the eye…agitation is present on other areas of the canvas. Tension and relationships are built through marks across the canvas. I include impasto as well in my works. There’s always contrast – my work includes defined shapes and diffused shapes. Textures are also very important to me.
AM:Can you walk us through your process? Some of the recent works from this Fall have almost an action-painting sensibility, showing brushstrokes and emblazoned areas of texture and scratches…
RSR: Marks and mark-making are both important parts of my practice. Texture as I mentioned is very important. I also love the work of Jackie Saccoccio, I’m a fan of her paint-drip heavy style and sometimes incorporate a similar sensibility but not always.
AM: Is there a new direction you’ve embarked on lately in your work?
RSR: Lately with my oil paints I’ve incorporated using a heat gun into my process, using the heat gun on the freshly painted coat of oil on linen and exposing a bit of the layers below. This adds areas that build that feeling of agitation, I’ve learned to be careful when I use it as it takes a light touch.
AM:Is this the first time you’ve used the heat gun in your process?
RSR: I’ve used it before to dry water-based mediums, but this is the first time I’ve used it in my oils.
AM: Tell us about the works we are seeing here (featured in this article): are these all recent works? Say from the past two years?
RSR: These are all recent works, but honestly my paintings take a long time to make. Often I think I have control over the process, but eventually I realize the process has control over me. This is just what happens organically: you don’t always know what will happen or how you’ll do something that you’ll like
AM: So is this freeing for you or is it nerve wracking?
RSR: I like the serendipity of it, to a certain degree. Sometimes it’s disappointing but that’s ok, I know I can keep on going but it can take months until I see what I like. I always have more than one work in progress at any given time.
Foregrounding the artist’s upcoming pivotal show with the enduring, emblematic Weeksville Heritage Center in Brooklyn, NY, “Collapse: Black Wall Street Study” by Damien Davis marks the artist’s inaugural solo showing with LatchKey Gallery at UNTITLED (Miami Beach – Beach @ 12th) and a powerful investigation of materiality and conceptual rigor. The artist’s research-based practice upends conventional understandings of African-American history, revealing the narratives commonly buried under the surface. “Collapse: Black Wall Street Study” is on view for the duration of UNTITLED at Booth A7 (Dec 4-8, 2019.)
Davis’ works embrace a keen grasp of formal composition, embedding careful details into meticulously cut plexiglas shapes attached using metal fasteners. These industrial materials allude to the lexicon of labor intrinsically tied into entrenched views of African-American history, outmoded means of regarding black Americans still haunting our contemporary society. Davis draws from a pared-down color palette and specific, enduring iconography intrinsic to both the Black and Southern vernaculars – images that question where these two identities overlap, as well as their points of divergence. Davis himself speaks of discrete images – separate and distinct – that define his installations, drawing each element into conversation with an overarching whole, yet making distinct boundaries palpable for these works on view at UNTITLED – and later the Weeksville site.
LatchKey Gallery presents this new series by Damien Davis which visually investigates the murder of a minimum of three hundred black residents of Greenwood, Oklahoma in the early 1920s. As we near the hundredth anniversary of this massacre, COLLAPSE: Black Wall Street Study seeks to create new means of entering into a dialogue on the progress that has (or has not) been made with regards to civil rights, representation, visibility, and reparations for descendants of former slaves. Davis does not shy away from the tough conversations, yet invites others to respond authentically and inquisitively to his work. The artist will host an on-site activation of his work every day during the UNTITLED show hours at 4 pm exactly, while the artist will be in conversation with curators Natalya Mills and Larry Ossei-Mensah on Dec 6 at 2 pm.
Damien Davis is a Brooklyn-based artist. Born in Crowley, LA and raised in Phoenix, AZ, Davis centers his practice in historical representations of blackness by unpacking the visual language of various cultures. The artist investigates how these societies code and decode representations of race through craft, design and digital modes of production. Davis has shown at The Whitney Museum of American Art, Museum of Modern Art, Museum of Arts and Design, and Sugar Hill Children’s Museum of Art and Storytelling among others. He has also presented solo exhibitions in Philadelphia and Seattle, as well as Reading Pennsylvania and Richmond, Virginia, and his work has been included in group exhibitions across the US as well as in Hiroshima, Japan and Florence, Italy.
Disorienting twinkling lights move through sinuous sculptural forms. Sparkling silver surfaces spin, bouncing beams of light in patterns like a disco ball.
The Oracle (AKA Julia Sinelnikova) always has new adventures in wait for visitors encountering her newest holographic sculptures, and this Dec 4-8 at Satellite Art Show Miami event will be no different. Installations and performances will supplement brand new hand-cut holographic sculptures, on view in The Oracle’s Satellite Art Show in Miami, Florida.
Coming off the heels of a successful presentation at Satellite Art Show in Brooklyn, NY – Sinelnikova’s installation images made the cover page of Artnet and was listed as a top NYC art event – the next phase of the artist’s sculptures will take viewers on a mystical multi-dimensional adventure. Taking cues from her existing Fairy Organ series along with her recent “Sky Shard” installation in Gilbertsville, NY, The Oracle creates new pathways of holographic art experiences for visitors to Satellite Art Show Miami, unleashing unique new experiences for those encountering Sinelnikova’s work for the first time or for the fiftieth time.
The Oracle’s sculptures have been exhibited at Satellite Art Show along with upstate NY, Lazy Susan Gallery in lower Manhattan, and in Brooklyn sponsored by the NYC Parks Dept. Her work engages with the female sorceress and the feminine gaze within the framework of the cyber anime dreamscapes. Sinelnikova’s practices engages with escapist tendencies in AR/VR and her immersive contemporary art installations hold different meanings for every visitor: a place of dreams, hallucination and fulfillment.
On view Dec 4-8, 2019 in Miami, FL at Satellite Art Show (2210 North Miami Court), The Oracle’s next holographic sculptures, installations and performances are a must-see for Miami-bound art lovers!
Embracing a range of artistic mediums, from sculpture and tapestry to painting and mixed media, AHA Fine Art’s Booth C8 at Miami’s CONTEXT art fair holds promise as a bright spot in the firmament of Miami Art Week. On view from Dec 3-8, 2019, CONTEXT is located in downtown Miami on Biscayne Bay and features art dealers displaying work by promising contemporary artists. AHA Fine Art will feature nine artists whose style spans a wide range of mediums and conceptual approaches, bringing together Vincent Arcilesi, Alex Callender, John Defeo, Jen Dwyer, India Evans, Rachel Grobstein, Nola Romano, Arlene Rush and Andrea von Bujdoss.
Rachel Grobstein and Jen Dwyer mine the existing visual language of sculpture ranging from vernacular to Neoclassical. Grobstein’s sculptures incorporate everyday objects at miniature scale, inviting visitors to intimately experience these presumed precious objects. Her carefully encyclopedic approach gestures toward the archival styles of Camille Henrot, among others, while maintaing a distinct aesthetic. Dwyer’s boundary-pushing artwork advances contemporary ceramics at the crossroads of ancient and modern, Orient and Occident. The artist recently completed her MFA, and has pursued various opportunities to study ceramics in China, Vermont and Upstate New York – all of which have steered and developed her work, which exudes a sophisticated yet subversive approach.
Arlene Rush (featured photo) also approaches her practice with a subversive, conceptual mindset. The interdisciplinary artist dives into a treasure trove of kitsch and classical elements for her installation work, which both criticizes and soberly comments on contemporary economic and social values, inviting visitors to form their own opinions on the meanings inherent to systems which govern us.
At CONTEXT, AHA Fine Art also presents paintings by landscape and figurative artists that present something for everyone: lovers of fresh, contemporary color and classic, clean line. Alex Callender’s paintings invite wonder and dreamy speculation, embracing classical figuration and engulfing them in bright pastel shades. Her work combines beauty and critical art historical studies. John Defeo’s neo-impressionist landscapes present figures in moody environs, while the powerful scale of Vincent Arcilesi’s landscape paintings evince a technical precision carefully balanced with a harmony of line and color.
Don’t miss the opportunity to experience the diverse range of artworks on view at AHA Fine Art’s C8 booth at CONTEXT Art Miami. On view December 3-8, 2019 in downtown Miami, the fair offers a view onto artists on the rise today – and AHA Fine Art presents some of the most talented rising voices on the art scene today.