Rafael Domenech showing at the Museum of Contemporary Art of Vojvodina in Novi Sad, Serbia

DRAWN (OVER): Contemporary Drawing from LeRoy Neiman Until Today

June 15 - July 9, 2018

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Artists:Yasi Alipour, David Altmejd, Natalie Birinyi, Cecily Brown, Phong Bui, Ernesto Caivano, Nathan Catlin, Saint Clair Cemin, Aurélien Couput, Predrag Dimitrijević, Jelena Đurić, Rafael Domenech, Riaki Enyama, Ghada Amer and Reza Farkhondeh, Fab Five Freddy, Ivan Forde, Barnaby Furnas, Gandalf Gavan, Eric Guerrero, Ben Hagari, Valerie Hammond, Suzanne Herrera, Duy Hoàng, Cary Hulbert, Jasper Johns, Goran Jureša, Kurt Kemp, William Kentridge, Hedya Klein, Susanna Koetter, Nataša Kokić, Fred H.C. Liang, Kate Liebman, Nicola López, Tijana Luković, Marko Marković, Nikola Marković, Bryan McGovern Wilson, Nora Mesaroš, Dante Migone-Ojeda, Johana Moscoso, LeRoy Neiman, Brian Novatny, Jennifer Nuss, Norman Paris, Mark Perlman, Eva Petrič, Kristin Plucar, Nemanja i Vladimir Radusinović, Jessica Segall, Monika Sigeti, Shahzia Sikander, Luis Silva, Dana Sherwood, Dasha Shishkin, Kiki Smith, Dragana B. Stevanović, Emma Sulkowicz, Sarah Sze, TARWUK, Rirkrit Tiravanija, Tomas Vu, John Walker, Kara Walker, Heimo Wallner, Tommy White, Peter Wayne Lewis and Yuan Zuo

The exhibition DRAWN (OVER): Contemporary Drawing from LeRoy Neiman Until Today is a part of an international project DRAW that was launched by the LeRoy Neiman Center for Print Studies at Columbia University in New York.

In cooperation with the Museum of Contemporary Art of Vojvodina in Novi Sad, Serbia, The exhibition DRAWN (OVER) brings together the private sketches and drawings of seventy artists from around the world in an exhibition that provides a rare, revealing look into the drawing process and artists’ innermost thoughts.

The exhibition seeks to unearth a raw form of creative energy channeling the essential truth of an artist no pasteurized for public consumption. Unlike artwork created for public or commercial use, the diverse array of works included in DRAWN (OVER) will reveal an authenticity that exists in intimate spaces hidden from the public eye such as an artist’s sketchbook or studio. By focusing on the medium of drawing, the purpose of this exhibition is to showcase not the finished, polished products of traditional art exhibitions but rather the authentic, unfiltered beginning of something recorded through drawing.

 

Rafael Domenech at SECCA

Cubans: Post Truth, Pleasure, and Pain

Featuring the work of 19 different artists this multi-generational survey showcases contemporary Cuban artists.

June 7 to November 4

Opening Reception: Thursday, June 7, 6:00 pm to 8:00 pm.

Cubans: Post Truth, Pleasure, and Pain is one of the first exhibitions in our region that examine contemporary Cuban artists, both inside the island and the diaspora. Featuring the work of 19 different artists this multi-generational survey showcases well-known and emerging painters, sculptors, photographers, videographers and multi-media installation and performance artists. There is not just one kind of Cuban art, and the multi-faceted and complex issues facing all artists are just as relevant to Cubans and Cuban-Americans. Guest curators Elvia Rosa Castro and Gretel Acosta have gathered introspective voices, political shouts, hedonisms, rudeness, foreign languages spoken with good accents and marginal cubanisms. Visitors to this bilingual exhibition will encounter a range of works of art from provocative, sociological and documentary style, to depictions of strong sensuality, to conceptualism. A younger generation of Cuban artists comment on issues like the dominance of technology and industrial design and use a subjectivity that works against the traditional Western lenses of binary thinking and power, gender, race, and immigration issues.

2018 Orlando Museum of Art Florida Prize in Contemporary Art

  Artists: Carlos Betancourt, Brooks Dierdorff, Rafael Domenech, Gonzalo Fuenmayor, Ya Levy La’Ford, Jason Lazarus, Glexis Novoa, Kerry Phillips, Kenya (Robinson)  and  Jack Stenner .

Artists: Carlos Betancourt, Brooks Dierdorff, Rafael Domenech, Gonzalo Fuenmayor, Ya Levy La’Ford, Jason Lazarus, Glexis Novoa, Kerry Phillips, Kenya (Robinson) and Jack Stenner.

June 1 - August 19, 2018 - Multiple Galleries

The Orlando Museum of Art presents the fifth annual Orlando Museum of Art Florida Prize in Contemporary Art. This exhibition features 10 of the most progressive and exciting artists working in the State today. Additionally, one of these outstanding artists is selected to receive a significant monetary award.

The award and invitational exhibition recognizes the achievement and potential of these artists and encourages their continued innovation and creation of new work. With this initiative, the Orlando Museum of Art underscores its commitment to support talented emerging and mid-career artists, while celebrating the vibrant cultural life of Florida.

The Florida Prize in Contemporary Art, which runs from June 2nd to August 19th, 2018, is organized by the Orlando Museum of Art (OMA) and brings new recognition to the State’s most progressive artists. Now in its fifth year, the OMA has surveyed artists working throughout the State before selecting the ten to be represented in the exhibition. Artists range from emerging to mid-career, but each are engaged in exploring significant issues of contemporary art and society in original and visually exciting ways. In all cases, they are artists whose achievements are marked by a record of notable exhibitions and awards.

“This year’s artists are working in practices and media that are as widely varied as their respective backgrounds and the ideas they express.” said Hansen Mulford, Curator at the Orlando Museum of Art. “One characteristic that visitors will find particularly exciting is the ambitious scale of much of the work in the exhibition. Included are mural-sized drawings and paintings, monumental sculptural installations and room-sized immersive multimedia works. The Florida Prize in Contemporary Art is an opportunity to explore a range of ideas that are relevant today as expressed by these artists in challenging and visually provocative works of art,” continued Mulford.

“A common thread through the work presented by the selected artists this year, seems to be addressing our relationship to places and objects, and ultimately reaching, through them, a new Utopian landscape” says Associate Curator Coralie Claeysen-Gleyzon. “Whether this Utopia is presented as a physical locus per se, a conceptual one, or actually being overturned and operating as a dystopia, it is often sublimated in the prophetic presence of an oracle-like element, through which these artists are offering a glimpse of what could be interpreted as a new world order.”

The exhibition Opening Preview Party will be on June 1, 2018. The VIP hour is 6-7pm and General Admission is 7-10pm. The ticketed event will feature a sampling of the culinary artistry of Orlando’s most sensational restaurants and caterers sponsoring the event, each offering dishes inspired by the 10 Florida Prize artists. Guests can also enjoy beer, wine and specialty cocktails from our beverage sponsors, mingle with the artists, listen to great live music, explore the exhibition and create the best social/cultural mix to be experienced in the State.

Funds from the event will support the Florida Prize exhibition and the recipient of the award will be announced at the event. Guests will also have the opportunity to cast a “People’s Choice” vote for their favorite artist which is presented by Herradura Tequila. For more information on the Florida Prize in Contemporary Art, the Artists, our Sponsors and the Opening Preview Party, please visit www.omart.org.

 Exhibition space featuring works by Rafael Domenech

Exhibition space featuring works by Rafael Domenech

Alan Sonfist

Island of Paradise dedication in Tuscany, Italy

September 14th, 2017

 Island of Paradise is a floating green landscape that blends green and industrial, natural and man-made and earthly and divine. The Island embodies the nexus of nature, organisms, histories, art, culture and industry. Constructed upon an abandoned mining quarry, the skeletal remains of this operation have been filled to create the lake in which the Island floats. The Island of Paradise is built upon the bedrock of the quarry and is designed to capture a symbiotic relationship for traditionally conflicting forces. A decaying industrial complex serves as the artistic platform for new sculpture created exclusively from recyclable and re-purposed material. This relic of the once vigorous era of labor-intensive industry is now transformed to display the vigor of natural life and echoes the Earth's repossession of the man-made. Regionally indigenous ancient flora and fauna from the Middle Ages and the Renaissance will feed migratory and local birds, bridging the Island of today with the history of its surrounding environment and the culture of the Renaissance. The "Island of Paradise" forms a crucible, which melds past and present to display an amalgamation of organisms, fauna, times, ironies, ideas and histories. It is the Inferno, Purgatory and Paradise conjoined to become a union of the Divine, the Universal and the Human.

Island of Paradise is a floating green landscape that blends green and industrial, natural and man-made and earthly and divine. The Island embodies the nexus of nature, organisms, histories, art, culture and industry. Constructed upon an abandoned mining quarry, the skeletal remains of this operation have been filled to create the lake in which the Island floats. The Island of Paradise is built upon the bedrock of the quarry and is designed to capture a symbiotic relationship for traditionally conflicting forces. A decaying industrial complex serves as the artistic platform for new sculpture created exclusively from recyclable and re-purposed material. This relic of the once vigorous era of labor-intensive industry is now transformed to display the vigor of natural life and echoes the Earth's repossession of the man-made. Regionally indigenous ancient flora and fauna from the Middle Ages and the Renaissance will feed migratory and local birds, bridging the Island of today with the history of its surrounding environment and the culture of the Renaissance. The "Island of Paradise" forms a crucible, which melds past and present to display an amalgamation of organisms, fauna, times, ironies, ideas and histories. It is the Inferno, Purgatory and Paradise conjoined to become a union of the Divine, the Universal and the Human.

ICA Speaks: Hernan Bas

 
 

ICA NEXT Members and above are invited to a private meet-and-greet and sake tasting with Miami-born, Detroit-based artist Hernan Bas preceding his talk for ICA Speaks. Sake is provided courtesy of SOTO Sake. Signed copies of Hernan Bas’ Rizzoli monograph will be available for purchase at the event.

  Hernan Bas   mixed emotions , 2016 Acrylic and enamel on linen 72 x 60 inches

Hernan Bas
mixed emotions, 2016
Acrylic and enamel on linen
72 x 60 inches

ABOUT HERNAN BAS

Hernan Bas (b. 1978, Miami, Florida) creates works born of literary intrigue and tinged with nihilistic romanticism and old world imagery. Influenced by the Aesthetic and Decadent writers of the 19th century, in particular Oscar Wilde and Joris-Karl Huysman, Bas’s works weave together stories of adolescent adventures and the paranormal with classical poetry, religious stories, mythology and literature.

Bas’s work has been exhibited in numerous solo exhibitions around the world, including a major presentation at the Rubell Family Collection, Miami, in 2007, which subsequently traveled to the Brooklyn Museum in 2008, and a retrospective exhibition at the Kunstverein Hannover, Germany, in 2012. In 2013, Bas presented the multi-media installation, “TIME, Hernan Bas: a queer and curious cabinet” at the Bass Museum of Art, Miami, FL and in 2014, Rizzoli published a monograph on the artist, the most comprehensive book of his work to date. Bas has participated in a number of important group exhibitions, including “The Collectors,” curated by Elmgreen & Dragset for the Nordic and Danish Pavilions at the 53rd Venice Biennale (2009); Triumph of Painting: Part III, Saatchi Gallery, London, and Ideal Worlds – New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt (both 2005); and the 2004 Whitney Biennale. His work is part of the permanent collections of New York’s Brooklyn Museum of Art, The Museum of Modern Art, and Whitney Museum of American Art; as well as the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Los Angeles; and San Francisco Museum of Modern Art, among others. The artist lives and works in Detroit, Michigan.

A Fertile Universe: Tomás Esson’s Miami Flow

On the kitch, scatology, and blunt force of Esson’s art, and his recent show in Miami

Published: April 25, 2017

 Installation view of  Tomás Esson: Miami Flow  at Fredric Snitzer Gallery

Installation view of Tomás Esson: Miami Flow at Fredric Snitzer Gallery

Janet Batet surveys the art and career of Tomás Esson, and the tormented, mythological beings, erogenous plant life, and other motifs that populate his art, including the show that just closed in Miami.

Miami Flow is the title of Tomas Esson's latest solo show, recently presented at Fredric Snitzer Gallery in Mimai. The concise and at the same time exuberant exhibition includes six colossal paintings and an installation, composed of a series of drawings from the series Wet Painting. This work goes beyond the physical limit of the frame to become an immersive installation that overflows its boundaries.

Tomaás Esson Reid (Havana, 1963) is undoubtedly one of the most forceful painters in contemporary Cuban art. Esson`s indisputable technical mastery makes the contemplation of his work a delight, always. Paradoxically, both this pictorial ecstasy and its savoir-faire are inevitably shaken by the issues that the work addresses, with kitsch, scatology, and violent elements emerging as leitmotifs Esson's pictorial entities are visceral portraits of that caged anguish that is human existence: vulvas, penises, jars, ejaculations, spit, pubic hair, and indescribable beings who share the tormented condition of beast and demigods, simultaneously animals in heat and spiritual beings.

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Fredric Snitzer Gallery at the Armory Show

Rafael Domenech  Untitled (Turangalîla), 2017. Aluminum, plexiglass, archival print on paper, re-purposed graphic material, enamel paint, plastic zipties 49 x 38 x 28 inches

 

The Armory Show
March 2 - 5th, 2017

Rafael Domenech
Pier 94, Booth 911

 

Location  
Piers 92 & 94
711 12th Avenue, New York, 10019

Hours
Thursday, March 2: 12–8pm
Friday, March 3: 12–8pm
Saturday, March 4: 12–7pm
Sunday, March 5: 12–6pm

 

 

Rafael Domenech

Pleiades: Sistema Progresivo (the organic, inorganic, and the light)

In Greek mythology the word Pleiades refers to the seven daughters of Atlas. The contemporary usage of the term in the fields of astronomy and cosmology applies to a cluster of objects colliding in space.

Rafael Domenech utilizes the concept of Pleiades as structure and tool to organize a sequence of artworks in space, forming a pattern where all the pieces presented have either physical or theoretical connections. The works function not only as individual pieces, but also as integral components of a larger system.

The artist’s current output is rooted in ideas of system, surplus and contamination, mostly a result of a dedicated, investigative approach towards such topics. In this work, he has brought forth these notions to shape a series of pieces that examine formal connections that surfaced during fabrication. It is at this stage where a clear understanding forms on how materials affect and define the trajectory of an object.

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Domenech perceives the city as a store where he can acquire experiences, objects and ideas, with the studio as a space to develop theoretical content, a visual laboratory where aesthetic and formal results are the logical outcome of specific investigations.  Largely, he examines the complex processes of constructing an image. Whether this is in the form of a sculpture, collage, or artist book, the process is always open to be impacted with new information, often with the incorporation of waste resulting from its own production. 

The work stems from the study of networks and their physical composition. This approach embraces complex and challenging notions such as contamination, renewal, implosion, repetition and surplus, ideas that are intrinsic to our contemporary society. Their convergence is catalyst for expanding the investigation, acting as fuel to increase a critical perception of materials and their inherent behavior.

Domenech’s work has recently been exhibited at the Bronx Museum of the Arts, New York; Artium Museum in Vitoria, Spain; The Rockefeller Foundation, New York; The Mordes Collection, Palm Beach. In 2015, Rafael was the recipient of the Tulsa Artist Fellowship and the Cintas Fellowship. His work is included in the public collections of The Perez Art Museum Miami and Cintas Foundation.

Kenny Scharf and Carlos Alfonzo in the New York Times

Carlos Alfonzo (1950-1991) Told, 1990. Oil on linen. 96 1/8 × 72 1/8 in. Whitney Museum of American Art, New York; Gift of Mrs. Sena Artigas in memory of Carlos M. Artigas

Painting From the 1980s, When Brash Met Flash

By ROBERTA SMITH

FEB. 9, 2017

In New York at the end of the 1970s, many people thought painting was all washed up. And if not washed up, it had to be abstract — the more austere, unemotional and geometric, the better.

Then came the 1980s and a generation of young painters, like Julian Schnabel, David Salle, Eric Fischl, Jean-Michel Basquiat and Keith Haring, and everything changed. With “Fast Forward: Painting From the 1980s,” an irresistible if flawed exhibition, the Whitney Museum tries to sort out how that happened.

The ’80s artists were initially called Neo-Expressionist, an insufficient term, given their stylistic diversity, but one that signaled their accessibility and flair. They drew from art history, the news, graffiti and pop culture. Their work embraced different forms of 

"The work brims with talent and ambition"
 -Roberta Smith, The New York Times

 

 

 

 

 

 

 

 

 

 

 

 


narrative, often with psychological or erotic overtones, and new kinds of self-awareness and worldliness. Even those who painted abstractly had it, in the form of humor or outside references. Across the board, many worked in large scale, often physically eccentric ways.

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"The heady sense of the 1980s is felt right off the elevator in three works rooted in street art and graffiti, each presenting a complex world in a distinct style."  -Roberta Smith, The New York Times

Kenny Scharf (1958-) When the Worlds Collide, 1984. 2016 Oil and acrylic spray paint on canvas. 122 5/16 × 209 5/16 in./ Artists Rights Society (ARS), New York

Alice Aycock artist talk at Coral Gables Museum

     View of sculpture designed by Alice Acyock,   Passion/Passiflora Incarnation  , on Segovia Street and Biltmore way.

   View of sculpture designed by Alice Acyock, Passion/Passiflora Incarnation, on Segovia Street and Biltmore way.

Friday, December 2nd, 4:00 pm- 6:00 pm

 

Join the Coral Gables Museum with New York based artist
Alice Aycock for an Art Talk about
her sculpture, ‘Passion/Passiflora Incarnation‘ located in Coral Gables, FL.

 

Venue Information:

Coral Gables Art Museum
285 Aragon Avenue
Coral Gables, FL 33134

T: (305) 603-8067

Alan Sonfist Time Capsule in Belgium

“An acorn is potentially, but not actually, an oak tree.  In becoming an oak tree, it becomes actually what it originally was only potentially.  This change thus involves passage from potentiality to actuality—not from nonbeing to being, but from one kind or degree to being another.” -Aristotle

“In the 20th century, it was man overcoming nature.  In the 21st, we must understand that we are of our environment.  My art echoes understanding of nature’s rhythms.” -Alan Sonfist

 

What if a former blight on the landscape held within it an entire ecological system? Alan Sonfist’s “Time Landscape” series of recreating ancient landscapes in contemporary settings continues, coming from places like New York City in the United States and Sienna, Italy to Antwerp, Belgium. His new work is a marriage of the natural world and its grand destroyer. A massive steel tube housing plants and seeds indigenous to the area, the “Time Capsule of Belgium” presents an industrial structure as the newfound nursery of endangered plant life — a smokestack protecting the very species that similar manufacturing technologies have steadily wiped out. An idiosyncratic rarity, here a green space will be berthed from a vessel of pollution, and thus these once antagonistic forces will finally become collaborators.

 
 

art and culture center/ Hollywood presents upcoming exhibition Pleiades: Sistema 10 by Rafael Domeneh

Rafael Domenech
Untitled, 2016
Plexiglass, mixed media
20 x 48 x 20 inches
 

In Greek mythology the word Pleiades refers to the seven daughters of Atlas and Pleione.  The contemporary usage of the term in the fields of astronomy and cosmology applies to a cluster of objects colliding in space.

Domenech utilizes the concept of Pleiades as structure and tool to organize a sequence of artworks in space, forming a pattern where all the pieces presented have either physical or theoretical connections. The works function not only as individual pieces, but also as integral components of a larger system.

The artist’s current output is rooted in ideas of system, surplus and contamination, mostly a result of a dedicated, investigative approach towards such topics. In this work, he has brought forth these notions to shape a series of pieces that examine formal connections that surfaced during fabrication. It is at this stage where a clear understanding forms on how materials affect and define the trajectory of an object.



Artist Talk
Wednesday, November 30, 6:30pm

Exhibition on view November 5, 2016 - January 8, 2017
Art and Culture Center/ Hollywood
1650 Harrison Street
Hollywood, FL 33020

 

 
 

 

Alice Aycock Sculpture coming to Coral Gables

More than a year after being approved by Coral Gables commissioners, two new colorful sculptures are being installed at the traffic circles along Segovia Street.

 Artist rendering. The two sculptures by Alice Aycock, depicting passion flowers, which celebrate Coral Gables’ roots as a Garden City, will be installed at Segovia Traffic Circles at Coral Way and Biltmore Way.

Artist rendering. The two sculptures by Alice Aycock, depicting passion flowers, which celebrate Coral Gables’ roots as a Garden City, will be installed at Segovia Traffic Circles at Coral Way and Biltmore Way.

 

BY Onelia Collazo Mendive
GABLESCENTRAL.COM

New York artist Alice Aycock was chosen by the Coral Gables City Commission on Nov. 18, 2014 to create the first major public art monuments since Coral Gables founder George Merrick’s day. The two sculptures depicting passion flowers, which celebrate Coral Gables’ roots as a Garden City, will be installed on Segovia Traffic Circles at Coral Way and Biltmore Way. Aycock is a nationally renowned public artist whose sculptures are on display at major museums and public spaces across the country, including a recent installation on Park Avenue. Aycock’s proposal calls for a large sculpture with fountain features at the intersection of Biltmore Way and a smaller sculpture at Coral Way. Aycock was chosen after a panel of arts experts reviewed 181 submissions from around the world.

 

 

 

Coachella Festival 2016

Alexandre Arrechea at Coachella Festival, 2016

Art plays a pivotal role in defining the Coachella experience. Each year Coachella features art from artists worldwide. Find them all throughout the polo grounds. Some might even find you!

The Coachella Valley Music and Arts Festival (commonly referred to as Coachella or the Coachella Festival) is an annual music and arts festival held at the Empire Polo Club in Indio, California, located in the Inland Empire’s Coachella Valley in the Colorado Desert. It was founded by Paul Tollett in 1999.
The event features many genres of music, including rock, indie, hip hop, and electronic dance music, as well as art installations and sculptures.
Coachella is one of the largest, most famous, and most profitable music festivals in the United States.
The 2015 festival sold 198,000 tickets and grossed $84.3 million, both world records.

Katrina Chairs, 2016