ARTvisions International

ARTvisions International Showcases Widely Varied Painting Techniques

View Gallery Installation here >>

Two dozen paintings by twelve international mid-career artists featured in ARTvisions International at ArtSpace/Virginia Miller Galleries present diverse examples of their technique and subject matter, according to veteran gallery director-curator Virginia Miller. An opening reception will be held from 6:00 to 10:00 pm on Friday, April 7, 2017 with additional receptions at the same time on May 5th and June 2nd.

“This exhibition offers an opportunity to see how paintings by highly accomplished and very individualistic artists from different countries, using widely divergent techniques and subject matter, can enhance each other, creating a scenario that is more than the sum of each work,” Miller said.

Highlighting the gallery’s current exhibition are six midcareer contemporary Chinese artists who premiered in previous gallery shows.

Dominating their works is a 21-foot triptych by Liao Zhenwu. His “Times Tag Series No. 16” depicts a smoky street scene crowded with pedestrians and motorcycles needed to navigate its hilly streets in his region of Sichuan. Liao takes the viewer into the gritty ambiance of its locale by his predominantly brownish-gray and black impasto on a flat, pale gray background suggesting smog. Another painting by Liao, “Meditation,” is a softly focused five-foot facial portrait with hands gently cradling part of the face, done in a cool gray-on-gray palette.

“These paintings successfully transcend their medium and transport us into the realm of feeling,” said Miller.

Other Chinese artists represented include a six-and-a-half foot horizontal painting by Li Bo, who selects his widely varied subject matter from the Internet and paints each item in the same size, and Wang Limin, whose six-foot portrait of a young woman wearing a large red flower is being showered by pink blossoms, colored symbols of life and celebration.

Two oils by Kang Can, typical of his works, show a tiny baby precariously astride a water buffalo and a baby delicately balanced on the stem of an enormous cherry about to be engulfed in a wave of water. “Some critics think placing the baby in hazardous situations represents the emergence of the new China and its place in the world,” said Miller.

Zhu Yan’s “I Love Tiananmen Square” has a chorus of nearly identical men performing in front of a curtain opening onto the Mao Zedong mausoleum—clearly a sarcastic commentary on national regimentation and adulation of  the late chair of the Chinese Communist Party.
A five-by-six-foot oil by Xiong Lijun, a well-known Neo-Pop artist, portrays three frolicsome young women dressed in skirts and sweaters against an eye-catching lime green background. The artist says that her works “combine brilliant colors, water and fluid motion with vibrant content and energetic subjects on large-scale compositions to declare our belief that our future is bright and cheerful. My work embodies the human spirit and flaunts an unencumbered and carefree individual freedom of expression.”

One of the masterful techniques that always draws comments is shown in two colorful abstractions by Puerto Rican artist Michelle Concepción. “The surface of her paintings present an amazing illusion of texture and depth,” said Miller. “These paintings are wonderful examples of her work, which is widely shown in European art fairs.”

German artist Florian Depenthal, a master colorist, is represented by seven paintings: six 16 x 20-inch abstractions in teal, black and white, and “Eurasia,” a five-foot canvas abstraction in tones ranging from brick to lime and purple. “Florian is a glider pilot,” Miller noted, “and sometimes you look at his paintings and feel like you are in the plane with him.”

Two six-foot canvases painted in the 1990s by the late Antonio Henrique Amaral, a prime member of Brazil’s “Tropicalismo Movement,” show off his extraordinary technique, which causes their surfaces to glimmer with thousands of shaded brush strokes. “Half Hidden,” a 1992 oil, exemplifies his luscious emerald green coloration, while “Urbanities and Weapon,” done in 1990, typically contrasts undulating biomorphic blue areas against sharply depicted prisms in jewel-like colors.

Included in ARTvisions International is “Burnt Swamp,” a six-foot painting by the celebrated American artist Richard Lytle, whose work was in “Sixteen Americans,” a 1959 exhibition at the Museum of Modern Art. Others in the legendary exhibition included Jasper Johns, Ellsworth Kelly,  Louise Nevelson,  Robert Rauschenberg, and Frank Stella. Miller, whose gallery is entering its 42nd year, calls Lytle’s work  “a superb example of contemporary American painting.”

Other paintings in the exhibition include four new watercolors by Argentine artist Mario Segundo Perez. “His paintings  are excellent examples of Latin American magic realism, spiced with his personal touch of whimsy,” Miller said.

Winding up the exhibition is Lew Wilson’s “Arizona Stratus (Sunset Series), a spectacular seven-foot painting predominately in shades of merlot, garnet, and brick with highlights in bright blue and yellow. “Pure abstraction,” said Miller, “with a wonderful sense of depth and delicious colors.”

Located in the heart of Coral Gables’ business and restaurant district at 169 Madeira Avenue, ArtSpace/Virginia Miller Galleries is open from 1 to 6 p.m. Tuesday through Friday and by appointment. For more information, please call 305-444-4493.

Culinary Adventures by Luis Montoya and Leslie Ortiz

“We do everything together,” said Montoya, “from the designs to the modeling and casting, but these days Leslie does the patinas.” “I learned from Luis,” Ortiz says, adding that while many formulas for bronze patinas have been known for centuries, she and Montoya have developed their own techniques, particularly for the little-used pastel patinas. Read Press Release here>

Culinary Adventures: Bronze Sculpture and Paintings by Luis Montoya and Leslie Ortiz

CULINARY ADVENTURES
Bronze Sculpture & Paintings by Luis Montoya and Leslie Ortiz

Nov. 4, 2016 – Feb. 24, 2017

Luis Montoya & Leslie Ortiz: Culinary AdventuresThe new exhibition at ArtSpace Virginia Miller Galleries, “Culinary Adventures: Bronze Sculpture and Paintings by Luis Montoya and Leslie Ortiz,” opens with a reception for the artists from 6-10 p.m. Friday, Nov. 4th.

Each of the partners is well known in international art circles; both have exhibited widely in leading galleries and museums, Montoya since 1972 and Ortiz since 1996. Partners since 1994, Montoya and Ortiz are the extremely rare bronze sculptors who handle every phase of their work, from design to casting and patination, which gives them total control of the creative process.

“We do everything together,” said Montoya, “from the designs to the modeling and casting, but these days Leslie does the patinas.” “I learned from Luis,” Ortiz says, adding that while many formulas for bronze patinas have been known for centuries, she and Montoya have developed their own techniques, particularly for the little-used pastel patinas.

Both have extensive credentials: before opening South Florida’s first commercial bronze foundry in South Florida in 1972, Montoya was awarded his BFA and MFA from the School of Fine Art of San Fernando in Madrid, followed by independent study in Florence, London and New York, along with postgraduate studies in sculpture at Kent State University. His sculpture has won two Hortt Memorial Competition awards, the James J. Akston Foundation Award and the Francisco Alcantara Award in Spain.

Ortiz joined him in 1985 after being awarded the F.C. Uriot Prize from Rijksakademie van Beeldende Kunsten in Amsterdam, where she received her MA, and from Boston University School of the Arts (BFA), where she graduated magna cum laude in sculpture.

“With those backgrounds, it’s no wonder that they see sculptural forms in organic matter like fruits, vegetables and shellfish,” said Virginia Miller, owner and director of ArtSpace/Virginia Miller Galleries in Coral Gables, Florida.

“The phenomenal aspect of their work is that when you take a subject like cherries or an artichoke, and you cast it as a monumental bronze and add an exquisite patina, it transcends the original object and becomes a fascinating piece of sculpture,” Miller adds. “If you are open to the sensual possibilities stimulated by these works, I guarantee they will alter your perception of their subjects.”

Wherever they have been exhibited, the sculptures of Montoya and Ortiz have received critical acclaim. According to Dr. Agustin Boyer, Saint Cloud State University, Minnesota, “Luis and Leslie wield their promethean creative instinct to push the boundaries of perception, and continue to balance their playful humor and fine sensitivity with a unique technical perfection that allows them to impose the most sublime nuance of the biological world into the staunch telluric world of their craft.”

While interim executive director of the Tampa Museum of Art, the distinguished museum executive Ken Rollin noted that “Whether on a modest or monumental scale, these works of art engage the viewer in a dialogue of form, color, and materiality that offers a lasting impression.”

Greater Miami’s longest-established contemporary fine art gallery, ArtSpace/Virginia Miller Galleries is located at 169 Madeira Avenue in downtown Coral Gables, Florida. Gallery hours are 12 to 6 p.m. Tuesday-Friday and 6-10 for Gables Gallery Night, every first Friday of the month, and by appointment. For more information, call 305-444-4493.

Linda Touby: Sensuous Surfaces

Read Press Release here>

Touby’s multi-layered abstractions have been acclaimed in every corner of the nation as well as in prestigious galleries around the world, having been exhibited in such public venues as Albright-Knox Art Gallery, Buffalo, NY; America Haus and the Museum Fur Konkrete Kunst Ingolstadt, both in Munich, Germany; American Embassies in Algeria, Estonia, Jordan, Kuwait, Nassau, Paris, and Tunisia; Museum Of Realism And Atheism, Lvov, Ukraine; Neuberger Museum of Art, Purchase, NY; and Provincetown Museum, Provincetown, MA.

Linda Touby: Sensuous Surfaces

Linda-Touby05“Linda Touby: Sensuous Surfaces,” a one-person exhibition of selected paintings from the past ten years, opens at ArtSpace/Virginia Miller Galleries from 6-10 p.m. Friday, May 6th.

Touby’s multi-layered abstractions have been acclaimed in every corner of the nation as well as in prestigious galleries around the world, having been exhibited in such public venues as Albright-Knox Art Gallery, Buffalo, NY; America Haus and the Museum Fur Konkrete Kunst Ingolstadt, both in Munich, Germany; American Embassies in Algeria, Estonia, Jordan, Kuwait, Nassau, Paris, and Tunisia; Museum Of Realism And Atheism, Lvov, Ukraine; Neuberger Museum of Art, Purchase, NY; and Provincetown Museum, Provincetown, MA.

After completing the art curricula at New York’s Pratt Institute and the National Academy of Art, Touby was transitioning from the figurative oil paintings that she sold as a student to more abstract canvases when she became a student of Richard Pousette-Dart, youngest member of the first generation of the New York School of abstract expressionists.

Linda-Touby02

According to art critic Susan Inniss, “Pousette-Dart first came to her attention in the mid-1980s, when she saw an exhibition of his paintings at the Virginia Miller Gallery in Coral Gables.” His first exhibition in the south, that 1985 show, titled “Richard Pousette-Dart, Paintings From the 1940s to the Present,” was heralded by Dr. Philip George, a prominent local collector, who told Miller “This may well be the most important exhibition ever held in the history of Miami.” Miami Herald art critic Helen Kohen called the Pousette-Dart show “a highlight of the season.”

Inniss writes that later, when Touby joined his class at the Art Students’ League, Pousette-Dart “slowly demystified this visual language for her. His existential philosophy and faith in the primal or ‘first intensity of feeling’ in one’s painting…directed Touby to reconnect with her expressive instincts intuitively felt as a child.”

Linda-Touby01

Many of Touby’s most recent works at ArtSpace/Virginia Miller Galleries were from her series, “Homage to Giotto,” and featured the textures and colors of the frescoes of the Italian master. Several of those will be included in the current exhibition.

Writing about Touby’s “Homage to Giotto” series, the well-known Ed McCormack states that “By troweling one color over another in broad horizontal swaths, broken here and there by scumbled see-through patches that create a kind of purposeful pentimento, Touby even suggests the erosion that time has wrought upon the surfaces of Giotto’s great frescoes.”

Linda-Touby04

McCormack goes on to note that rather than “making too much of the relation to landscape-space in the horizontal bias of Touby’s compositions…better one should see these elements in her work for what they are: tactile subtleties and felicities attendant to lush, vibrantly autonomous areas of color that require no justification beyond their undeniable beauty and the sensual pleasure they provide.”

Describing an earlier but not dissimilar series of Touby’s works, Susan Inniss states “What first strikes one about these paintings is the clarity of structure, purity of the luminous rich colors, the confident handling of lush paint and the abundant surface textures which produce an illusion of depth and ambiance……Raw emotionalism is expressed by gestural marks, which Touby executes with brushes, spatulas and cloth.”

Linda-Touby03

The notorious Wikileaks files disclosed that Touby’s week-long visit to Kuwait sponsored by the U.S. State Department’s ART in Embassies Program was the subject of a series of cables. One notes “Energetic and charming Ms. Touby conducted outreach to hundreds of Kuwaiti youth through her popular lectures to art students at the Women’s College at Kuwait University, the American University of Kuwait, Gulf University of Science & Technology, the Universal American School and the PAAET College of Basic Education and Interior Design/Arts.”

Other cables state that she was featured in an interview with “Kuwait Review: Literature, Culture & the Arts,” a local art and literature monthly magazine, as well as appearances on two popular television programs and in articles in the daily newspapers “Kuwait Times” and “Al-Seyassah, ” concluding:

Linda-Touby06

“Ms. Touby’s fascinating displays of her work and energetic lectures before hundreds of students on the topic of “The Journey of an American Artist” were polished, riveting, and so well-received that she continued to make new contacts until just hours before her return flight to the U.S.”

Her latest works pay homage to the late Sidney Geist, an American author, sculptor and art critic, whose warehouse studio shared the same floor as Touby’s. Whenever she came or went to their elevator, she passed by the battered white door to his area. It inspired her to title her most recent series of paintings “Sidney’s Door.” The exhibition will continue through September 2016.

Linda-Touby07

Greater Miami’s longest-established contemporary fine art gallery, ArtSpace/ Virginia Miller Galleries is in the heart of the Coral Gables business and restaurant district at 169 Madeira Avenue, which is eight blocks north of Miracle Mile. Gallery hours are noon to 6 p.m. Tuesday-Friday and by appointment . For more information, please call 305-444-4493.

View Gallery Installation here>

Divergent Illusions

“Each of these artists offers the sort of unique, personal statement that I am constantly seeking in the art that I choose to exhibit,” said Virginia Miller, owner and director of Greater Miami’s longest-established contemporary fine art gallery, now in its 42nd year.

Read press release here.

Leon Berkowitz: Cascades of Light, Paintings from 1965-1986

November 19, 2015Magazine and Newspaper Reviews

By Richard Speer

Taking in the Technicolor orgy that is Virginia Miller’s affectionate and nuanced 21-year survey of the paintings of Leon Berkowitz (1911-1987), one confronts just how thoroughly the metastasis of post-ironic eye candy has been assimilated into visual culture since Berkowitz’s heyday. In entire sectors of contemporary art (Jeff Koons, Takashi Murakami, Peter Halley, Beatriz Milhazes, Ryan McGinness, Omar Chacon and Albert Contreras, for starters), not to mention graphic design, advertising, online gaming, cartoons, fashion and cosmetics, we have witnessed the rise of a chromatically gonzo sensibility—replete with fluorescents, pearlescents, metallics, interference pigments, glitters and HDTV pixels—that would have made even the most outré of yesteryear’s Pop, Op and Color Field artists blush in abject mortification. Berkowitz was proto- all that. He shone the light and led the way. With his bedazzling, yet ethereal, compositions (think Las Vegas meets Big Sur), he bridged a Neo-Impressionist approach to opticality with the spiritualism of AbEx and the perception-obsession of the California Light and Space movement. This rather astonishing integration is almost tangible in the exhibition at ArtSpace/Virginia Miller Galleries, as are ripples of the man himself, with his inevitable human quirks.

Leon Berkowitz: Cascades of Light, Paintings from 1965-1986Entering the space, viewers are confronted with a bubble-gum funhouse of pastels and jewel tones emanating from stripe paintings such as Duality #15 (1970) and Transition (1979). An untitled painting from 1966 forces a false perspective that unsettles the viewer’s kinesthetic orientation, as does the ramp-like Galilee (1965). Cathedral #5, with its extreme dimensions (113 inches high and only 19 inches wide), looks like a stained-glass window that got sucked through a black hole and got excreted out the other side, distorted into a flattened-pancake grotesquerie of its former self. Everywhere all around are the kinds of colors that made Berkowitz into an unapologetic “Candy Man,” who could, like the song says, “take a rainbow, wrap it in a sigh, soak it in the sun, and make a groovy lemon pie.” Despite a penchant for saturational surfeit, the artist was decidedly not interested in retinal effects as ends in themselves. When he deployed the pattern-based tricks of Op art, he did so with another aim in mind: the poetics of light.

In fact, anyone who visits this exhibition will not be surprised to learn that poetry was a major influence on Berkowitz. He was married to poet Ida Fox, was friends with Robert Creeley, and, in honor of his work’s affinity to the poetry of nature worship, was feted in 2008 and 2009 with posthumous exhibitions at the Gary Snyder/Project Space in New York. He was fond of quoting Gerard Manley Hopkins, who, in “God’s Grandeur,” gave voice to qualities that Berkowitz’s paintings say without words: “The world is charged with the grandeur of God…Nature is never spent; there lives the dearest freshness deep down things.” From the advent of his exhibition history in 1949, the artist made it his mission to transmute the poetic Geist, the esprit d’espace, the very atmospherics of far-flung locales into rapturous distillations in oils. He lived and traveled variously in Mexico, Arizona, Italy, Greece and France, to enumerate only a smattering, and it is tempting to see his bold colors evincing the blazing Mediterranean and Mesoamerican sunlight, harsh and honeyed and crowned always in azure. His work was informed by other moods of light, too: thick and diffused by humidity in his native Pennsylvania and in Washington, D.C., where he lived and taught for many years; and the mystical light of Wales, about which he effused, “There is a kind of efflorescence in the light there, as if it were actually made of rainbows. And it’s partly, I believe, because of the water vapors in the air, which split the light.” (Haifley)

As his work matured, misty, barely discernible gradations supplanted the stripe paintings of his earlier output. Pieces such as Midday Moon #4 (1978), with its Gottlieb-like burst of tangerine in blue sky above green ground, and Study #16 (1978), which looks—almost tastes—like a sticky, Indian Summer night lit by fireflies, achieve their miraculous sfumato via a disciplined, time-intensive application of almost invisible washes of oil paint and turpentine. Sometimes he layered as many as 40 discrete pigments, each of which had to dry before he added the next layer. In many respects, his methods and intents were aligned with those of Mark Rothko; one sees this clearly in Transition (1979), in which a phosphene-like swath of orange merges with aqua within a vaguely rectangular framing device of lavender and ecru. It’s a trippy tribute to the master, which in another universe might have been subtitled Rothko Looks at a Candle Whilst on Psilocybin.

Like James Turrell and Robert Irwin, a continent away from Washington, D.C., Berkowitz was fascinated by liminal shifts of perception, and his paintings, while uncommonly assertive, do not hit one over the head by sheer force of lumens; they beckon one into a hushed, heightened awareness, an altar within an antechamber within a chapel, in which quietude and ensconcement afford one the leisure to contemplate minute shifts in chroma’s gradation from one pole of ROYGBIV to the other. In many pieces, these gradations are so infinitesimal they risk fooling the viewer into assuming they were achieved with an airbrush—but no, they were made the old-fashioned way, with mere quotidian paintbrushes and a lot of patience. The artist likened the aggregate of these myriad layers of thinned-out liquid pigment to “the surface of my skin—because the thing that gives life to my skin is the river of blood under it.” (Haifley)

He was not always this eloquent (but then, who is?). And this hints, the more one learns about Berkowitz, at the frictions within his psyche between his intuitive and discursive impulses. When artists who are gifted with fluent visual vocabularies are prompted to explicate their methods, unfortunate things sometimes ensue. In the catalogue for a 1969 exhibit at the Corcoran Gallery of Art, Berkowitz described his methodology in groan-inducing prose. “The vertical spines,” he began, “position the maximum cold-hot intensities within areas of varying light and dark saturation. The relaxed verticals affirm by contrast the assertive verticals, perhaps even adding to the optical effect, synesthetically. Since gesture and optics are here reciprocal, the painting is more apprehensible as a single image held in the senses. It is by such body-response qualities that nature evokes the spiritual in us, evokes an inner realization of the continuum between the material constituents of both nature and ourselves.” (“From the Writings of Leon Berkowitz”). Well, all right, then. Artists are large; they contain multitudes; and personalities are wide enough to accommodate poetry and pedantry.

It should also be noted that, lBottom of Formike many artists, Berkowitz was proud and prickly enough to wander into the schisms, molehill-mountains and teapot-tempests of his time. He took pains to distance himself from the Washington Color School, even though, as a founder of the influential Washington, D.C., collective known as the Washington Workshop Center for the Arts, he was one of that movement’s guiding lights. Rather than plotting common ground with other Workshop artists such as Kenneth Noland, Howard Mehring and Thomas Downing, he preferred to ally his work with more eclectic influences such as Kabbalah, Rorschach tests and traditional Chinese painting. “I don’t have any of the characteristics of the Washington Color School,” he sniffed in a 1979 interview with Julie Haifley. “I’m twice removed from it. My ideas are so divergent, totally, from what their ideas are. The whole notion that I orchestrate the light within a painting so that it changes with the light of day—the idea of the continuousness of space and light and form—it doesn’t exist in any of the so-called Color School people.” (Haifley)

With a painter of Berkowitz’s complexity, it’s important to take a long view, and happily, that is what gallerist and curator Virginia Miller has done in “Cascades of Light.” Miller, redoubtable doyenne of the Miami art scene, has a long history with Berkowitz’s work, having presented it in a solo exhibition in 1978, as well as in group shows in 1981 and 2002. Her gift for mounting rigorous and historically significant exhibitions (her recent Cuban abstraction showcase, “The Silent Shout,” was revelatory) is well-suited to Berkowitz’s long and faceted trajectory. She has installed the current show’s 22 paintings to dramatic effect in her Coral Gables space, whose expansive floors and sharp, pointy corners heighten the artworks’ uncanny marriage of containment and histrionics. It is an odd and resplendent paradox, and one that Berkowitz seems ultimately to have understood: an idiosyncratic synthesis of froth and depth; one part Willy Wonka, one part Herman Hesse; a meeting place between “Oh!” and “Om…” In lyrical mode in the late 1970s, he talked with an arts writer about the almost magical ties uniting the physical and metaphysical, a union he strove to capture on canvas. To illustrate the point, he invoked that most romantic of pies in the sky, the moon. Material and immaterial merge, he offered, “when you hold your hands out in the moonlight. If you lift some water from a lake and hold it up in the moonlight, the moon is resting in the palms of your hands.” (Haifley)

(November 7, 2014 – April 28, 2015)

Richard Speer is a contributing critic for ARTnews, Art Ltd., and Visual Art Source. His essays have appeared in the Chicago Tribune, Los Angeles Times, New York Post, Salon, Newsweek and Opera News. His essay, “Floating Free: Peter Halley and Alessandro Mendini’s Buoyant Phantasmagoria,” was published in 2013 by Mary Boone Gallery.

Notes
– Julie Haifley, Oral History Interview with Leon Berkowitz, Archives of American Art, Smithsonian Institution, July 17, 1979.
– Leon Berkowitz, “From the Writings of Leon Berkowitz,” in the catalogue The Art of Leon Berkowitz, James F. Pilgrim, ed., Corcocan Gallery, 1969.

Divergent Illusions

“Divergent Illusions,” an exhibition of paintings and sculpture by an acknowledged master and four highly accomplished mid-career artists from five countries, will open at ArtSpace/Virginia Miller Galleries with a reception from 6-10 p.m. Friday, Nov. 6th.

“Each of these artists offers the sort of unique, personal statement that I am constantly seeking in the art that I choose to exhibit,” said Virginia Miller, owner and director of Greater Miami’s longest-established contemporary fine art gallery, now in its 42nd year.

Artists selected by Miller for the show include Michael Roque Collins, an American painter; Michelle Concepción, a Puerto Rican working in Europe; Carlos Garcia de la Nuez, a Cuban artist working in Mexico; the late Armando Morales, a major Nicaraguan painter; Mario Segundo Pérez, an artist from Argentina; and Richard Taylor, an American sculptor.

Roque Collins’ utopian and dystopian subject matter, rendered in his heavily impastoed canvases, were last shown in the gallery in his 1999 one-person exhibition, “Gardens of Terrible Beauty.” Along with participating in numerous group exhibitions, he has held more than three dozen solo shows in prestigious museums and galleries in Cuba, Germany, and Peru as well as this country. His list of awards is longer than most artist’s biographies.

Concepción’s dreamy abstractions have been included in a number of the gallery’s solo and group exhibitions, notably the gallery’s spectacular one-person show of her paintings in 2008, “Volver: Recent Paintings,” and in such group exhibitions as “Five Abstract Visions” in 2008 and “Joyas Latinoamericanas” in 2009. Sometimes described as “visual meditations,” her flat canvases present uncanny illusions of depth and texture that leave other artists baffled.

Garcia, a member of the renowned 1980s generation of Cuban artists whose works subtly criticized the Castro regime, is considered the founder of Cuba’s historical “4 X 4” group, an important collective of abstract artists in the early 1980s. Miller included several of his paintings in her gallery’s historic 2013 exhibition, “The Silent Shout: Voices in Cuban Abstraction 1950-2013,” and in the following year, “Panoply: Paintings, Photographs and Sculpture.”

Considered one of the most important Nicaraguan artists, the late Armando Morales was awarded the Joachin Diaz Del Villar award at the Second Spanish-American Biennial in Havana in 1954, a Guggenheim Fellowship in 1958, “Best Latin American Artist” at the 5th São Paulo Biennial in 1959, a first prize in the Art of America and Spain competition in Madrid in 1963, and numerous other honors. Along with being widely exhibited in leading galleries and major museums, such as the Museo de Arte Contemporaneo and the the Rufino Tamayo Museum in Mexico City, the Museu de Arte Contemporanea de Universidade de Sao Paulo in Brazil, and the Museo Nacional de Bellas Artes in Buenos Aires, his paintings are in numerous stellar collections, including those of the Museum of Modern Art in New York; the Art Museum of the Americas, Washington, D.C.; Harvard University Art Museums; the Saatchi Collection in London; and the Museum of Latin American Art in Long Beach, California.

The magic realism of Pérez has won the artist such international honors as the Cecilia Grierson Award at the Salón Nacional de Pintura in La Plata in1992; the Marco A. Roca Award at the Salón Pro Arte, Córdoba, also in 1992; and the first prize in the LXXXVIII National Salon of Painting in Buenos Aires in 1999. Recipient of a Pollock-Krasner Foundation grant, one of his most recent honors was to be curated into the national exhibition, “200 Years-200 Masters of Argentine Art” commemorating the nation’s bicentennial. His work often features tiny figures in immense landscapes and uniquely impastoed background. His work is regularly featured by such leading auction houses as Christie’s and Sotheby’s in New York and Leslie Hindman Auctioneers in Chicago.

Monumental outdoor sculptures by Taylor may be found at the Milwaukee Public Library and the Milwaukee Youth Arts Center, Wisconsin; Hardy Ivy Park in Atlanta, Georgia; City of East Lansing, Michigan; City Park in Beaverton, Oregon; the City of Dowagiac, Michigan; collection of the State of Wisconsin; Urban Ecology Center, Milwaukee, Wisconsin; and Southwestern Illinois College, Belleville, Illinois. His work is included in such major collections as those of the Federal Reserve Bank of Chicago, Nieman Marcus, Visa, General Electric Medical Systems, Rockwell International, Rouse Properties in New York City, and Hewlett-Packard. Taylor feels that his works reflect his interest in “the cadences, rhythms, and syncopations of music and poetry.”

“Divergent Illusions” will be exhibited through February 2016 at ArtSpace/Virginia Miller Galleries. Located at 169 Madeira Avenue in downtown Coral Gables, Florida, gallery hours are 11 to 6 Tuesday-Friday and by appointment.

See Gallery Installation here.

Suzan Woodruff: Cracks in the light

December 2, 2014Gallery Artists

Film by Eric Minh Swenson.
Music by Moby.

Suzan Woodruff’s most recent body of work involving multiple and various painting series she has worked on since the Burning Woman Project is created through a self-invented and designed “Gravity easel,” which though gravitational forces allows control of water and paint, creates echo’s and spectacles of nature, fractals and waves, and natural phenomena. A. Moret, in the winter 13/14 issue of Art Ltd., wrote ” The “echo presented in these works is visceral, devastating and beautiful.” Woodruff’s work has been exhibited in galleries and museums in the US, Europe and Asia. She is a recipient of an NEA/Arizona grant and residencies from the Sanskriti Center for the Arts, Virginia Center for the Creative Arts and 18th Street Arts Center. Woodruff has been reviewed in Art Ltd., Budapest Sun, ArtPulse, Los Angeles Times, LA Weekly and Delhi Today.

Woodruff was born in Phoenix, AZ. From an early age, she began exploring the desert, immersing herself in endless spaces and spectacular natural vistas that would later become essential to her art. She was raised by her gold-prospector grandparents who taught her how to “read” rocks and by her mother, who lived a distinctly Arizona-bohemian lifestyle. She remains an avid hiker, biker, boogie boarder and reader of rocks as well as books. Woodruff received an art scholarship to attend Arizona State University. She soon began exhibiting her work and left Arizona for Los Angeles and New York. Currently, she resides in Los Angeles with her husband, the novelist Bruce Bauman and their two dogs.

For more info on Eric Minh Swenson visit his website at thuvanarts.com.