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| Sophie Kahn, Digital Art Salon, Coral Springs Museum of Art, Image Courtesy of Sophie Kahn |
Today, the
Coral Springs Museum of Art presents New York-based artist
Sophie Kahn (
BA Honors, Fine Art/Art History, Goldsmiths College, University of London '01, Spatial Information Architecture, Melbourne, Australia '03, MFA Art & Technology, School of the Art Institute of Chicago '13) at the
Digital Art Salon Cube of the museum.
Kahn's work owes its fragmented aesthetic to the interaction of new and old media, or the digital and the analog.
Combining cutting-edge technology, like 3D laser scanning and 3D printing, with ancient bronze casting techniques, the artist creates sculptures and videos that resemble deconstructed monuments or memorials.
The precise 3D scanning technology she uses was never designed to capture the body, which is always in motion. When confronted with a moving body, it receives conflicting spatial coordinates, generating fragmented results: a 3D “motion blur.”
From these scans, Kahn creates videos or 3D printed molds for metal or clay sculptures. The resulting objects bear the artifacts of all the digital processes they have been through.
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| Gerardo Olhovich, ATAH, 2014, UM Art Gallery Wynwood, Image Courtesy of the artist |
On view through June 27th, 2014,
The University of Miami Art Gallery in Wynwood is presenting a MFA exhibition entitled "
Fluctuation, Paint as Experience" by Mexican-born artist
Gerardo Olhovich (
BFA, Massachusetts College of Art, Boston, MFA University of Miami'14).
Olhovich concentrates on line, shape, color and form, overlapping transparencies and opaque layers in an intuitive manner.
Thus the process of painting, being both conscious and unconscious, becomes the central subject of his work, the result of a direct and simple love of the act of painting and the materials in the tradition of Abstract Expressionism.
Opening reception is scheduled today
June 14th from 2PM- 9PM, UM Gallery at Wynwood Building, 2750 NW 3rd Avenue, Suite 4, Miami, FL 33127.![]() |
| Left, Carlos de Villasante, Pa' tras, 2014, enamel and mixed media on aluminum, Ibrahim Miranda, Sin titulo de la serie Mapas, 2004 (detail), screenprint and mixed media, Images Courtesy of the gallery |
Another opening in Wynwood will take place at
Diana Lowenstein with two exhibitions: "
Diarios de una isla" by Cuban-born artist
Ibrahim Miranda (
Instituto Superior de Arte Specialization in Etching '93) and "
Cognate" by Mexican-born, California-based artist
Carlos de Villasante (
BFA, Rhode Island School of Design '93 /MFA Memphis College of Art '91) which will be
on view through July 31st, 2014.
Living in what the artist says is a sort of 'Animal Island' in his reference to his native Cuba, Miranda, 44, uses maps from the places he has visited as a reference center to his daily work life.
"As a complement of the images that I paint or print, I also use poems by the Cuban poets Virgilio Pinera or José Lezama Lima," says Ibrahim Miranda.
In his mixed media, screen print works, Miranda recreates his own fiction based on his interpretation of the world around him.
He says that in an island full of natural beauty with valleys and mountains and beaches, time has been frozen and thus such beauty has lost its luster like something from another planet.
"An island full of mistakes, of idealism in its highest expression whether it's shared or not, present a carnival and vulgarity of education and mistreatment, autocratic governments and homesickness," he adds.
A former teacher at the MFA and BFA level, Carlos de Villasante has taught courses in studio art and liberal arts at the Rhode Island School of Design, Memphis College of Art, University of Mississipi, University of Oxford, and New World School of the Arts in Miami.
In Cognate, which means having the same linguistic derivation as another, de Villasante finds relation and connection playing with the concept of cognate images in this body of work.
As the artist was developing his material, he realized that his work was varying stylistically in its subject and materials. Often working on different series simultaneously, the artist surrounded himself with his pieces.
"When I thought of my art as a grouping of symbols, the connection surfaced and the differences in my works turned into dialects of the same visual language," says Carlos de Villasante.
De Villasante's works are sign markers or symbols, the meaning of which can be deciphered intuitively. Diana Lowenstein Fine Arts, 2043 North Miami Avenue, Miami, FL 33127.
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| Michael Jones McKean, The Religion, 2013, plywood, pine, paint, epoxy resin, stainless steel, fluorescent lights, dirt, cement, clay, wigs, prosthetic silicon, makeup, clothing, jewelry, chains, Fosdick Nelson Gallery, Alfred University School of Art and Design, Alfred, New York, Image Courtesy of Emerson Dorsch |
A recipient of numerous awards including a Guggenheim Fellowship, a Nancy Graves Foundation Award, and an Artadia Award, McKean, 37, is showcasing sculptures and installations, effigies and representations of natural objects and contemporary technology which co habitat in a narrative system of vignettes.
His elegantly-crafted wall boxes levitate in fields of softly-hued light, and are situated where the screen & museum display meet ancient narrative sculpture traditions.
Under McKean’s keenly historical eye the objects he employs experience a flattening of classification.
This flattening exposes an unstable relationship between objects and our shared realities, so that associations can be exchanged indiscriminately from a provocative index of forms.
Considered in a broader archaeological sense, the artist’s practice can be defined by a labored contemplation on the ontology of objects.
we float above to spit and sing vacillates between a proclivity for fetishizing and an object-oriented shadow world freed from human associations. Emerson Dorsh 151 NW 24th St. Miami, FL 33127.
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| José Bedia, Solitary Sailor at Fredric Snitzer Gallery, Image Courtesy of the gallery |
At
Snitzer, a solo show entitled "
Solitary Sailor" by Snitzer artist
José Bedia attempts a solitary journey through the different experiences in our contemporary times.
"Some of these are things I like and some are not. Some are awful things and others beautiful. Some permanent while others ephemeral and non-transcendental," writes Cuban-born, Miami-based artist José Bedia.
"Things that are natural and things tied to technology, and the confrontation that occurs between eternal, frivolous and hedonistic forces, conditions to which we are now unfortunately more exposed than ever.
Perhaps we have become used to accepting insufferable things without protest.
Confusing an authentic cultural product with simple entertainment, we have come to endure the distance existing between a Billie Holiday and Etta James, and a Madonna and Lady Gaga.
Tolerate the gap from Goya and Joseph Beuys to Jeff Koons and Damian Hirst. Bear the stretch from the Beatles and Jimi Hendrix to Pitbull and Justin Bieber.
I am trying here to handle an ethical and aesthetic position while in the midst of so much vulgarity and shamelessness, aided along the way by a large dose of humor, I want to continue betting on the capacity of art as redemption, and in the capability of revenge through art," Bedia concludes.
Fredric Snitzer Gallery, 2249 NW 1st Place, Miami FL, 33127.
