Tuesday, August 16, 2016

Fordistas Gallery Artist Roundtable

IHP Curatorial Lab (a project of FAU libraries) held an artist roundtable at the Fordistas Gallery/Product 81 space [powered by South Florida Ford] on Friday, August 12th, 2016. The gallery is located at 2930 NW 7TH AVENUE, MIAMI, FL 33127 in the Wynwood Arts District.

IHP Curatorial Lab holds monthly roundtable gatherings at artist studios, galleries and museums to facilitate dialog relating to contemporary art practices. By gathering a group of professionals from different disciplines; the conversations act as a visual learning lab and facilitator to understanding current art practices; how curators or museum administrators view artists and work; and more importantly how the public interprets what creatives do.

Our roundtable discussions are meant to promote cross-sector dialogue about the arts; but also how we as artists and cultural curators can contribute to solving societal problems. Each Roundtable focuses on a specific topic or artist. This meeting focused on the solo show [Reality Check] by artist Dana Donaty at the Fordistas Gallery. It is on view through September 9th, Monday -Thursday 10am-5pm.

Attendees included:


Fordista/Product 81 staff: Karina Hayes Blakeley, Cristina Ramos, Joel Fernandez, Guillermo Arias Ramiraez [Memo Arias], David Turk


Andrienne Chadwick, Deputy Director of Education at the Perez Museum of Art

Carmenza Ortiz, art agent; Clara Vanessa Avalo, Uninhibited Urban Magazine; Heather Davis, Special Events Coordinator [along with her lovely mother]; and Gary James Fitzsimmons, Streamline real estate associate MB.







[All images copyright of Dana Donaty].

Monday, August 15, 2016

New exhibitions at the Hilliard Museum


Friday, September 9, 2016Fall Exhibition Opening Reception 

6:00-8:00 PM

 Join us in celebration of five new exhibitions at the Hilliard Museum!

Free and open to the public
RSVP: artmuseum@louisiana.edu or (337) 482-0817


 Sneak Peek “Behind the Scenes” Artist Talks
Oliver Wasow and Francie Bishop Good
6:00 PM, Wednesday, September 7th


Lafayette, LA, August 10, 2016- The Hilliard University Art Museum is pleased to announce the opening of its Fall 2016 season with a series of five new exhibitions. The public is invited to celebrate and view the new gallery installations on Friday, September 9, at a reception from 6:00 to 8:00 PM.

Three of the exhibitions this Fall are organized by guest curator Jane Hart, who has over thirty years of experience working in contemporary art. “This is my first time working in Louisiana and the rich culture of the people here has been very inspiring,” says Hart. “Each of the exhibits I curated for the Hilliard Museum focuses on the genre of portraiture, and essentially, they are studies on the universality of the human condition, as well as the uniqueness of individuals in a global society.” Harts past projects have been presented in New York, London, Los Angeles and South Florida.

Hart will be in attendance at the reception September 9, and joined by a number of artists whose work will be on display this Fall, including Francie Bishop Good, Oliver Wasow, Philip Gould, and other Louisiana-based artists included in "Face to Face". Additionally, the museum is offering offer a sneak peek at the exhibitions with two “Behind the Scenes” Artist Talks on September 7 – as a part of the free Wednesday Nights at the Hilliard program series, now offered on a weekly basis starting at 6:00 PM.

Face to Face: A Survey of Contemporary Portraiture by Louisiana Artists features work by twelve nationally and internationally acclaimed artists working in a variety of media. It includes Willie Birch, Douglas Bourgeois, George Dureau, Elizabeth Kleinveld & Epaul Julien, Aubrey Edwards, Deborah Luster, Rashaad Newsome, Tameka Norris, Gina Phillips, Jennifer Shaw, Jonathan Traviesa, and Heather Weathers. This exhibition of visually powerful and evocative work is accompanied by an essay in which Miami-based independent curator Jane Hart states: During this present moment, we are increasingly witness to social unrest and an escalating violent state of affairs, both at home and abroad. These disturbing conflicts often can be attributed to a lack of understanding amongst us based upon ethnicity, race, religion and other differences. Through depictions of people created by artists, seeing
our shared humanity, we can collectively come together with a greater tolerance and acceptance.

 September 9, 2016 – January 7, 2017.l



Francie Bishop Good: Comus explores a hybrid form of portraiture that is based on an accumulative layering of digital processes and found imagery. Source material for the series originated in the 1942 and 1967 high school senior yearbooks of the artist and her mother, entitled “Comus”, from Allentown, Pennsylvania. Comprised of 70 works on canvas, Bishop Goods installation of media-saturated
‘paintings’ forge an intergenerational exchange, as classmates appearing in yearbooks from the 1940s and 1960s are merged to encapsulate a new collective identity. This solo exhibition marks a first in Louisiana for South Florida-based Bishop Good, and was organized by guest curator Jane Hart.

September 9 – December 10, 2016.



Oliver Wasow: Hudson Valley Studio Portraits. New York based artist Oliver Wasow has been widely recognized for his pioneering use of digital compositing to create sublime imaginary landscapes. In this grouping of recent portraits, Wasow embraces a new approach with his sitters – family, friends and neighbors – who pose as subjects before a green screen background of virtual painterly landscapes. The resulting formal, yet intimate portraits evoke a romanticized patina of a bygone era. This solo exhibition marks a first in Louisiana for Upstate New York-based Wasow, and is organized by guest curator Jane Hart. September 2, 2016 – January 14, 2017.



Spotlight on the Collection: Portraiture juxtaposes academic and vernacular art practices, while foregrounding a visual conversation on the museums collection – particularly as a vehicle that illuminates the unique narratives and cultural histories specific to our region. This provocative exhibition gathers together two 19th century paintings of unnamed Louisiana women, a ritualistic object, and
eleven examples of folk art. It features pieces by the artists Delaney Burgess, MC "5 Cent" Jones, Jules Lion, Sister Gertrude Morgan, Sultan Rogers, Adolf Rinck, James "Son" Thomas, and a ceremonial mask from Mali in the museums permanent collection. This exhibition is organized by Laura Blereau, curator of the Hilliard University Art Museum. August 5 – December 3, 2016.

Cajun Dance Halls and Zydeco Clubs: Then and Now is photographic portrayal, past and present, of south Louisiana Dance Halls. It combines the research of two ongoing projects about the subject: The Center for Louisiana Studies' Louisiana Dancehalls Project, directed by John "Pudd" Sharp, which showcases visual artifacts and memorabilia from archive; And pictures by Philip Gould that are drawn from his upcoming photography book, Ghosts of Good Time: South Louisiana Dance Halls Past and Present, published by UL Press. Included in the exhibit are recent architectural images of clubs, open and closed, as well as a selection from Gould's four-decade career documenting Louisiana. Additional archival materials from the Center for Louisiana Studies come from a variety of sources including collections by club owners, musicians, family members and patrons. This exhibition is presented in partnership with Festivals Acadiens et Créoles. September 9, 2016 – October 16, 2016.

Acknowledgements
The museum wishes to express gratitude for the support and partnerships that have made this season of exhibitions possible: The Hilliard Society, Bon Temps Grill, Donner-Peltier Distillers, and Festivals Acadiens et Créoles.

Upon request, high-resolution images & biographies are available. Interviews may also be arranged.


Museum Hours, Admission & General Information
The Hilliard University Art Museum is located at 710 East Saint Mary Boulevard, on the campus of
University of Louisiana at Lafayette. Museum Hours are: Tuesday, Thursday and Friday, 9:00 AM to
5:00 PM; Wednesday, 9:00 AM to 8:00 PM; Saturday, 10:00 AM to 5:00 PM; closed Sunday and Monday. General Admission: $5 Adults, $4 Seniors (62+), $3 Students (5-17). FREE for Members, UL Students/Staff/Faculty with identification, and visitors under 5. Guided tours of the galleries are available Friday & Saturday at 2 PM, complimentary with admission. For general information, please visit hillliardmuseum.org or call (337) 482-2278.

  

About the Hilliard
The Hilliard University Art Museum operates on the campus of University of Louisiana at Lafayette, and was originally founded in 1964 as the Art Center for Southwest Louisiana. Featuring a state-of-the-art modern facility that was erected in 2004, the museum houses more than 2,200 objects in its permanent collection, and is the largest art exhibition space between New Orleans and Houston. The Hilliard serves a wide range of educational and cultural needs by fostering cross-disciplinary intellectual discourse on campus, and throughout the region. At the core of the Hilliard's mission is to collect, preserve, interpret, and exhibit the art of our time, while celebrating the great diversity of Louisiana's heritage.





Wednesday, July 13, 2016

upcoming exhibition at The Box Gallery West Palm Beach

Las Orishas de Cuba: The Saints of the Santeria Religion of Cuba Exhibition...


Curated by Rolando Chang Barrero and Albert Torres
Exhibition Opening, Fridat July 22, 2016 7 p.m. FREE
The Block Prints and Painting of Alberto Piloto Pedroso-CUBA and Violin Performance by Ernesto d'Marquez
Lecture and Presentation Sunday 3-5 p.m. $5 Pre-Registration
A survey of the Santeria Religion through the images of Cuban artist, Alberto Piloto Pedroso.
Santería, also known as Regla de Ochá or La Regla de Ifá, is a syncretic religion of Caribbean origin that developed in the Spanish Empire among West African descendants. Santeria is also a Spanish word that means the worship of Saints. Santería is influenced by and syncretized with Roman Catholicism. Its liturgical language, a dialect of Yoruba, is also known as Lucumí.
Featuring a live performance by:
ERNESTO d' MARQUEZ: VIOLiNIST, arrangement, composer and producer.
A vast international experience and a Cuban origin has led this man to countless hits in the most diverse and important places of the world, as well as a variety of musical genres.

His most recent performances include:   Invitational performance at the Moulin Rouge, on Champs-Elysees in Paris, France.  for Princess Stephanie of Monaco and a regional show/direction of the "Aguilas del Teide"  park in the Canary Islands in Tenerife, Spain.  
Since his coming to the United States he resides in Miami, Florida and has participated in various shows and world trips in parts of Europe and Latin America.  Has participated in recordings with famous producers like:  Alejandro Jaen, Mani Lopez, Juan Marquez, German Piferrer, Jorje Luis Piloto and Ricardo Eddy Martinez.  Marquez often performs at  important "Mar a Lago" events at Donald Trump's residence as well as major social gatherings in Palm Beach and Boca Raton.
WHEN
WHERE
The Box Gallery - 811B Belvedere Road, West Palm Beach, Florida 33405 - View Map
WEST PALM BEACH, FL

Lecture and Presentation: Introduction to Syncretism, Symbols, and Santeria

The Box Gallery 
Introduction to Syncretism, Symbols, and Santeria
Lecture and Presentation by
Lorna Shuford, Founder and President Little River Historical/Cultural EDC
LITTLE RIVER HISTORICAL CULTURAL & ECONOMIC DEVELOPMENT CORP is a Historical Societies, Historic Preservation in MIAMI FL. US MID #8401200301
and,
Rolando Chang Barrero, curator and

Sunday, July 24, 2016 | 3-5 p.m.
Fee: $5
The Box Gallery
811b Belvedere Road
West Palm Beach, Florida 33405
www.TheBoxGallery.info
WHEN
WHERE
The Box Gallery - 811 Belvedere Road, West Palm Beach, FL 33401 - View Map

Wednesday, June 29, 2016

THIS MONTH AT THE FORDISTAS GALLERY

This July 9th during Art Walk, Wynwood’s favorite off-Art District gallery space will once again open for an interactive evening of surfboards, art and creative healing.

Fordistas Gallery presents The Pop-Up

A collection of six Miami artists’ visions reflected on surfboard canvases to raise awareness of autism and benefit the Surfers Healing foundation.
The Pop-Up is the iconic surf move that denotes the switch from paddling to surfing stance. It is a pivotal turning point for anyone practicing the sport and encapsulates the subtle adrenaline building at Surfers Healing Camp that leads to the empowering moment children with autism stand up on their board.
Surfers Healing enriches the lives of children living with autism by exposing them to the unique experiences of surfing. It is one of the latest initiatives hosted by Fordistas, a program with roots embedded deeply in South Florida culture, namely the arts. The platform has commissioned and supported resident artists and initiatives that enhance our community.
Six artists will engrave their local talent and perspective on a freshly shaped surfboard by industry legend Matt Kechele. The board is a work of art in and of itself, and this is their canvas. The Pop-Upsurfboards will later join The Bowery Project, the larger New York-based collection of surfboard art works that are part of an annual benefit auction to raise funds for the Surfers Healing Foundation.

Dana Donaty • Reality Check
A collection of contemporary works by an innovative conceptual artist widely recognized for provocative canvases with unusual narratives. Donaty began exhibiting her work as a selected artist for StArt, an art program at Wayne Akers Ford helping local artist showcase their work, enriching Palm Beach culture and benefitting important philanthropic causes, like Autism Speaks.
Donaty’s goal is to create works that go beyond that which is immediately visible, real and imagined. An auto associative memory process frames her approach to figuration and abstraction.
The work explores the relation between memory (individual and collective) and perception, emphasizing the role of memory. Memory as a space where the past and present coexist in the form of images. The images are activated through the artist’s perceptions that the work ignites through process.
Donaty’s examination of past experiences disrupts sequences, allowing for fluidity of time and the transition of one perception to the next without any clear dividing lines. The artist explores memory as content and medium, examines the role of color while traversing how the past persists in the present.
The viewer is presented with grammar arising from a process of complex memory construction, issues of their interpretation of the work and the artist’s dedication to messing with perceptions. For more information on Donaty’s work, visit danadonatyfineart.com 
Join us for an evening of complimentary drinks, bites, live music and original art supporting a project that has uplifted and empowered South Florida culture. RSVP for the free event here.



Friday, June 24, 2016

Select Art Research journal titles

(Excerpted from a list published by the Albert Solheim Library @PNCA.edu). Titles available through FAU libraries have the link attached to the title. Open access links are listed after the title.

Afterall is a journal of contemporary art, providing a forum for in-depth analysis of art’s context and seeking to inspire artists to see art as an agency for change. Each issue provides the reader with lengthy, well-researched articles, and includes different writers discussing the same artist’s work from varied perspectives. Their website includes additional articles not appearing in the print version

Afterimage has been an important voice in the photography, film, video and visual book community. Along with feature articles, books and exhibition reviews, essays and news, every issue of Afterimage also includes over 300 free notices for jobs, call-for-work, exhibitions and screenings.

American Arts Quarterly (Open access Link)
American Arts Quarterly supports today’s burgeoning cultural revival by championing creative individuals in a variety of artistic disciplines.

The Art Bulletin publishes leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions. From its founding in 1913, the journal has published, through rigorous peer review, scholarly articles and critical reviews of the highest quality in all areas and periods of the history of art. Articles take a variety of methodological approaches, from the historical to the theoretical.

Art in Print offers important and timely writing on art and prints by an international array of curators and critics, artists and scholars. Our reach is global, and encompasses the complete history of printed images from ancient China to 21st century Brooklyn.

The mission of Art Journal, founded in 1941, is to provide a forum for scholarship and visual exploration in the visual arts; to be a unique voice in the field as a peer-reviewed, professionally mediated forum for the arts; to operate in the spaces between commercial publishing, academic presses, and artist presses; to be pedagogically useful by making links between theoretical issues and their use in teaching at the college and university levels; to explore relationships among diverse forms of art practice and production, as well as among art making, art history, visual studies, theory, and criticism; to give voice and publication opportunity to artists, art historians, and other writers in the arts; to be responsive to issues of the moment in the arts, both nationally and globally; to focus on topics related to twentieth- and twenty-first-century concerns; to promote dialogue and debate. (And to write the longest sentences known to humankind… -ed.)

Art Papers is a non-profit organization dedicated to the examination, development, and definition of art and culture in the world today. Its mission is to provide an independent and accessible forum for the exchange of perspectives on the role of contemporary art as a socially relevant and engaged discourse.

Cabinet (Open Access Link)
Using essays, interviews, and artist projects to present a wide range of topics in language accessible to the non-specialist, Cabinet is designed to encourage a new culture of curiosity, one that forms the basis both for an ethical engagement with the world as it is and for imagining how it might be otherwise.

Craft Research (CRRE) (Open Access Link)
The aim of Craft Research is to advocate and promote current and emerging craft research, including research into materials, processes, methods, concepts, aesthetic and style. This may be in any discipline area of the applied arts and crafts, including craft education.

Critical Inquiry (Open Access link))
Combining a commitment to rigorous scholarship with a vital concern for dialogue and debate, Critical Inquiry presents articles by eminent critics, scholars, and artists on a wide variety of issues central to contemporary criticism and culture. The wide interdisciplinary focus creates surprising juxtapositions and linkages of concepts, offering new grounds for theoretical debate.

Design and Culture looks for rigorous and innovative critical frameworks to explore ‘design’ as a cultural phenomenon today. As a forum for critique, the journal features a substantial reviews section in each issue. Moreover, in-depth essays analyze contemporary design, as well as its discourse and representations. Covering a field that is increasingly interdisciplinary, Design and Culture probes design’s relation to other academic disciplines, including marketing, management, cultural studies, anthropology, material culture, geography, visual culture and political economy.

Grey Room brings together scholarly and theoretical articles from the fields of architecture, art, media, and politics to forge a cross-disciplinary discourse uniquely relevant to contemporary concerns. Publishing some of the most interesting and original work within these disciplines, Grey Room has positioned itself at the forefront of the most current aesthetic and critical debates.

The Journal of Modern Craft covers all aspects of craft as it exists within the condition of modernity (conceived as roughly from the mid-19th century to the present day), without geographical or disciplinary boundary. Its editors welcome articles that analyze the relevance of craft to architecture, design, contemporary art, and other fields, as well as the central disciplines of clay, wood, fiber, glass, metal, paper, etc. The overall editorial objective is to support a mobile and wide-ranging contemporary discourse on craft as an issue in all creative fields, while also being an authoritative historical voice on the subject of craft as a field or movement in its own right.

The Journal of Visual Art Practice supports research across the entire range of visual arts. The journal engages with the progressive nature of the subject, reflecting upon the changing terrain of art in recent years.

Leonardo was founded in 1968 in Paris by kinetic artist and astronautical pioneer Frank Malina. Malina saw the need for a journal that would serve as an international channel of communication between artists, with emphasis on the writings of artists who use science and developing technologies in their work. Today, Leonardo is the leading journal for readers interested in the application of contemporary science and technology to the arts.

Material Religion is an international, peer-reviewed journal, which seeks to explore how religion happens in material culture—images, devotional and liturgical objects, architecture and sacred space, works of arts and mass-produced artifacts. No less important than these material forms are the many different practices that put them to work. Ritual, communication, ceremony, instruction, meditation, propaganda, pilgrimage, display, magic, liturgy and interpretation constitute many of the practices whereby religious material culture constructs the worlds of belief.

n+1 is a print and digital magazine of literature, culture, and politics published three times yearly.

n. paradoxa: international feminist art journal (Open Access Link)
n.paradoxa publishes scholarly and critical articles highlighting feminist art and feminist art theory written by women critics, art historians and artists on and in relation to the work of contemporary women artists post-1970 (visual arts only) working anywhere in the world. Each thematic volume in print contains artists and authors from up to 10 countries in the world and explores their work in relation to feminist theory and feminist art practices.

At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today’s artistic, intellectual, and critical vanguard.

PAJ is admired internationally for its independent critical thought and cutting-edge explorations. PAJ charts new directions in performance, video, drama, dance, installations, media, film, and music, integrating theater and the visual arts. Artists’ writings, critical commentary, interviews, and a special review section for performances and gallery shows are highlighted along with plays and performance texts from around the world.

Print Quarterly is the leading international journal dedicated to the art of the print from its origins in the fifteenth century to the present. It is peer-reviewed. The Journal publishes recent scholarship on a wide range of topics, including printmakers, iconography, social and cultural history, popular culture, print collecting, book illustration, decorative prints, and techniques such as engraving, etching, woodcutting, lithography and digital printmaking. The journal strives to cover Asian, Latin American and African printmaking as well as the Western tradition.

Third Text is an international scholarly journal dedicated to providing critical perspectives on art and visual culture. The journal examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field. Established in 1987, the journal provides a forum for the discussion and (re)appraisal of theory and practice of art, art history and criticism, and the work of artists hitherto marginalised through racial, gender, religious and cultural differences. Dealing with diversity of art practices – visual arts, sculpture, installation, performance, photography, video and film – Third Text addresses the complex cultural realities that emerge when different worldviews meet, and the challenge this poses to Eurocentrism and ethnocentric aesthetic criteria. The journal aims to develop new discourses and radical interdisciplinary scholarships that go beyond the confines of eurocentricity.


World Art encourages critical reflection at the intersections of theory, method and practice. It provides a forum for redefining the concept of art for scholars, students and practitioners, for rethinking artistic and interpretive categories and for addressing cultural translation of art practices, canons and discourses. It promotes innovative and comparative approaches for studying human creativity, past and present.