Contemporary Art in the Americas Arte Contemporáneo en las Américas
Campo abierto Campo abierto

Campo abierto

Sheila Hicks

The Bass Miami, Florida, USA 04/13/2019 – 09/29/2019

Grouping works of art from various periods, Campo abierto (Open Field) explores the formal, social and environmental aspects of landscape that have been present, yet rarely examined, throughout Sheila Hicks’ expansive career. Prompting contemplations on collaboration, dialogue and discussion, the exhibition is rooted in the reconfiguration of Escalade Beyond Chromatic Lands (2016-2017), the artist’s vast installation produced for the

Sheila Hicks, Campo Abierto (2019). Installation view . Image courtesy of The Bass. Sheila Hicks, Campo Abierto (2019).Installation view. Image courtesy of The Bass. Sheila Hicks, Campo Abierto (2019). Installation view. Image courtesy of The Bass. Grouping works of art from various periods, Campo abierto (Open Field) explores the formal, social and environmental aspects of landscape that

Performing the self and other selves

Performing the self and other selves

Odalis Valdivieso

The Bass Miami, Florida, USA 12/01/2018 – 04/07/2019

Performing the self and other selves is a project by artist Odalis Valdivieso, featuring a new series of works on papers both new and recycled, highlighting the artist’s approach to storefront and public space. Valdivieso’s work is connected to the tradition of printmaking, which she uses in various ways as a trompe-l’œil surprising our understanding

Odalis Valdivieso, Performing the self and other selves (2018). Image courtesy of the artist Odalis Valdivieso, Performing the self and other selves (2018). Image courtesy of the artist Odalis Valdivieso, Performing the self and other selves (2018). Image courtesy of the artist Performing the self and other selves is a project by artist Odalis Valdivieso, featuring a new

I Don’t Wanna Wait For Our Lives To Be Over I Don’t Wanna Wait For Our Lives To Be Over

I Don’t Wanna Wait For Our Lives To Be Over

Manuel Solano

ICA Miami Miami, Florida, USA 11/01/2018 – 04/14/2019

I Don’t Wanna Wait for Our Lives to Be Over marks the first solo museum exhibition in the United States for Manuel Solano. Working across mediums, Solano explores issues of identity and its formation by drawing from their personal life, memories, and popular culture. That art and images are central to the construction of our

Manuel Solano, In the Metro or She’s Not Pretty (2018). Acrylic on canvas. Courtesy the artist and Efrain Lopez Gallery, Chicago Claudia Lozano, Chico (2018). Digital photograph. Courtesy the artist Manuel Solano, Claudia (2018). Acrylic on canvas. Courtesy the artist and Efrain Lopez Gallery, Chicago I Don’t Wanna Wait for Our Lives to Be Over marks

good evening beautiful blue good evening beautiful blue

good evening beautiful blue

Ugo Rondinone

The Bass Miami, Florida, USA 10/29/2017 – 03/25/2018

Spanning the entirety of the museum’s newly designed second floor, good evening beautiful blue by Ugo Rondinone was a part of a major multi-institution retrospective comprising works that span three decades of the artist’s practice, from the late 1990s to the present. From poetic installations in public spaces to life-size drawings, Rondinone’s work balances on the edge of

Installation view. Photography by Zachary Balber, courtesy of the artist and The Bass, Miami Beach. Installation view. Photography by Zachary Balber, courtesy of the artist and The Bass, Miami Beach. Installation view. Photography by Stefan Altenburger, courtesy of the artist and The Bass, Miami Beach. Spanning the entirety of the museum’s newly designed second floor,

p e r Sway

p e r Sway

Nancy Davidson

Locust Projects Miami, Florida, USA 11/18/2017 – 01/20/2018

Locust Projects presents p e r Sway, a multimedia installation by New York-based interdisciplinary artist Nancy Davidson from November 18, 2017, through January 20, 2018. Referencing symbols of power and control, theater and performance, history and biophysics, per Sway finds Davidson holding a distorted mirror to our bizarre and horrifying political climate, a world turned upside

Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio LHOOQ, courtesy of Locust Projects Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio LHOOQ, courtesy of Locust Projects Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio

Form into Action Form into Action

Form into Action

Julio Le Parc

Pérez Art Museum Miami (PAMM) Miami, Florida, USA 11/18/2016 – 03/19/2017

Pérez Art Museum Miami (PAMM) presents the first U.S. museum survey of Argentine artist Julio Le Parc. On view through March 19, 2017, Julio Le Parc: Form into Action features over 100 works that spark a variety of visual and physical experiences. Including major installations and rarely seen works on paper and archival materials, the exhibition is a long-overdue

Julio Le Parc: Form into Action, installation view Pérez Art Museum Miami, 2016. Photo courtesy PAMM. Julio Le Parc, Sphère rouge (Red Sphere), 2001–12. Plexiglas and nylon. Diameter: 122 11/16 inches. Courtesy the artist. Julio Le Parc © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: André Morin Julio Le Parc, Continuel-lumière

Sometimes Random Sometimes Random

Sometimes Random

Lynne Golob Gelfman

Noguchi Breton Miami, Florida, USA 11/18/2016 – 01/14/2017

Noguchi Breton presents Sometimes Random, an exhibition of new paintings by Lynne Golob Gelfman. Based in South Florida, Gelfman gained a reputation for her distinctive process-based paintings that explore the interplay between structure and randomness, discipline and freedom, control and chance. This concern, a foundation of her career, was the basis of Gelfman’s thru series, begun in

Installation View, 2016. Courtesy of Noguchi Breton. Photo credit: Zack Balber. Installation View, 2016. Courtesy of Noguchi Breton. Photo credit: Zack Balber. thru 3.7, 2015. Acrylic on canvas. 48 x 48 inches. Courtesy of Noguchi Breton. Photo credit: Zack Balber. Noguchi Breton presents Sometimes Random, an exhibition of new paintings by Lynne Golob Gelfman. Based

Transitions #3 Transitions #3

Transitions #3

Naama Tsabar

Spinello Projects Miami, Florida, USA 11/23/2016 – 01/14/2017

  For her debut solo exhibition in Miami, Tsabar presents an installation comprised of three evolving bodies of work which examine human sociality and behaviour through the relation of body and space and the underlying role of intimacy and performativity. Continuing her ongoing Work On Felt sculptures, Tsabar transfers these works from the floor to

Naama Tsabar, Transitions. Performance at Spinello Projects, December 2nd, 2016, Miami, Fl. Photo by Diana Larrea. Courtesy of Spinello Projects. Naama Tsabar, Transitions. Performance at Spinello Projects, December 2nd, 2016, Miami, Fl. Photo by Diana Larrea. Courtesy of Spinello Projects. Transitions. Exhibition view. Spinello Projects, Miami, Fl. Photo by Jesus Petroccini. Courtesy of Spinello Projects.

#tags #tags

#tags

Marc Bijl

Spinello Projects Miami, Florida, USA 09/08/2016 – 11/08/2016

The hashtag has become a prime method of organization in our contemporary media environment. It’s technology is indecipherable to some, but it’s utility is simple. The power of one character (#) can isolate any word or phrase, removing it from its context, creating a powerful infrastructure space of words and images across social media platforms. For #tags, Bijl has

The hashtag has become a prime method of organization in our contemporary media environment. It’s technology is indecipherable to some, but it’s utility is simple. The power of one character (#) can isolate any word or phrase, removing it from its context, creating a powerful infrastructure space of words and images across social media platforms. For #tags, Bijl has

Power – Line

Power – Line

Agustina Woodgate

Spinello Projects Miami, Florida, USA 09/08/2016 – 11/08/2016

Power-Line is an installation of two new critical works —National Times and $8.05— that explore timekeeping as labor and value. Power-Line continues a series of works by Woodgate that investigate the ways in which the poetic-politics of infrastructure organize public and private space. Entering the exhibition through a long narrow hallway painted in fluorescent safety orange —the official color of OSHA

Power-Line is an installation of two new critical works —National Times and $8.05— that explore timekeeping as labor and value. Power-Line continues a series of works by Woodgate that investigate the ways in which the poetic-politics of infrastructure organize public and private space. Entering the exhibition through a long narrow hallway painted in fluorescent safety orange —the official color of OSHA