MAMA Miami-a! By Numsain
When I took on the assignment to cover Art Basel Miami 2010, I was not prepared for thirteen degree weather, but I wasn't deterred-
simply detoured- as I realized we had made a stopover in Milwaukee. I managed to re-board the plane seconds before it took off by
sneaking into the pet hold. After a surprisingly edible in-flight kibble plate and some light barking with a young Jack Russell terrier (also
attending Red Dot) named Spot, we finally arrived in the-city-that-never-sleeps- around... alone...sober: sunny Miami. A brisk round of
walkies and a few gin and vodkas really hit the spot and sharpening my sensibilities for the task at hand, though just making Spot bark
too much, I set out to perform my duties as AleatoricArt's resident writer and transient critic at large. And as usual, there was much to
criticize, so with tongue in cheek, I decided to make this article a Holiday Roast... Sense of humor required.
Among the most dreadful pieces on exhibit was a collaborative called "Exorcism", a 48"x48" mixed-mediocre-on-something flat by
Randy Naborikawa/David Seiler. Apparently after the work was finished the Dystopian duo felt it needed a little pizazz and resorted to
neon. Still reeling from the caustic color choices and egregious misuse of materials, I then moved on to a sexy diversion with pubic
haired lesbian mannequins playing cat's cradle in the bathroom offered by an artist who's reputation exceeds him. Next, my
inebriated senses were accosted by Gilbert and George, Rorschaching themselves on flags and spirographics, Tomas Saraceno's
spectacular "Flying Green House", a bulbous arboreal-borne behemoth that would have given Buckminster Fuller vertigo, and the Yeti-
sized Helvetica Bold Compressed headlines in Barbara Kruger's jingoist-style, "The Globe Shrinks" overstated the opulent expansiveness of
her exhibit space.
Dasha Shishkin's pencil drawing, "Urge in an Icebox" was lukewarmly disturbing but unfinished, in its defense; Yael Bartana's "Entartete
Kunst Lebt" (Degenerate Art Lives) portended the return of good old-fashioned fascism (presumably to replace the current modern
variety) and Fernanda Fragateiro's MR10 Double Chair was to hospital furniture design what the llama is to Dr. Dolittle, and symbolized
the futility of health care in America. I don't know if anyone else got that but me. A FedEx mailer collage by Nikolas Gambaroff entitled
"My New Office" was almost as stupid as the people milling around discussing the socio-political pertinence of this federally unexpressive
work. Willem deKoonig had regressed even further with his zygote-like scribblings, and Roy Lichtenstein had gone Picasso via Dali, but
the expressions on the faces of his dot-pattern subjects revealed his uneasiness about this daring deviation.
Johanna Unzueta's ”Deep in the Pool" was apparently the result of a melding of Blue Man Group and Super Mario Brothers, while Judi
Werthein simply exploited a defenseless Mariachi band to produce "La Tierra de los Libres." Andrea Bowers, "Educate, Agitate,
Organize," added colorful backlighting to jingoism (a popular theme this year), but should have hired a proof reader before calling the
fabricators. While John Chamberlain's crumpled, Darth Vaderesque "Piquanteagle" signified the dark side of the LA freeway, two
people using a crosswalk was enough art for Carlos Cruz-Diez in "Color Aditivo". Jorge Méndez Blake's "There is no Easy Way from the
Earth to the Stars" would never fly, but was only in the rough sketch stages of development and undoubtedly will be shot down by
NASA. Meanwhile, a fragmented parabolic parking mirror should have acted as negative-reinforcing self-canceling visual oxymoron to
Marco Maggi, when he made "Global Myopia."
On the bright side, the Movement of Aleatoric Modern Artists made a
splash at the Red Dot tent, and sold it, along with a few other choice
collaborations between serendipity and the formidable talents of Ted
Lincoln, Andrew Schrock, Nicola Parente, Allan Rodewald and more.
Schrock's hydroform sculptures- huge bloated explodus-interruptus
metal fabrications- were the stars of the exhibit... the artist brought
a trailer to the show but didn't need it on the way home. Rodewald
was also a big draw, with his tricky wrinkle paintings, and the surreal
photography of J. Miller made for a lot of head-scratching. Lincoln,
with his Cheshire Cat grin and immaculately executed art made
everyone jealous as usual, and one of the movements most unsung
contributors, Ray Cabarga, was absent by popular demand.
Numsain
When I took on the assignment to cover Art Basel Miami 2010, I was not prepared for thirteen degree weather, but I wasn't deterred-
simply detoured- as I realized we had made a stopover in Milwaukee. I managed to re-board the plane seconds before it took off by
sneaking into the pet hold. After a surprisingly edible in-flight kibble plate and some light barking with a young Jack Russell terrier (also
attending Red Dot) named Spot, we finally arrived in the-city-that-never-sleeps- around... alone...sober: sunny Miami. A brisk round of
walkies and a few gin and vodkas really hit the spot and sharpening my sensibilities for the task at hand, though just making Spot bark
too much, I set out to perform my duties as AleatoricArt's resident writer and transient critic at large. And as usual, there was much to
criticize, so with tongue in cheek, I decided to make this article a Holiday Roast... Sense of humor required.
Among the most dreadful pieces on exhibit was a collaborative called "Exorcism", a 48"x48" mixed-mediocre-on-something flat by
Randy Naborikawa/David Seiler. Apparently after the work was finished the Dystopian duo felt it needed a little pizazz and resorted to
neon. Still reeling from the caustic color choices and egregious misuse of materials, I then moved on to a sexy diversion with pubic
haired lesbian mannequins playing cat's cradle in the bathroom offered by an artist who's reputation exceeds him. Next, my
inebriated senses were accosted by Gilbert and George, Rorschaching themselves on flags and spirographics, Tomas Saraceno's
spectacular "Flying Green House", a bulbous arboreal-borne behemoth that would have given Buckminster Fuller vertigo, and the Yeti-
sized Helvetica Bold Compressed headlines in Barbara Kruger's jingoist-style, "The Globe Shrinks" overstated the opulent expansiveness of
her exhibit space.
Dasha Shishkin's pencil drawing, "Urge in an Icebox" was lukewarmly disturbing but unfinished, in its defense; Yael Bartana's "Entartete
Kunst Lebt" (Degenerate Art Lives) portended the return of good old-fashioned fascism (presumably to replace the current modern
variety) and Fernanda Fragateiro's MR10 Double Chair was to hospital furniture design what the llama is to Dr. Dolittle, and symbolized
the futility of health care in America. I don't know if anyone else got that but me. A FedEx mailer collage by Nikolas Gambaroff entitled
"My New Office" was almost as stupid as the people milling around discussing the socio-political pertinence of this federally unexpressive
work. Willem deKoonig had regressed even further with his zygote-like scribblings, and Roy Lichtenstein had gone Picasso via Dali, but
the expressions on the faces of his dot-pattern subjects revealed his uneasiness about this daring deviation.
Johanna Unzueta's ”Deep in the Pool" was apparently the result of a melding of Blue Man Group and Super Mario Brothers, while Judi
Werthein simply exploited a defenseless Mariachi band to produce "La Tierra de los Libres." Andrea Bowers, "Educate, Agitate,
Organize," added colorful backlighting to jingoism (a popular theme this year), but should have hired a proof reader before calling the
fabricators. While John Chamberlain's crumpled, Darth Vaderesque "Piquanteagle" signified the dark side of the LA freeway, two
people using a crosswalk was enough art for Carlos Cruz-Diez in "Color Aditivo". Jorge Méndez Blake's "There is no Easy Way from the
Earth to the Stars" would never fly, but was only in the rough sketch stages of development and undoubtedly will be shot down by
NASA. Meanwhile, a fragmented parabolic parking mirror should have acted as negative-reinforcing self-canceling visual oxymoron to
Marco Maggi, when he made "Global Myopia."
On the bright side, the Movement of Aleatoric Modern Artists made a
splash at the Red Dot tent, and sold it, along with a few other choice
collaborations between serendipity and the formidable talents of Ted
Lincoln, Andrew Schrock, Nicola Parente, Allan Rodewald and more.
Schrock's hydroform sculptures- huge bloated explodus-interruptus
metal fabrications- were the stars of the exhibit... the artist brought
a trailer to the show but didn't need it on the way home. Rodewald
was also a big draw, with his tricky wrinkle paintings, and the surreal
photography of J. Miller made for a lot of head-scratching. Lincoln,
with his Cheshire Cat grin and immaculately executed art made
everyone jealous as usual, and one of the movements most unsung
contributors, Ray Cabarga, was absent by popular demand.
Numsain
MAMA Miami-a! By Numsain
When I took on the assignment to cover Art Basel Miami 2010, I was not prepared for thirteen degree weather, but I wasn't deterred-
simply detoured- as I realized we had made a stopover in Milwaukee. I managed to re-board the plane seconds before it took off by
sneaking into the pet hold. After a surprisingly edible in-flight kibble plate and some light barking with a young Jack Russell terrier (also
attending Red Dot) named Spot, we finally arrived in the-city-that-never-sleeps- around... alone...sober: sunny Miami. A brisk round of
walkies and a few gin and vodkas really hit the spot and sharpening my sensibilities for the task at hand, though just making Spot bark
too much, I set out to perform my duties as AleatoricArt's resident writer and transient critic at large. And as usual, there was much to
criticize, so with tongue in cheek, I decided to make this article a Holiday Roast... Sense of humor required.
Among the most dreadful pieces on exhibit was a collaborative called "Exorcism", a 48"x48" mixed-mediocre-on-something flat by
Randy Naborikawa/David Seiler. Apparently after the work was finished the Dystopian duo felt it needed a little pizazz and resorted to
neon. Still reeling from the caustic color choices and egregious misuse of materials, I then moved on to a sexy diversion with pubic
haired lesbian mannequins playing cat's cradle in the bathroom offered by an artist who's reputation exceeds him. Next, my
inebriated senses were accosted by Gilbert and George, Rorschaching themselves on flags and spirographics, Tomas Saraceno's
spectacular "Flying Green House", a bulbous arboreal-borne behemoth that would have given Buckminster Fuller vertigo, and the Yeti-
sized Helvetica Bold Compressed headlines in Barbara Kruger's jingoist-style, "The Globe Shrinks" overstated the opulent expansiveness of
her exhibit space.
Dasha Shishkin's pencil drawing, "Urge in an Icebox" was lukewarmly disturbing but unfinished, in its defense; Yael Bartana's "Entartete
Kunst Lebt" (Degenerate Art Lives) portended the return of good old-fashioned fascism (presumably to replace the current modern
variety) and Fernanda Fragateiro's MR10 Double Chair was to hospital furniture design what the llama is to Dr. Dolittle, and symbolized
the futility of health care in America. I don't know if anyone else got that but me. A FedEx mailer collage by Nikolas Gambaroff entitled
"My New Office" was almost as stupid as the people milling around discussing the socio-political pertinence of this federally unexpressive
work. Willem deKoonig had regressed even further with his zygote-like scribblings, and Roy Lichtenstein had gone Picasso via Dali, but
the expressions on the faces of his dot-pattern subjects revealed his uneasiness about this daring deviation.
Johanna Unzueta's ”Deep in the Pool" was apparently the result of a melding of Blue Man Group and Super Mario Brothers, while Judi
Werthein simply exploited a defenseless Mariachi band to produce "La Tierra de los Libres." Andrea Bowers, "Educate, Agitate,
Organize," added colorful backlighting to jingoism (a popular theme this year), but should have hired a proof reader before calling the
fabricators. While John Chamberlain's crumpled, Darth Vaderesque "Piquanteagle" signified the dark side of the LA freeway, two
people using a crosswalk was enough art for Carlos Cruz-Diez in "Color Aditivo". Jorge Méndez Blake's "There is no Easy Way from the
Earth to the Stars" would never fly, but was only in the rough sketch stages of development and undoubtedly will be shot down by
NASA. Meanwhile, a fragmented parabolic parking mirror should have acted as negative-reinforcing self-canceling visual oxymoron to
Marco Maggi, when he made "Global Myopia."
On the bright side, the Movement of Aleatoric Modern Artists made a
splash at the Red Dot tent, and sold it, along with a few other choice
collaborations between serendipity and the formidable talents of Ted
Lincoln, Andrew Schrock, Nicola Parente, Allan Rodewald and more.
Schrock's hydroform sculptures- huge bloated explodus-interruptus
metal fabrications- were the stars of the exhibit... the artist brought
a trailer to the show but didn't need it on the way home. Rodewald
was also a big draw, with his tricky wrinkle paintings, and the surreal
photography of J. Miller made for a lot of head-scratching. Lincoln,
with his Cheshire Cat grin and immaculately executed art made
everyone jealous as usual, and one of the movements most unsung
contributors, Ray Cabarga, was absent by popular demand.
Numsain
When I took on the assignment to cover Art Basel Miami 2010, I was not prepared for thirteen degree weather, but I wasn't deterred-
simply detoured- as I realized we had made a stopover in Milwaukee. I managed to re-board the plane seconds before it took off by
sneaking into the pet hold. After a surprisingly edible in-flight kibble plate and some light barking with a young Jack Russell terrier (also
attending Red Dot) named Spot, we finally arrived in the-city-that-never-sleeps- around... alone...sober: sunny Miami. A brisk round of
walkies and a few gin and vodkas really hit the spot and sharpening my sensibilities for the task at hand, though just making Spot bark
too much, I set out to perform my duties as AleatoricArt's resident writer and transient critic at large. And as usual, there was much to
criticize, so with tongue in cheek, I decided to make this article a Holiday Roast... Sense of humor required.
Among the most dreadful pieces on exhibit was a collaborative called "Exorcism", a 48"x48" mixed-mediocre-on-something flat by
Randy Naborikawa/David Seiler. Apparently after the work was finished the Dystopian duo felt it needed a little pizazz and resorted to
neon. Still reeling from the caustic color choices and egregious misuse of materials, I then moved on to a sexy diversion with pubic
haired lesbian mannequins playing cat's cradle in the bathroom offered by an artist who's reputation exceeds him. Next, my
inebriated senses were accosted by Gilbert and George, Rorschaching themselves on flags and spirographics, Tomas Saraceno's
spectacular "Flying Green House", a bulbous arboreal-borne behemoth that would have given Buckminster Fuller vertigo, and the Yeti-
sized Helvetica Bold Compressed headlines in Barbara Kruger's jingoist-style, "The Globe Shrinks" overstated the opulent expansiveness of
her exhibit space.
Dasha Shishkin's pencil drawing, "Urge in an Icebox" was lukewarmly disturbing but unfinished, in its defense; Yael Bartana's "Entartete
Kunst Lebt" (Degenerate Art Lives) portended the return of good old-fashioned fascism (presumably to replace the current modern
variety) and Fernanda Fragateiro's MR10 Double Chair was to hospital furniture design what the llama is to Dr. Dolittle, and symbolized
the futility of health care in America. I don't know if anyone else got that but me. A FedEx mailer collage by Nikolas Gambaroff entitled
"My New Office" was almost as stupid as the people milling around discussing the socio-political pertinence of this federally unexpressive
work. Willem deKoonig had regressed even further with his zygote-like scribblings, and Roy Lichtenstein had gone Picasso via Dali, but
the expressions on the faces of his dot-pattern subjects revealed his uneasiness about this daring deviation.
Johanna Unzueta's ”Deep in the Pool" was apparently the result of a melding of Blue Man Group and Super Mario Brothers, while Judi
Werthein simply exploited a defenseless Mariachi band to produce "La Tierra de los Libres." Andrea Bowers, "Educate, Agitate,
Organize," added colorful backlighting to jingoism (a popular theme this year), but should have hired a proof reader before calling the
fabricators. While John Chamberlain's crumpled, Darth Vaderesque "Piquanteagle" signified the dark side of the LA freeway, two
people using a crosswalk was enough art for Carlos Cruz-Diez in "Color Aditivo". Jorge Méndez Blake's "There is no Easy Way from the
Earth to the Stars" would never fly, but was only in the rough sketch stages of development and undoubtedly will be shot down by
NASA. Meanwhile, a fragmented parabolic parking mirror should have acted as negative-reinforcing self-canceling visual oxymoron to
Marco Maggi, when he made "Global Myopia."
On the bright side, the Movement of Aleatoric Modern Artists made a
splash at the Red Dot tent, and sold it, along with a few other choice
collaborations between serendipity and the formidable talents of Ted
Lincoln, Andrew Schrock, Nicola Parente, Allan Rodewald and more.
Schrock's hydroform sculptures- huge bloated explodus-interruptus
metal fabrications- were the stars of the exhibit... the artist brought
a trailer to the show but didn't need it on the way home. Rodewald
was also a big draw, with his tricky wrinkle paintings, and the surreal
photography of J. Miller made for a lot of head-scratching. Lincoln,
with his Cheshire Cat grin and immaculately executed art made
everyone jealous as usual, and one of the movements most unsung
contributors, Ray Cabarga, was absent by popular demand.
Numsain
AquaArt Wynwood / Art Basel Miami 2009
By Numbsain
When I arrived in Miami for Art Basel Week, naturally I was expecting the usual
baby dolls painted blue and bound together with barbed wire or nude models
standing in vats of wind up toys wrapped in butcher paper with poetry scribbled
on it. You know, the typical shock-driven conceptual installations designed to
grab viewers attention and assure mention in the reviews. But I saw very little of
that. Instead I was moved by the caliber and variety of work at all of the venues,
particularly at the satellite shows, and especially at the AquaArt Wynwood
exhibit space. With my usual blasé sneer replaced by a look of wide-eyed
wonder, my mind was drawn in by something special at every booth. Excited,
and with drink in hand, I began the tour. My eyes lingering on the highlights, I
forced myself to keep moving knowing this was one of many walk-throughs I’d
need to absorb it all. You know the show is good when you forget all about the
hors d’ouevre tray- I immediately thought that we might finally be moving
toward progress under new leadership. Could this feeling have had an effect on
the artists and their work, providing the peace of mind and sense of purpose
needed to focus their attention fully on the task of bringing beauty and self
expression to an emotionally traumatized and culturally depleted world? There
was hope on these walls, each lined with rare, fragile delicacies rendered with
the kind of attention to detail I had not seen in recent years.
Steve Tobin’s spectacular bronze work was a highlight. Featured in the courtyard
entrance was a six foot semi-sphere made from cast bronze letters welded
together like a giant patina-green blossom bursting outward from the center.
Several more equally impressive pieces were displayed inside the building.
EDEL Gallery of Osaka Japan brought delightfully fresh art by Kobayashi Reina,
who elaborated on traditional sumi painting with an untitled piece depicting a
forlorn bull in minimalist tones and free-flowing brushwork. The previous
description also applies to one of my favorite pieces in the show, a powerful
abstract study by Buna.
Jill Sylvia amazed us all with a scale model of a treasury building as well as other
larger pieces all made out of ledger sheets with every single box cut out by
hand! Sylvia’s work was shown by the Eleanor Harwood Gallery from San
Francisco which also presented an interesting piece by Renée Gertler using
paper bags painted black inside with tiny pinholes forming the shape of the
continents of the world. When you look into the mirror inside the bags you see an
incredible aerial map of the night sky.
Juan Alonzo, of Francine Seders Gallery, presented a series of monochromatic
graphite on clayboard with enough gray highlight to describe graceful, filigree-
like figures with a wrought iron appearance. A wonderful example of pure form
unencumbered by extraneous metaphors and representations
Vanessa Kocking’s acrylic on canvas, “Regreso” made a striking impact through
powerful primary colors and a Gorky-like sense of ambiguity as to whether it was
figurative or abstract.
One of the more unusual techniques I saw was Cathy Bleck’s minutely detailed
work with kaolin clay and ink on scratch-board. The clay is built up onto the
surface, then painted over in black with select areas of vibrant pastel colors. The
paint is then scratched away to bring out ultra sharp line-work in white
producing a negative inking effect that’s truly vivid.
Marveling at his patience and skill, I pondered what might have been going
through Mark Garro’s mind when he carefully articulated the highlights and
reflections on a fly splattered with the iridescent entrails of a multicolored serpent
being devoured by a garbage can predator in a gorgeous and ghastly acrylic
on panel entitled “Rainbow Monster.”
I found Ewelina Ferruso’s “Conscious of Suffering” both soothing and disturbing at
once. Ferruso’s mastery of color and baroque portraiture style made the subject,
a praying mantis feeding on a human heart, all the more shocking.
Peter Barret’s impressive and beautiful geometric mandalas were painted in
acrylics with computer-precision. Also shown by the Dorsch Gallery, was a
fascinating oil on panel entitled “Chasing Thrills” by Karen Seapker. This work is a
true abstract-surrealism crossover in that the non-figurative forms seem to exist in
a physical space which itself is abstract. It’s the relationship between the
abstract foreground subjects and the perspective of the abstract background
that gives the piece a surreal quality.
Gallery 339 brought a diverse collection of photographic treatments among
which was a casein monoprint by Donald Camp entitled “Man Who Hears
Music.” The portrait subject conveyed startling emotional intensity and depth.
One of the highlights was the AleatoricArt gallery and The Movement of Aleatoric
Modern Artists, who made their debut at the Aqua Art fair during Art Basel week,
and were well received. Curated by Allan Rodewald from Houston, Texas, the
exhibit featured creations by a diverse bunch of artists who use chance methods
in their work. Despite the lighter-than expected turnout, MAMA exceeded their
expectations in sales and interest from the enthusiastic galleries and art
collectors. On opening night, I watched the artist as they related to the crowd
how they arrived at a particular composition, and saw a lot of forehead-
smacking- "why didn't I think of that" kinda reactions. Along with original
paintings, dye transfers, sculptures and prints from 10 selected artists, the
AleatoricArt.com gallery offered a limited edition hard cover book featuring the
work of all 21 current members of the group. The book was a collective effort by
founder J. Coleman Miller and writer Ray Cabarga. The two joined forces after
Miller spotted Cabarga’s work on MyArtspace.com in 2007. Myartspace, who
hosted their three top artists at AquaArt Miami, is a massive website for artists,
collectors and students with over 100,000 members, making it an excellent
networking tool. Aqua Art Miami was the first of many shows to come for this
growing movement. Very selective in recruiting their members, MAMA's panel
has looked at over 6,000 portfolios in the last three years- both submitted by
artists through an open call and on other online galleries to find 21 artists whose
work was conceived or executed using chance methods. On the other hand,
the work had to be beautifully done, and that it is- from Ted Lincoln's traditional
sumi, with it's marvelous touches of metal and clear-coat, binary and barcode,
to the astounding 'hydro aleatoric' photos by J. Coleman Miller, MAMA certainly
had all of her ducks in a row.
And there was much more... New talent cropping up everywhere alongside
accomplished masters whose work seems to keep getting better. There was
nothing stale about any of the work shown, no one going through the motions,
experimentation everywhere and much innovation both conceptual and
technical. I left with a renewed faith in humankind and higher expectations for
the future of fine art. Truly an uplifting art show, and I will be sure to attend- blase
sneer in tow- next year.
By Numbsain
When I arrived in Miami for Art Basel Week, naturally I was expecting the usual
baby dolls painted blue and bound together with barbed wire or nude models
standing in vats of wind up toys wrapped in butcher paper with poetry scribbled
on it. You know, the typical shock-driven conceptual installations designed to
grab viewers attention and assure mention in the reviews. But I saw very little of
that. Instead I was moved by the caliber and variety of work at all of the venues,
particularly at the satellite shows, and especially at the AquaArt Wynwood
exhibit space. With my usual blasé sneer replaced by a look of wide-eyed
wonder, my mind was drawn in by something special at every booth. Excited,
and with drink in hand, I began the tour. My eyes lingering on the highlights, I
forced myself to keep moving knowing this was one of many walk-throughs I’d
need to absorb it all. You know the show is good when you forget all about the
hors d’ouevre tray- I immediately thought that we might finally be moving
toward progress under new leadership. Could this feeling have had an effect on
the artists and their work, providing the peace of mind and sense of purpose
needed to focus their attention fully on the task of bringing beauty and self
expression to an emotionally traumatized and culturally depleted world? There
was hope on these walls, each lined with rare, fragile delicacies rendered with
the kind of attention to detail I had not seen in recent years.
Steve Tobin’s spectacular bronze work was a highlight. Featured in the courtyard
entrance was a six foot semi-sphere made from cast bronze letters welded
together like a giant patina-green blossom bursting outward from the center.
Several more equally impressive pieces were displayed inside the building.
EDEL Gallery of Osaka Japan brought delightfully fresh art by Kobayashi Reina,
who elaborated on traditional sumi painting with an untitled piece depicting a
forlorn bull in minimalist tones and free-flowing brushwork. The previous
description also applies to one of my favorite pieces in the show, a powerful
abstract study by Buna.
Jill Sylvia amazed us all with a scale model of a treasury building as well as other
larger pieces all made out of ledger sheets with every single box cut out by
hand! Sylvia’s work was shown by the Eleanor Harwood Gallery from San
Francisco which also presented an interesting piece by Renée Gertler using
paper bags painted black inside with tiny pinholes forming the shape of the
continents of the world. When you look into the mirror inside the bags you see an
incredible aerial map of the night sky.
Juan Alonzo, of Francine Seders Gallery, presented a series of monochromatic
graphite on clayboard with enough gray highlight to describe graceful, filigree-
like figures with a wrought iron appearance. A wonderful example of pure form
unencumbered by extraneous metaphors and representations
Vanessa Kocking’s acrylic on canvas, “Regreso” made a striking impact through
powerful primary colors and a Gorky-like sense of ambiguity as to whether it was
figurative or abstract.
One of the more unusual techniques I saw was Cathy Bleck’s minutely detailed
work with kaolin clay and ink on scratch-board. The clay is built up onto the
surface, then painted over in black with select areas of vibrant pastel colors. The
paint is then scratched away to bring out ultra sharp line-work in white
producing a negative inking effect that’s truly vivid.
Marveling at his patience and skill, I pondered what might have been going
through Mark Garro’s mind when he carefully articulated the highlights and
reflections on a fly splattered with the iridescent entrails of a multicolored serpent
being devoured by a garbage can predator in a gorgeous and ghastly acrylic
on panel entitled “Rainbow Monster.”
I found Ewelina Ferruso’s “Conscious of Suffering” both soothing and disturbing at
once. Ferruso’s mastery of color and baroque portraiture style made the subject,
a praying mantis feeding on a human heart, all the more shocking.
Peter Barret’s impressive and beautiful geometric mandalas were painted in
acrylics with computer-precision. Also shown by the Dorsch Gallery, was a
fascinating oil on panel entitled “Chasing Thrills” by Karen Seapker. This work is a
true abstract-surrealism crossover in that the non-figurative forms seem to exist in
a physical space which itself is abstract. It’s the relationship between the
abstract foreground subjects and the perspective of the abstract background
that gives the piece a surreal quality.
Gallery 339 brought a diverse collection of photographic treatments among
which was a casein monoprint by Donald Camp entitled “Man Who Hears
Music.” The portrait subject conveyed startling emotional intensity and depth.
One of the highlights was the AleatoricArt gallery and The Movement of Aleatoric
Modern Artists, who made their debut at the Aqua Art fair during Art Basel week,
and were well received. Curated by Allan Rodewald from Houston, Texas, the
exhibit featured creations by a diverse bunch of artists who use chance methods
in their work. Despite the lighter-than expected turnout, MAMA exceeded their
expectations in sales and interest from the enthusiastic galleries and art
collectors. On opening night, I watched the artist as they related to the crowd
how they arrived at a particular composition, and saw a lot of forehead-
smacking- "why didn't I think of that" kinda reactions. Along with original
paintings, dye transfers, sculptures and prints from 10 selected artists, the
AleatoricArt.com gallery offered a limited edition hard cover book featuring the
work of all 21 current members of the group. The book was a collective effort by
founder J. Coleman Miller and writer Ray Cabarga. The two joined forces after
Miller spotted Cabarga’s work on MyArtspace.com in 2007. Myartspace, who
hosted their three top artists at AquaArt Miami, is a massive website for artists,
collectors and students with over 100,000 members, making it an excellent
networking tool. Aqua Art Miami was the first of many shows to come for this
growing movement. Very selective in recruiting their members, MAMA's panel
has looked at over 6,000 portfolios in the last three years- both submitted by
artists through an open call and on other online galleries to find 21 artists whose
work was conceived or executed using chance methods. On the other hand,
the work had to be beautifully done, and that it is- from Ted Lincoln's traditional
sumi, with it's marvelous touches of metal and clear-coat, binary and barcode,
to the astounding 'hydro aleatoric' photos by J. Coleman Miller, MAMA certainly
had all of her ducks in a row.
And there was much more... New talent cropping up everywhere alongside
accomplished masters whose work seems to keep getting better. There was
nothing stale about any of the work shown, no one going through the motions,
experimentation everywhere and much innovation both conceptual and
technical. I left with a renewed faith in humankind and higher expectations for
the future of fine art. Truly an uplifting art show, and I will be sure to attend- blase
sneer in tow- next year.
AquaArt Wynwood / Art Basel Miami 2009
By Numbsain
When I arrived in Miami for Art Basel Week, naturally I was expecting the usual
baby dolls painted blue and bound together with barbed wire or nude models
standing in vats of wind up toys wrapped in butcher paper with poetry scribbled
on it. You know, the typical shock-driven conceptual installations designed to
grab viewers attention and assure mention in the reviews. But I saw very little of
that. Instead I was moved by the caliber and variety of work at all of the venues,
particularly at the satellite shows, and especially at the AquaArt Wynwood
exhibit space. With my usual blasé sneer replaced by a look of wide-eyed
wonder, my mind was drawn in by something special at every booth. Excited,
and with drink in hand, I began the tour. My eyes lingering on the highlights, I
forced myself to keep moving knowing this was one of many walk-throughs I’d
need to absorb it all. You know the show is good when you forget all about the
hors d’ouevre tray- I immediately thought that we might finally be moving
toward progress under new leadership. Could this feeling have had an effect on
the artists and their work, providing the peace of mind and sense of purpose
needed to focus their attention fully on the task of bringing beauty and self
expression to an emotionally traumatized and culturally depleted world? There
was hope on these walls, each lined with rare, fragile delicacies rendered with
the kind of attention to detail I had not seen in recent years.
Steve Tobin’s spectacular bronze work was a highlight. Featured in the courtyard
entrance was a six foot semi-sphere made from cast bronze letters welded
together like a giant patina-green blossom bursting outward from the center.
Several more equally impressive pieces were displayed inside the building.
EDEL Gallery of Osaka Japan brought delightfully fresh art by Kobayashi Reina,
who elaborated on traditional sumi painting with an untitled piece depicting a
forlorn bull in minimalist tones and free-flowing brushwork. The previous
description also applies to one of my favorite pieces in the show, a powerful
abstract study by Buna.
Jill Sylvia amazed us all with a scale model of a treasury building as well as other
larger pieces all made out of ledger sheets with every single box cut out by
hand! Sylvia’s work was shown by the Eleanor Harwood Gallery from San
Francisco which also presented an interesting piece by Renée Gertler using
paper bags painted black inside with tiny pinholes forming the shape of the
continents of the world. When you look into the mirror inside the bags you see an
incredible aerial map of the night sky.
Juan Alonzo, of Francine Seders Gallery, presented a series of monochromatic
graphite on clayboard with enough gray highlight to describe graceful, filigree-
like figures with a wrought iron appearance. A wonderful example of pure form
unencumbered by extraneous metaphors and representations
Vanessa Kocking’s acrylic on canvas, “Regreso” made a striking impact through
powerful primary colors and a Gorky-like sense of ambiguity as to whether it was
figurative or abstract.
One of the more unusual techniques I saw was Cathy Bleck’s minutely detailed
work with kaolin clay and ink on scratch-board. The clay is built up onto the
surface, then painted over in black with select areas of vibrant pastel colors. The
paint is then scratched away to bring out ultra sharp line-work in white
producing a negative inking effect that’s truly vivid.
Marveling at his patience and skill, I pondered what might have been going
through Mark Garro’s mind when he carefully articulated the highlights and
reflections on a fly splattered with the iridescent entrails of a multicolored serpent
being devoured by a garbage can predator in a gorgeous and ghastly acrylic
on panel entitled “Rainbow Monster.”
I found Ewelina Ferruso’s “Conscious of Suffering” both soothing and disturbing at
once. Ferruso’s mastery of color and baroque portraiture style made the subject,
a praying mantis feeding on a human heart, all the more shocking.
Peter Barret’s impressive and beautiful geometric mandalas were painted in
acrylics with computer-precision. Also shown by the Dorsch Gallery, was a
fascinating oil on panel entitled “Chasing Thrills” by Karen Seapker. This work is a
true abstract-surrealism crossover in that the non-figurative forms seem to exist in
a physical space which itself is abstract. It’s the relationship between the
abstract foreground subjects and the perspective of the abstract background
that gives the piece a surreal quality.
Gallery 339 brought a diverse collection of photographic treatments among
which was a casein monoprint by Donald Camp entitled “Man Who Hears
Music.” The portrait subject conveyed startling emotional intensity and depth.
One of the highlights was the AleatoricArt gallery and The Movement of Aleatoric
Modern Artists, who made their debut at the Aqua Art fair during Art Basel week,
and were well received. Curated by Allan Rodewald from Houston, Texas, the
exhibit featured creations by a diverse bunch of artists who use chance methods
in their work. Despite the lighter-than expected turnout, MAMA exceeded their
expectations in sales and interest from the enthusiastic galleries and art
collectors. On opening night, I watched the artist as they related to the crowd
how they arrived at a particular composition, and saw a lot of forehead-
smacking- "why didn't I think of that" kinda reactions. Along with original
paintings, dye transfers, sculptures and prints from 10 selected artists, the
AleatoricArt.com gallery offered a limited edition hard cover book featuring the
work of all 21 current members of the group. The book was a collective effort by
founder J. Coleman Miller and writer Ray Cabarga. The two joined forces after
Miller spotted Cabarga’s work on MyArtspace.com in 2007. Myartspace, who
hosted their three top artists at AquaArt Miami, is a massive website for artists,
collectors and students with over 100,000 members, making it an excellent
networking tool. Aqua Art Miami was the first of many shows to come for this
growing movement. Very selective in recruiting their members, MAMA's panel
has looked at over 6,000 portfolios in the last three years- both submitted by
artists through an open call and on other online galleries to find 21 artists whose
work was conceived or executed using chance methods. On the other hand,
the work had to be beautifully done, and that it is- from Ted Lincoln's traditional
sumi, with it's marvelous touches of metal and clear-coat, binary and barcode,
to the astounding 'hydro aleatoric' photos by J. Coleman Miller, MAMA certainly
had all of her ducks in a row.
And there was much more... New talent cropping up everywhere alongside
accomplished masters whose work seems to keep getting better. There was
nothing stale about any of the work shown, no one going through the motions,
experimentation everywhere and much innovation both conceptual and
technical. I left with a renewed faith in humankind and higher expectations for
the future of fine art. Truly an uplifting art show, and I will be sure to attend- blase
sneer in tow- next year.
By Numbsain
When I arrived in Miami for Art Basel Week, naturally I was expecting the usual
baby dolls painted blue and bound together with barbed wire or nude models
standing in vats of wind up toys wrapped in butcher paper with poetry scribbled
on it. You know, the typical shock-driven conceptual installations designed to
grab viewers attention and assure mention in the reviews. But I saw very little of
that. Instead I was moved by the caliber and variety of work at all of the venues,
particularly at the satellite shows, and especially at the AquaArt Wynwood
exhibit space. With my usual blasé sneer replaced by a look of wide-eyed
wonder, my mind was drawn in by something special at every booth. Excited,
and with drink in hand, I began the tour. My eyes lingering on the highlights, I
forced myself to keep moving knowing this was one of many walk-throughs I’d
need to absorb it all. You know the show is good when you forget all about the
hors d’ouevre tray- I immediately thought that we might finally be moving
toward progress under new leadership. Could this feeling have had an effect on
the artists and their work, providing the peace of mind and sense of purpose
needed to focus their attention fully on the task of bringing beauty and self
expression to an emotionally traumatized and culturally depleted world? There
was hope on these walls, each lined with rare, fragile delicacies rendered with
the kind of attention to detail I had not seen in recent years.
Steve Tobin’s spectacular bronze work was a highlight. Featured in the courtyard
entrance was a six foot semi-sphere made from cast bronze letters welded
together like a giant patina-green blossom bursting outward from the center.
Several more equally impressive pieces were displayed inside the building.
EDEL Gallery of Osaka Japan brought delightfully fresh art by Kobayashi Reina,
who elaborated on traditional sumi painting with an untitled piece depicting a
forlorn bull in minimalist tones and free-flowing brushwork. The previous
description also applies to one of my favorite pieces in the show, a powerful
abstract study by Buna.
Jill Sylvia amazed us all with a scale model of a treasury building as well as other
larger pieces all made out of ledger sheets with every single box cut out by
hand! Sylvia’s work was shown by the Eleanor Harwood Gallery from San
Francisco which also presented an interesting piece by Renée Gertler using
paper bags painted black inside with tiny pinholes forming the shape of the
continents of the world. When you look into the mirror inside the bags you see an
incredible aerial map of the night sky.
Juan Alonzo, of Francine Seders Gallery, presented a series of monochromatic
graphite on clayboard with enough gray highlight to describe graceful, filigree-
like figures with a wrought iron appearance. A wonderful example of pure form
unencumbered by extraneous metaphors and representations
Vanessa Kocking’s acrylic on canvas, “Regreso” made a striking impact through
powerful primary colors and a Gorky-like sense of ambiguity as to whether it was
figurative or abstract.
One of the more unusual techniques I saw was Cathy Bleck’s minutely detailed
work with kaolin clay and ink on scratch-board. The clay is built up onto the
surface, then painted over in black with select areas of vibrant pastel colors. The
paint is then scratched away to bring out ultra sharp line-work in white
producing a negative inking effect that’s truly vivid.
Marveling at his patience and skill, I pondered what might have been going
through Mark Garro’s mind when he carefully articulated the highlights and
reflections on a fly splattered with the iridescent entrails of a multicolored serpent
being devoured by a garbage can predator in a gorgeous and ghastly acrylic
on panel entitled “Rainbow Monster.”
I found Ewelina Ferruso’s “Conscious of Suffering” both soothing and disturbing at
once. Ferruso’s mastery of color and baroque portraiture style made the subject,
a praying mantis feeding on a human heart, all the more shocking.
Peter Barret’s impressive and beautiful geometric mandalas were painted in
acrylics with computer-precision. Also shown by the Dorsch Gallery, was a
fascinating oil on panel entitled “Chasing Thrills” by Karen Seapker. This work is a
true abstract-surrealism crossover in that the non-figurative forms seem to exist in
a physical space which itself is abstract. It’s the relationship between the
abstract foreground subjects and the perspective of the abstract background
that gives the piece a surreal quality.
Gallery 339 brought a diverse collection of photographic treatments among
which was a casein monoprint by Donald Camp entitled “Man Who Hears
Music.” The portrait subject conveyed startling emotional intensity and depth.
One of the highlights was the AleatoricArt gallery and The Movement of Aleatoric
Modern Artists, who made their debut at the Aqua Art fair during Art Basel week,
and were well received. Curated by Allan Rodewald from Houston, Texas, the
exhibit featured creations by a diverse bunch of artists who use chance methods
in their work. Despite the lighter-than expected turnout, MAMA exceeded their
expectations in sales and interest from the enthusiastic galleries and art
collectors. On opening night, I watched the artist as they related to the crowd
how they arrived at a particular composition, and saw a lot of forehead-
smacking- "why didn't I think of that" kinda reactions. Along with original
paintings, dye transfers, sculptures and prints from 10 selected artists, the
AleatoricArt.com gallery offered a limited edition hard cover book featuring the
work of all 21 current members of the group. The book was a collective effort by
founder J. Coleman Miller and writer Ray Cabarga. The two joined forces after
Miller spotted Cabarga’s work on MyArtspace.com in 2007. Myartspace, who
hosted their three top artists at AquaArt Miami, is a massive website for artists,
collectors and students with over 100,000 members, making it an excellent
networking tool. Aqua Art Miami was the first of many shows to come for this
growing movement. Very selective in recruiting their members, MAMA's panel
has looked at over 6,000 portfolios in the last three years- both submitted by
artists through an open call and on other online galleries to find 21 artists whose
work was conceived or executed using chance methods. On the other hand,
the work had to be beautifully done, and that it is- from Ted Lincoln's traditional
sumi, with it's marvelous touches of metal and clear-coat, binary and barcode,
to the astounding 'hydro aleatoric' photos by J. Coleman Miller, MAMA certainly
had all of her ducks in a row.
And there was much more... New talent cropping up everywhere alongside
accomplished masters whose work seems to keep getting better. There was
nothing stale about any of the work shown, no one going through the motions,
experimentation everywhere and much innovation both conceptual and
technical. I left with a renewed faith in humankind and higher expectations for
the future of fine art. Truly an uplifting art show, and I will be sure to attend- blase
sneer in tow- next year.
Opening Night
Campari sponsored the opening night party by GenArt
AleatoricArt
