PAMM Advance Exhibition Schedule 2014- 2015

Pérez Art Museum Miami (PAMM) announces its 2014-2015 exhibition schedule. Information is current as of August 2014 and is subject to change.

UPCOMING EXHIBITIONS:

Adler Guerrier: Formulating a Plot
August 7, 2014 – January 25, 2015
Adler Guerrier: Formulating a Plot is the first museum survey of work by Miami-based artist Adler Guerrier (b. 1975, Port-au-Prince, Haiti) and traces the artist’s interest in urban history and social activism through a selection of 15 years of work.  Featuring photographs, prints, videos and mixed-media installations alongside a new, architectural intervention, the exhibition explores Guerrier’s use and reinterpretation of cultural symbols, images and texts ripe with social and political meaning. Guerrier documents moments—real and imagined—in metropolitan areas, including his homecity of Miami, which he frequently uses as a vehicle to explore 20th-century U.S. history. His work at once emphasizes the specificity of Miami’s neighborhoods and architecture, and the inherent anonymity and indistinctness of the cityscape. Taking on the role of the flâneur, or urban wanderer, Guerrier explores how economic, political and social upheavals manifest in the physicality of a place. Drawing on concepts and tools from across art history, architecture, cinema and literature, he creates visual narratives that evoke a sense of intimacy and temporality.

A catalogue of the exhibition will be released in November and features essays by Pérez Art Museum Miami Associate Curator Diana Nawi and Huey Copeland, Associate Professor of Art History at Northwestern University, and an interview with the artist by Rebecca Zorach, Professor of Art History at the University of Chicago.

Adler Guerrier: Formulating a Plot is organized by Pérez Art Museum Miami Associate Curator Diana Nawi with support provided by Macy’s and Funding Arts Network, Inc.

Macy's   Funding Arts Network

Project Gallery: Leonor Antunes
August 21, 2014 January 18, 2015
Berlin-based artist Leonor Antunes (b. 1972, Lisbon, Portugal) will produce a new, large-scale installation for one of Pérez Art Museum Miami’s project galleries, which feature focused investigations of a single artist’s work.

Antunes’ practice frequently references the legacies of modernism, geometric forms and the patterns and structures of lesser known architects and designers from the early 20th century. Her investigations have previously been inspired by the furniture and buildings of Irish architect Eileen Moray Gray as well as those of the Brazilian architect Lina Bo Bardi. She is particularly attentive to the elegance of the handmade and her signature materials include cork, leather, brass ropes and nets. Mathematics, measurement and the beauty of scale and proportion inform her practice and her works often respond to the spaces in which they are placed, frequently mirroring elements in the room. 

Project Gallery: Leonor Antunes is organized by Pérez Art Museum Miami Chief Curator Tobias Ostrander.

Beyond the Limited Life of Painting: Prints and Multiples from the Holding Capital Group Collection
September 10, 2014 – March 1, 2015
The exhibition will explore the evolution of fine printmaking in the United States after the 1960s and feature several important prints and multiples gifted to Pérez Art Museum Miami from Holding Capital Group Inc., including works by Jasper Johns, Roy Lichtenstein, Robert Rauschenberg and James Rosenquist. These works will be augmented by additional prints and objects loaned from the Holding Capital Group collection, which has been carefully assembled over the last 30 years and illuminates the significance of printmaking within the contemporary art context. Beyond the Limited Life of Painting will examine more than 50 years of printmaking, tracing its historic importance to public debate in the 1930s and 1940s to its emergence as a valued artistic medium in the Pop art movement of the 1950s and 1960s and through to its role in today’s creative production. The exhibition focuses in particular on the generation of artists in the postwar period, who rejected Abstract Expressionism and actively returned to representation. Artists in the exhibition include Ellsworth Kelly, Jane Hammond, Sol LeWitt, Elizabeth Murray, Isamu Noguchi, Kiki Smith and Andy Warhol, among numerous others.

Beyond the Limited Life of Painting: Prints and Multiples from the Holding Capital Group Collection is organized by Pérez Art Museum Miami Curatorial Assistant María Elena Ortiz.

Beatriz Milhazes: Jardim Botânico
September 19, 2014 – January 11, 2015
The first major U.S. survey of works by Brazilian abstract artist Beatriz Milhazes (b. 1960, Rio de Janeiro), the exhibition will feature over 40 large-scale paintings, collages and screenprints from the past 25 years of her career. The exhibition will, for the first time, trace the development of her distinct painting style, which is characterized by her use of bold colors, the layering of geometric and decorative forms and motifs drawn from a broad range of art historical movements, including colonial baroque, European modernism, and North American Pop art. Jardim Botânico will feature works never before seen in the United States, as well as three new paintings made specifically for PAMM’s presentation. The exhibition highlights Milhazes’ one-of-a-kind artistic process in which she collages with paint to explore movement and materiality. The exhibition’s title references both the neighborhood in Rio de Janeiro, home to her studio, and the dichotomy in Milhazes’ work between structure and rational order and sensuality, expression and emotion.

This exhibition will be accompanied by a catalogue featuring essays by Pérez Art Museum Miami Chief Curator Tobias Ostrander and art critic and curator Agnaldo Farias, as well as an interview with the artist by Tanya Barson, curator of international art at Tate Modern, London.

Beatriz Milhazes: Jardim Botânico is organized by Pérez Art Museum Miami Chief Curator Tobias Ostrander and presented by Itaú. Support is provided by Graff, and in-kind support is provided by Consulate General of Brazil in Miami.

itau new logo

Graff Diamonds   Consulate General of Brazil in Miami

To Herb and Dorothy: Celebrating the Vogel Gift
September 30 – November 16, 2014
In 2009, Pérez Art Museum Miami (then Miami Art Museum) was one of 50 institutions in 50 states to receive a gift of 50 objects from the legendary collection of Herbert and Dorothy Vogel. The Vogels began purchasing art in the 1960s in New York, where they were among the first collectors to focus on Conceptual, Minimalist, and Post-Minimalist tendencies. Despite their modest means—Mrs. Vogel was a librarian and Mr. Vogel a post office worker—the couple amassed over 4,000 important works, developing strong personal relationships with artists such as Robert Barry, Sol LeWitt, Pat Steir and Richard Tuttle. This exhibition showcases this extraordinary couple’s generous donation, while providing a glimpse of their unique sensitivity to experimental artistic production.

Geoffrey Farmer: Let’s Make the Water Turn Black
October 9, 2014 – March 1, 2015
Let’s Make the Water Turn Black is a new, large-scale, multi-media installation by the Vancouver-based artist Geoffrey Farmer (b. 1967, Vancouver, British Columbia). This ambitious work dialogues with the life and work of Frank Zappa, an experimental musician, composer and artist who spent his early childhood in Florida. The title of Farmer’s project is taken from a song on Zappa’s 1968 album Mothers of Invention. Farmer’s installation uses sound, lighting sequences, found and sculpted objects to create a mysterious “sculpture play” that loosely weaves together various narratives related to the iconic figure.

Farmer is best known for his extensive work in collage that references modernist traditions in this genre, such as those produced by Dada and Surrealist artists in the early 20th century. The artist has also created numerous theatrical installations with unexpected combinations of found objects that he uses to create puppet-like figures. His recent sculptures and installations have included kinetic elements, often choreographed with stage lighting and sound. Creating mysterious and, at times, sinister environments, the artist’s work responds dynamically to the architectural and cultural contexts in which it is produced.

Let’s Make the Water Turn Black is a co-production of Pérez Art Museum Miami (PAMM), Migros Museum für Gegenwartskunst, Nottingham Contemporary and Kunstverein Hamburg. The Miami presentation is organized by PAMM Chief Curator Tobias Ostrander.

Project Gallery: Nicole Cherubini
October 9, 2014 – April 5, 2015

For Pérez Art Museum Miami's Project Gallery series, Nicole Cherubini (b. 1970, Boston) is creating a new body of interrelated free-standing and wall-based works. Comprised of a diversity of objects, this exhibition will respond to the architecture of the space and expand on the artist’s previous bodies of work. The installation will incorporate new shapes into the artist’s lexicon and new materials, combining clay and wooden support panels that allow for a renewed consideration of scale.

Cherubini mines the history and formal possibilities of clay to create works that range from spare, tense minimalism to exuberant and brash decadence. This material has been her primary vehicle for 20 years and she employs a specific constellation of forms and techniques that recur throughout her practice and which have come to constitute her unique vocabulary. These forms are variously reinterpreted, conjoined, stretched, embellished, and combined with other materials to create discrete works that suggest an investigative and experimental approach to sculpture. Cherubini's work is indebted to an abiding engagement with clay itself and the core of her project resides in her ability to bring the medium's particular materiality, forms, and history to bear on the ongoing dialogue of painting and sculpture.

Project Gallery: Nicole Cherubini is organized by Pérez Art Museum Miami Associate Curator Diana Nawi.

Project Gallery: Gary Simmons
November 14, 2014 – November 1, 2015
Pérez Art Museum Miami has commissioned Gary Simmons (b. 1964, New York) to create an ambitious new work for the museum’s stunning double-height project gallery. The New York-based artist will create a large, ephemeral mural painting directly on the gallery’s back wall, which measures 30 feet high by 29 feet wide.

Simmons is best known for his enigmatic compositions that consist of deceptively simple motifs rendered atop broad fields of monochromatic pigment. He extracts these motifs from a variety of archival and pop culture sources, arriving at each selection through an intensive research process. A single work by Simmons is capable of evoking a multiplicity of meanings, referencing a buried episode in the painful history of race relations in the United States, for example, at the same time that it draws from the artist’s childhood memories. Simmons is known for his use of an eerie erasure effect, which he achieves by blurring his drawings with his hands. Recalling the look of chalk on blackboards, the effect reinforces the mysterious quality of Simmons’ imagery while suggesting movement, the fleetingness of time, the pliability of history and the inevitable fading of both cultural and personal memory.

Project Gallery: Gary Simmons is organized by Pérez Art Museum Miami Curator René Morales.

Project Gallery: Mario García Torres
December 2, 2014 – April 19, 2015
R.R. and the Expansion of the Tropics is a project developed by Mexico City-based artist Mario García Torres (b.1975, Monclova, Mexico) specifically for the Pérez Art Museum Miami in which a number of seemingly unrelated subjects such as Robert Rauschenberg, climate change and Florida are threaded together to form a series of conceptual and political questions. García Torres has long been interested in exploring little-know issues within recent art history and in addressing parallel subjects that find new meanings and contexts through his careful juxtapositions.  This project will create a number of gestures, including photographic documentation, film, music and other types of information displays. 

Project Gallery: Mario García Torres is organized by Pérez Art Museum Miami Chief Curator Tobias Ostrander.

Tàpies: From Within
February 6 – May 3, 2015
Tàpies: From Within is a major historical survey that features a selection of more than 50 large-scale paintings and sculptures, representing diverse moments from throughout Antoni Tàpies’ (b. 1923, Barcelona, Spain; d. 2012, Barcelona, Spain) career. These include early examples from 1945 through to recent works created in 2011—the year prior to his death. The exhibition explores the Spanish artist’s use of unusual materials and forms and the development of his unique visual language, which earned him an international reputation as one of the most successful abstract painters of his generation.

Curated by former Tate Director Vincente Todolí, this retrospective offers a unique view into Tàpies’ groundbreaking practice, which fused impoverished materials with symbols of Eastern and Western culture to create dense works covered with graffiti-like gestures. His alchemical practice mixed spiritual and existential questions with unique material investigations of surface, mark-making, and found objects. The exhibition presents an intimate and unusual view of his oeuvre, through a selection of works drawn exclusively from his own private collection and that of the Fundació Antoni Tàpies.

Tàpies: From Within is a travelling exhibition organized jointly by the Museu Nacional d’Art de Catalunya and the Fundació Antoni Tàpies and guest curated by Vicente Todolí. It is co-presented by Sabadell and The Related Group. Major support has been received from the National Endowment of the Arts with additional support from the Miami-Dade County Tourist Development Council, the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

Sabadell Bank Related Group
Miami-Dade County National Endowment for the Arts

Project Gallery: Diego Bianchi
February 9 – July 26, 2015
Interested in erosion, entropy, decadence, and destruction, Diego Bianchi (b. 1969, Buenos Aires, Argentina) is producing a new large-scale installation for PAMM’s project gallery adjacent to the museum’s main entrance. Bianchi is known for his multi-part sculptural projects using found and manipulated materials, including defunct technologies or recently discarded commercial products, which reflects his interest in ideas of the unclean, the abject, and the wastefulness of contemporary commodity culture. With an underlying sense of loss and an unusual beauty, his dynamic assemblages involve binding, burning, or cementing together these worn objects, creating textured surfaces that dialogue with the work of Antoni Tàpies, concurrently on view at PAMM.  He often additionally includes broken mannequins, referencing Dada experiments with violent juxtapositions of damaged forms of the early 20th century, as well as the work of postwar artists, such as Ed Kienholz or Alberto Heredia.  His project for PAMM specifically engages elements that reference the cultural and material landscape of Miami.

Project Gallery: Diego Bianchi is organized by Pérez Art Museum Miami Chief Curator Tobias Ostrander.

Victoria Gitman: Desiring Eye
February 26 – May 31, 2015
Pérez Art Museum Miami presents a survey of the work of Victoria Gitman (b. 1972, Buenos Aires; lives in Hallandale, FL). Gitman creates astonishingly naturalistic oil paintings abounding with sensuality and conceptual sophistication. The exhibition features 19 works drawn from four phases in the artist’s career, spanning 14 years of highly disciplined production. Set against shallow backgrounds of neutral color, Gitman’s depictions of necklaces, beaded purses, and fur purses make a powerful impact that belies their small scale and banal subject matter. The artist paints the images from items that she finds in thrift stores, flea markets, and online sources for vintage accessories. In Gitman’s hands, these inexpensive objects are transmuted into things of beauty, exuding luxury and refinement. Rendered from life (never from photographs), they emit the rich aura that one associates with still life paintings by the Old Masters. At the same time, they converge with various early and mid-20th century painterly traditions: evoking modernist compositional tendencies, the artist aligns her imagery with the picture plane and extends it nearly edge-to-edge within the pictorial field, which has the effect of collapsing recessional space. Gitman buttresses these subtle formal dialogues with modernist abstraction by inserting veiled references to the work of canonical artists such as Kazimir Malevich, Mark Rothko, and Ad Reinhardt. The exhibition culminates with Gitman’s stunning “Beauties”—a set of oil paintings on panel that reproduce graphite drawings on paper by the great French Neoclassical painter and draughtsman Jean-Auguste-Dominique Ingres (1780—1867). These diminutive portraits feature elegant young women whose haunting eyes meet the viewer’s gaze dead on. The series provides a disarming counterpoint to Gitman’s still life paintings while underscoring the tensions that animate her work, in which decadence vies with restraint, humility with ostentation, tradition with contemporaneity, and precision with beauty.

Iman Issa
April 2 – October 4, 2015
Iman Issa (b. 1979, Cairo) explores the relationship between history, memory, language and objects through multimedia works. Creating installations comprised of multiple related works, she questions the ability of sculpture and imagery to communicate concrete ideas. Issa’s large-scale projects have used three-dimensional forms and text to interrogate the validity of commemorative monuments in the face of shifting sociopolitical landscapes, particularly in her native Egypt, and more recent projects investigate historical works of art through poetic descriptions and interpretative forms. Issa’s modest but beautifully crafted objects, short videos, snapshot-like photographs and accompanying texts use language and juxtaposition to create ambiguous, but resonant tableaus. For Pérez Art Museum Miami, she will present a recent project alongside a new body of work. 

Iman Issa is organized by Pérez Art Museum Miami Associate Curator Diana Nawi and will be accompanied by an illustrated, bilingual catalogue.

Project Gallery: Shana Lutker
May 7 September 27, 2015
Since 2012, Shana Lutker (b. 1978, Northport, New York) has been researching the Surrealist movement. Among the most important European avant-garde groups of the 20th century, the Surrealists explored the unconscious mind and creative expressions that were tied to the irrational. They were also, as revealed by Lutker’s research, prone to physical, public fights incited by intellectual arguments and personal slights. Lutker has identified seven fights that she is investigating through sculptural installations. She has realized two of these projects: one at Suzanne Vielmetter Gallery, Los Angeles, in 2013, and one as part of the 2014 Whitney Biennial.

For Pérez Art Museum Miami, Lutker will realize the third work in her series. Her installation will respond to the architecture of PAMM’s unique auditorium space. In addition to her newly commissioned artwork for the project gallery, Lutker will debut a performative lecture focused on the Surrealist fight she has been researching.

Project Gallery: Shana Lutker is organized by Pérez Art Museum Miami Associate Curator Diana Nawi.

ON VIEW:

Edouard Duval-Carrié: Imagined Landscapes
Through August 31, 2014
Edouard Duval-Carrié: Imagined Landscapes is an exhibition project involving a series of new works generated over the past year by Miami-based artist Edouard Duval-Carrié (b. 1954, Port-au-Prince, Haiti). Known for his innovative adaptions of traditional Haitian iconography, which he engages in order to address contemporary social and political conditions, Duval-Carrié is presenting a series of large-scale paintings and sculptures. Contrasting his signature use of strong colors, this project presents works executed entirely in black and silver glitter. Involving extensive research, Imagined Landscapes presents lush tropical scenes that reference specific nineteenth-century paintings executed in the Caribbean and Florida. These paintings, by artists such as Martin Johnson Head and Frederic Edwin Church, were commissioned as part of colonial interests in promoting economic development of these areas of the world. The artists used pictorial effects, imagination, and fictions to present the Caribbean as the “New Eden,” a fertile land of possibility. Duval-Carrié’s works translate these historical images into his own contemporary aesthetic language, in order to address the manner in which the tropics of the Caribbean and Florida continue to be sold as tropical paradises, in ways that often obscure economic and social disparities that continue to be perpetuated in these contexts.

A fully illustrated, bilingual catalogue of the exhibition is available.

Edouard Duval-Carrié: Imagined Landscapes is curated by Pérez Art Museum Miami Chief Curator Tobias Ostrander.

Project Gallery: Simon Starling
Through September 14, 2014
Pérez Art Museum Miami presents Inverted Retrograde Theme, USA (House for a Songbird), a large-scale installation from 2002 that traces the paradoxes of modernist architecture in the Caribbean. This recent acquisition, by conceptual artist Simon Starling (b. 1967, Epsom, United Kingdom), references a housing project in Puerto Rico which was designed by Austrian architect Simon Schmiderer (1911-2001) in the 1960s. Inspired by modernist musician Arnold Schoenberg (1874–1951), Schmiderer developed a series of houses made of building blocks without doors or windows to further integrate the outside and inside spaces, thus pushing forward his utopian ideals throughout his plan. Ironically, the rise of crime in the 1970s forced locals to add elaborate barriers onto Schmiderer’s designs. In Inverted Retrograde Theme, USA, Simon Starling recreates two of the existing homes on a smaller scale and inverts them like birdcages; these models sit atop tree trunks that extend from the gallery’s floor. Starling’s work exemplifies an ironic interpretation of how modern utopian notions failed when confronted with reality, and creates a whimsical inverted utopia. 

Project Gallery: Shahzia Sikander
Through September 14, 2014
Shahzia Sikander’s (b. 1969, Lahore, Pakistan) work combines traditional Indo-Persian imagery and techniques, especially those of miniature painting, with the language of contemporary art. Her multi-faceted practice offers captivating, visceral compositions that reflect on her own cultural background. Raised in Pakistan and currently working in the United States, Sikander’s drawings, paintings, videos, and large-scale wall installations came to prominence in the mid-1990s within the context of identity politics, and serve as an ironic comment on Western preconceptions of her cultural origins. She often explores Hindu and Muslim allegories, generating an alternative visual experience through layers of contrasting motifs. Pérez Art Museum Miami will present The Last Post (2010), a video animation with sound that addresses the complex relationship between East and West. Without a linear narrative style, the video focuses on the image of an 18th-century colonial merchant from the infamous East India Company, whose figure crashes into Indo-Persian imagery and the cadence of experimental music.

Linda Pace Foundation

Project Gallery: Monika Sosnowska
Through October 12, 2014
Monika Sosnowska (b. 1972, Ryki, Poland) is best known for large, site-specific sculptures made of steel, concrete and other industrial materials. Though usually abstract, much of her work draws from the distinctive built environment of Warsaw, with its defunct or re-purposed Soviet-era buildings, its vast industrial zones, and its reconstructions of historic neighborhoods destroyed during World War II. Sosnowska’s project for Pérez Art Museum Miami makes dramatic use of the double-height gallery for which it was commissioned.

Consisting of over 1,100 pounds of bent steel, the sculpture references the skeletal structures that are used as kiosks in Warsaw’s informal marketplaces. Often welded together from scrap metal by the same individuals who use them to sell their goods, these structures embody the kind of spontaneous, street-level commercial activity that contributes to a given city’s economic vitality and dynamism, despite its ambivalent status with respect to the official financial system. Although this activity generally unfolds beneath the radar of metropolitan authorities, the material residue that it leaves behind often changes the urban landscape in significant ways. Sosnowska’s sculpture transposes these social forces into the gallery space, amplifying and transforming them into a unified and impactful aesthetic encounter.

This project is commissioned by Pérez Art Museum Miami (PAMM) and organized by PAMM Curator René Morales. Additional support for PAMM’s Project Galleries provided by Jerome A. Yavitz Charitable Foundation.

Global Positioning Systems
Through August 15, 2015
Global Positioning Systems is the second iteration of Pérez Art Museum Miami’s Overview Galleries, in which selections from PAMM’s permanent collection are displayed alongside loans from important private collections. Consisting of six interrelated parts (titled History Painting, Visual Memory, The Uses of History, Urban Imaginaries, The Contested Present, and Forms of Commemoration), this thematic group presentation explores the intersection between globalization and history. Since the late 1980s, the political and economic forces unleashed at the close of the Cold War have combined with dramatic advances in transportation and digital communications to create an unprecedented degree of interdependency among the nations of the world. As the networks of individuals, institutions, and markets that constitute the international system of art-making and distribution have expanded to include voices from disparate regions and contexts, the field has become a mirror for the cultural effects of this heightened state of global integration. One of the most important of these cultural effects has been the destabilization of any singular understandings of time and world history. The idea that the past may bear different meanings depending on one's geographic and cultural standpoint has never seemed more incontrovertible. Global Positioning Systems explores this issue by bringing together the productions of an international and intergenerational array of artists who engage diverse histories while raising questions about how the past is recorded and remembered.

About Pérez Art Museum Miami
Pérez Art Museum Miami (PAMM) promotes artistic expression and the exchange of ideas, advancing public knowledge and appreciation of art, architecture and design, and reflecting the diverse community of its pivotal geographic location at the crossroads of the Americas. A 29-year-old South Florida institution formerly known as Miami Art Museum (MAM), Pérez Art Museum Miami opened a new building, designed by world-renowned architects Herzog & de Meuron, in Downtown Miami’s Museum Park on December 4, 2013. The facility and is a state-of-the-art model for sustainable museum design and progressive programming and features 200,000 square feet of indoor and outdoor program space with flexible galleries; shaded outdoor verandas; a waterfront restaurant and bar; a museum shop; and an education center with a library, media lab and classroom spaces. For more information, please visit www.pamm.org, find us on Facebook (facebook.com/perezartmuseummiami), or follow us on Twitter (@pamm).

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Accredited by the American Alliance of Museums, Pérez Art Museum Miami (PAMM) is sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture. Support is provided by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners. Additional support is provided by the City of Miami and the Omni Community Redevelopment Agency (Omni CRA). Pérez Art Museum Miami is an accessible facility. All contents ©Pérez Art Museum Miami. All rights reserved.