Margery Gordon 2017-11-30 21:40:31
Miami’s cultural landscape continues to evolve with the long-awaited opening of the ICA and the redesign of The Bass. In a young metropolis still filling out the frame as an art capital, cultural institutions are resizing canvases stretched in simpler times and priming fresh surfaces for expanding audiences. South Florida’s first public venue for exhibiting visual art—a structure built in the 1930s with Art Deco features and reborn in 1964 as a municipal art museum, courtesy of John and Johanna Bass—has just metamorphosed into a next-generation model, while the first major art museum hatched in Miami in the 21st century, the Institute of Contemporary Art, Miami, is opening a permanent campus in the heart of the city. “There are moments for everything,” says Silvia Karman Cubiñá, executive director and chief curator of the Bass Museum of Art since 2008, about the decision to renovate and expand. “We responded to Miami growing up culturally and philanthropically.” As the museum approached its 50th birthday in 2014, she adds, she felt it was mature enough for an undertaking of this scale, and the city of Miami Beach responded with a $7.5 million grant. Ultimately costing $12 million, the overhaul (which includes the museum’s snappy rebranding as The Bass) removed the grand pedestrian ramp and added four new galleries, increasing space for exhibitions and educational programming by nearly 50 percent within the structure’s existing footprint, while also enclosing the courtyard and outfitting a café and community living room. Japanese master architect Arata Isozaki, who designed the museum’s 2001 expansion, returned to consult, with the New York-based manager of that project, David Gauld, stepping up as principal architect. The result is a seamless transformation that honors the building’s original design by Russell Pancoast, facing the park named for Miami Beach pioneer John Collins, his grandfather. The Bass’s inclusive vision “reflects who stays, sleeps, eats and lives [in Miami]—people from all over the world,” says Cubiñá. Appropriately, the museum reopened this fall with an exhibition of recent work by Cameroon native Pascale Marthine Tayou and a retrospective from Swiss-born artist Ugo Rondinone, recently joined by a selection of work by Argentine video artist Mika Rottenberg. “Artists innovate in every aspect of their lives,” says Alex Gartenfeld, deputy director and chief curator of ICA Miami. “As a result, their studio can teach us all about the artistic method, and more profoundly about the ways each of us address our place of work.” A housewarming three years in the making, “The Everywhere Studio,” the debut exhibition in the museum’s new home, gathers work by more than 50 artists on the vast second and third floors to unravel the creative process via some 100 pieces spanning six decades. “It’s an exciting way to announce the goals and ambitions for this institution,” Gartenfeld explains. “It expands on the legacy and language of the postwar period,” reconsidering the canon in light of current experiments. ICA Miami’s mission is supported by its close ties with blue-chip collectors, especially Irma and Norman Braman, who have not only lent the exhibition showstoppers like Roy Lichtenstein’s 1974 image of a model posing for a painter, but fully funded construction of the 37,500-square-foot building and the 15,000-square-foot sculpture garden, where a lifelike George Segal bronze borrowed from Miami collector Martin Z. Margulies and a telephone pole twisted by Mark Handforth are among the striking works on display. Passersby can’t miss the façade’s constellation of triangles, a signature of the Spanish firm Aranguren + Gallegos Arquitectos. The architects’ U.S. debut occupies prime property donated by local developer Craig Robins and Miami Design District Associates, which eased the ICA’s gestation with a rent-free residency in the landmark Moore Building (admission to the museum will continue to be free of charge). “Ugo Rondinone: good evening beautiful blue” is on view through February 29, 2018; “Pascale Marthine Tayou: Beautiful” through April 2, 2018; and “Mika Rottenberg” through April 30, 2018, all at The Bass in Miami Beach. “The Everywhere Studio” is on view at ICA Miami through February 26, 2018. ALSO ON VIEW AT OTHER MIAMI-AREA INSTITUTIONS THE WOLFSONIAN–FIU Employing flamingos, centaurs, cowgirls and other whimsical characters, the infectious charm and wit of graphic pioneer Julius Klinger animate “Posters for a Modern Age,” featuring over 100 advertisements, prints, drawings and book illustrations by this Austrian marketing mastermind associated with the Vienna Secession. Julius Klinger, Plakate Hollerbaum und Schmidt, 1910, from the exhibition “Julius Klinger: Posters for a Modern Age,” at The Wolfsonian–FIU in Miami Beach through April 29, 2018. NORTON MUSEUM OF ART Blurring the boundary between photography and painting, Justin Brice Guariglia explores the impact of our changing climate in “Earth Works,” with 22 bird’s-eye views created through a unique printing process that gives the works physical depth and dimension, capturing the melting of Greenland’s glaciers in stunning detail. Justin Brice Guariglia, QAANAAQ I, 2015/2016, from the exhibition “Earth Works: Mapping the Anthropocene,” at the Norton Museum of Art in West Palm Beach through January 7, 2018. PATRICIA & PHILLIP FROST ART MUSEUM Featuring highlights from the Art Museum of the Americas in Washington, D.C., “Continental Abstraction” surveys the myriad social, political and artistic issues faced by 20 nations across Latin America, as seen through the abstract lens of more than 30 artists. Located on the West Miami-Dade County campus of Florida International University, the Frost’s season also includes a retrospective look at mystical Cuban painter Rafael Soriano and a lecture by provocative Los Angeles-based artist Daniel Joseph Martinez. Elsa Gramcko, Composition 20, 1958, from the exhibition “Continental Abstraction,” at the Patricia & Phillip Frost Art Museum at FIU in Miami through February 18, 2018. PÉREZ ART MUSEUM MIAMI The most recent homegrown art institution to make a capital splash, Pérez Art Museum Miami draws a steady stream of visitors to the waterfront since moving downtown four years ago, with exhibitions and events relevant to South Florida’s geopolitical position and diverse population. “The purview is international and contemporary art, but everything we program is seen through the lens of Miami,” says PAMM’s director, Franklin Sirmans. The winter lineup includes a survey of 20 years of work by Dara Friedman, one of the community’s leading lights; a showcase of recent Cuban art donated by namesake benefactor Jorge M. Pérez; and typewriter art from Miami Beach’s copious Sackner Archive of Concrete and Visual Poetry. “What defined contemporary art here in a lot of people’s minds is the fact that Miami has so many private collection spaces,” Sirmans says, yet public museums are turning the tide. “Now we’re more the must-see.” Dara Friedman, Mother Drum, 2016, from the exhibition “Dara Friedman: Perfect Stranger,” at Pérez Art Museum Miami through March 4, 2018. NSU ART MUSEUM FORT LAUDERDALE Frank Stella is an art star still blazing trails at age 81, and the exhibition “Frank Stella: Experiment and Change,” at the NSU Art Museum Fort Lauderdale, surveys his progressive expansion of pictorial space. Flashing back across his career, director and chief curator Bonnie Clearwater reveals connections among some 300 works and annotated studies from Stella’s “Working Archive,” including previously unseen two- and three-dimensional material. The exhibition is part of the museum’s Regeneration Series, illuminating how World War II altered perception and expression in Europe and the U.S. and launching the museum’s 60th-anniversary year. Frank Stella, Hiraqla Variation II, 1968, from the exhibition “Frank Stella: Experiment and Change,” at NSU Art Museum Fort Lauderdale through July 8, 2018. LOWE ART MUSEUM A lifetime of combing Miami Beach for organic traces and oceanic inspiration draws Michele Oka Doner deeper “Into the Mysterium.” Her new body of work magnifies specimens from the Marine Invertebrate Museum at the University of Miami’s Rosenstiel School of Marine and Atmospheric Science in 55 large-format photographs and an immersive four-channel video installation, Mysterium Alive, on the Lowe Art Museum’s Coral Gables campus. Michele Oka Doner, Double Portals, 2017, from the exhibition “Michele Oka Doner: Into the Mysterium,” at the Lowe Art Museum at the University of Miami through January 14, 2018. “ARTISTS INNOVATE IN EVERY ASPECT OF THEIR LIVES. AS A RESULT, THEIR STUDIO CAN TEACH US ALL ABOUT THE ARTISTIC METHOD, AND MORE PROFOUNDLY ABOUT THE WAYS EACH OF US ADDRESS OUR PLACE OF WORK.” –ALEX GARTENFELD “THE PURVIEW IS INTERNATIONAL AND CONTEMPORARY ART, BUT EVERYTHING WE PROGRAM IS SEEN THROUGH THE LENS OF MIAMI.” –FRANKLIN SIRMANS
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