Art Miami and Context Art Miami are in two adjacent tents located in Miami, FL. They are easy to get to from South Beach, but you have to take into account traffic. It took me an hour to get there, and 12 minutes to get back to my hotel. I went preview night and purposely went to Art Miami first, and to Context with an hour to spare. Art Miami was super, and being preview night the people watching was spectacular. In Miami people know how to dress to stand out. It was fun feeling like a bit of a regular, with familiar galleries, and gallery locations the same as years past.
The art and vibe at the two fairs are quite different from each other, even though you can walk from one tent to the next. I vastly prefer Art Miami, and didn’t take a single photo from Context.
Art Miami has 177 exhibitions and is in its 30th year. Context Art Miami has 94 exhibitions and is in its 8th year. Last year 84,000 people visited.
Get some coffee, or a cocktail, this is a long post.
Cork and pure pigment, 94.49” x 118.11” x 118.11 in
Bullet shells, 72 “ x 60” x 60 in
Adelson Gallery
Bullet shells, 48 “ x 48 “ x 24 in
Ceramic, 32” x 24” x 4 in
Jonathan Ferrara Gallery
Ceramic, 22 “ x 11” x 11 in
I vividly remember seeing Dirk Staschke’s work in person for the first time in 2016. It was one of the framed paintings (everything is ceramic, including the frame). As a ceramic student myself I was in awe. Staschke says: “I’ve long taken inspiration from the Dutch/Flemish tradition of Vanitas still life painting in which the notion of futility is key. I look to translate that futility into an artistic gesture by rendering what is representational and static in the fluid medium of glaze, knowing that what is painstakingly depicted will change beyond my control once fired. My process captures a fleeting moment reminiscent of the temporal nature of life.”
Gouache, pastel, colored chalks and tempura. Sheet: 30” x 22 1/4 in
Jonathan Novak Contemporary Art
I’m showing an image of this Marc Chagall piece, because who doesn’t like Chagall and I really liked this one. The large booth is situated in one of the prime entrances to the fair, and it was full of admirers. I have followed Jonathan’s gallery for years and years, not just in Miami, as my brother and sister-in-law buy a lot from him. “Gallery inventory includes paintings, drawings, sculpture, and prints by established artists from significant Post-War movements including Abstract Expressionism, Color Field, Minimalism, Pop Art and Photorealism.” Look at his website http://www.novakart.com and see for yourself.
ceramic, 48” x 40” x 19 in
Nancy Hoffman Gallery, New York
Thought all of you new Viola Frey fans would be as excited to see her work at Art Miami as I was.
Lost-wax bronze and polyester resin
Each is 27.5” x 14” x 10.5 in
Acrylic on Canvas, 48” x 72 in
The Cynthia Corbett Gallery
Acrylic on Canvas, Framed: 26” x 32 in.
Acrylic and chalk on plaster, 5” x 7.5” x 3 in.
10 copies
Gallerie von Vertes, Zurich, Switzerland
glass/brass, 80” x 40” x 51.5 in
Zolla/Lieberman Gallery, courtesy of Echt Gallery, Chicago
Paint on chrome-plated steel, 60” x 61” x 58 in
Shacky Art & Advisory
Wire hanger, mounted on board framed by artist, 26” x 26 in
Ethan Cohen Gallery
Collage and acrylic on paper, 13.8” x 9.9 in
Galerie von Vertes , Zurich, Switzerland
Acrylic on paper mounted canvas, 19.7 “ x 26. 4 in
Acrylic and oil on canvas, 36.2” x 24 “
Screenprint on Arches Aquarelle paper, Edition of 60 + 15 AP, 32” x 44 in
Galerie Ludorff , Germany
Oil on canvas, 25 2/3 “ x 21 in.
Galerie Ludorff, Germany
Screenprint on Mohawk Superfine Bristol Paper, Image: 11” x 11 in
Sheet: 12 1/8” x 12 1/8”
Signed, dated and numbered 20/120
Terra Cotta, Casein Paint
14 1/2” x 17 1/2” x 4 in
Nancy Hoffman Gallery, New York
Transfer on polyester, 65 3/4” x 47 1/4” x 3 7/8 in
Spray paint on wood, 40 3/4” x 1481/4 in
tagged by LA II in several places
Archeus/Post Modern Gallery
Patinated bronze, 79” x 26” x 17 in
Oil on canvas laid down on board, 20 1/2 “ x 41 1/4 in
Surovek Gallery, Florida
Acrylic, rain, paper and fiberglass mounted on board. Image size: 53 1/2 “ x 53 1/2 in
Masterworks Fine Art
Wood and metal installation, 360” x 42” x 1 in
Polychrome polyester resin. 11” x 13.3” x 11.4 in
3 Punts Galeria, Barcelona, Spain
Top left: Shaman Girl, 2018, Ceramics, feathers, nylon fibre
47.24” x 23.62” x 25.59 in
Top right: Moss Girl with Stuffed Monkey, 2019, Ceramics, glass, Oak branch, toy monkey, plastic flowers, rope, epoxy resin, nylon fibre
35.43” x 11. 81” x 14. 17 in
Galerie Forsblom
I’ve been following Kim Simonsson’s work for years. Born in Helsinki in 1974, he lives and works in Fiskars, Finland. These are life-sized sculptures of children that appear to be molded in moss.
40” x 39.1 in, Engraved glass and framed
Gallery Tableau
Last year I saw several Korean galleries represent amazing 3 dimensional pieces of engraved glass. It’s hard to capture what they look like in a photo, but they are cool.
gypsum cement, wood, video projection, audio
9.5’ x 14” x 4 in
edition 4 of 10
You are going to have to turn your head sideways to watch the video as this blogging is way harder than it looks! There is a lot of video art, at fairs, but this was one I had not seen before.
Flameworked American pressed glass/mixed media, 22” x 19” x 11 in.
Bridesmaid Returns to the Shore of her Full Moon (r. piece), 2019
Flameworked American pressed glass/mixed media, 32” x 22” x 9 1/2 in.
Heller Gallery, NYC
Acrylic and plastic and wood, 10” x 10” x 2 in.
New York Academy of Art
ceramic
Wexler Gallery
Wexler Gallery had a huge booth almost fully dedicated to the work of Roberto Lugo. He’s a hard working artist, teacher, family man and social activist. I’ve been following his work for years, and he’s worth reading up on as I don’t have enough room to write sufficiently about him. Check him and his work out at http://www.robertolugostudio.com
Collage of dry paint on sheetrock, 55” x 48 in
Bernice Steinbaum Gallery
Pavel Acosta is a Cuban artist, and all of his paintings are shown with a QR code next to them so that the viewer can see the museum in which the real painting is housed. Each painting begins with “Stolen from…”. While I’m not a fan of copying art in any way, and this was a bit gimmicky for my taste, the process of painting only in white, with dry paint on sheet rock, was clever and caught my eye.
Mixografia relief prints in colors on handmade papers. Set of three prints. Each print is signed dated and numbered from the edition of 20.
Archeus/Post-Modern
Left: Taureau (Bull), 1955, turned pitcher of white earthenware with decoration in engines and knife engraving, 12 1/2″ x 9 3/4 in
Right: The King, 1953, White earthenware clay turned base with engobes. 15 13/16″ x 5 1/2″ x 8 3/4 in
Masterworks Fine Art
Glazed ceramic, 1 3/4′ x 15 1/8′ x 11 3/8 in
These enormous art shows are a great reminder of artists I really love, like Grayson Perry, and whose work I have not seen in a while.
The Unified Apology (Sunflower), 2019
Gesso, Flashe and Paper Collage on paper, 38.50″ x 39.50 in
Flowers, 2008
Bronze, Edition 3/8, 2 APs, 72.01″ x 65″ x 12.01 in
Galerie Forsblom
Thirty-nine color screen print on White Lana module made paper
30” x 22 in, Ed. 40/75
Wexler Gallery
Watercolor on paper 5” x 7 in
This final piece, much smaller than the Richter work I‘m used to, reminded me of an excellent movie I once saw about his life and working process: Gerhard Richter Painting. I recommend it highly.
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