Category: Miami

Calendar. 04.17.14.

Wangechi Mutu, Riding Death in My Sleep, 2002 (Courtesy of the artist and MOCA North Miami)
Riding Death in My Sleep, 2002, by Wangechi Mutu. Part of the exhibit Wangechi Mutu: A Fantastic Journey, at the Museum of Contemporary Art in North Miami. (Images courtesy of the artist and MOCA.)

  • NYC: Marie Lorenz, The Valley of Dry Bones, at Jack Hanley Gallery. Opens Friday at 6pm, in Tribeca.
  • NYC: Alibis: Sigmar Polke 1963-2010, at the Museum of Modern Art. Opens Saturday, in Midtown.
  • NYC: Ai Weiwei: According to What?, at the Brooklyn Museum. Opens Friday, in Brooklyn.
  • NYC: Lebbeus Woods, at the Drawing Center. Opens today, in SoHo.
  • NYC: The New Romantics, at Eyebeam. Opens today, in Chelsea.
  • NYC: Sherrie Levine, Red Yellow Blue, at Paula Cooper Gallery. Opens today, in Chelsea.
  • NYC: Joel Meyerowitz, The European Trip: Photographs from the Car, at Howard Greenberg. Opens today, in Midtown.
  • NYC: Ben Berlow, Recent Works, at Rawson Projects. Through May 18, in Greenpoint.
  • Miami: Virginia Overton: Flat Rock, at the Museum of Contemporary Art North Miami. Opens Friday, in North Miami.
  • L.A.: Stanya Kahn, Don’t Go Back to Sleep, at Susanne Vielmetter Projects. Opens Saturday, in Culver City.
  • L.A.: Meleko, Mokgosi, Pax Kaffraria, at Honor Fraser. Opens Saturday, in Culver City.
  • L.A.: Cogwheels Carved in Wood, a group show, at Night Gallery. Opens Saturday at 7pm, in downtown.
  • L.A: Elana Mann, Gala Porras-Kim, Susan Silton, After Noise, at Thomas Solomon Gallery. Opens Saturday at 6pm, in Chinatown.
  • L.A.: New works by Andrea Fraser and Vanessa Place, at the MAK Center. Through June 1, in West Hollywood.
  • PLUS: The Agency of Unrealised Projects is looking for your unrealized project.

Art Basel Exclusive Report: An Orthodontic Art Collection.

Cuban Orthodontist Art
Dolores, no pun intended, a painting by noted Brazilian artist Vania Mignone, looks over the tools used to correct dentofacial deformities. (All photos by Todd Kessler.)

The good doctor poses — with cigar — in front of Anima Sola, a canvas by Mexican-born Carlos de Villasante

The waiting area, where the exhibit changes quarterly. Currently on view: a selection of images from Stories, by Cuban-American writer and photographer Tony Mendoza.

We here at C-Mon HQ generally eschew art fair-related coverage in favor of more productive and enlightening activities (drunk texting and watching the Kimye video over and over again). But we’ve set aside our prejudices for this special report on Dr. Arturo Mosquera, a Miami-based orthodontist and contemporary art collector whose clinic, in the southwestern-most reaches of Miami-Dade County, has been a venue for rotating art exhibits since 2000.

Installed around dental chairs and goose neck task lights, the works extend Arturo and Liza Mosquera’s collection of mostly Latin American artists onto workplace walls more commonly adorned with posters of sunsets and the national parks. This year’s exhibit, provocatively titled From the Religious to Sacrilegious is designed, in Dr. Mosquera’s own words, “to start a dialog with kids and adults who wouldn’t otherwise see things like this.”

The bonus: unlike at Art Basel, you can get your teeth straightened while taking in the work.

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Concrete Paradise: The history of Miami’s Marine Stadium.

Hilario Candela at the Miami Marine Stadium, 1963

It’s not everyday you get to write an architecture story that brings together Mies Van Der Rohe and Jimmy Buffett. Thankfully, god gave us the Miami Marine Stadium, one of Florida’s modernist masterpieces, designed by Cuban-born architect Hilario Candela in 1963. (That’s him above, posing before the stadium as it was under construction.)

This is a place with a fascinating history (one that is now chronicled at the Coral Gables Museum). Get the full scoop in ARCHITECT Magazine.


At the Basel Frazzle: Breakfast at the Rubells.

Healthy-delicious. And all it required was the occupation of a full house. (Photo by C-M.)

This past Thursday morning I crawled through a hole in a wall, entered a condemned house and proceeded to help myself to porridge. In one room were the bowls. In another, the spoons. In yet others were bubbling pots of oatmeal and stacks of brown sugar and raisins. While the victuals were tasty, in a fiber-rich, heart-healthy kind of way, the whole thing felt seriously overwrought. Beginning with the warning sign, at the entrance, which cautioned that the installation could be “physically dangerous.” (Clearly, these art nerds have no idea what it really takes to get into a derelict building.)

All of this was part of Jennifer Rubell’s latest food piece, Just Right, at the opening of her family’s art collection space, the Rubell Family Collection, in Miami’s arts district this week. Three years ago, I partook of her hard-boiled egg extravaganza. And as much as I abhor the idea of eating hard boiled eggs with a latex glove, there was a certain freakiness to the installation that I had to respect. This piece, however, felt frivolous - a way for a very well-to-do family to occupy a crestfallen old home within range of their imposing compound. An unwitting metaphor of Miami’s complicated issues of poverty, race, class and real estate.

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