Betsy F. Perry 2017-11-30 21:28:14
From historically influential to cutting-edge contemporary, two important exhibitions grace the Margulies Collection at the Warehouse and the Rubell Family Collection this winter. Two of Miami’s respected private art collections are serving up a sensory feast this season, taking us from the 1960s and ’70s, with a Roy Lichtenstein Hot Dog and Claes Oldenburg’s Soft Baked Potato at the Margulies Collection at the Warehouse, to the present day, with the almost bacchanalian paintings of Allison Zuckerman at the Rubell Family Collection. Together, the exhibitions offer a captivating selection of contemporary work, including the iconic soup cans and Brillo boxes of the American pop art movement and a disparate mix of images from our digital age, such as paintings by male artists like Picasso, Cézanne and the old masters reinvented from a feminist point of view. The saying “Everything old becomes new again” could be the theme of “Pop Art: Early 1960s Onward,” an exhibition of seminal works, from the private collection of Martin Z. Margulies, now on view for the first time at the Warehouse. As Margulies reveals, “They’ve been in my house all these years and I kept them private.” But he agreed to show them for a good cause, as all proceeds will go to the creation of Lotus Village, the renovation and expansion of Lotus House, a homeless shelter that, Margulies explains, “affords women the chance to look for jobs without worry and regain a sense of dignity and freedom so well deserved.” Adjacent to the exhibit—which includes rarely seen works by James Rosenquist and Tom Wesselmann—are rooms featuring Anselm Kiefer’s enormous 2016 vitrine Die Walku¨ren (a new acquisition) and this year’s video installation The Pure Necessity, by David Claerbout, based on Disney’s 1967 film The Jungle Book. (Of course, Ernesto Neto’s 2001 work É ô Bicho! Remains a big attraction.) Not to be eclipsed is “Allison Zuckerman: Stranger in Paradise,” a boisterous, uninhibited assemblage at the Rubell Family Collection, celebrating the current artist-inresidence at the Rubell Contemporary Arts Foundation. Collector Mera Rubell has said of the young artist, “She is a child of the digital age and a painter who has figured out how to pull all of art history into a conversation about contemporary issues in life inside of art. Allison’s art is really a conversation with male chauvinist artists who need to hear her point of view.” Zuckerman calls her large-scale works mash-ups because, she explains, “I take from all-male old masters and modern artists and reclaim the nudes, imbuing them with female subjectivity, challenging the viewer—in a sense making them feel uncomfortable, but in an entertaining way.” She creates each image through a combination of techniques, including photography and digital manipulation via Photoshop, then paints the image on a large canvas, leaving the observer, Zuckerman says, “not knowing what’s real or fake.” Rubell is also devoting gallery space to “Still Human,” an exhibition featuring 25 artists working in a variety of mediums and confronting how technology is redefining the human condition. A Josh Kline sculpture of a woman curled up in a fetal position inside a transparent garbage bag speaks to our disposability, for example, while Hank Willis Thomas’s digital image of the Nike “swoosh” on a woman’s head ponders the power of branding. “Pop Art: Early 1960s Onward” is on view at the Margulies Collection at the Warehouse in Miami through December 18. “Allison Zuckerman: Stranger in Paradise” is on view at the Rubell Family Collection in Miami through August 25, 2018. “ALLISON ZUCKERMAN IS A CHILD OF THE DIGITAL AGE WHO HAS FIGURED OUT HOW TO PULL ALL OF ART HISTORY INTO A CONVERSATION ABOUT CONTEMPORARY ISSUES.” –MERA RUBELL ALSO SHOWING AT OTHER PRIVATE COLLECTIONS IN MIAMI DE LA CRUZ COLLECTION Having gathered almost 700 mostly contemporary works over 30 years, the de la Cruz Collection is enhanced with new acquisitions each year and then thoughtfully reconfigured thematically, but always with the focus on the artist and the ever-changing ways that issues are addressed and visualized. Currently on display in the 30,000-square-foot space are more than 150 pieces organized according to this year’s theme, “Force and Form.” Co-founder Rosa de la Cruz reveals, “It’s about the way artists experiment with new technologies.” And though there is no overt political statement intended in this exhibition, the recently acquired Lowman and Walker pieces are dynamic examples of the way artists are expressing themselves and their opinions about social issues using, as de la Cruz says, “a new vocabulary of mediums.” Albert Oehlen and Laura Owens are just two of the other artists included in the exhibition. From top: Kelley Walker, Black Star Press (Rotated 180 Degrees): Press Star, Press Black, 2006, and Nate Lowman, USA Map, 2017, from the exhibition “Force and Form,” at the de la Cruz Collection in Miami through November 2018. CISNEROS FONTANALS ART FOUNDATION With attention focused on Cuba, the Cisneros Fontanals Art Foundation (CIFO) is exhibiting works by three revered Cuban artists who were part of the geometric art movement. Many of the pieces are new to the U.S., brought together for “Triángulo: Loló Soldevilla, Sandu Darie and Carmen Herrera,” curated by CIFO founder Ella Fontanals-Cisneros and Elsa Vega, a curator and art historian specializing in Cuban art of the ’50s and ’60s. Born in Cuba, Herrera was celebrated with a solo show at the Whitney Museum of American Art in 2016 when she was 101, having sold her first piece just 12 years earlier. Darie was born in Romania but immigrated to Cuba in 1941, while Soldevilla was from Cuba but of French descent. Carmen Herrera, Tondo (3 Colors = Black, yellow, white), 1958, from the exhibition “Triángulo: Loló Soldevilla, Sandu Darie and Carmen Herrera,” at CIFO in Miami through March 4, 2018. DENNIS AND DEBRA SCHOLL COLLECTION Every year for 17 years, Dennis and Debra Scholl have chosen a curator to take a fresh look at their enormous art collection, come up with a vision, create a show and handle the installation in their home. The 2017 curator, Diana Nawi, formerly on staff at Pérez Art Museum Miami and now working independently in Los Angeles, says her focus is on “the Scholls’ postwar and contemporary drawing collection, as well as contemporary works in other media... and their holdings of aboriginal Australian painting and commissioned memorial poles.” The challenge, Nawi explains, “is about connecting disparate objects and creating a certain visual synchronicity,” adding that “unlike a museum, there’s a lot more room to experiment.” In addition to the Elizabeth Jaeger piece shown at left, expect 80 to 100 works, including the bold, colorful paintings of the Australian artist Ngarra and a totem by Joe Guymala. Elizabeth Jaeger, Amedeo Modigliani (1884-1920), Nude No. 1, 2016-17, from an exhibition of works from the Dennis and Debra Scholl Collection.
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