Written and Photographed by Jennifer Carrera Turner
My love of old houses began when I was about 12 years old. That was 35 years ago. My father was a Union Representative of the Southeastern States and we were afforded the convenience of travel to state conferences in the South. Since we lived in Florida it was best to travel by car through the states. We often did a lot of traveling like this to many other states in the country as well as for vacations as a family, occasionally flying out west to California or Washington.
My father could recount as well as I can, the number of times when I got my first camera how I pleaded : “Please, please dad” to stop at all of the old houses on the side of the road in some small forgotten town on a once well traveled route. Perhaps before some major highway was built or the railroad began bypassing them altogether. These houses with their transparent paint, exposed weathered wood and crumbling roofes and decaying large front porches. They were like these sad discarded works of American history and life that someone left behind to rot for one reason or another. Maybe there were no heirs, they could not maintain the property or pay the taxes. Whatever the reason they stand as monuments of our past. For so many decades America tries to make way for something newer and better. They want to destroy its historic architectural heritage or cover it up.
In the early 1990’s there was a house in New Port Richey built in 1882 on Stevens Drive. It was a two story all wooden house with a porch at the front, both top and bottom. The porches extended the whole width of the front of the house and was screened in. It was painted white with the usual old Florida green trim around the eaves and window frames. It had not been painted in years so you can see the grey oxidized grains of the wood beneath. We had to pass this house a couple of times of year to visit my mother’s parents who lived down that street. I always looked at it wondering about the people who had lived there as it was clearly vacant but not boarded up. I wanted to know who built it and thought about what it was like for them at that time with such limited resources in that rural part of Florida. I never spoke about it to my grandparents I just kept my thoughts to myself. This is a regret I will never forget.
In 1992 on another trip to New Port Richey that old house on Steven’s drive had burnt down. We drove past it and I stared in absolute horror that the entire top floor to nearly the bottom was blackened as coal. We soon arrived at my grandparents’ house. I asked my grandfather (Wilbur Lavonne Underhill) and he said “They believe it was a homeless person. It’s possible they accidently set the house on fire. The night it happened your grandmother and I could see the flames from here while listening to the loud wooshing noise they made” consuming the house. I was so upset that the house was destroyed along with never having the courage to find out more about the history of it. In fact, I could have gone inside to see what it was like. It was only a year later that my grandfather unexpectedly passed away at the age of 67 that we visited again for his funeral. I had a small charred piece of wood from that house (that I took from the heaps) that I tucked into his jacket pocket along with a letter in his casket. After the funeral we returned back to my grandparents home. I walked across the street to speak with the owner of that house that was now gone. I never knew that the family actually lived in a newer house at the back of the property until then. I was in tears telling the man everything I described above. He offered his condolences and then brought out to show me an antique photo from the late 1800’s of the house. It was sepia toned and in a simple wooden frame with glass. He grew up in it and years later it became too much to repair and update to current electrical and plumbing standards so they built the newer house on a different part of the property towards the back.
I have a book titled “A Field Guide to American Architecture” by Virginia & Lee McAlester (1984). One of my most beloved books in my collection. I purchased the book in the early 1990’s. One of the photos is of a federal style architecture house in North Carolina that ultimately became an obsession. The black & white photo is of an abandoned two story wooden house in a rural field of grasses. The only mentioned location beneath it was the county and state. There is no further information. This is at a time when the internet was very new . Google was not the information powerhouse that it is today and Google maps were non existent. There was no shortcut to make this an easy find.
I decided to make a pilgrimage to find the house with only a physical printed map of North Carolina in hand. There was no GPS in these days as well. It was a couple days travel from South Florida to reach the destination county. When I arrived in the county, I went to the local libraries to gain access to local maps, history and to show the page from the book to people who lived in the area. I actually found that house with such limited research its still astonishing. Nothing can describe what I felt when I pulled up to the house for the very first time and to actually finally see it in person. It was incredible. I was in tears. Someone was inside of it in the middle of a full restoration and unfortunately the walls had already been stripped so I did not get to see what the original plaster and molding had been like and the sizes of the original rooms. I was a little late. At least someone had saved it and was restoring it. As a cherished keepsake the owner presented me an enormous tapered wooden pine peg which was used instead of nails to hold the house frame together. I will cherish it always. It was a rewarding journey that can never be forgotten.
I continued to travel and photograph more old structures long before urban explorers appeared on YouTube with their secretive missions to film for our obsessive group of observers from afar. Since the mid-90’s I’ve experienced the interiors of many abandoned properties both being completely untouched and some in the midst of restorations. Everything I’ve written thus far is such a condensed version of who I am and what I’ve seen. Although there is so much more about myself I felt that I need to give at least a small introduction to my project below.
I know that there are a lot of people like me out there – our love for these decayed relics of American dwellings throughout our short history. I only hope that everyone who searches out these places have the respect or very reverence for the sacred experience that can be felt while walking through a place where not many people have been in so many years. Unfortunately there are those who are vandals, and they deface and destroy these incredible gems that have been locked in time.
In 2022 I visited the property below which will remain private to ensure the safety of the location. It is a five hour drive from where I live and I had six months in planning what I was going to bring and do. I photographed everything myself and I needed to be in some of the photos as it is a portrait of myself as it is of the actual house. Everything I photographed has a lot of meaning to me besides just showing the condition of each part of the old house.
It was built in 1900 in an area where the railroad was supplying the merchandise and passengers to the small town. It was a very successful area during the early to mid 1900’s until like so many other small cities – other means of travel like major highways being created and flight bypassed them completely. It left this one as many others nearly as a ghost town.
What is incredible and so valuable about this house is it that you can look past the furniture being piled up and the broken glass every place you step, I can immediately see that the walls, trim and floors are exactly original today as it was in 1900. There are no drop ceilings, no wallpaper, no paneling covering the original plaster. The paint on the walls is still there, the colors they chose. The beautiful dark wooden floors that creak while you walk are still original without any hideous later updates covering them. Even the furniture it is all period correct. This IS the furniture the house was born with. It is all still there. Perhaps a few items here and there are from later decades but if you flip everything over, push in the drawers and move them into place YOU are in the year 1900.
This house lost to ravishes of time for whatever the reason may have been – it had belonged to someone as their American Dream.
At one time this was (as it is now for my current experience) a world of so much to be admired and appreciated. It is so beautiful.
The last printed publication inside this house is from the mid 1980’s. It has stood vacant now for almost 40 years. Interestingly enough the year of vacancy coincided with the removal of the railroad tracks that ran directly across the street in the front of the house.
What this project represents to me is a lifelong dream to look beyond the chaos and into the soul of a house that once stood proud and beautiful but just like us it is fading away as the years pass by.
Written and photographed by Jennifer Carrera Turner
Art Basel Miami Beach the world’s grandest international art fair in the Americas closed out with strong sales and an overall attendance of 76,000 guests during the span of five days. This was the largest show on record as it celebrated its 20th year in the city of Miami Beach, Florida, United States.
There were 282 premier galleries exhibiting from 38 countries and territories as well as specially curated exhibitions presented by 29 galleries within the Kabinett sector, besides the Meridian Sector showing 20 additional projects of enormous scales from emerging and renowned artists curated by Magalí Arriola, Director of Museo Tamayo in Mexico City for the third year.
Highlighted artists from the Meridians Sector include but not limited to:
· “Sojourner” by Cauleen Smith. (2018 – 2022) Presented by Morán Morán and
Corbett vs. Dempsey.
· “Let the Mermaids Flirt with Me” by Christopher Myers. (2022)
Presented by James Cohan Gallery.
· “The Grove” by Devan Shimoyama (2021) Presented by Kavi Gupta.
· “Columbus Day” by Hock E Aye Vi Edgar Heap of Birds. (2019-2020) Presented by K Art.
· “Birth” by Judy Chicago. (1984) Presented by Jessica Silverman.
· “Silla” by Maria Jose Arjona. (2011) Presented by Rolf Art.
· “Corpo Ranfla 2.0” by rafa esparza. (2022) Presented by Commonwealth and Council.
· “Muholi V” by Zanele Muholi (2022) Presented by Stevenson.
Highlighted artists of the Kabinett Sector include but not limited to:
· Alberta Whittle, Izumi Kato, Ascânio MMM, Margot Bergman, Romare Bearden and
I attended Art Basel over the December 3rd weekend spending several hours meeting gallery representatives and photographing art. I selected some pieces that I enjoyed the most in both mid-century and contemporary periods that I am showing here below. These pieces are not in a specific order of importance as they all hold tremendous value each in their own way that cannot be compared.
We have just survived Art Week in Miami, FL. The traffic and the enormous crowds cannot keep any of us away from the most anticipated South Florida Event of the year involving all things Fine Art. As the majority of us were making our pilgrimage in droves to the internationally famous Art Basel Miami Beach, we may also enjoy the smaller Art Fairs throughout the city which draws collectors and admirers alike.
It was while I was attending Art Basel Miami Beach preparing for a curating article that I met the PR agent for emerging artist Jordana Hanono. Once I was shown examples of her work I was completely floored. Jordana was participating at Aqua Art located on famous South Beach Miami’s Collins Avenue during Art Week December 1st -4th. VIP preview was held on Wednesday November 30th.
I now want to introduce you to this incredible emerging artist. I truly believe that her creative vision, skill and talent will bring her the ultimate status of a prosperous and highly collectible professional Artist. In saying this, she is in fact well on her way to her coveted achievements. I had the pleasure of contacting her and interviewing her for this personal article.
Who is Jordana Hanono?
In her free time, you can find her making art — whether she is creating paintings, drawing, shading, or pressing her work onto streetwear which she shares with her friends. She originally started with drawings of family members and simple objects and then progressed into more technical mediums. In 2019, she attended a summer program at the School of Visual Arts, where she was introduced to nude drawing and painting, which characterizes much of her work today. Recently, she has experimented with creating images using crystal mosaics. Despite painstakingly placing each crystal one at a time, she enjoys the medium because it allows for a very granular control over the piece’s coloration and detail. Hanono’s work has been displayed in the David Rosen Galleries, Gallery Mavruk, Wentworth Gallery, New Area Art Gallery, Rochester Riverside Convention, 2021 All-County Art Exhibition, New York Board of Education Building, the local library, and her high school. Her first show took place at the Aqua hotel in Miami, during “Miami Art Week”. Hanono is studying art at Hunter college and hopes to make a career from it thereafter.
Q & A Jordana Hanono
What is the name of the Art Fair you participated in last week in Miami?
How have you participated in Aqua Art Fair?
I exhibited eighteen pieces at the aqua art fair. Most of which were created with swarovski crystals and would be considered pop art.
As a young emerging artist, have you developed a unique identifiable style?
I do not identify with a singular style. In recent years I have been experimenting with a variety of mediums and styles. Currently, I am focusing on pop art and mixed media. I love the creative freedom pop art offers. However, with that said I am best known for my work with swarovski crystals. Hand placing tens of thousands of crystals per piece is eye catching.
What are the mediums that you prefer?
I love working with spray paint and acrylic paint as the basis of my paintings. Additionally, I love experimenting with uncommon materials as well, such as newspaper, baseball cards, pouring paint, gold foil, and swarovski crystals.
Who influenced you the most for becoming an artist?
I was lucky enough to have parents who have always supported my passion. They encouraged me to do something I love in life and continue with this path. Dali is my favorite artist. He strongly influenced my early art. Although our styles are different I valued his approach to his art. He was outside of the box and very original.
How long have you been creating?
I have been creating art all my life. I began taking my art seriously during the pandemic. I wanted to make the most of the free time I had.
Where do you see yourself as an artist 10 years from now?
By the age of twenty eight, I hope to be a well known artist that inspires other young artists like myself. I see myself displaying in many more galleries. But even more so, I see myself owning my own gallery. Additionally, I would like to see my art displayed in other countries as well. It has always been a dream of mine to study and display in Europe.
It was the seventh season of SuperCar Week in West Palm Beach, FL. A nine day event filled with the most unimaginable activities that any auto enthusiast both the average Joe and the VIP could appreciate. Most events were free to the general public, and the VIP enjoyed some really exclusive privileges that makes the upgrade worthwhile. If you are not a participator, then you can be a dreamer. Each event that is hosted, you surround yourself with the most incredible machines on earth, the most beautiful bodies, the most extreme engines and the ambiance of speed that one can ever have imagined!
This event is the annual production of Neil London, Tim Byrd, Thomas Clarke, and Gina Palmer and has been an incredible value to our local community, drawing crowds of well over 120,000 in attendance. On the last day of this sequence of events it closes with the largest SuperCar show in all of Florida and perhaps even the United States and includes an exclusive VIP party amidst it all.
The Sunday show boasts over 400 supercars – the most expensive and significant automobiles in the world ranging from makers such as: Ferrari, Audi, Maserati, Lamborghini, Rolls Royce, Bentley, BMW, Aston Martin, Jaguar, Mercedes Benz, Tesla, Land Rover, Bugatti, McLaren, Pagani and many more including new and classic American models. SuperCar Week focuses on sharing an exclusive experience with the public and an appreciation of automotive excellence, design and technology.
Now that we have the background of this amazing event presented, I can now tell you that someone who really stands out in this exclusive crowd is the one, Laurence Gartel, a world renowned American Artist and “pioneer of digital art” showcasing one of his elaborately designed Art Cars. I met Laurence a few years ago at a Lamborghini Palm Beach cars and coffee event. At first glance, you think “young Jerry Garcia” and he is every bit the most intriguing, down-to-earth, and most serious, passionate artist you will ever meet.
His extensive and ever-climbing career has spanned throughout decades having worked with Andy Warhol, Hans Grodo Frabel, and an eclectic mix of famous music artists including Blondie, The Sex Pistols, Kiss, Justin Timberlake, Britney Spears and many more.
“He was the official artist of the 57th Annual Grammy Awards”.
Gartel has exhibited in an extensive list of high-end museums including the Museum of Modern Art and other galleries that house his permanent collections for example, National Museum of American History.
Gartel is the first artist commissioned by Tesla Motors during Art Basel Miami Beach in 2010, after having dedicated many years to creating his stylistic graphically designed “Art Cars”. He has produced countless different Art Cars of many high-end makes including a Renntech Mercedes SL 65 V-12 Bi-turbo, which was unveiled at Fisher Island, FL during Art Basel Miami Beach, 2014 and being shown at ArtPalmBeach 2017.
On Sunday, Gartel agreed to answer my interview questions which are posted below. My questions are based on not only his experience with participating in SuperCar Week over the years, but also his experiences with inspiration and of being an artist. I appreciate the time he took in answering these questions and it is an absolute honor to be able to share this with the world.
Even as he prepared to answer these questions for me after that Sunday, he was participating in the Dr. Martin Luther King, Jr. celebration on Monday in Downtown West Palm Beach:
“No moss grows under my feet as I participated in the Martin Luther King Parade in Miami. I was driving 4MPH for 4Hours. Talk about an “Endurance Rally.” However, I put a smile on over 300,000 faces. And that is a good thing. We must stop poverty in America. While we “oogle” over million dollar cars there are people starving every day. Children going hungry so my perspective in answering questions may be a little different than normal. Having said that, I will do so to the best of my ability.” -Laurence Gartel, January 16, 2017
Gartel Interview Q & A:
1.How many years have you participated in SuperCar Week?
I have been participating from the inception of the event. That means when Neil London took over because someone else had the show before Neil. Neil turned it into a FREE mega-event for everyone to enjoy.
2.What is your opinion on the outcome and progress of SuperCar Week 2017?
SuperCar has turned into the greatest event in all over South Florida. Fun, Friendly, Easy, Joyous, and something for everyone.
3.What additions would you like to see in the 2018 SuperCar Week?
I would like to see more dealers participating. One year Ferrari was in, one year they were out. I’d like to see new car dealerships roll out some of their latest vehicles. Schumacher has been in for several years. I think that’s great. Neil London tries to cover every aspect from Electric Vehicles to SuperCars. It would be nice if Mr. Dezer brought out some of his fine cars from his collection as well. The more the better because cars are a huge part of our modern and contemporary culture.
4.Whose work do you relate to most? Who or what inspires you?
When you are an original, I’m not sure who’s work you relate to. I can say, if you asked me whose work do I admire, I can say: Michelangelo, DaVinci, Correvaggio, Bernini. I have a real appreciation for “perfection.” I have been asked to leave the Ufizzi Museum on a number of occasions by security because I sat in front of Botticelli’s “Birth of Venus” for hours until closing time. I am obsessed with “ultimate beauty.” Seeing Bernini’s sculpture “Apollo and Daphne” in person, is a life changing experience.
5. Do you enjoy collaboration work?
On occasion. I did a collaboration last year with Hisachika Takahashi who was Robert Rauschenberg’s assistant for decades. I was up in Vermont where I was commissioned to create a 40th Anniversary work for Catamount Arts. Takahashi lived across the street and we had several talks about Bob. I had two exhibitions at Rauschenberg’s gallery at Edison College in Ft Myers. I knew Bob from the 70’s when he was working with Merce Cunningham. Takahashi remembered me as a young Artist so it was very moving to collaborate.
6. How has your practice changed over time?
My practice has always been in a state of transition. Materials change, and thus so does technique. Creating 3-D sculptures with 3-D printers along with drawing with plastic that melts is also a new development. In creating Art Cars the vinyl material has changed as well. Making it more pliable and flexible. As far as the Art is concerned – Art changes depending on one’s travels and how it emotionally impacts you.
7. Describe yourself in one word. Why that word?
FABULOUS. – Because everything I do is unsuspected. You will never know what I will do next. It is surprising and over the top. Nothing is ever predictable.
8. How is your personality reflected in your work?
My work IS my personality. Whether it be for the Grammy Awards or if it is for Forbes Magazine, Coca Cola, Mercedes Benz, or the Oslo Motor Show the Art is outrageous and has a live energy to it. “I am looking forward to waking people up, not putting them to sleep.”
9. How do you get inspired creatively with a new assignment?
My talent is G-D given. That means that there is a wealth of creativity attached to each project. Depending on what it is, the project itself “inspires”. For instance, if it is a car, the lines and shape of the car have a lot to do with how the overall outcome will be.
10. What do you dislike about the art world?
I dismiss the pre-determined Art world. Any great Artist of any century dismissed the rules and created his own visual language. If I were to bitch and moan about the Art world I would say I hate the Nepotism. It is everywhere. However, it is a BIG world and we can by-pass those that keep the doors closed to others outside of their inner circle.
11. Name something you love, and why?
LOVE? My significant other. My children.
12. What was it like designing for the Grammy’s? Was it a life changing experience?
It surely was a highlight. I enjoyed being part of the festivities, the red carpet, the show, all the protocol and everything associated with it in Los Angeles. My collectors shipped the Renntech Mercedes that I designed for them for me to drive during my stay there. It was a most generous and kind thing to do.
13. What is your dream project?
I have to think it up. Maybe painting a building. I’ve actually done everything I have wanted to do in life. ABSOLUT GARTEL for Absolut Vodka was a great triumph. To see my ad on the back of 100-million magazines was definitely a thrill. Especially when it was created with one of the first still-video cameras and Photoshop 2.0. Nobody ever saw anything like it before. Completely original. My cover of FORBES was amazing as well two years prior in 1989. My whole history is really interesting. Lots of firsts. Sometimes going backwards is just as exciting as going forward. Especially when that technology has come and gone and people have not seen it.
14. Where is your newest exhibition and what does it focus upon?
My new museum exhibition in Italy is very exciting: “WARHOL vs GARTEL” HYP POP opened in Spoleto 22nd December 2016 and will run through 2nd April 2017. The show examines the similarities between my work and Warhol. I taught Andy how to use the Amiga Computer in 1985 when he was commissioned to produce the album cover for Debbie Harry. After that I took Digital Art into the Fine Art World interjecting it into the stratosphere.
(Images of Warhol vs. Gartel courtesy of Laurence Gartel.)
Another incredible year at one of the finest Art Shows in the world and the most premier Art Show of the Americas, Art Basel Miami Beach now finished it’s 15th season. In five days the show had admitted 77,000 visitors consisting of high-end private collectors, directors, curators, trustees and patrons from the most influential international museums and institutions.
It was reported that the participating galleries received abundant sales on all market levels. The Lead Partner of Miami Beach Art Basel is UBS and participating were 269 exclusive galleries coming from 29 countries which provided an incredible array of works. The extensive gamut included that of Modern and Contemporary masterpiece paintings, sculptures, elaborate installations, multi-media, film and photography from both established and emerging artists.
Art Basel Miami Beach is divided into specific sectors which organizes galleries into groups or sections. In one of these sectors named Survey which was developed three years ago (contains art created prior to year 2000), consisted of 14 galleries of which 4 were exhibiting for the very first time.
The Box, a gallery located in Los Angeles was one of the four first time exhibitors. The Box presented works by artist Barbara T. Smith (b. 1931), now in her eighties has been producing work for over 40 years. Smith, originally from Pasadena, CA but now residing in LA works in mediums such as sculptural installations, painting and performance. She is a dedicated feminist whose work experiments with “themes of the body, food, female desire, heterosexual relationships, sexuality, religion, transformation of the spirit, love and mortality”.
The project created by Smith shown in The Box’s space focused on her sculptural resin objects and a film that was shot on 16mm, entitled Light Watch which is a one time-lapse shot of an enormous single resin ‘blade’ which is reminiscent of a thin obelisk type shape protruding from a large body of water.
The resin “blade” used in the film had originally been part of the late 1960’s sculptural installation titled Field Piece. It was a monumental work representing Smith’s vision of a “never-ending field of grass symbolizing personal freedom”. It consisted of several 15-foot tall hollow blades made of translucent resin. Along a white shelf in the booth on the wall were the vintage black & white photographs of the original installation showing the blades clustered together.
During the 1970’s through the 1990’s, Smith continued to focus on encasing different materials and objects within the resin which is a delicate toxic material to work with during the process of creation. Her work has been exhibited and collected by major museums such as the J. Paul Getty Museum, Hammer Museum, MOCA, LACMA, Art Institute of Chicago and was booth winner of the Frieze Stand Prize, in London, UK (2013). She is a pioneer of the use of mixed media and of using uncommon materials at a time when it was not relatively usual.
Another gallery in the Survey sector, espaivisor, Valencia, Spain presented the photography work of Graciela Carnevale (b.1942) of Argentina, titled ‘El encierro’ (1968) which is an important work of sociopolitical art in Latin America from the late 1960’s.
This work is a composition of 48 photographs which is the documented result of a large group of people who arrived by invitations to a “gallery reopening” event distributed by the artist’s husband, Carlos Militello. After the arrival of the guests, the gallery Ciclo de Art Experimental in Melipan was then locked unbeknownst to the visitors inside and the idea was that they were no longer the spectators but were the actual “unaware participants” in an experimental confinement in which the actions were continuously photographed. Instead of the people becoming violent, they patiently waited, however a passerby on the exterior actually broke the glass to let the guests escape.
A member of the Grupo de Arte de Vanguardia who was present, considered this to be a destructive act to the artist’s experiment thus in turn resulted in violence when trying to stop the people from leaving. This attracted the attention of a police intervention and then the eventual permanent closing of the Ciclo de Arte Experimental.
This photographic exhibit invites the viewer to recreate the events as you follow the photos along the walls. El encierro (Confinement) has been on exhibit in countless international shows, including Documenta XII, Walker Art Center, MoMA PS1 and Foundation Cartier pour l’art contemporain in Paris.
Incredible works from Southeast Asia and other regions of the world were presented by STPI Gallery, Singapore. Works in this gallery booth included Sam Durant (USA), Shirazeh Houshiary (UK), Jane Lee (Singapore), Shinro Ohtake (Japan), Do Ho Suh (South Korea/UK) and Entang Wiharso (Indonesia). This is the gallery’s third presentation at Art Basel Miami and were taken from the artist’s residencies at STPI. The media used consists of printmaking, lithography, etching, screen printing, and thread drawings on handmade papers.
Captivating is the bright neon yellow works of Shinro Ohtake which references the “yellowcake” or uranium release from the Fukushima Nuclear Powerplant disaster. The powerplant destruction was the result of the Great East Japan earthquake on March 11, 2011. “The works act as recordings of radioactive contamination and can be seen as a response to concerns it raised around nuclear energy, threats from nature, considerations of the earth and the universe, and relations between families and homes affected by the disaster.” – STPI Singapore. The two works titled Yellow Sight 1 and 7 (2015) are of Ohtake’s signature style which includes imagery from the artist’s everyday life.
The amazing floating-in-air suspended installation within the Galerie Thomas Schulte, Berlin, Germany booth was the creation of Iñigo Manglano-Ovalle. Born in Madrid, Spain (b.1961) currently lives and works in Chicago, USA, also teaches at the city’s famous School of Art and Design. The sculpture which reminds me of a huge liquid mass of mercury is absolutely breathtaking and is one of his Cloud Prototypes. These clouds are created of fiberglass and covered seamlessly in titatium alloy foil. “The shapes of the clouds are actually based on the data that is recorded by the Department of Atmospheric Sciences at the University of Illinois.”
Manglano-Ovalle’s work has been shown regularly in over 200 international solo and also group exhibitions. These include but not limited to Documenta 12, the Sao Paulo Biennale, the Venice Biennale of Architecture, as well as Museum of Modern Art, New York, the Guggenheim, New York and Bilbao, the Whitney Museum, New York, the Mass MoCA and numerous European venues, including the incredible Reina Sofia in Madrid, the Stedelijk Museum in Gent, and Haus Lange/Haus Esters in Krefeld.
These are just a few of the fascinating works of art and artists that I had the pleasure of learning about at my visit to Art Basel Miami Beach this past weekend.
The scale of this show is so grandiose you actually need to spend the extent of the days offered to take in all of the amazing surroundings, talent and passion within the complex both indoors and outdoors.
It is obvious why it continues to have such a draw to collectors, prestigious galleries and those who appreciate fine art from around the globe. When you take the time to learn how, why and realize the intensity behind these works of art can you truly appreciate it.
On the evening of November 11, 2016 seven artists competed in a live local showdown creating enormous murals on shipping containers in Historic Northwood Village, West Palm Beach, FL. Here are the final photos of their amazing artwork! This event is one of many in conjunction with the CANVAS Outdoor Museum Show created by Nicole Henry of Nicole Henry Fine Art.
Participating Artists in the Local Showdown:
Jhonattan Arango, Palm Beach County
Ron Burkhardt, Palm Beach County
Jennifer Chaparro, Martin County
Cheryl Maeder and Marilyn Walter, Palm Beach County
West Palm Beach, FL – On January 5, 2017 one photographer will be awarded $ 20,000 cash as part of receiving The Rudin Prize for Emerging Photographers. The exhibition featuring the four emerging photographers is now on view at the Norton Museum of Art. The photographers were each nominated by world-renowned artists. The nominees were selected based upon their talents of providing exceptional work in a contemporary progressive manner. The photographers are: Clare Benson, Elizabeth Bick, Alexandra Hunts, and Wesley Stringer. The artists who selected these nominees are: Arno Minkkinen, Shirin Neshat, Rineke Dijkstra, and Michael Kenna.
This outstanding award is issued every two years and is the namesake of the late New York City real estate developer Lewis Rudin, and made possible by the generosity of Ms. Beth Rudin DeWoody and the Photography Committee of the Norton Museum of Art. Patrons include The Gioconda and the Joseph King Endowment for Exhibitions.
I attended the November 10, 2016 Curator’s Conversation during Art After Dark to view the opening of this new exhibition. Prior to the tour, I examined the installations myself to gather my own thoughts and ideas while reading and observing each of the photographers biographies and works. I feel that I like to determine my own conclusions prior to hearing the curator’s explanations. I look for the many details in the work and use my imagination as they would and then compare what I learn later to my own thoughts.
As the tour began we were introduced to Tim B. Wride, (William and Sarah Ross Soter Curator of Photography) by the lovely Adelia Gregory, Assistant Curator of Education at Norton Museum of Art.
Tim began our tour at the photography of Clare Benson, an award winning photographer and interdisciplinary artist from the United States who is currently in residency in Sweden. Her work is a mixture of media but primarily video and photography. She is highly focused on presenting culture that is of a very rural lifestyle and incorporates much of her family history, a life & death theme, and North American hunting traditions. She focuses on the strengths of women being hunter/gathers in a vintage rustic era much more than that of being nurturing homemakers.
Next we learn about the photography of Elizabeth Bick, American born and residing in New York City. She was a classically trained ballerina who became enthralled with street photography and the capture of “Organized Chaos” as Mr. Wride comments. Her style involves showing people in their natural form but at moments that appear that their gestures relate to dancelike motions – almost choreographed yet remaining unintentional.
The most traditional photographer of this selection is Wesley Stringer, a man after my own heart. Someone whose style I understand completely, especially with the particular photographs I see chosen for this exhibit. According to Mr. Wride it was most difficult to “pair down the selections” for Wesley’s part of this exhibition as “every picture leads to the next” almost like a story or poetry being shown by way of photography. By eliminating photos, could it be that the story is not understood completely? Like something is missing? It was decided to use only what was absolutely necessary without compromise. Also on view in a glass case is a hand bound book of photography and other handmade items using photographs.
And last but most scientifically interesting in a very technical sense is Alexandra Hunts, she is Ukrainian and currently resides in Amsterdam, The Netherlands. The photography of Alexandra is a almost like a science experiment shown as proof in photos. She spent months working at a apple orchard using a scale to measure the weight of apples to 1 kilogram at a time until she had a total of 1000 kilograms to amass a total weight of 1 metric ton of photographed apples. These individual photographs of apples with their varying shadows were painstakingly cut with an exacto knife from their cards. The individual cut out tiny apples where then arranged into a hanging sculpture and then photographed as a whole. The cards with their absent apples with only remaining holes and shadows are arranged into their own displayed installation on shelves along the wall. It is quite complex.
I highly recommend visiting this exhibition I believe it to be quite enjoyable. The public is also allowed to place their own votes and will be revealed on the final day as the “People’s Choice” selection. On January 4, 2017 the photographers will be interviewed privately and official votes executed by the Norton’s Photography Committee, which is a combination of the Norton’s Executive Director, photography curator, collectors, and trustees will make the announcement to all during Art After Dark on January 5, 2017. I have cast my vote, now I cannot wait to find out who the winner shall be!
Written & Photographed by: Jennifer Carrera Turner