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Expanding horizons: with the Miami art world in the throes of rapid change, the author examines the impact of growth, spurred by the arrival of Art Basel, on public institutions, galleries and artists - Report From Miami
Art in America, Dec, 2003 by Roni Feinstein
The nearby Casas Riegner, directed by Catalina Casas, focuses on advanced work in various mediums, much of it conceptually based, by both established and emerging Latin diaspora artists. Recent solo and group exhibitions have featured Maria Fernanda Cardeso (Sydney), Liliana Porter (Rye, N.Y.), Ester Partegas (New York City), Matilde Marin (Buenos Aires), Sandra Ramos (Havana), Patricio Reig (Barcelona) and Leyden Rodriguez-Cassanova, Eugenio Espinosa and Frances Trombly (all from Miami). Silvana Facchini recently closed her Design District gallery to enter into a joint venture with the Jacob Karpio Gallery from Costa Rica (the latter made an impressive showing in both ABMB 2002 and in Art Miami the following month). The Karpio Facchini Gallery, which opens in Wynwood in January '04, will represent a number of artists who deserve to be more widely known, especially the Costa Rica-born Priscilla Monge and Cinthya Soto.
At a one-block remove from the Design District is the Bernice Steinbaum Gallery, which relocateded from Greene Street in New York to a spacious, two-story, modernist building in February 2000. Steinbaum is a dynamo who has contributed to the Miami art community through her gallery and its lively and varied exhibition program, through her various independent curatorial projects and through her founding of Miami Art Exchange for unaffiliated artists. Upon arriving in Miami, Steinbaum quickly absorbed into her stable a number of midcareer Miami artists, many of considerable local reputation, who previously lacked strong gallery representation. Among them were Ruben Torres-Llorca, Ana Albertina Delgado, Edouard Duval-Carrie, Maria Brito, Karen Rifas and Robert Huff. Steinbaum gradually took on younger figures such as Glexis Novoa, whose exhibition of highly detailed drawings of fantasy cityscapes on marble was among the highlights of the 2002-03 season. An installation by Novoa will appear in the gallery this month, while Santo Domingo-born Elia Alba will exhibit in the project room.
As a further manifestation of her commitment to the local scene, during the past year Steinbaum purchased, refurbished and then sold to artists at low cost a series of studio lofts in the Little Haiti neighborhood. She is currently looking for further properties to develop for artist studios and housing near the Design District and Wynwood. In late May 2004, Steinbaum's gallery will present "For the Birds," a show which will consist of birdhouses, both real and imagined, by about 50 artists, architects and landscape architects who were invited to participate in the project. The show will tour for at least two years across the U.S., the latest in a series of traveling invitationals the Steinbaum gallery has organized.
Just sooth of Steinbaum is Rocket Projects, opened in June 2003 by Nina Arias and Nick Cindric. Cindric previously owned galleries in Boca Raton and Port Lauderdale; Arias worked as director of the Kevin Bruk Gallery (and of an "underground" gallery at her loft apartment). That Rocket Projects opened to crowds and much fanfare during the summer mouths reveals the extent to which the Miami art world has become a year-round phenomenon. Its debut show was "Customized," consisting of sculptural projects with architectural references; included were Daniel Arsham, Martin Oppel, David Rohn and George Sanchez. Arsham's piece was a small gray model of a parking garage complete with tiny streetlights; seen from overhead, the structure formed the word "regret" written in cursive script. The gallery's project room held an installation by the local collaborative FeCuOp, consisting of Jason Ferguson, Christian Curiel and Brandon Opalka.
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