Barbara T. Smith, Graciela Carnevale, Shinro Ohtake and Iñigo Manglano – Ovalle : Art Basel Miami

December 4, 2016 – Miami Beach, FL

by Jennifer Carrera Turner

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.

art-basel-2016-jennifer-carrera-turner-13

 

art-basel-2016-jennifer-carrera-turner-10

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.

 

art-basel-2016-jennifer-carrera-turner-33

art-basel-2016-jennifer-carrera-turner-30

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.

art-basel-2016-jennifer-carrera-turner-23

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.

More photos from Art Basel Miami Beach 2016:

 

Copyright Notice

© Jennifer Carrera Turner and Carrera Art Studio, 2011 – 2018. All rights reserved. Unauthorized use and/or duplication of this material or images without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Jennifer Carrera Turner and Carrera Art Studio with appropriate and specific direction to the original content.
Advertisements

CANVAS Local Showdown 2016 West Palm Beach

By Jennifer Carrera Turner

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

Eduardo Mendieta, Palm Beach County

Ruben Ubiera, Miami-Dade County

Luis Valle, Miami-Dade County

2016-jennifer-carrera-turner-canvas-photos-102016-jennifer-carrera-turner-canvas-photos-92016-jennifer-carrera-turner-canvas-photos-82016-jennifer-carrera-turner-canvas-photos-72016-jennifer-carrera-turner-canvas-photos-62016-jennifer-carrera-turner-canvas-photos-52016-jennifer-carrera-turner-canvas-photos-42016-jennifer-carrera-turner-canvas-photos-32016-jennifer-carrera-turner-canvas-photos-22016-jennifer-carrera-turner-canvas-photos

Artist Mark Fox : The Norton Interview

By Jennifer Carrera Turner

Norton Museum of Art, West Palm Beach, FL – Last Thursday’s Art After Dark 2016 series at the Norton, had a wonderful presentation that I was so enamored to have been in attendance for. The lecture of sorts titled “Mark Fox in Conversation” was organized by Tim B. Wride, William & Ross Soter Curator of Photography. The lecture was held in an expansive room bathed in a fuschia lighting with countless rows of seating for patrons and observers which soon became occupied entirely. An intimate stage positioned at the front of this room, with chairs for Mark Fox and Tim B. Wride, was back dropped with an illuminated projected screen on the wall surface.  The popular exhibition at this time in the Norton by Artist Mark Fox, was the magnificent high-definition film “Giverny: Journal of an Unseen Garden” created during his three months as artist-in-residence within Claude Monet’s iconic garden in France.

This incredible art installation had been granted to the Norton by the generosity of Beth Rudin DeWoody and of Joanne Leonhardt Cassullo (through the Dorothea Leonhardt Fund at the Communities Foundation of Texas). As if that were not enough, we all then beheld the presence of Mark Fox (who is based in New York City) in our assemblage not only to tell us of his artistic experience in France, but also about his work in general. There was a welcoming introduction of Mark Fox and Tim B. Wride as they entered onto the stage by Adelia Gregory, the Assistant Curator of Education at the Norton.  After complimentary remarks and gratitude for Mark’s presence with us, spoken by Mr. Wride, he further expressed the calm feeling that his art installation bestowed upon visitors – best described reasonably as a “Zen Installation.”

jennifer-carrera-turner-norton-2

Mark then began speaking and exhibiting for us through the projected screen behind them, images of the type of artwork he is well known for. He described most of his early work as having enjoyed creating art with the many “pure black ink drops” whether they were accidental or intentional. These ink drops did not remain confined, rather he “collects” them in a way by cutting them out and piecing them seamlessly together. These “pieces” grow and grow connected together into an enormous size of art that is absolutely astounding. His view on using materials and executing his ideas, Mark says “to be open and NOT narrow minded”.

jennifer-carrera-turner-norton-3

For some sculptures he would often use “everyday cardboard” – utilizing both their flat surfaces for drawing or painting on – even sometimes peeling the paper away to reveal the commercial ink saturations and leaving those images exposed. The cardboard is also used for the features of its open fluting which adds a different textural aspect and transparent feeling. He would also use enormous collections of individually created drawings, sketches and paintings on paper in which he combines into stacks upon stacks – sandwiching them and creating these large – measured in “feet and not inches” life size sculptures. He often uses objects that are “salt-of-the-earth” to provide support for his large sculptures, for example sawhorses.

jennifer-carrera-turner-norton-10

Mark incorporates a lot of text or written words throughout his work, whether printed or cut-out of paper or metals. All of the textual writing have sacred meanings derived predominantly from Catholic Religious beliefs. The use of holy doctrines, references to the Virgin Mary, and religious symbolism are very important in much of Mark’s work. He created a theme such as this using objects that were received from 9/11 Ground Zero for example a sawhorse, dust and religious votive candleholders from St. Patrick’s Cathedral. Something that was most comical during the evening, was that Mark shared with us his love of 1970’s disaster films of which he entertained with some brief video clips. The disasters (unusually enough) took place on the grounds of Art Galleries or Museums and were subjected to tornadoes and floods. Ultimately the films conclude with mass irreparable destruction to fine priceless works of art within the building. While explaining his “love” of this type of film (which is a genre I honestly never knew existed) I could hear the silent chuckling throughout the audience as we were all wondering “what must Mr. Wride” be thinking right now? It was an awkward transition most certainly and was a subtle boost in excitement of a different sort.

 The Versailles Foundation’s Munn Artist Award was accepted by Mark Fox in 2010. He was one of the chosen few invited to hold residency at the Monet Foundation in Giverny, France. Unbeknownst to most of the world, Monet’s famous garden had become unkempt following his death in 1926. Fortunately in the 1970’s, a group of philanthropic Americans founded an entire restoration and held the stipulation that U.S. Artists would be selectively invited to spend time there each year. Fox, having been chosen was told upon arrival that he was not subjective to work in Monet’s impressionistic style but rather they had hoped that the “environment would inspire him.” With Mark’s work being so modern, it would be hard to imagine what could he possibly come up with to utilize this incredible once-in-a-lifetime opportunity. Although not being the requirement by any means. This classic ethereal garden, a place that is known for – seen painted in pastel brush marks on canvas? A mecca for tourists visiting France with the privileges of walking through this lush green landscape of bridges and flowers once occupied by one of the grandest art masters of all time?

jennifer-carrera-turner-norton-21

Unlike the rest of the world, when the crowds left as the area closed to allow visitors for the day, Mark had the key and could return and leave as he pleased. And then his idea emerged, he would show the world what Monet was actually never able to see! Under the water. The underneath of the lily-pads, grasses and the life that was taking place beneath them. He submerged his camera while on record mode, beneath a homemade float attached to a fishing line to capture the footage.

His filming took place during the day and was at first experimental and daring. Later he explained his project and was approved to continue his filming by less elusive techniques, otherwise entering the water had been forbidden. So now for the pièce de résitance, “Giverny: Journal of an Unseen Garden”, a five channel, high definition underwater video capturing images beneath Monet’s iconic waterscape is an amazing room filling art installation brought to us by Mark Fox.

More about Mark Fox: Originally from Cincinnati, Fred Conway Art Scholar at Washington University, Bachelor of Fine Arts in Illustration in 1985, Stanford University, Master of Fine Arts in Painting 1988, Founder of Saw Theater, multi-media performances in New York; extensive list of national venues, public exhibitions in high-end galleries and museums; and international residencies.

In closing, I felt the message conveyed that as an artist he follows “internal suggestions” throughout his creativity, which leads to open doors, and it is best to remain open-minded and determined.

Written & Photographed by: Jennifer Carrera Turner