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Interview with ‘Orange Is the New Black’ Star


Photo by © Anastasia Garcia

The West Palm Beach A&E District is a centralized collection of inspiring arts and entertainment venues; art and history museums; galleries; libraries; performing arts companies; and art education institutions. Situated in the heart of South Florida’s most progressive city, the District includes more than 20 distinct and distinguished cultural destinations that form a defining industry cluster. The A&E District enhances the appeal of West Palm Beach as a visitor destination, drawing attention to its status as a vibrant city illuminated by its beauty and range of creative expression.

promoting our Diverse arts, culture anD entertainment Destinations

brought to you by the west palm beach Downtown Development authority

An Evening with Jason Mraz March 16 Kravis Center for the Performing Arts 701 Okeechobee Boulevard The West Palm Beach Arts & Entertainment District is a 501 (c)(3) nonprofit organization.

Spring Choral Concert with Concert Choir and Women’s Chorale april 6 Desantis Family Chapel 300 Okeechobee Boulevard


Discover what



A Conversation with Alexander W. Dreyfoos april 11 The Society of the Four Arts 2 Four Arts Plaza

A Chorus Line april 20 Kravis Center for the Performing Arts 701 Okeechobee Boulevard

Book+Art/ Muck City: Winning and Losing in Football’s Forgotten Town May 12 Norton Museum of Art 1451 S. Olive Avenue

Equus May 18- June 3 Palm Beach Dramaworks 201 Clematis Street

Pairings: Food & Wine Event May 31 DowntownWPB (Various Locations)

Founders Day June 5 Henry Morrison Flagler Museum One Whitehall Way Keep an eye out for more upcoming events #wpbARTS




JUNE 2 - 23, 2018


CONTACT James Shermer 954-357-7502

LOCATION ArtServe 1350 E Sunrise Blvd., Fort Lauderdale, FL 33304

JUNE 2, 9, 16 & 23

9 AM - 6 PM

Cultivate and advance your business skills over four consecutive Saturdays with AEI’s seminar. This series of 20 classes is open to South Florida artists in all creative fields.



MACY’S MICKEY MOUSE, ca. 1934, 2018 Original acrylic on canvas with embellishments, glitter, spray paint, 82 x 56 in. ALSO AVAILABLE: Limited edition hand-embellished giclée prints, glitter, spray paint, Six different colored backgrounds in an edition of 10 each, 36 x 25 in.

+1 561 655 0504


TOP TO BOTTOM: © Maria Svarbova, Swimming Pool © Ian Jacob, painting by Sarah LaPierre © Downtown Photo, Two Young Artists

© 2012-2018 Art Hive Magazine, LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted in any form or by any means, electronic, photocopying or any other method, without permission of the publishers. The articles, advertising, and reviews appearing within this publication reflect the attitudes and opinions of their respective authors and not necessarily those of the publishers or editors. All rights to advertisements including artwork, writing, designs, and copyrights are property of respective owners, and no assumption of ownership is made by this publication, publishers, or editors.







TEAM | publisher Art Hive Magazine LLC. founders/executive editors Angela Yungk Jessie Prugh deputy editor Marcela Villa executive administrator Alejandra Dueñas social media Jennifer Love Gironda

“Though I do not believe that a plant will spring up where no seed has been, I have great faith in a seed... Convince me that you have a seed there, and I am prepared to expect wonders.”- Henry David Thoreau WHAT WE ARE OBSESSED WITH RIGHT NOW |

We are really impressed and love seeing the #seeher movement that has been circulating around on social media. The initiative launched in 2016 by The Association of National Advertisers and in collaboration with The White House, have been looking to ensure there is “an accurate portrayal of all girls and women” in media by 2020. The White House believes that there is a lack of women in the fields of science, technology, engineering and mathematics—also known as STEM fields— and that this can often lead to a negative portrayal of women in the media. Art Hive is a big supporter of the #seeher movement. In fact, this past February we were sponsors of Palm Beach State College’s STEAM luncheon. STEAM­—which adds in the ‘A’ to represent the arts—is an annual event that hosts a different keynote speaker each year while helping to raise money for scholarships. Past speakers have included celebrities such as Pitbull, Danica Patrick, Neil deGrasse Tyson, Steve Wozniak and John Lithgow. This year was hosted by Dr. Guy Harvey who spoke about The Guy Harvey Ocean Foundation and his mission to save marine life. We love supporting social causes that can help better our community, inspire change, and positively impact future generations.


We are excited to launch our new podcast: Creative Conversations Over Coffee. We want to talk with all of you about what we talk about every day… creative entrepreneurship! We want to redefine what it means to be a successful creative entrepreneur. Topics will include speaking to creative celebrities, inspiring artists and motivational entrepreneurs who will help you navigate on your entrepreneurial journey— all while drinking coffee! Creative Conversations Over Coffee will be available on iTunes and Stitcher this summer. We are also launching a series of meet up events that will get you networking with like minded people. Stay tuned to our social media channels to find out more.


On Instagram: @Angela_arthive, @Jessie_arthive, @arthive_magazine




BROWARD CULTURAL DIVISION Earl F. Bosworth, Director Rowena Nocom, Senior Administrative Officer Chantel Seamore, Division Admin. Assistant Meredith Clements, Marketing Manager Andy Royston, Digital Media Designer Michelle Oplesch, Senior Secretary Tara Yudenfriend, Secretary Leslie Forham, Public Art & Design Administrator Christina Roldan, Public Art & Project Manager Dominique Denis, Public Art & Project Manager Jill Ross, Arts Assistant Erica Mohan, Administrative Coordinator James Shermer, Grants Administrator Adriane Clarke, Grants Specialist Grace Kewl-Durfey, Arts Administrator Tayina Deravile, Program Assistant

copy editors Karla Plenge, Marcela Villa


contributing writers Judy Pokras, Christie Galeano-DeMott, Bea Harris, Jason C. Shrude, Bruce Helander, Rachel Jaffe, Marcela Villa, Jon Hunt, Jennifer Love Gironda, Ali Berger, Andrew Scott

Diane Weinbrum Anthony Abbate Dr. Wilma Bulkin Siegel Mario Cartaya Alan J. Levy Jeff Suiter



general inquiries

EXECUTIVE COMMITTEE Jodi Jeffreys-Tanner, Chair Gregory Reed, 1st Vice Chair Darran Blake, 2nd Vice Chair Janet Erlick, Cultural Exec. Committee Chair Alice Simon, Member-at-Large Amy Ostrau, Member-at-Large Tracy M. Roloff, Immediate Past Chair

advertising sponsorships

CONNECT | social media fb/ arthivemagazine twitter/ @arthivemagazine instagram/ @arthive_magazine #arthivemagazine submissions for guidelines

DISTRIBUTION | brick-and-mortar For sale at Publix Super Markets, Barnes and Noble bookstores & at Complimentary issues can be found year round at select high traffic locations, and high profile events throughout south florida. Check our website for up to date lists of events. read online

COUNCIL MEMBERS Bonnie Barnett Heather Brinkworth Ebonni Bryant Claire Garrett Caryl Ginsburg Fantel Sherry Friedlander-Olsen Edith Gooden-Thompson Caryl Hattan Mayor Barbara Sharief Deborah Kerr Roslyn “Robbie” Kurland Lisa Lutoff-Perlo Victoria Olson Juliet Murphy Roulhac Christina Soverns Schwartzman Djenane St. Fleur Gourgue Diane Weinbrum

BROWARD COUNTY BOARD OF COUNTY COMMISSIONERS Martin David Kiar Mark D. Bogen Stacy Ritter Chip LaMarca Lois Wexler Beam Furr Tim Ryan Barbara Sharief Dale V. C. Holness




Photo by Kara Starzyck

The Division’s primary functions include developing and strengthening art and cultural organizations and individual artists through its grants, incentive programs and professional development; marketing initiatives; arts education and advocacy efforts; public art acquisition and conservation; and cultural planning for the County. Mr. Bosworth has a Bachelor’s Degree in Business from Florida State University and a Master’s Degree in Business Administration from Nova Southeastern University. He currently serves as a Board Member of the Florida Cultural Alliance and has held several board and committee positions on the local and federal levels including the U.S. Selective Service System, the United Way and the Community Foundation of Broward. Mr. Bosworth is also a professional musician and a published songwriter.

CONNECT WITH MR. BOSWORTH | On Twitter at @efbosworth

©2012-2018 Art Hive Magazine, LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted in any form or by any means, electronic, photocopying or any other method, without permission of the publishers. The articles, advertising, and reviews appearing within this publication reflect the attitudes and opinions of their respective authors and not necessarily those of the publishers or editors. All rights to advertisements including artwork, writing, designs, and copyrights are property of respective owners, and no assumption of ownership is made by this publication, publishers, or editors. The Broward County Board of County Commissioners does not necessarily agree with individual opinions expressed herein, nor is it responsible for the facts presented by the authors.


Honoring excellence in theater for 42 years, the Carbonell Awards Board of Directors is proud of the South Florida theater community, the talent, the productions and our future generations.



BENT By: Martin Sherman

Lend Me A Tenor March 1-18 2018

Send in the Queens March 23-24 2018

713 Lake Ave. Lake Worth, FL. 561.586.6410 |



Oliver! The Musical April 12-29 2018


Black Box Series: Bent Apr. 26-May 6 2018

APRIL 17 � SYMPHONIE FANTASTIQUE Berlioz: Symphonie Fantastique | Ravel: Piano Concerto In G | Borenstein: If You Will It, It Is No Dream Aldo López-Gavilán, Piano.

Here’s a peek at our upcoming lineup MASTERWORKS SERIES Gershwin’s opera Porgy & Bess • Iconic Symphonies of Dvorak, Shostakovich & Nielsen Debussy • Ravel • Chausson • Sarasate • Rimsky-Korsakov • Stravinsky

MOVIES AND MUSIC SERIES: DISNEY’S STUDIO, THE NIGHTMARE BEFORE CHRISTMAS What’s this, what’s this?! – The wildly inventive world of Tim Burton’s macabre classic. Danny Elfman’s rambunctious, colorful score will roar into life in the hands of South Florida Symphony as you follow Jack the Pumpkin King’s quest to seize Christmas. Bored with his Halloween routine Jack Skellington longs to spread Christmas joy, but his antics put Santa and the holiday in jeopardy.






Our picks of grant programs, calls-to-artists and jobs to promote the development of creatives and nonprofit cultural organizations that provide art or activities enhancing the cultural environment of the community.

LOCAL CALLS TO ARTISTS Open Call to Artists | Arts and Culture Center of Hollywood Building community by activating alternative and underutilized spaces, Hollywood’s Art and Culture Center invites South Florida’s professional and aspiring artists to submit works of original art for inclusion in the Frosted Gallery of Correspondence, Full Staff and PLUSH exhibitions. Learn more about the Art and Culture Center’s rotating exhibitions at Open Call to Artists | Wilton Manors Arts and Entertainment Expo Show your original artwork off at the open-medium, open-theme Wilton Manors Arts and Entertainment Expo. Held from 6 p.m. to 9 p.m. on March 17, April 21 and May 19, the walkable art expo features the latest original works of local aspiring and professional artists. Visit to submit application and agreement forms, pick out an exhibition spot and upload an artwork sample. Participation fees cost from $25 to $35. Learn more by emailing or by contacting Georgy Medeiros at or 754-200-2979 (ext. 602). Open Call to Artists | Old Town Untapped Want to exhibit your latest art at Old Town Untapped? Brimming with free craft beer samples, original art, live music and food truck cuisine, South Florida’s premier craft beer and arts festival is attended by local and out-of-town art-lovers and gourmet foodies. Deep in the heart of Pompano Beach’s developing arts district, Old Town Untapped is held on the first Friday of every month in front of Bailey Contemporary Arts. Apply at Submit digital images of your latest original artwork – and your preferred exhibition date – to Call 954786-7824 for more information. Open Call for Artwork and Exhibition Proposals | Frank C. Ortis Art Gallery and Exhibit Hall Dreaming of your own gallery exhibit? The community-oriented Frank Art Gallery invites all local artists to submit artwork in any medium and proposals for future exhibitions. Artists, submit 10 to 20 high-res .jpgs or .movs of current work, a 250-word artist’s statement, a résumé and a list of each work’s title, date, media and dimensions. Aspiring curators, submit a résumé and a 250-word description of your proposed exhibit. Email all materials to thefrank@ under the subject heading "General Art Submission." 14


20th Annual ArtFest in the Pines | City of Pembroke Pines and ArtServe Itching to show your artwork to local and out-of-state artists and collectors? Submit your latest work for inclusion in the two-day 20th Annual ArtFest in the Pines. Showcasing dazzling artwork and live entertainment on March 10 and 11, the family-friendly festival features a bustling farmers’ market lined with artisan vendors and food trucks, a kids-only art zone, a student art contest, hands-on workshops and demos for all ages. Visit or call 954-392-2122 for details and application forms. Application deadline: March 2 Green Exhibit | Broward Art Guild Explore the expressive potential of color at the Broward Art Guild’s Green Exhibit. Aspiring and professional artists are encouraged to submit original artwork featuring hues of green to this open-medium, open-subject exhibition. Running from February 28 to March 16, the Green Exhibit will honor its contributing artists with a public reception on March 3. Apply at or call 954-537-3370 for details. Artist intake: February 24 from 12 p.m. to 3 p.m. Pride Exhibit | Broward Art Guild From the Stonewall riots to same-sex marriage, the Broward Art Guild’s Pride Exhibit celebrates the LGBTQ community through the original works of local artists. Aspiring and professional artists are invited to submit recent works of art representing the LGBTQ community through figurative or symbolic imagery. On display from March 17 to April 6, this open-medium exhibit honors its contributing artists with a public reception on March 24. Apply at http://www. or call 954-5373370 for details. Artist intake: March 16 from 4 p.m. to 6 p.m. and March 17 from 12 p.m. to 3 p.m. Spring Fling Salon | Broward Art Guild​ Shake off the gloom of winter by submitting works of original art to the Broward Art Guild’s Spring Fling Salon. An open-theme, open-medium exhibition showcasing the painting, sculpture, photography, jewelry and mixed-media works of Broward County-based artists, the Spring Fling Salon will display selected artwork from April 11 and April 27 – and will recognize its contributors at a public reception on April 14. Apply at or call 954-537-3370 details. Artist intake: April 7 from 12 p.m. to 3 p.m.

4th Annual Fundraiser Art & Soul | Business for the Arts of Broward (BFA) Tap into your passion for art – and business – by submitting your latest work of 2D art to Art & Soul, BFA’s 4th annual fundraiser. Highlighting the originality, creativity, workmanship and artistic distinction of South Florida’s rising artists, this open-theme, open-medium exhibition celebrates Broward’s creative success and cultural vitality. Proceeds from exhibited artwork – all priced between $200 and $500 – are split between the contributing artists and BFA. Submissions are limited to 2D artwork measuring 12"x12", 20"x20" or 30"x30". View eligibility criteria and apply at Learn more by contacting Robyn Vegas at or 954-940-5344. Early application deadline: February 26 at 5 p.m. General application deadline: March 19 at 5 p.m. Acceptance notification: March 30 ArtFlorida 2018 Competition and Exhibition | Broward Art Guild Celebrating artistic excellence, the juried exhibition of ArtFlorida honors Florida’s top artists. Offering an array of awards and $2,000 in cash prizes, ArtFlorida is shaping up to be a premier event of the SoFlo springtime art scene. Led by Coral Springs Museum of Art Executive Director Julia Black Andrews, this open-medium juried competition invites submissions from local aspiring and professional fine artists. Apply at htm or call 954-537-3370 for details. Application deadline: March 15 at 5 p.m. Open Call to Artists | MASS District Art Walk Showcasing the work and wares of local artists and artisans at its monthly neighborhood Art Walk, MASS District invites all local artists and vendors to apply for this unique exhibition opportunity. Not an artist or vendor? Apply to be an Art Walk volunteer, instead – or an intern specializing in audience engagement, events coordination or media. Just email create@ or call 954-866-3890. Buskers’ Program | City of Fort Lauderdale’s Urban Design and Planning Division Dreaming of performing live in downtown Fort Lauderdale? The City of Fort Lauderdale’s Urban Design and Planning Division invites local artists to apply to its Buskers’ Program. Bringing live music and entertainment to the Riverwalk District and parts of Central Beach, the program helps aspiring street performers and artisan vendors practice their craft and sell their wares directly to the public. Call 954-828-6520 to learn more – or just apply at ABOVE: Photo by Annie Spratt; OPPOSITE PAGE: Photo by DC Lovensky

GRANTS AND INTERNSHIPS Art of Community Grant Program | Community Foundation of Broward (CFA) Want to give your community a creative outlet? Apply for up to $100,000 in project funding from the Community Foundation of Broward’s Art of Community grant program. Aiming to ignite artistic creativity throughout Broward County’s diverse communities, Art of Community funds projects that spark creativity and connect people to their local community – and to each other – through art. Applicants must provide a one-to-one (1:1) cash match for the requested grant amount. Find a full listing of eligibility criteria and apply at Learn more by contacting Angelica Rosas at 954-761-9503 (ext. 114) or arosas@ Application deadline: February 28. Artists on the Rise | Hollywood Helping artists overcome mental health disorders through creativity, the non-profit organization Artists on the Rise hosts monthly art exhibitions at Broward County-based businesses. Local aspiring and professional artists are encouraged to submit their work for public exhibition – and sale. Learn more and apply at City Vista Artist-in-Residence (AiR) Program | Pompano Beach Community Redevelopment Agency The Pompano Beach Community Redevelopment Agency (CRA) calls artists of all disciplines to apply for the City Vista Artist-in-Residence (AiR) program by submitting a portfolio of artistic work to innovate@ To rent a one- or two-bedroom apartment at City Vista – a mixed-use apartment building in the heart of the developing downtown district – artists must meet income requirements. Live Painting | W Hotel and ArtServe ArtServe seeks live painters to dazzle the W Hotel’s Living Room Lounge Wednesday-night crowd with creativity and fun. This paid opportunity exposes the work of a featured artist to the local art scene and out-of-state guests. Other artists may participate as unpaid guest artists. Learn more at https://artserve. org/w-hotel/ or by contacting with samples. Delray Beach CRA | Arts Warehouse Launching its Artist-in-Residence, Affiliate Artist and Annual Exhibition programs, Delray Beach’s newest Arts Warehouse calls South Florida’s aspiring and professional artists to apply. Learn more about each program by visiting or by calling 561-330-9614. Application deadline: open 2018 Poetry Fellowships | National Endowment for the Arts (NEA) Supporting writers of fiction and creative nonfiction, the 2018 Poetry Fellowships program offers $25,000 in grant funding to published poetry authors. Letting writers devote more time to their craft, the 2018 Poetry Fellowships aid recipients’ creative writing by funding research, traveling and general career advancement. View eligibility criteria at Learn more by calling 202-682-5034 or emailing Application deadline: March 7 Challenge America Grant Program | National Endowment for the Arts (NEA) Expanding the artistic experiences and opportunities of underserved populations, the Challenge America grant program offers $10,000 in funding to small and mid-sized organizations’ community-based arts projects and professional arts programming. Proposed

projects must target populations whose access to the arts is limited by geography, ethnicity, economics or disability. Eligible organizations must provide a one-to-one (1:1) funding match of $10,000. Learn more about Challenge America grants by calling 202-6825700 or emailing Application deadline: April 17 to 24 National Portrait Gallery Internships | The Smithsonian Institution Part of the Smithsonian Institution, the National Portrait Gallery offers formal internships – prearranged, structured learning experiences typically lasting two to three months – to qualified applicants. These learning experiences must relate to applicants’ academic and professional goals and to the Smithsonian’s professional disciplines. Apply at solaa/#/public. Application deadline: open Emergency Grants | Foundation for Contemporary Art For 15 years, the Foundation for Contemporary Art’s Emergency Grants program has provided up to $2,000 in annual grant funding to innovative visual and performing artists encountering unexpected expenses or unforeseen opportunities to present their work to the public. Applicants must be ineligible for other funding sources due to time constraints -- or must have incurred unanticipated expenses for nearly completed projects with committed exhibition or performance dates. Learn more about Emergency Grants at http:// emergency-grants. Application deadline: open UCross Foundation’s Residency Program | Clearmont, Wyoming A sprawling 20,000-acre working cattle ranch in Wyoming’s scenic Bighorn Mountains, the UCross Foundation seeks artists of all disciplines for residencies lasting two to six weeks. Providing free-of-charge individual work spaces, living accommodations and one-of-a-kind experiences, the UCross Foundation’s Residency Program is open to artists, writers and composers from around the world at any stage of their professional career. Learn more and apply at http:// Biannual application deadline: March 1 and October 1 Grants for Artists | The Hopper Prize Supporting artists of all disciplines and creative fields by annually awarding a total of $5,000 in direct funding, the Hopper Prize awards $1,000 grants to five individual artists around the world each year. Thirty additional artists are selected to showcase their work in the Hopper Prize’s digital publication and archives. Learn more and apply for funding and exhibition opportunities at Application deadline: May 15

AWARDS Outstanding Contribution to Arts Education Award Each year, the Outstanding Contribution to Arts Education Award recognizes one individual and one organization who have been nominated by community members for significant – and ongoing – contributions to arts education through awareness and advocacy efforts as well as the influential community usage of arts resources. Each recipient is awarded $1,000. Apply or nominate at Arts/ArtsEducation/Pages/ATOYapp.aspx. Application and nomination deadline: March 2

LOCAL JOBS IN THE ARTS Gallery Assistant | Arts Warehouse Eager to take on an administrative role vital to the efficient operation of Delray Beach’s Arts Warehouse? The broad-ranging responsibilities of the part-time position of gallery assistant include special event preparation, gallery exhibit installation, document reproduction, records management, information and data processing, reception duties and scheduling. Active, energetic candidates with flexible schedules and night and weekend availability are encouraged to apply at by submitting a cover letter and resume. Education and Community Engagement Manager | Palm Beach Opera Part of the Institutional Advancement Department, this position manages and expands programs engaging Palm Beach Opera’s patrons, community, teachers and K-12 and university-level students and staff. Collaborating with the Development, Marketing and Art Departments, this position oversees the Education and Community Engagement Associate and the Institutional Advancement Department’s volunteers. Learn more about this opening’s responsibilities and requirements at opportunities/.






by Jason C. Shrude


o you read funding announcements and silently wish it was your startup business receiving the cash? Do you have an idea for a company and know you could succeed if only you had the capital to get your business off the ground? Entrepreneurship is exploding on a global basis. Thanks to television shows like Shark Tank, The Profit, and Dragon’s Den, entrepreneurship is more popular than ever. But not everyone has what it takes to be an entrepreneur. Wanting to build your own business is fine for dreamers. Actually launching and growing a company is an entirely different story. If you think you are cut out to be an entrepreneur, here are 10 talents you will need to not only survive but thrive. Do you have what it takes?

# 1. Disposition

Whether you want to start a small business in your local neighborhood or launch a startup, you’ll need the right temperament to make it as an entrepreneur. An explosive temper or narcissistic attitude won’t get you far. Entrepreneurs must be able to manage their attitude towards others as well as their outlook on company building. If you think your disposition might become a liability, you are better off working on your attitude before starting your own company.

# 2. Business/Personality Fit

In the same way a healthy attitude is crucial, so too is having a business/personality fit. Some companies are better suited to a quiet and reserved business owner, while others demand a gregarious, outgoing personality. You might be able to get away with a meek personality as an accountant, but you’re going to need an effusive personality as 16


Do you have what it takes to turn your passion into a thriving business? Photo Credit: Climate Kic

zip-line owner/operator. Be sure you have the right personality for the business before launching your own company.

# 3. People Skills

People skills are absolutely crucial as an entrepreneur. Whether you’re seeking funding for your startup or attempting to motivate your staff, knowing how to work with others can determine whether your business succeeds or fails. If you do only one thing to improve your chances of becoming a successful entrepreneur, work on your people skills on an ongoing basis.

# 4. Capital Acquisition Skills

Speaking of investor funding, having the ability to acquire capital for your business is crucial as an entrepreneur. From applying for a small business loan to approaching angel investors for your startup, learning how to request capital for your company is essential. Unless you plan to bootstrap your business solely on customer sales (which is darned near impossible in the beginning), honing your ability to approach others for cash is crucial.

# 5. Business Development/Growth Skills

Along with seeking funding for business development, you will need to know how to grow your business over time. Your company isn’t going to just magically flourish; you’ll need to engage in everything from social media marketing and content marketing to trade show appearances and business conferences. If you would rather be hiding in a quiet corner than doing everything in your power to accelerate growth, you may not be cut out to be an entrepreneur.

Whether you’re seeking funding for your startup or attempting to motivate your staff, knowing how to work with others can determine whether your business succeeds or fails. Photo Credit: Jonathan Velasquez

# 6. Motivational Skills

Just as you need to have the inner discipline necessary to grow your business, you also need motivational skills to keep your business moving forward. Employees require everything from a pat on the back for a good job to motivational speeches at a staff meeting. Investors will need periodic updates on business growth. Co-founders often require a “we are in this together” speech. If you don’t have what it takes to motivate others, entrepreneurship might not be right for you.

# 7. Company Culture Control

One skill many entrepreneurs overlook until it is too late is the ability to control company culture. Entrepreneurs get so busy building a business they forget how important it is to build a company of substance. Knowing how to develop a cohesive and welcoming company culture is a skill that will serve you well as your business grows.


# 8. Patience

Patient entrepreneurs tend to flourish where others fail. Have the patience to stick with your business during slow times. Have patience when others don’t see your business vision. You even need to have patience when hiring new team members for your company. If you’re an impatient entrepreneur, your chances of success are greatly reduced.

# 9. Ability to See Big Picture

Along with patience, you’ll need the ability to see the big picture if you want to thrive as an entrepreneur. Business owners who can only see the opportunities directly in front of them miss much grander opportunities in the future. Don’t be happy to just build an app; think about your software becoming a platform for others to build upon. Don’t be satisfied to serve just your local market; think about expanding globally via an ecommerce interface. Your growth as an entrepreneur is only limited by your imagination.

# 10. Inner Drive

Inner drive is one of the most overlooked qualities of entrepreneurship. Sure, it takes drive to start your own business, but it takes even more drive to keep pushing and achieving greater goals. If you’re prone to sitting back and coasting on past accomplishments, your business isn’t going to go far. Investors look for entrepreneurs with an insatiable inner drive; you should expect the same from yourself. Not everyone is cut out to be an entrepreneur. Many dream of starting their own businesses but never get past the ‘wantrepreneur’ stage. If you hope to make it long term as a business owner, you need to hone the above listed entrepreneurial talents. How many of these 10 entrepreneurship skills will you be working on this year?





FOR INTROVERTS 4 TIPS TO HELP YOU CANDIDLY CONNECT WHEN YOU ARE NATURALLY TIMID. Does the thought of going to a networking mixer make you nauseous? Simple preparation and practice can help you pump up your people skills.

by Bea Harris


ob hunting is a challenge for many introverts, and they should never underestimate how much their current coworkers and other business contacts can help their efforts. But many introverts don’t network well because they don’t know how, or don’t make it a priority. Thankfully, it is a skill that is easy to learn, and I’ll teach you how.

• PRACTICE MAKES PERFECT Many introverts enjoy their alone time with only a few close friends. Even though they can make and form strong relationships, they don’t usually seek out friendships in new social settings, especially if it means meeting a lot of unfamiliar people. But creating relationships in different social situations is one key to job networking, which is why introverts need to practice their people skills. Consider your body language, experience, and comfort level when planning out the best strategy. Asking friends for their thoughts is especially valuable; accurately judging yourself isn’t always easy! Taking classes at local colleges, meeting new people with your friends’ help, or joining a recreational club are ways you can practice while still having fun. Bringing along an outgoing friend, family member, or co-worker can also help ease your nerves when having to make meaningful conversations and connections with new people. Remember, too, that it is okay to take it slow. Becoming comfortable and confident takes time and even doing little things, like spending time with large groups of people or initiating a few new conversations a week, can help you develop your networking ability.



• BRING BUSINESS CARDS Life is full of chance encounters, and you never know when you will meet a new friend that will help your career. These meetings are also fleeting, meaning you should take action to make sure you stay in contact. Offering a business card is one of the easiest ways to share our contact information, and is also great advertising. Business cards are especially valuable if you have an online presence to which you can direct your new friends; many people prefer browsing a web page over visiting a physical business in person. Your cards should communicate your professional information clearly; overly complex designs will only annoy and confuse your readers. Include only contact information and the name of your business, if you have one. Also, be careful when using mottoes and favorite quotes. While popular additions, they can seem unprofessional or off-putting if they are vague or poorly written, or have political or religious meanings. Create card designs that are simple and easy to read; don’t use fancy fonts or add too many artistic elements. You can even use blocks of solid color to create an attractive card that doesn’t overwhelm your readers. Just like a successful business logo, business cards are memorable because they are unique, simple, and clear. You can leave your cards at businesses you use, with their permission of course! Giving friends a few to share is another solid strategy, especially if they have a lot of social connections. Also, avoid giving away your business cards too aggressively. When talking with a new acquaintance, wait until your job comes up in the conversation. If it doesn’t, ask if they

want a card right before you part ways. Don’t think, though, that you have to make new social connections to grow your network; your friends are a valuable resource!

• CREATE AN ONLINE PRESENCE You don’t need to meet people in person to grow your business network. In fact, many companies and job seekers use the internet to find new contacts. While some experts recommend using social media or creating a blog, there are many ways to grow your network. If you are an artist, for example, writing about art might not work as well as creating and sharing it. Always craft your online presence to show what you are offering your potential customers or employers. While there isn’t one way to create an online presence, there are some guidelines that make sense no matter how you choose to reach your audience. First, be genuine. There is nothing wrong with being friendly or acting to protect someone’s feelings, but people will find out if you are trying to fool or use them.

• BECOME AN EXPERT People use the internet to entertain themselves and find information. Introverts are known for being passionate about the things they love, and you can leverage your hobbies into an online audience if you share what you learn. If you are looking for a job in a specific field, consider creating media or blog posts about it. That is also a good way to create relevant experience until you land your next job. Introverts aren’t known for their networking skills. But they have everything they need to build a potent arsenal of business contacts if they learn how to embrace their own unique strengths.

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By Christie Galeano-DeMott Welcoming crowds with laughter, the classic refrains of 1970s hits and sidewalk splashes of color, Chalk Lit – presented by the Broward County Cultural Division and Broward Libraries – introduced the community to live chalk art. Flooding the north plaza of the historic library with 6,000 kids and adults, Broward’s inaugural chalk festival spilled into the barricaded streets of downtown Fort Lauderdale. Serving up fresh-baked orders of churros and French fries, food trucks fueled festival-goers and artists throughout the day. Huddled around the artists’ two- and three-dimensional creations, crowds watched as chalk masterpieces unfolded – stroke by stroke – before their eyes. Enjoying the crispness of the air, attendees of all ages and backgrounds pitched in to transform the downtown pavement into a playground of riotous chalk art. “The [Broward] community is blessed to have this talented group of people shar[e] their abilities with the public,” remarks South Florida artist and arts educator Carrie Bennett. Known for her large-scale chalk murals – and for her public art collaborations – Bennett helped organize the festival. 20


Kicking off the National Endowment for the Arts’ annual Big Read, the family-friendly chalk festival gave the community-oriented reading program an interactive twist. Bringing NEA’s 2018 lit pick – the award-winning novel In the Time of the Butterflies – to life, Chalk Lit updated Julia Alvarez’s work of historical fiction for a thoroughly modern audience. Conveying a literary theme, the free festival celebrated the richly portrayed characters of the novel – and the beloved heroes and villains of popular fiction. Blending art with literature, the Chalk Guys of West Palm Beach saluted the symbolism of In the Time of the Butterflies with a detailed image of a butterfly. Caught mid-leap, the striking creature quickly became the focal point of the festival’s entrance. “We created this cyclorama wall in collaboration with [Chicagobased street artist] Nate Baranowski in honor of the book,” explains Hector Diaz, Chalk Guy extraordinaire. “But usually we’re inspired by pop culture. We love making fun, cheeky art because we’re really just big kids at heart.”

1. Shane Mesner, photo by Downtown Photo 2. Earl Bosworth, submitted photo 3. Two young artists, photo by Downtown Photo 4. Jonathan Aizenstat, photo by Monica McGivern

Diaz, 46, was first introduced to chalk art at the Lake Worth Street Painting Festival, the world’s largest free chalk festival. Refining his craft each year, Diaz plans on attending the festival – which showcases the work of 600-plus chalk artists. Inviting local and out-of-state artists to chalk it up at its inaugural festivities, Chalk Lit selected 25 aspiring and professional chalk artists to design and create public artwork in their medium of choice. For first-time chalk artist Jonathan Aizenstat, 34, Chalk Lit was a new experience. Pausing mid-stroke, he looks down at the soaring owl he’s filling in with vibrant shades of chalk. “I wanted to focus on education since this event was for the library,” he reflects. “And owls are smart.” Diagnosed at an early age with the rare genetic disorder of tuberous sclerosis, Aizenstat is a muralist by day and cartoonist by night. The Bolivian-born artist recently designed a Lamborghini car wrap for the annual Ride2Revive charity event.

Passionate about her work with Broward students, Gabriella Guerriero, 32, found Chalk Lit to be a natural fit for her love of education – and art. A longtime painter, Guerriero drew inspiration from her favorite film: Star Wars. “I get inspiration from whatever makes me happy,” she says. “I see myself as a pop artist and I’m really into color.” Though all of Chalk Lit’s participants had talent to spare, the festival encouraged attendees to nominate their favorite piece of chalk art for a People’s Choice Award. Presented by Jerry’s Artarama, the award singled out Lester Mendoza for his attention-grabbing illustration of a unicorn. Crouched for eight hours to sketch, draw, shade and color their sidewalk masterpieces, the artists of Chalk Lit revealed their unrelenting passion for their craft. “It’s hard work,” Bennett affirms. “But the true highlight of a festival is interacting with people and engaging the public.” And – uniting parents, children, grandparents, dogs and even trendy hipsters for a day of vibrant, hands-on art – that’s exactly what Chalk Lit set out to accomplish.










ABOVE: 1. Aerial crowd, photo by Monica McGivern 2. Spiderman, photo by Downtown Photo 3. Artist at work, photo by Downtown Photo 4. Artists talking, photo by Downtown Photo 5. Hector Diaz of The Chalk Guys, photo by Downtown Photo 6. Chalk, photo by Andy Royston 7. Kids overhead, photo by Andy Royston 8. Crowd-submitted photo OPPOSITE PAGE: 9. Overhead, photo by Sky High Aerial Productions 10. People’s Choice winner Lester Mendoza, photo by Downtown Photo 11. Two young artists, photo by Monica McGivern 12. People’s Choice winner Lester Mendoza, photo by Downtown Photo 13. Artist, photo by Downtown Photo 14. Face painting, photo by Monica McGivern 15. Youth drawing, photo by Monica McGivern 22

















he Symphony of the Americas, recognized by Broward’s Board of County Commissioners as one of the County’s nine major cultural institutions, is celebrating its 30th anniversary with a program featuring favorites from its history. On March 13, “Music on Pointe” will feature principal dancers from the Houston Ballet at the Broward Center for the Performing Arts’ Amaturo Theater in Fort Lauderdale. Returning to the Amaturo Theater on April 10, the Symphony caps its anniversary season with a memorable performance by Conrad Tao. Double-majoring in piano and violin at Juilliard, Tao first performed with the Symphony of the Americas at 13. Nearly two decades later, the acclaimed pianist, violinist and composer will reprise his role by performing an original composition commissioned by the Symphony itself. In January, the Symphony presented “Orchestra Meets Jazz!” with guest artists in an upbeat, jazzy program that attracted an upbeat audience. The orchestra consists of 60 to 70 musicians (depending on repertoire) from all around the world, including Russia, Uzbekistan, Colombia, Venezuela, Poland, Cuba, and Turkey. The symphony’s international roots are one of the reasons it’s named “of the Americas.” Paying homage to its multicultural musicians this October, in honor of Hispanic and Italian Heritage Month, the symphony will feature two pianists­— one of Uruguayan and another of Italian heritage—performing music by Florencia diConcilo, a Uruguayan composer who has written many scores for documentary films and is also an Italian national. Artistic Director Maestro Dr. James Brooks-Bruzzese was raised in Panama by his father, who worked for the U.S. government, and his Colombian-born mother. Maestro, who earned a Doctorate in Opera Conducting and Musicology from Washington University in St. Louis, says his favorite composers are Bach and Mozart because they created music that is both strict and free-form. His own conducting has been called “remarkably controlled, but simultaneously free-spirited.” Asked what sets his conducting apart, Maestro claims his style is “a little more German,” as he studied under German conductors. The baton he uses is shorter and therefore concentrated to a smaller area in front of him, requiring musicians to focus more on his conducting. OPPOSITE PAGE: Symphony of the Americas at the Broward Center for the Performing Arts, its performance home. Photo © SOTA Orchestra PR ABOVE: Major Symphony of the Americas partners honor the Symphony’s 30th Season Photo credit: Kara Starzyk Left to Right:

Joe and Wini Amaturo Melanie Popper - President, Symphony of the Americas Society Kelly Shanley - CEO, Broward Center for the Performing Arts Maestro James Brooks-Bruzzese, Founding Artistic Director Paul Finizio - President, Symphony of the Americas Bogdan Chruszcz, Concertmaster


Rose Miniaci, the Rose Miniaci Maestro’s Chair Madelyn Savarick, the Symphony’s Michael & Madelyn Savarick Global Outreach

Having performed in 53 countries, Maestro says every performance is a highlight. One of his fondest memories was being honored at the Kennedy Center in 2005 with the Hispanic Heritage Foundation’s Arts Award for his lifelong work as a conductor and for promoting classical music to young people worldwide. Renee LaBonte, the Symphony’s VP and Executive Director, estimates 200,000 people have attended their concerts. She credits the Symphony’s success to its varied programming. “We do something for everybody. Some people just like classical, some like pop, some like new works,” she says. The organization asks audiences and the community to fill out a survey which provides resourceful feedback and can be viewed on their website. Another highlight for the Symphony was last year’s mentoring project with a youth orchestra and the U.S. Embassy in El Salvador. Musicians made three trips bringing instruments and supplies, and teaching techniques to local youth. With an eye toward the future, the Symphony is preparing for Summerfest - a cultural exchange with musicians from abroad who participate in a string/chamber group of 20 musicians and tour several South American countries – starting on July 21st at the Broward Center for the Performing Arts. The performances include classical, tango and some popular music — a “potpourri”, LaBonte says. For more information and tickets, visit CREATIVE + CONSCIOUS CULTURE


Alex Katz, Sharon, 2014, Oil on board,12 x 12 in. Courtesy of the artist and Gavin Brown’s enterprise, New York/Rome. Art © Alex Katz/Licensed by VAGA, New York, NY. Collection of Lance Uggla.



KATZ MEOW By Bruce Helander


he winter months of the South Florida social season were a literal smorgasbord of visual arts delights, from blockbuster exhibitions, like the sixty-year Frank Stella survey at the NSU Museum of Art, Fort Lauderdale, which followed the breathtaking Anselm Kiefer exhibition there, both presented under the outstanding guidance of its Director, Bonnie Clearwater. Other noteworthy museum exhibitions included “On the Horizon: Contemporary Cuban Art from the Jorge M. Pérez Collection” at Pérez Art Museum Miami and “Edward and Nancy Kienholz” at the Institute of Contemporary Art, Miami. In addition, it was an exciting art fair season as well, with the Palm Beach Modern + Contemporary fair in West Palm Beach and Art Miami’s new scenic location next to the Pérez Art Museum. South Florida also got a booster rocket of connectivity to the arts with ease and speed with the new Brightline train service between West Palm Beach, Fort Lauderdale and Miami. Not surprisingly, Miami now has become the third most important art city in the United States, behind

while en route to his studio. To this day, at the age of 90, the artist continues to run nearly every morning downtown near Thompson Street, and perhaps with this shot of energy and adrenaline it would seem to be a distinct advantage to generating great paintings and part of the reason his career is still thriving. He was born in 1927 in Brooklyn and studied painting at the Cooper Union School of Art (1946-1949). Mr. Katz began his career at the end of the 1950s and came into his own with a distinctive style at the peak of the Abstract Expressionism movement. His work is characterized by the simple elegant compositions that portray narrative subjects with a minimum of brushstrokes and often a reduction in color mix. The real charm of his current exhibition at the Boca Raton Museum of Art, “Alex Katz: Small Paintings,” is that for the first time in recent memory this display offers a rare occasion to examine these intimate paintings up close and personal. In fact, what is crystal clear in these

His work is characterized by the simple elegant compositions that portray narrative subjects with a minimum of brushstrokes and often a reduction in color mix.

New York and Los Angeles, and the explosion of new galleries and museums there continues to produce a robust and exhilarating cultural climate that is unmatched by almost any other greater metropolitan area in America. I have been an enthusiastic follower of painter Alex Katz since I was a graduate student at the Rhode Island School of Design, and during my tenure directing the Helander Gallery in the SoHo district of New York City during the 1990s, I often would see Mr. Katz returning from a strenuous early morning jog around the neighborhood

tiny works, is evidence of a grand master who can bring magic to a surface with delicate albeit super accurate and abstract depictions of reality. It is simply astonishing to view so many superb paintings right in front of your nose and all to yourself even for a minute or less. Look carefully, and you will discover Mr. Katz’s initials transparently scratched in the upper corner of these little gems, which could not handle a larger and in this case, unnecessary, artist’s full, sprawling signature.



In a recent brief interview with Mr. Katz, I discovered that many of these intimate works are accomplished “as fast as I can,” so that there is not a chance to overthink and overpaint such a relatively small surface. He originally had learned to draw at a trade school, where he drew casts of old plaster statues, many of them taking all day to complete. For the abstract expressionists like de Kooning, Motherwell and Pollock, speed of application was an essential ingredient in a composition’s fluidity, spontaneity and gestural surface activity, and this same game plan also was important to many narrative-based painters, from Picasso to Francis Bacon. Alex Katz has been in the thick of things all his life, persuading him to concentrate his growth as a painter surrounded by ambitions and talented artists who had the same aspirations. Katz also was inspired by Edvard Munch, well as Matisse, Bonnard and Miró. Just a passing glance at this unforgettable exhibition offers hints of narrative impacts and a great sense of art history. According to Katz: “When you’re working with the tradition of art, you’re usually painting like the paintings you’ve seen; your vision is other people’s vision. You see things through the culture in which you live, and the culture in which you live is always past tense. Some people are always seeing things in another time period. To see things in the present time period, you have to break through, and that’s what I’ve been trying to do.” In the context of this show and the imagery to which Katz is attracted, it is easy to see that media and popular culture played an important role in Katz’s work of the 1960s, as well as the influence from film, television and billboard advertising, which certainly was the greatest impact on James Rosenquist, who early on actually was a commercial billboard painter. Others, notably Andy Warhol, lifted objects verbatim from grocery stores, such as Brillo boxes and soup cans, as a basis for his work, and Claes Oldenburg constructed an entire “grocery store” of handmade items, from boxes of cereal to pastries. Later on, his dramatic flair was put to good use in costume and set designs for the legendary choreographer Paul Taylor, which resulted in a lifelong interest in music and dance. 28


The visual evidence from this wonderful exhibition at the Boca Museum shows a joyful embrace of realism, even though confronted with the fashionable movements that questioned the fundamentals of realism. With rules broken by the evolution of a more open vision and respect for traditional imagery, there has been a resurgence of and respect for this legendary painter. For Katz, one of the most respected artists of his generation, each day brings with it, perhaps after a morning jog, a sense of adventure that is clear from the paintings in this show. Katz’s achievement was recognized by the Whitney Museum of American Art, which mounted his first major retrospective in 1986. Despite these accomplishments, Katz seems to continue making an effort, like most truly great artists, to keep challenging himself artistically through the examination of various subjects, colors, textures and the effects of light, including memorable scenes at night. Of the numerous museum exhibitions currently on view in South Florida, this outstanding and rare show should not be missed, as the opportunity may not appear again. “Alex Katz: Small Paintings” continues at the Boca Raton Museum of Art through April 8. (

Bruce Helander is an artist based in South Florida who writes on art. He is a former Provost and Vice President of Academic Affairs at the Rhode Island School of Design and a former White House Fellow of the National Endowment for the Arts, and is a member of the Florida Artists Hall of Fame. More at

Alex Katz, Yellow Flags, 2011, Oil on linen, 84 x 240 in. Courtesy of the artist and Gavin Brown’s enterprise, New York/Rome. Art © Alex Katz/Licensed by VAGA, New York, NY.

Installation, “Alex Katz: Small Paintings.” Courtesy Boca Raton Museum of Art. Photographed by Jacek Gancarz.





Broward County’s Artist as an Entrepreneur Institute: Fostering Business Skills for Modern Creators from all over South Florida



Photographer, Photo Credit: Cherry Laithang; Illustrator + Fashion Designer + Painter, Photo Credit: iStock; Singer, Photo Credit: Billetto; Fashion Blogger, Photo Credit: Mike Fox

AEI answers the needs of South Florida’s emerging arts community.

By Rachel Jaffe


t’s a given: while artists’ motivation – that hunger for creative self-expression – may be the same as in da Vinci’s day, the tools and trends that define it are in flux. From Pollock’s action painting to contemporary VJs’ video switchers, the techniques and practices of art reinvent the nature of creativity – and the business of art. Switching up its curriculum for today’s creative professionals, the Artist as an Entrepreneur Institute (AEI) has changed, too. Expanding from a traditional roster of lectures to a carefully curated series of dynamic presentations, AEI’s annual summer seminar primes the modern artist – multi-, inter- and cross-disciplinary alike – for entrepreneurship in the hypercompetitive creative marketplace. Founded in 2003 by the Cleveland-based Community Partnership for Arts and Culture (CPAC) and the Council of Smaller Enterprises (COSE), the Artist as an Entrepreneur Institute (AEI) grew from the two organizations’ shared goal of helping artists develop entrepreneurial self-sufficiency. As the results of Investing in Creativity, the Urban Institute’s 2003 landmark study, filtered in, AEI’s basic premise – that artists lacked a viable support system to build the business skills so integral to entrepreneurial success – rapidly gained validation and recognition in the local and national not-for-profit sectors. Responding to the needs of South Florida’s emerging arts community, Broward County invited Megan L. Van Voorhis, CPAC President and CEO, to outline AEI’s central concept at a 2006 Creative Conversation workshop. The ninety-five South Florida artists and cultural community members who attended her presentation helped position AEI within the local community – and chart the program’s future course. “Artists are essentially small businesses and an important part of the economy, but there was a lack of services to support them,” remarks the Cultural Division’s Grants Administrator James Shermer. “We wanted to help the individual artists.”

Teaming up with the Florida Small Business Development Center (SBDC) and arts incubator ArtServe, Inc., the Broward County Cultural Division cemented AEI’s Broward County presence with an inaugural seminar in June 2007. AEI’s wide-ranging local programming supports and promotes the booming population of creative professionals in Broward and its surrounding counties. “Most art schools didn’t teach you to go after money,” emphasizes Rafael Cruz, SBDC’s regional director and a frequent AEI presenter. “Most artists create individually, but to be a business success you need a team around you.” Eleven years later, AEI’s unique blend of individualized guidance and hands-on entrepreneurial instruction has become a mainstay for local arts and arts-based professionals. “It was the business class that I didn’t have in art school,” affirms visual artist and AEI alumna Carol-Anne McFarlane. Welcoming artists of traditional and developing disciplines, AEI’s only requirements are a commitment to the arts and a passion for professional growth. “The most important thing to do is do what you love, but make money, too,” says acclaimed sculptor and current SBDC consultant George Gadson. Catering to emerging creative fields as well as the fine arts, Broward’s AEI curriculum is an ideal fit for modern artists born of the maker movement. Straddling the divide between the amateur and the professional, these artist-artisan hybrids commonly struggle with balancing creativity and business. Whether self-taught hobbyists or formally trained experts, these aspiring arts professionals are unified by their dream of transforming their creativity into a paying career. “[AEI] is empowering,” notes McFarlane, a two-time graduate of the program. “It forces you to decide if you want to do this as a hobby or as a business.”



Left: Full classroom of creatives from across South Florida participating in AEI. Right: AEI alumna and cinematographer, Sascha Rybinski.


Helping artists channel their creative skills in a professional context, AEI equips attendees with the practical tools to support their passion. Strengthening participants’ business basics and sharpening their skill sets, AEI’s engaging presentations guide artists through the stages of setting up a self-sustaining artpreneurship—but solely on their own terms. “I am in control of more than I believed before I took [AEI},” states McFarlane. “But I am also responsible [for] more than I thought.” Departing from traditional models of entrepreneurship, AEI’s alternative approach to business embodies the creative economy’s shift toward self-employment and independent micro-businesses.



Kicking off on June 2, 2018, AEI boasts a lineup of South Florida’s leading business practitioners and artists. As the seminar unfolds over four consecutive Saturdays, participants learn to assemble – and price – a product line mix, navigate distribution outlets and tackle copyright and trademark registration, funding and market positioning. Arming attendees with business fundamentals, AEI encourages participants to hone their entrepreneurial skills by focusing on the varied facets of its Broward County curriculum: business management, communications strategizing and marketing development, just to name a few. “It inspired me [to] take my work and communicate in a business language so that I can gain support,” McFarlane explains. “To talk about the product mix and how a fan can become a customer. Show them the way in and they can choose how much they can – or will – spend with you.”

Photos submitted

Reshaping CPAC’s original framework and curriculum, AEI’s local program is tailored to address today’s broad spectrum of artistic disciplines and creative fields. Supplementing AEI’s traditional three-day structure with a Business Plan Clinic and Workshop, the Broward County curriculum takes a hands-on approach to the seminar’s final session. From practicing project pitches to reviewing sample business plans, the collaborative workshop encourages attendees to apply their newly cultivated skill sets to each stage of arts-based entrepreneurship. Gaining insight into product development, brand-building and accounting procedures, workshop attend-

ees craft a personalized business plan structured and scaled to fit their individual needs. “AEI inspired me to step up to the plate and write a business plan,” says AEI alumna and visual-turned-performance artist Jacklyn Laflamme. “It changed my style of marketing [and] motivated me to take my business skills to another level.”

Painting by AEI alumna and visual-turned-performance artist Jacklyn Laflamme.


Exploring grant resources and options for alternative funding, the program’s Broward curriculum encourages its participants to seek different forms of financial support – and mold an artistic brand – centered on their individual goals. Designing a personal brand to target his newfound market niche, photographer and AEI alumnus David Muir began to view – and treat – his art as a micro-business. “When I walked out of AEI, it gave me a very distinct way – [and] the impetus – to approach my creative project at the time,” he remembers, “to see it as a business product, not just as an artistic work.” Offering appointments for one-on-one consultations, the Creative Entrepreneur Development Program (provided by the SBDC) coaches AEI alumni in customizing their career and business management strategies to their short-run and long-term professional ambitions. By fusing artistic freedom and professional autonomy with profitability, AEI allows its artpreneurs to fully align their business ambitions with their personal values and creative fulfillment. Hearing the business backstories of local artists and AEI alumni, participants pick up tips on forging their own unique paths to marketplace success. “AEI paved the way for me to begin my company,” states photographer and cinematographer Sascha Rybinski. “[It] filled in the missing elements for me by teaching about the practical aspects of being an artist and marketing [my] craft.” Inspired by her 2011 graduation from AEI, Rybinski founded Goodtastic Productions – and promptly enrolled herself and her business partner in AEI’s 2013 seminar. Whether networking with local business and arts-based professionals or designing brand identities, AEI’s artists learn how to juggle their personal creative process with the daily demands of selling to

the public. “Artists need the AEI program, but they don’t know that they need it,” enthuses Muir. “AEI should be mandatory – a requirement for being an artist, or at least for doing business as an artist.” Solidifying attendees’ understanding of the essentials – and ultimate potential – of running an arts-based business, AEI teaches South Florida’s aspiring and established artists to harness their creativity to earn a living from their art. “AEI gives artists permission to follow their hearts and their dreams,” sums up Laflamme. “To put business and art together and spring forward.” Tailored to the specific needs of the modern creator, AEI’s flexible approach, diverse programming and hands-on problem-solving mirrors the changing landscape of art – and the entire creative economy. Reflecting the trends sweeping today’s creative marketplace, AEI complements the maker movement’s advocacy of micro-entrepreneurship and small-scale commerce. Swapping the traditional entrepreneurial mindset for a fresh set of skills, the business of art has followed contemporary art’s lead in embracing creative exploration, interdisciplinary collaboration and experiential modes of expression – and Broward County’s AEI program has evolved right along with them. Learn more – and register – for the annual seminar at For additional information, contact James Shermer at 954-357-7502 or jshermer@broward. org. Taking place in ArtServe’s auditorium on June 2, 9, 16 and 23, AEI is presented in South Florida by the Broward County Cultural Division; ArtServe, Inc.; Small Business Development Center of South Florida; and the Community Partnership for Arts and Culture. CREATIVE + CONSCIOUS CULTURE






ersonal brand development is imperative in today’s busy business environment. When everyone is competing for the same eyeballs, you need to have a clear strategy as to how you will carve out market share for yourself. Meandering through your professional life hoping clients will magically stumble into your path is foolish; you might as well believe in unicorns and wish-granting fairy godmothers. Creating a solid personal brand strategy not only helps set you apart from your competition, it can also set the trajectory for your career and determine the profitability of your business endeavors. If this is the year you define your personal brand, here are seven essential components of brand development you need to understand. No. 1 | You need to understand where you want to go before you can develop an appropriate strategy for your personal brand. There is no point in honing a personal branding strategy if you don’t have a definite goal in mind. Be clear on who you want to be, how you want to be perceived, and what your long-term career goals are. Only when you can answer these three questions, should you proceed with developing a business development strategy for your personal brand. No. 2 | Defining your audience is a critical component of developing a cohesive brand strategy. The old adage of “if you try to please everyone, you’ll end up pleasing no one” definitely applies to brand development. You need to understand who your target audience is so that you can define your value proposition with them in mind. Without a clear understanding of your audience, you will end up wasting valuable time and resources that could be better spent on quality customer connections. No. 3 | Personal development plays a huge role in brand building. You can’t be content to rely on past experiences to guide your professional path. If you’re not learning, you’re not growing. Professionals who fail to augment their skill sets risk being overtaken by others who are willing to invest in time and effort in their careers. No. 4 | To gain a clearer understanding of your personal brand, each time you make a branding decision, ask yourself: Why do you want a particular image? Why do you think your target audience will be receptive to your business proposal? When you have the courage to ask yourself why, then you are able to drill down to truths you might otherwise never have reached. No. 5 | Understanding your brand voice is crucial when developing a personal brand strategy. Clients want to work with a professional who knows who they are and remains consistent in their audience outreach. If you behave one way on Snapchat and the complete opposite on Twitter or Facebook, your clients will begin to wonder who they are dealing with. Be sure the brand voice you are developing is one you will be comfortable with for years to come. No. 6 | Authenticity is an essential part of personal branding. From your social media interactions to the blog posts you write, your audience needs to know they can trust you. If you try to fake your professional relationships, all your hard work can come crashing down around you. Your personal brand won’t stand a chance if your audience starts to believe you’re a fake.

Photo Credit: Force Majeure

No. 7 | Core values are an integral part of developing a personal brand strategy. Develop a mission statement based upon your core values and hold true to your vision for your future. While your mission statement might chance gradually over time, your basic ethical tenets should remain consistent. Developing a personal brand strategy is an integral part of becoming a successful professional. Regardless of your business niche, customers will get to know you through your branding. Have a well-defined personal brand and you’ll outshine other competitors within your niche.
















MA R I A SVA R B OVA “In the Swimming Pool is Maria’s largest series yet, originating in 2014 and continuing to develop to date. Sparked by a hunt for interesting location, her fascination with the space of public swimming pools contributed to developing her visual style. Sterile, geometric beauty of old pools set the tone for these photographs. Each of them pictures a different pool, usually built in the Socialist Era, in various locations in Slovakia. There is almost cinematographic quality to the highly controlled sceneries that Maria captures. The figures are mid-movement, but there is no joyful playfulness to them. Frozen in the composition, the swimmers are as smooth and cold as the pools tiles. The colours softly vibrate in a dream-like atmosphere. Despite the retro setting, the pictures somehow evoke a futuristic feeling as well, as if they were taken somewhere completely alien. There is no disturbing emotion, there is no individuality in their stillness.”

All artwork ® Maria Svarbova

Where did you draw your inspiration from when you set out to do your “Swimming Pool” series? Believe it or not, the first spark of inspiration came from the rather stark architecture of my local swimming pool. The building is 80 years old, and dates back to a time when swimming was more a social duty than a sport, which is maybe why they’re such sterile spaces, all white tiles and ‘No diving’ signs. I was struck by the calmness of the water and its mirror-like reflections. That and the signs – there were so many! For a space designed for exercise, they certainly like to tell you what you can and can’t do. It’s fascinating for me. As a child I only went to the outdoor pools, never to the inside pools.

What does the symbolism of using the pool and still, robotic models mean in your work? I have to say I prefer, for a shoot, pure lines, large open spaces where there is a lot of daylight. Swimming pool has all of this. There are many options for me and my photos. I find the water and it’s reflections very interesting. It’s like a mirror for people and their souls. The models act as emotionless mannequins. Through blank stares, stiff poses and total absence of emotion, the series challenges the viewer to question the ingrained roles people play in society. Every image flows into another scene, forming the overall narrative of the series - the vacuity and mindless inability to change one’s predetermined role in life in the absence of emotion. Complex and dreamy, my photos present an imaginary world [inspired by historical artifacts and environments of Communist Czechoslovakia]. Do you have any new books or photography series you are currently working on that we should know more about? It has been so exciting to spread the word and take my book, Swimming Pool, to different audiences. It has been really rewarding to share my work in a new way and in one collective piece so I’m really excited to continue to do this. Also at this time, I am preparing and getting ready for shooting a new book for Hasselblad Masters 2018. It will be an exclusive series, unfortunately I can not say much more at the time! But keep your ears out for details to come. More at









Interview with ‘Orange Is the New Black’ Actress

Adrienne C. Moore By Marcela Villa | Photos by Anastasia Garcia


ou may recognize her from Emmy-winning series, Orange Is the New Black, making us laugh and winning us over as Cindy Tova Hayes, but Adrienne Moore is so much more. Her character in the series has grown, and with that, Adrienne too has evolved, and is using her platform to explore all options, and to give back to the community.

Marcela Villa: You are best known for playing Cindy Tova Hayes on “Orange Is the New Black”. We wanted to know what originally attracted you to the role of Cindy Hayes, and can you give us any teasers for Cindy’s story line in season 6?

I can leverage those opportunities that are presented and fulfill those dreams that I wrote back in 2011, and those I wrote after that. I am learning how to take the moment, build on it, and move forward with it.

Adrienne C. Moore: Okay let’s get into it. What initially attracted me to the show and Cindy was really Jenji Kohan. I’ve been a fan of her work for many years, not just because she is interesting, thought-provoking, drama, comedy, and has this wonderful way of blending them all, but because she creates really interesting characters that you might think you know. There is an immediate connection that you have with the character she creates, and as you get to know them, you find out why you love them so much, and there’s so much complexity to them as well. We ended the season with about ten of us standing hand in hand bracing whatever future is before us. I think next season what you learn from Cindy and what is in store

I built a closet in my room; It started out as a vision board that I put all my dreams and where I saw myself and things I wanted to do. I built it into the closet in my bedroom; it’s where I go and meditate, its where I have this 5x magnifying glass mirror that shows every pimple on your face, but more importantly, it forces you to look at yourself and talk to yourself. Sometimes you must give yourself those pep talks, look at yourself and say, this is who you are, you aren’t going to let anyone else define it and control it. I have to get into the zone.

MV: Your closet of meditation sounds like a great place to transi-

We ended the season with about ten of us standing hand in hand bracing whatever future is before us.

for her in terms of her friendships; she’s always had this laissez-faire, nonchalant, carpe diem, seize the day mentality and that catches up to her this season and it kind of tests a lot of her friendships and relationships within the prison. She’s left not knowing where she stands with a lot of people, and you definitely get to see a very, very vulnerable side of Cindy this year. She’s one of the fun-loving people that the audience has grown to love, and she still has that, but you feel that there’s another layer of Cindy this season, and you see a very vulnerable Cindy. MV: ‘OITNB’ is an Emmy winning series and has been a cultural phenomenon. What has been the biggest takeaway that you have experienced working on the show? ACM: It’s a great opportunity. It’s made clear who the stars on the show are, but has given all of us a huge platform to show who we are as artists, and it’s about seizing the opportunity. You don’t very often get an opportunity as an actor where you have writers that give you great material for things to dig into, that when you marry it with great actors, creates a show that I know 10 or 20 years down the line will be a cultural phenomenon, and dare I say a cult classic when you look back on it. You have to take that opportunity and really make the most of it, and turn that into the next opportunity. This morning, I was going through my meditations and looking back at a journal entry from 2011; I was looking at what I was dreaming back then and looking at where my career had brought me, and how

tion into a discussion about your love for interior design. Where do you get some of your inspirations? ACM: I feel as though I’m still figuring it out. I was at a new acquaintance’s house and they are big art collectors, they go to Art Basel, and do all these things, and I realized I have an interest in it, and I have an interest in different styles and periods. My home kind of has mid-century, mixed with a modern flair, with bursts of colors of blues, pinks, and oranges, but it’s also very practical. I live in a rent-stabilized apartment in New York City; it’s a two-bedroom, one-bathroom brownstone, so I don’t want to sink all my money into it and do some major renovation, but I try to remodel and redecorate it the way I want, not necessarily renovation. One day I was meditating and sitting in my closet, I call it my dream prayer meditation closet, and I realized I need to raise it up a little bit, maybe build me a little board that can also be used as a shelf, or a raised platform that I can also use for storage. For me, I am always thinking functionality; I want to have a beautiful and glam home, but it also has to be functional. I don’t have a dining room table set in my apartment because I don’t sit at a dining room table every day, but at ABC Carpet Liquidation Warehouse, I found this amazing credenza table, like a hallway entrance table that opens to a 6-person dining room table, so if ever I am entertaining and having a dinner party, I can use that table. Functionality is key for me. CREATIVE + CONSCIOUS CULTURE


MV: Are there any books or movies or creative obsessions that you use for inspiration that you’d like to share with our readers? ACM: I am obsessed with a little book that I carry with me everywhere, it’s about 100 pages, it’s a small book, each chapter is maybe 2 or 3 pages, it’s called The Prophet by Khalil Gibran. To me, you don’t necessarily have to be a religious person, you don’t have to subscribe to Christianity or Buddhism, or whatever your religion was growing up in the household if you did have one. If you find that you have some kind of spiritual base, I find that this book works to satisfy that spiritual desire to understand how we can be better people in terms of love, in terms of giving, in terms of compassion, in terms of understanding marriage and friendships and children, joy and sorrow; each of these chapters highlight the different stages of life and I think it’s just amazing, and Disney actually turned it into an animated movie a few years ago called The Prophet by Khalil Gibran. Liam Neeson, Selma Hayek and a few other people star in this animated movie and I give it to my nieces and nephews; I’ve even given it to my friends’ kids at work. I feel this is a great way to understand how to be a better self and how to understand these deep principles about joy and sorrow. In 2016, I lost my dad and it was a big learning lesson, sort of an awakening as to what really is important to understand about life, so I think this book is just amazing. MV: We know you do a lot of different charity work, but the one that caught our eye was the 52nd Street Project. Can you tell us more about that and how you became involved? ACM: 52nd Street Project was probably one of the first organizations in NY that I joined after I graduated from grad school. I was in a place of frustration, I wasn’t really working, I wasn’t getting a lot of artistic opportunities, so a friend suggested the 52nd Street Project Theater. She said, “oh, you love working with kids,” because I was a babysitter for years in New York, and so she said that would be a great way to marry the artistic side of you with your love and passion for working with kids. I started working with them very prematurely with their playmaking series, where they teach kids how to write 10-minute plays and then they bring in professional actors and directors to direct these kids. The 52nd Street Project Theater produces the entire thing, they make the costumes, they make the set, and it’s amazing. You see these kids see their work become something, and it does something to your spirit as an artist; you think, wow, we can get so bogged down in the work and the professionalism of it all, and “I got to be an actor, and I got to be a professional,” but seeing these kids look at it and saying, I just took this 10 minute play and made it art, it feeds your soul, it makes you alive, and it kind of brings you back to the heart of why you get into this business, to make something. They actually just reached out to me to do their playmaking series again, but unfortunately, I couldn’t because one of the other charities I work with, The Comfort Zone Camp, I am hosting their big gala March 25th in Virginia, their big fundraiser of the year. I came across The Comfort Zone Camp, when my cousins who lost their father a few years ago found this organization that is basically for kids who lost a parent, sibling, or friend at a young age cope with that loss and how to move forward. Whenever I find myself in a place of access and excess and blessing but also frustration, I’ve always been taught to look back and help somebody else along the way. As I was going through my grieving process of losing my father, I thought, wow I had 30 something great years with my dad. These kids have lost parents; one kid lost his parent at 2 months old so he didn’t even get the chance to know what that experience is like, so it does tremendous good for my soul to be there for these kids as they’re going through their grieving journey. I signed up for another weekend long camp that they host, they are one of the only grieving camps that function nationally. They have them in Virginia, New Jersey, Miami, some in California, and it is a wonderful outreach program that I am so excited to be a part of. MV: Do you have any advice for a creative who is trying to make it in the film and television industry? Is there anything you wish you would’ve known earlier in your career that you know now? ACM: I always draw wisdom from my younger counterparts; I know that sounds crazy because we are the ones that want to teach them. When people ask me about my training, I say yes, I went to grad school and did all the technical work to give me the street cred to be an actress, but I always go back to my babysitting days and playing make believe with the kids; never forget the fun of the creativity. As you become more successful and as you make it, the idea of staying true to the art, the love and the passion can get lost, so always remember what makes you love it in the first place. We are constantly evolving, and your artistry is constantly evolving, so you should always be open to trying new things, always be open to what the universe is offering you, even if it’s not the opportunity you thought you wanted.

MORE OF ADRIENNE C. MOORE @amoore9 on Twitter @acmoore9 on Instagram @moore.adrienne on Facebook








WHAT WOULD A PLUMBER DO? Words and Art by Jon Hunt


t’s a lovely late summer Sunday evening and you are out on the patio enjoying a drink and conversation with your partner. The setting sun suffuses the world with a warm glow of pink and tangerine. Birds are chirping contentedly in the trees beyond the garden and the kids are splashing in the pool. You give your partner a peck on the cheek and excuse yourself to go "powder your nose". Ten minutes later you push down on the handle, satisfied with a job well-done. But-- something is amiss. Things are not going down as planned. You panic— "Where is that damn plunger?" But alas, it’s too late. A tranquil evening filled with good conversation is now overflowing with—well, you know. So after ruining a bunch of towels and rinsing your feet in the shower, you stomp into the kitchen to look for that refrigerator magnet with the phone number and cartoon drawing of a wrench. Time to call the plumber. At night. On a Sunday. The ensuing conversation probably goes something like this: (PHONE RINGING) YOU: (muttering incoherently under your breath) PLUMBER: Joe & Sons, ‘You Make it, We Snake it.’ How can I help you? YOU: I, um—the toilet sort of overflowed. Not sure why. Uh, but it’s pretty bad. Can you...? PLUMBER: Sure Boss. Gimme your address I’ll come right over. Just so ya know up front, it’s Sunday night so it’s gonna be double my usual rate. YOU: Double? B-But...! PLUMBER: Yessir, it was YOUR butt that got you into this and you’re callin’ me to come out on my Sunday night and clean it up. You can always call somebody else. Or do it yourself. You: Fine! That’s exactly what I’m going to do! 2 HOURS LATER (PHONE RINGING) PLUMBER: Now my favorite TV show is on. Triple. YOU: Fine! Just get over here, Please hurry! (SCREAMING AND SPLASHING SOUNDS IN THE BACKGROUND) "What does this have to do with art?" you ask yourself as you begin to turn the page of the magazine to find an interesting ad. Hold on! I can explain!

lustrators used to be treated like Rock Stars. During the Renaissance there was no photography, internet, movies, computer games, magazines, and very few affordable books. Art was entertainment and artists like Michelangelo, Da Vinci and Raphael were in demand to create content for their clients and patrons. They charged what their services were worth and made a damn good living at it. Back then if you were a starving artist, it was probably because you were a bad artist. This Rock Star status was also the norm for illustrators like Charles Dana Gibson, who at the turn of the century inspired a fashion and gender revolution. Norman Rockwell was chosen to judge beauty pageants and Howard Chandler Christy endorsed Waterman’s pens and did appearances at department stores. However, since the early 1900s and the invention of photography and other mass media, certain types of commercial artists have definitely seen demand for their services begin to dwindle. Coupled with the fact that creative types tend to not retire until they literally can’t see or hold a brush has resulted in a flooded market where many illustrators and designers find it difficult to procure enough work to make a decent living. Another issue is that potential clients can go online and find shady foreign-based design houses offering logos for five bucks a pop. So naturally, they balk when a designer wants to charge a fare market rate of $60-$100 per hour. This confluence of circumstances has led to self-destructive practices like underpricing and over-promising. I have actually heard artists apologize to potential clients for their already low rates and then offer discounts before the client has even made a counter-offer! Thus, the notion of the desperate and obsequious Freelance Artist has been normalized in modern society. On the opposite end of the spectrum, there is the public perception of the Fine Artist who exists in a rarified, esoteric world apart from us normal humans. The Fine Artist exudes an entitled and elitist demeanor and is supported by wealthy patrons and enabled by narcissistic ivory tower academics who have built their careers upon promoting conceptual art to exclusive collectors, galleries and museums. This is the typical caricature of the "Artist" that we often see in films and cartoons. The persistence of both of these extreme stereotypes is damaging not only to the public reputations of artists but also to the artists’ psyches.

Ah! Thank you for asking! We artists can use our art to entertain or enlighten. Our work provides insights that are impossible to relate through words alone. Art is a living, breathing mechanism by which artists can help to define the aesthetics of our culture while simultaneously inspiring challenges to societal norms. Art provides comfort yet also pushes the boundaries of what is currently acceptable. Simply put: What we do as artists is important. It has intrinsic value, and if that potential client didn’t agree, she wouldn’t need to hire a skilled artist to create an illustration to promote her product. It is the client’s prerogative to seek out the best deal possible but it is your responsibility as an artist and businessperson to demand that your skills be respected. Look online. Speak to other artists. Network at conferences. Find out what your work is REALLY worth. And if you ever find yourself doubting the value of your work, simply ask yourself: "What Would a Plumber Do?"

Check out this link and get to work!

I have actually heard artists apologize to potential clients for their already low rates and then offer discounts before the client has even made a counter-offer!

"So," (you ask with feigned patience between gritted teeth) "What the hell does this have to do with your stupid plumber story?"

Believe it or not, painters, sculptors and il-








his is a true ‘rags to riches’ story if I ever did hear one. I got an opportunity to sit down with local recycled fashionista and visionary Kristen Alyce about her first venture into the realm of re-imagined paper garments and her current fashion collections. Kristen didn’t disappoint the day that we met for coffee, her blonde locks peeking from beneath a floppy hat, but the bohemian vibe did not prepare me for the amazing, extremely motivated force I was about to meet and went home right after our interview inspired to create!

Jennifer Love Gironda: Tell us a little about your earliest memories of being interested in art and fashion. Kristen Alyce: I always loved art class as a child. I mean, what child doesn’t like to play with colors, clay, and glue?! But as my parents always say now, She free hand sketched Mrs. Wishy-Washy in her first grade classroom and we knew she had it! Since Mrs. Wishy-Washy I have definitely dabbled in both business and art. In high school I thought I’d be a high powered executive with a cell phone glued to my ear. Both my middle school and high school art teachers thought I’d be an art teacher. It’s funny how life can turn out, because realistically I’m somewhere right in the middle. I was able to teach for a few years and experience impacting children’s lives, some of which I still have a fabulous relationship with. And I do run multiple businesses so I have 2 iPhones near me at all times! JLG: Who would you say are your art and fashion inspirations? KA: Oh! I am constantly inspired by my uber creative friends and family! I’m lucky enough to come from an artistic family. My brother is an artist and an incredible wood worker (@ForestedWay on IG). Both of my Grandmothers on each side of my family are artistic. My first cousins on either side are also artistic - so growing up there was no shortage of creativity. Two of my close friends have partnered in my journey as a fashion designer with their painting abilities - Sarah LaPierre and Amanda Wilson. (@thickpaint and @amandawilsonart) I also fell in love with designs by Diane Von Furstenberg and although not fashion design, Frank Lloyd Wright, the genius architect. Both of these designers at the time I grew up really impacted how I thought through different projects and shaped my creativity. JLG: I know that you were an art teacher for a while here in Palm Beach County. How did you infuse your love of fashion into your art teaching? KA: It was so much fun! I had students and their parents come to shows and events all the time! My high schoolers actually got to wear my paper and plastic dresses at so many different events. I think it was a fun way for them to learn how to connect with people, network, and gain confidence in the process. It was always inspiring my students, but they had no clue how much they inspired me every single day. Their own minds with the projects I assigned definitely had an impact on the shapes of my dresses, the materials used, the concepts behind shows, and the overall look and feel of my brands. JLG: What would you say was the earliest inspiration or ‘a-ha’ moment that led you to come up with Garbage Gone Glam? KA: I love alliteration so when I was planning for my first recycled fashion show I was sitting with a college friend in PBA’s student center trying to see what worked with Garbage - and it hit me - Garbage Gone Glam! Simple - direct and efficient! So I actually named the event itself Garbage Gone Glam. I NEVER imagined that it would become something I would continue to DO as an adult. This became a full time job for myself. I traveled around the country and eventually made it an international brand with appearances, events, and media coverage worldwide. Cosmo actually called me Zoolander in real life! haha! JLG: You have such a large body of work, do you have a favorite paper dress that you can tell us about?

OPPOSITE PAGE: Photo by Ian Jacob, painting by Sarah LaPierre ABOVE: Headshot of Kristen by Cassi Claire; Dress photo by Cassi Claire, painting by Amanda Wilson.

KA: Oh, there are so many favorites! The 2 that stand out the most right now are my Opera Carolina mermaid gown and my KPMG Children’s Literacy ball gown. The Opera Carolina gown was made from the seasons opera posters and plastic bags, and the KPMG dress (and suit actually), was made from discarded children’s book pages - everything from Hercules to Lion King and Beauty and The Beast! CREATIVE + CONSCIOUS CULTURE




OPPOSITE PAGE: Photo by Cassi Claire, painting by Amanda Wilson ABOVE: Photos by Cassi Claire, painting by Amanda Wilson.





JLG: Garbage Gone Glam is just the beginning for you—tell us about your next big venture, VIVRE. KA: Glam has so many incredible fans from all over the world. Many have said I should design "real" clothing so they could actually wear them over and over. I never wanted to be a part of such a competitive industry, but last year without even realizing it - I entered into the fastpaced world of fashion. It started with an idea - make plain white dresses out of computer paper and have an artist live paint on the dresses. I invited native Florida artist, Sarah LaPierre, to paint at the charity kickoff event for season at Eau Palm Beach Resort. The attendees were so amazed at the outcome of the dress we knew we had to make more of them - so we did. I made 3 additional white paper dresses that Sarah painted for Art Basel in Miami. Once those had worn out we needed to try a full dress made entirely out of artist canvas. Primed and stiff, but almost like paper. So I made one as I would make a paper dress, except with a seamstress who knew how to put my cut pieces of canvas together. We compared the fabric almost to a thick denim. From there - I designed 13 new pieces that felt like forever to complete before debuting at Fashion Week in New York City last September! We are new and the concept is difficult for some people to comprehend. "Are the dresses are made from paintings?" some ask, "Is the paint difficult to sew through?" So, the process starts with blank primed canvas and some sort of high quality fabric and the dress is completely made. Once it’s finished with a zipper, lining, and raw edges only THEN does the artist begin to paint. So artists are forced to paint on more of a three-dimensional surface, rather than a flat "normal" canvas. JLG: I looked over your VIVRE images on Instagram and on your web site- they are so vibrant and fashion-forward! How did you partner up with the artist that you work with on your canvas dresses? KA: I have two-talented artists on my team: Sarah LaPierre for the Palm Beach Collection and Amanda Wilson for the Concrete Jungle Collection. Amanda is actually doing the launch of the bridal collection with me, too! They are both so incredibly talented. I’m lucky to even know them, to work with them and do such incredible things together! Amanda has always been an artist. She actually began working in art full-time when my family hired her for our painting studio in New Jersey - Uptown Art. Amanda’s talented far surpasses a two-dimensional space. I knew with her style and her different perspectives on art she would embrace something like this and blow it out of the water - which is exactly what she’s doing for my entire bridal collection! It’s funny to have a crossover between true art and fashion design. In one way, the reveal of this new collection is the same as an opening of a new art show. Together we are creating this body of work pushing both of our talents to a new level. JLG: You seem to really play with the styles and have fun with the material- whether it be paper, plastic bags or even canvas. What silhouette transfers easily from your first concept, Garbage Gone Glam, to your current VIVRE Couture line? KA: Oh the silhouettes are my favorite part of design! I love making women feel their absolute best, so the shapes are the fun and flattering part about choosing a dress. I do try my best to keep designs as simple as possible for the sake of the artist. After me, they have to design an entire painting around a body and a shape, so I always keep that in mind when making the canvas dresses for them to paint. I LOVE the peplum style cocktail dresses and the huge princess ball gowns. So comparing a paper gown and canvas gown are so fun, because they both take a lot of structural thought, but the outcome is always so grand and so beautiful. Any of my models who wear the gowns always feel like a Barbie or a Princess. JLG: If you could give your younger self, pre- Garbage Gone Glam and pre-VIVRE Couture, some advice, what would it be? KA: Never. Stop. Learning. Take extra classes when you’re young. Go to extra trade schools; learn from those who know more than you. Never take learning for granted. It’s something we have so accessible here in America, and sometimes I think kids these days get a little complacent. If you want to be the best at something, if you want to be remembered for something, if you want to change the world - you have to take every chance you can to learn. Grow. Be the best version of yourself from the very beginning. Be someone worth remembering and start young!

CONNECT WITH KRISTEN OPPOSITE PAGE: Photo by Ian Jacob, painting by Sarah LaPierre ABOVE: Photos by Ian Jacob, painting by Sarah LaPierre CREATIVE + CONSCIOUS CULTURE




WORLD PEACE MIAMI ARTIST RENDA WRITER CREATES MURALS AROUND THE GLOBE PROMOTING PEACE When did you begin your World Peace Mural Tour and where did the idea come from? I did the first World Peace Mural on April 23rd, 2016 at Georgia-Jones Ayers Middle School in the Allapattah neighborhood of Miami. The idea for the tour came from the song, “World Peace” by KRS-One and his former group, BDP and was motivated by the Gandhi quote, “Be the change you wish to see in the world.” I believe in the idea of “writing things into existence,” and this is my way of using the power of words and the medium of public art to spark conversation and effect change. How many murals do you currently have and how do you choose the locations? I have 54 World Peace Murals so far, scattered all over America, Haiti, and Mexico. I’m doing my 55th mural in Lexington, Kentucky, and by the time you read this I’ll probably have a few more. Sometimes I choose them. Sometimes they choose me. There’s no real formula to how I choose cities. I am basically just ALWAYS thinking about where I can do my next mural and constantly doing research on the net, trying to find locations. I look at this tour as literally being my life’s purpose, so that keeps me in alignment, which makes manifesting mural opportunities fairly easy. I’ll be in England in June. That’ll be the next big trip. Have you had an unexpected experience stemming from one of your murals that surprised you? The experiences and reactions that I’ve had along this journey have all been what I expected them to be...awesome and super positive. Although, I didn’t expect that I would get electrocuted while 20ft high on a ladder while working on my mural in Dallas, but I did...and I’m grateful that I lived. What do you hope people will take away from experiencing one of your murals firsthand? I don’t know that I really have any kind of specific hopes. My only real aim is to just... do the murals. After I create them, then it’s up to the people... how they react... what they take away from them. They will receive the art and the message in their own individual ways. I guess the only real “hope” would be that people at least begin to have conversations about World Peace and start to realize that it is not a pipe dream or a “hippies only” concept, but instead a very real possibility for our planet. I think that if an individual person is capable of being at peace, and the world is made up of individual people, then logically it would follow that World Peace is possible....right? How can we find your murals and get a chance to interact with them?

Head shot ® George Dean of No Plan B Studios Photos courtesy of Renda Writer



I’ve got a full listing of all of the World Peace Mural Tour locations at I encourage everyone to visit them, snap pics with them, and tag the tour on Instagram: @WorldPeaceMuralTour

SOUTH FLORIDA ART GALLERIES + CREATIVE SPACES PALM BEACH Addison Gallery 206 N.E 2nd Street, Delray Beach Amanda James Gallery 412 East Ocean #1, Boynton Beach Armory Art Center 1700 Parker Avenue, West Palm Beach Arts Garage 94 NE 2nd Avenue, Delray Beach Art House 429 429 25th Street, West Palm Beach Art House Gallery 255 NE 6th Avenue, Delray Beach Artisans on the Ave 630 Lake Avenue, Lake Worth Artists Alley Delray Beach 3rd Avenue Studios and Galleries NE 3rd Street, Delray Beach Artists Guild Galley 512 East Atlantic Avenue, Delray Beach Art Link International 809 Lucerne Avenue, Lake Worth Ashley John Gallery 410 S. County Road, Palm Beach Avalon Gallery 425 E. Atlantic Avenue, Delray Beach Benzaiten Center for the Creative Arts 1105 2nd Ave S, Lake Worth Blue Gallery 600 E. Atlantic Avenue, Delray Beach Bohemia AG 536 Northwood Road, West Palm Beach Boca Black Box 822 Glades Road #10, Boca Raton Boynton Beach Art District 401 West Industrial Avenue, Boynton Beach Bruce Helander 410 Evernia Street # 119, West Palm Beach

Cacace Fine Art 354 NE 4th Street, Suite D Delray Beach Carré d’Artistes - Art Gallery 430 Plaza Real, Boca Raton Center for Creative Education 425 24th Street, West Palm Beach Cornell Art Museum 51 N Swinton Avenue, Delray Beach Cultural Council of Palm Beach County 601 Lake Avenue, Lake Worth DeBilzan Gallery 38 East Atlantic Avenue, Delray Beach DTR Modernt Gallery 440 South County Road, Palm Beach FAU Universities Dorothy F. Schmidt College of Arts and Letters Florida Atlantic University 777 Glades Road, Boca Raton Flamingo Clay Studio 15 South J Street, Lake Worth Ford Fine Art 260 NE 5th Avenue, Delray Beach Galleria Gilda 2211 North Dixie Highway, Lake Worth Gallery 22 -Yaacov Heller 282 Via Naranjas, Boca Raton Gallery Biba 224A Worth Avenue, Palm Beach Griffin Gallery 5250 Town Center Cir #128, Boca Raton Habitat Galleries 513 Clematis Street, West Palm Beach Holden Luntz Gallery 332 Worth Avenue, Palm Beach ICFA & Erdesz 358 NE 4th Street, Delray Beach JF Gallery 3901 S. Dixie Highway, West Palm Beach John H Surovek Gallery 349 Worth Avenue 8 Via Parigi, Palm Beach

Kevin McPherrin Int’l Gallery 4851 N. Dixie Hwy, Boca Raton Lighthouse Art Center 373 Tequesta Drive, Tequesta Lois Brenzinski Artworks 533 East Atlantic Avenue, Delray Beach Mary Woerner Fine Arts 3700 South Dixie Highway #7, West Palm Beach Native Visions Galleries 104 Breakwater Court, Jupiter

Ali Cultural Arts 353 Hammondville Rd, Pompano Beach

Las Olas Fine Arts 701 E. Las Olas Boulevard, Fort Lauderdale

Art and Culture Center/ Hollywood 1650 Harrison Street, Hollywood

New River Fine Art 914 East Las Olas Boulevard, Fort Lauderdale

Art Gallery 21 600 NE 21 Court, Wilton Manors Artist’s Eye Fine Art Gallery 38 South Federal Highway Canterbury Square #2, Dania Beach

North Beach Art Gallery 3334 NE 34th Street, Fort Lauderdale Pocock Fine Art & Antiques 1200 East Las Olas Boulevard, Suite 102, Fort Lauderdale

AmericanAirlines Arena 601 Biscayne Bay, Miami

Etra Fine Art 2315 NW 2nd Avenue, Miami

Now Contemporary Art 337 NW 25th Street, Miami

Arevalo Gallery 100 SW 10 Street, Miami

Florida Grand Opera 8390NW 25th Street, Miami

O. Ascanio Gallery 2600 NW 2nd, Miami

Art Fusion Gallery 3550 North Miami Avenue, Miami

Fountainhead Studios 7338 NW Miami Court, Miami

Opera Gallery 39th Street, Suite 239 Miami

Art Nouveau Gallery 348 NW 29th Street, Miami Ascaso Gallery 2441 NW 2nd Avenue, Miami Avant Gallery 270 Biscayne Boulevard Way, Suite 102, Miami

Art Serve Gallery 1350 E. Sunrise Boulevard Fort Lauderdale

Pompano Beach Cultural Center and Library 50 W Atlantic Blvd, Pompano Beach

Bailey Contemporary Arts-BaCA 41 NE 1st Street, Pompano Beach

Rosemary Duffy Larson Gallery- Broward College 3501 SW Davie Boulevard, Davie

Pavo Real Gallery 6000 Glades Road, Boca Raton

Bear and Bird Boutique + Gallery 4566 North University Drive, Lauderhill

Rossetti Fine Art Gallery 2176 Wilton Drive, Wilton Manors

Brisky Gallery 130 Northwest 24th Street, Miami

Rosenbaum Contemporary 150 Yamato Road, Boca Raton

Broward Art Guild 3280 NE 32nd Street, Fort Lauderdale

Steven Greenwald Design 3023 NW 60th Street, Fort Lauderdale

Canale Diaz Art Center 146 Madeira Avenue, Coral Gables

RosettaStone Fine Art Gallery 50 US-1, Jupiter

City of Sunrise Art Gallery 10770 West Oakland Park Boulevard, Sunrise

Studio 18City of Pembroke Pines 1101 Poinciana Drive, Pembroke Pines

Cultural Center of Pompano Beach 102 W Atlantic Boulevard, Pompano Beach

The Amp: Pompano Beach Amphitheater 1806 NE 6th Street, Pompano Beach

Norton Museum of Art 1451 S. Olive Avenue, West Palm Beach Onessimo Fine Art 4530 PGA Boulevard, Suite 101, Palm Beach Gardens

Russeck Gallery 203 Worth Avenue, Palm Beach Stewart Fine Art 5501 N Federal Highway, Suite 3 -Boca Raton Studio E Gallery 4600 PGA Boulevard #101, Palm Beach Gardens Sundook Art Galleries 524 East Atlantic Avenue, Delray Beach The Box Gallery 811 Belvedere Road, West Palm Beach ​ Vertuqa Fine Art 5250 Town Center Cir #128, Boca Raton Wally Findlay Galleries 165 Worth Avenue, Palm Beach

BROWARD African-American Research Library and Cultural Center 2650 Sistrunk Blvd, Fort Lauderdale

Fat Village Center for the Arts 531 NW 1st Avenue, Fort Lauderdale

Bakehouse Art Complex 561 NW 32nd Street Miami Bill Brady Gallery 7200 NW Miami Court, Miami

Cernuda Arte 3155 Ponce de Leon Boulevard, Coral Gables Collection Privee Gallery 2301 NW 2nd Avenue, Miami Curator’s Voice Art Project 299 NW 25th Street, Miami

Upper Room Art Gallery 300 SW 1st Ave, unit #123 & #129, Fort Lauderdale

David Castillo Gallery 420 Lincoln Road, Suite 300, Miami Beach

Gallery 721-The Purvis Young Museum 725 Progresso Drive, Fort Lauderdale

Wiener Museum of Decorative Arts 481 South Federal Hwy, Dania Beach

De La Cruz Collection 23 NE 41Street, Miami

George Gadson Studios 1350 East Sunrise Boulevard, Suite 124, Fort Lauderdale Girls’ Club 117 NE 2nd Street, Fort Lauderdale Indaba Gallery 609 N 21st Avenue, Hollywood James Schot Gallery & Studio 2800 N Federal Highway, Suite A Fort Lauderdale

L.Mercado Studios 2000 Harrison Street, Hollywood

MIAMI-DADE Adamar Fine Arts 21173 NE 18 Place, Miami Adrienne Arsht Center for the Performing Arts of Miami-Dade County 300 Biscayne Blvd, Miami Alberto Linero Gallery 2294-B NW 2nd Avenue, Miami Alfa Gallery 1607 Brickell Avenue, Miami Alejandra Von Hartz Gallery 2630 NW 2nd Avenue, Miami

D & G Art Design Gallery 6801 Collins Avenue, Suite C1405, Miami Beach Diana Lowenstein Gallery 2043 North Miami Avenue, Miami

Fredric Snitzer Gallery 1540 NE Miami Court, Miami Galerie Helene Lamarque 125 NW 23rd Street, Miami Gallery Diet 6315 NW 2nd Avenue, Miami Gary Nader Fine Art 62 NE 27th Street, Miami Gecko Art Galleries 6500 NE 2nd Avenue, Miami Haitian Heritage Museum 4141 NE 2 Ave. # 105C, Miami Harold Golen Gallery 2294 NW 2nd Avenue, Miami Institute of Contemporary Art 4040 NE 2nd Avenue, Miami Irazoqui Art Gallery 2750 NW 3rd Avenue, Miami Ka.Be. Contemporary 223 NW 26 Street, Miami Latin Art Core 1646 SW 8th Street, Miami Little Haiti Cultural Center 212 NE 59th Terrace, Miami Locust Projects 3852 North Miami Avenue, Miami

Ricart Gallery 444 NW 28th Street, Miami Rimonim Art Gallery 7500 NE 4th Court, Suite 103, Miami Robert Fontaine Gallery 2121 NW 2nd Avenue, Unit 3, Miami Rubell Family Collection 95 NW 29 Street, Miami Sammer Gallery 125 NW 23rd Street, Miami Spinello Projects 7221 NW 2nd Avenue, Miami The Americas Collection 4213 Ponce De Leon Boulevard, Coral Gables The Fillmore Miami Beach 1700 Washington Ave, Miami Beach The Margulies Collection at the Warehouse 591 NW 27th Street, Miami Tresart 2121 NW 2nd Ave, Bay #2, Miami Virginia Miller Galleries 169 Madeira Avenue, Coral Gables Waltman Ortega Fine Art 2233 NW 2nd Avenue, Miami

Lowe Art Museum 1301 Standford Drive, Miami

White Porch Gallery 2727 NW 2nd Avenue, Miami

Maman Fine Art 3930 NE 2nd Avenue, Suite 204. Miami

WYN 317 Gallery 167 NW 25 Street, Miami

Dina Mitrani Gallery 2620 NW 2nd Avenue, Miami

Markowicz Fine Art 110 NE 40th Street, Miami

Dot Fiftyone Gallery 7275 NE 4th Avenue, Miami

Merzbau Gallery 2301 N Miami Avenue, Miami

Durban Segnini Gallery 3072 SW 38th Avenue, Miami

MIArt Space 151 NW 36 Street, Miami

Emerson Dorsch 151 NW 24th Street, Miami

Mindy Solomon Gallery 8397 NE 2nd Avenue, Miami

Espace Expression 317 NW 28th Street, Miami

N’Namdi Contemporary 177 NW 23rd Street, Miami





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For summer 2018, The Wolfsonian–Florida International University is tapping into today’s fascination with Russian propaganda through two coinciding shows focused on early 20th-century Soviet graphic design. Constructing Revolution: Soviet Propaganda Posters from Between the World Wars (April 13–August 12), organized by the Bowdoin College Museum of Art in Brunswick, Maine, and the complementary library installation Red and Black: Revolution in Soviet Propaganda Graphics (April 5–August 5) will shed light on ties between cultural life and revolutionary ideology in the decades following the 1917 Russian Revolution. Both shows explore how designers were inspired by the utopian ideals of the revolution to develop new techniques of graphic persuasion on behalf of Russia’s Communist dictatorship.

“With Constructing Revolution, the stars truly aligned,” said Tim Rodgers, Wolfsonian director. “We recognized in Bowdoin’s exhibition a rare opportunity to do what The Wolfsonian does best—present some of the finest examples of modern propaganda, reexamine objects from our own collection, and offer fresh insight into a topic currently front and center on the worldwide stage.” OPPOSITE PAGE: Gustav Klutsis (Latvian, 1895–1938) Working Men and Women–Everyone to the Election of Soviets, 1930 Collection of Svetlana and Eric Silverman. Photo: Matthew Cronin




Dmitrii Moor (Russian, 1883–1946) Gather the Harvest, 1931— The Wolfsonian–Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection. Photo: Lynton Gardiner


(1) Vera Gitsevich (Russian, 1897–1976) For the Proletarian Park of Culture and Leisure, 1932 — Collection of Svetlanwa and Eric Silverman. Photo: Matthew Cronin (2) Valentina Kulagina (Russian, 1902–1987) 1905—Road to October, 1929 — Collection of Svetlana and Eric Silverman. Photo: Matthew Cronin (3) Georgii Kibardin (Russian, 1903–1963) Let Us Build a Dirigible Fleet in Lenin’s Name, 1931— Collection of Svetlana and Eric Silverman. Photo: Matthew Cronin (4) Grigorii Shegal (Russian, 1889–1956) Down with Kitchen Slavery, 1929— Collection of Svetlana and Eric Silverman. Photo: Matthew Cronin

Bringing more than 50 Soviet-era posters from the private collection of Svetlana and Eric Silverman together with rarely seen works held by The Wolfsonian, Constructing Revolution showcases a number of key figures in the Soviet artistic avant-garde, among them Vladimir Mayakovsky, Aleksandr Rodchenko, and Gustav Klutsis. The exhibition charts the formative decades of the USSR and provides a glimpse into this turbulent period of Russian history, when posters were employed to provide a new visual language converting Communist aspirations into readily accessible, urgent, public art. The resulting images reflect a remarkable degree of artistic experimentation, even as their content was strictly guided by the priorities of the Soviet state. “These works speak to the paradox of the Soviet Union during its early decades, when utopianism went hand-in-hand with manipulation,” said Jon Mogul, Wolfsonian associate director of curatorial & education. “There is an undeniable sense of excitement, optimism, and experimentation in these images, though they also convey the 58


sanitized and one-sided version of reality that contributed to the consolidation of a brutally repressive dictatorship.” In conjunction with the exhibition, the focused installation Red and Black will feature roughly 20 rare books, periodicals, postcards, and portfolio plates from The Wolfsonian–FIU Library that reveal the contribution of Constructivism to Soviet graphic design. A key movement in the early 20th century, Constructivism applied abstraction and the machine aesthetic to the practical design of everything from architecture to household objects—all in service of the Communist vision of building a new, classless society. The Wolfsonian has been recognized internationally for the attention it has given to political propaganda, a subject prevalent in both its mission and its collection of modern-age material, 1850–1950. Throughout the museum’s 22-year history, dozens of exhibitions and countless programs have investigated how objects and images were shaped into tools of political persuasion in countries across the globe.









THROUGH ITS PUBLIC ART By Ali Berger Whether escaping to a tropical island or circling the globe on an international cruise, South Florida’s Port Everglades greets millions of adventure-seeking travelers each year. A hot spot for global and local travelers alike, Port Everglades – one of the world’s top three cruise ports – is a longtime community champion: its 40-year partnership with Broward County Cultural Division’s Public Art & Design (PAD) program has commissioned over $2 million in public artwork. More than 30 works of two- and three-dimensional public art creations breathe life into the Port’s cruise, shipping terminals and administrative offices. Just as artists draw inspiration from the world that surrounds them, Port Everglades – in collaboration with the Public Art & Design Program (PAD) – aims to capture the diverse beauty and cultural vivacity of Broward County. Blending the specific with the universal, the public artwork of Port Everglades represents the collision of local culture with artistic inspiration. A regional icon, the Port radiates an appeal that crosses borders and barriers through art. Partnering up to present “The Public Art of Port Everglades” on the morning of Friday, January 26, PAD and the Port took an in-depth look at the achievements of their collaborative relationship. Open to the public, the hour-long panel discussion explored the economic and cultural impact of the Port’s public art projects. Showcasing three diverse perspectives, the discussion was moderated by PAD Project Manager Dominique Denis. Panelists included Port Everglades Assistant Director Peg Buchan and local muralist Ernesto Maranje – a current contender for one of the Port’s upcoming public art commissions. From the intricacies of the design process to the components of a public art commission, the broad-ranging discussion underscored an objective common to both Port Everglades and PAD: enhancing the Port’s sprawling public spaces through works of public art.



Transforming the industrial setting of Port Everglades into a thoroughly artistic experience, its public art creates a welcoming environment for travelers and staff. Through the vehicle of public art, PAD and the Port have elevated the ambiance of South Florida’s powerhouse port. Along the way, they have driven local economic growth and provided career-changing opportunities to emerging artists. Through visual expression, the Port shows the public another side of the Everglades. Celebrating its wetlands and wildlife through functionally-integrated artwork, Port Everglades aims to – in the words of panelist Peg Buchan – “…raise environmental awareness for the Everglades and [the Port’s] specific environmental causes.” By supporting public art that visually represents the Everglades, the Port promotes awareness of and appreciation for its unique landscape and inhabitants. “We seek to bring art into everything we do,” affirmed Buchan, “and with four million visitors annually, our commissioned public art gives tremendous exposure to our environment.” Shifting the panel’s focus to the specific – and often highly personal – inspiration of the Port’s public artists, Maranje shared an artist’s perspective. A relative newcomer to the South Florida art scene, Maranje’s mid-career switch from engineering to art has taken him from Miami’s trendy Wynwood to the bustling souks of Beirut, Lebanon. From his first mural in Little Havana to his recent contribution to the Downtown Hollywood Mural Project (DHMP), Maranje’s large-scale works filter myths and local history through the framework of his own past experiences. “I was attracted to the Port Everglades due to its unique quality of movement,” he remarks. “Cruise ports are fluid and [attract] diverse crowds, and I was really drawn to those aspects.”

The panel discussion also highlighted the balance between cultural sensitivity and artistic freedom, commenting on the responsibility of public art to its viewers.

From top to bottom: Dale Chihuly’s “Coral Glow Persian Sconce Wall”; Public Art Panelists: Ernesto Maranje, Dominique Denis, Peg Buchan; Xavier Cortada’s “Starfish Shuffle”







“Ernesto really caught our attention with how well he understood what we are trying to do,” Buchan added. Striving to sway the public’s perception of Port Everglades, the artist selection committee hopes to shift viewers’ attention from the industrial – the “…petroleum tankers, trucks, cranes [and the] strong economic engine…” – to the natural habitats of the Everglades. The project-specific selection committee, recalls Buchan, “really wanted some more whimsical pieces to comment on the beauty of our environment, and [Maranje] really got it – from his engagement to his intuition.” In the course of preparing a proposal for public art commissions, Maranje toured Port Everglades and snapped photos of its surroundings. His attention to detail and enthusiastic embrace of the project convinced Buchan, a member of the selection committee, that he may be the artist for the job – and that he genuinely values the priorities of the Port. His final presentation, reflects Buchan, cemented my impression suggests that he may have the talent and passion to support their cause. “Broward County has received five Americans for the Arts Year in Review public art awards, an indication of the program’s outstanding commitment in advancing art and design,” said Liesel Fenner ASLA, former manager of Public Art Network for Americans for the Arts. Providing functionally-integrated artwork that promotes cultural tourism and community pride is an objective celebrated and encouraged by artists like Maranje. Other artists whose work is exhibited in the Port include Dale Chihuly, Larry Kirkland, Laura Atria, Saori Ide and Jonathan Russell. Each artist showcases the diversity and commonality of South Floridians through their creative expression. Uniting local and international visitors through functionally integrated artwork is not a responsibility Broward County takes lightly. A volunteer panel comprised of art experts and community representatives deliberates the selection of each artist, carefully considering each project’s location and specific goals. As part of the artist selection process, a select number of applicants are required to develop conceptual design proposals for review.

Opposite page: Michele Oka Doner’s “Forces of Nature” Above: Panelists Dominique Denis and Peg Buchan and Larry Kirkland’s “Cruising School”

Currently underway is the Port Everglades Cruise Roadway Project – a three-dimensional public art installation that will visually reinvent an otherwise empty traffic circle. Artistically enhancing the local environs, the traffic circle’s artwork may even become one of the Port’s most iconic symbols. Judging by the current visual two- and three-dimensional installations, the Public Art and Design Program continues to meet the Port’s goal of creating a sense of place – of building memories that inspire audiences to cherish their experience in a unique way when choosing to sail from Port Everglades.




SPRING 2018 delivers the largest database of South Florida arts and cultural events as well as additional listings of classes, workshops, auditions, calls-to-artists and much more!


Design YAA: MILAGROS Collective Exhibition Presented by Young at Art Museum 751 SW 121st Ave., Davie, FL 33325 Through April 21 (Sat.)

Old Town Untapped Presented by Bailey Contemporary Arts (BaCA) 41 NE 1st St., Pompano Beach, FL 33060 April 6 and May 4 (Fri.), 6 pm to 9 pm

Indigo Girls Presented by the Broward Center for the Performing Arts at Parker Playhouse March 9, 8 pm (Fri.)

Transforming its largest gallery into an immersive floor-to-ceiling world of color, design and artistic exploration, Davie’s Young at Art Museum presents Design YAA, the latest – and most interactive – exhibition of artistic duo Felici Asteinza and Joey Filiatre. Known as MILAGROS, the two large-scale installation artists fuse dynamic patterns and eye-popping abstractions into an unmissable optical experience. On view through Saturday, April 21, Design YAA dares visitors and their families to unleash their imaginations – and to take part in Asteinza and Filiatre’s boldly creative process.

Offering free samples from local craft breweries, live music, food truck snacks and original art, Old Town Untapped is South Florida’s hippest—and hoppiest —craft beer and arts festival. Party with the best of downtown Pompano Beach on the first Friday evening of every month in front of Bailey Contemporary Arts.

Riveting as ever, Amy Ray and Emily Saliers of the Indigo Girls bring their unstoppable energy – and passion for music – to SoFlo this spring with a live performance on the night of March 9. Twenty years after forging folk rock music history – and with 14 million records sold to date – the Grammy Award-winning musicians are still at the top of their craft.

Emoticoncert 4: In the End Presented by the South Florida Chamber Ensemble at Pompano Beach Cultural Center March 10, 2 pm (Sat.)

Dancing for God: Jogini Indian Ritual Dances Presented by the Association of Performing Arts of India (APAI) at the Broward Main Library March 10, 3 pm to 5 pm (Sat.)

That Damn Puppet Slam Presented by The Puppet Guild of South Florida, Inc. at ArtServe, Inc. March 10, 7 pm (Sat.)

Famed Russian composer Tchaikovsky goes head-tohead with celebrated American composer Edward MacDowell on the afternoon of March 10 in this momentous musical battle. Pitting two renowned composers against each other, the South Florida Chamber Ensemble’s final round of Emoticoncert explores music’s emotional power with live performances of MacDowell’s last orchestral and piano works and Tchaikovsky’s “Violin Concerto” and Symphony No. 6.

Celebrating APAI’s 20th anniversary, Dancing for God honors the temple maidens of ancient India—known as jogini—who dedicated their lives to the selfless service of temple deities. Leaving the sacred temple grounds to perform for the public, jogini were masters of the Indian ritual dance. On the evening of March 10, trained dancers Madhura Sane, Sonali Mishra, Dr. Radha and Dr. Reneeta Basu, Malini Basu, Riya Modi and Keya Chokshi bring this classic artform – and essential part of Indian culture – to life.

Leave the kids at home on the night of March 10. That Damn Puppet Slam’s mature-audience-only puppet skits feature off-the-cuff improvisational humor ranging from political satire to crass one-liners. From hot-button topics to gross-out horror, That Damn Puppet Slam’s live short-form puppetry continues the Puppet Guild of South Florida’s longtime tradition of puppet slammery.


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20th Annual ArtFest in the Pines Charles F. Dodge City Center, 601 City Center Way, Pembroke Pines, FL 33025 March 10 and 11, 10 am to 5 pm (Sat. and Sun.)

Concerts Under the Stars: Dillard Jazz Ensemble Presented by the Bonnet House Museum and Gardens 900 N. Birch Rd., Fort Lauderdale, FL 33304 April 6, 7 pm to 9 pm (Thurs.)

Bringing two days of art-filled fun to South Florida, the 20th Annual ArtFest in the Pines features the latest creations of up-and-coming artists, live entertainment, a student art content, a kids-only art zone, all-ages interactive workshops and a bustling farmers’ market brimming with artisan vendors and food trucks. Drawing art-lovers from across Florida, this free festival for the whole family is renowned for its richly diverse offerings and its high-caliber exhibitors.

Savor open-air jazz performances, sample light refreshments and wander the uniquely scenic grounds of Fort Lauderdale’s historic Bonnet House on the night of April 6. Bringing the 21st season of Concerts Under the Stars to a memorable close, the virtuosos of the Dillard Jazz Ensemble will enchant you with the magical fluidity of jazz.

STEAM: Bridging ART ACROSS DISCIPLINES Presented by Broward College at BC North Campus and BC South Campus April 12, 6:30 pm (Thurs.), April 13, 11 am (Fri.), April 26, 6:30 pm (Thurs.), April 27, 11 am (Fri.).

56th Annual Delray Affair Presented by the Greater Delray Beach Chamber of Commerce Old School Square, 31 N. Swinton Ave., Delray Beach, FL 33444 April 13 to 14, 10 am to 6 pm (Fri. and Sat.) April 15, 10 am to 5 pm (Sun.)

Exploring the artistic integration of science, technology and engineering, STEAM: Bridging ART ACROSS DISCIPLINES celebrates cross-disciplinary artistic achievements. Hosted on Broward College’s north and south campuses from April 12 to 27, the exhibits, hands-on demos and dynamic lectures of STEAM’s visiting artists will transform your understanding of art – and science. Highlights include a presentation and interactive workshop led by innovative 2D artist Jose Alvarez – and the exhibition of his mixed-media collage Mystical Mindscapes. Check for details.

Ringing in its 56th anniversary at the scenic Old School Square, the Delray Affair – praised as the “Greatest Show under the Delray Sun” – will dazzle you and your family with its original art exhibits, out-of-state artisan vendors and dynamically diverse culture. Sprawling across 12 city blocks on April 13, 14 and 15, the Delray Affair numbers among the largest arts and craft festivals in the Southeastern US. Stroll along downtown Delray’s sunny streets – and browse through the eclectic works and wares of the nation’s leading artists and crafters.

Anat Cohen Quartet Presented by South Florida JAZZ at Bailey Hall April 21, 8pm (Sat.) Pre-concert lecture at 7:45 pm From Tel Aviv, Israel, to Boston’s Berklee College of Music, jazz virtuoso Anat Cohen has won international acclaim for the fluid versatility of her music. A seasoned veteran of both the clarinet and tenor sax, Cohen – viewed as the ultimate musical storyteller – has joined the leagues of jazz legends Sidney Bechet and Sonny Rollins. Voted “Clarinetist of the Year” by the Jazz Journalists Association for 8 consecutive years, Cohen continues to top the critics’ and readers’ polls of DownBeat for the 7th year running.

Symphony of the Americas: Conrad Tao Presented by the Symphony of the Americas at the Broward Center for the Performing Arts April 10, 7:45 pm (Tue.) Wine tasting at 7 pm and pre-concert discussion at 7:15 pm Named by Forbes in its elite “Top 10 under 30,” pianist, composer and violinist Conrad Tao kicks off the 30th anniversary of the Symphony of the Americas on April 10 with a celebratory evening of classical music. Featuring a live performance of Tao’s own composition and Sergei Prokofiev’s “Piano Concerto No. 2,” the musical gala offers a gourmet wine tasting at 7 pm and an exclusive pre-concert discussion at 7:15 pm.

Masterworks Series IV: If You Will It, It Is No Dream Presented by the South Florida Symphony Orchestra (SFSO) at the Broward Center for the Performing Arts April 17, 7:30 pm to 10 pm (Tue.) Amaturo Theater, the Broward Center for the Performing Arts 201 SW 5th Ave. Fort Lauderdale, FL 33312 Celebrate Israel’s 70th anniversary and the 20th season of the South Florida Symphony Orchestra (SFSO) with the captivating live performances of contemporary classical music’s biggest names – all expertly conducted by SFSO founder and SoFlo native Sabrina Alfonso. Paying musical homage to the writings of Theodor Herzl, Nimrod Borenstein’s “If You Will It, It Is No Dream” is followed by Berlioz’s Symphonie Fantastique and Ravel’s “Piano Concerto in G.”

44th Annual Pioneer Day Presented by the Broward County Historical Preservation Board at Davie Town Hall May 12, 12 pm to 2 pm (Sat.) Davie Town Hall, 6591 Orange Dr., Davie, FL 33314

Here & Now: 2018 Presented by the Miami Light Project at the Light Box at Goldman Warehouse 404 NW 26th St., Wynwood, Miami, FL, 33127 June 7 to 9, 8 pm (Thurs., Fri. and Sat.)

Celebrating the community achievements of Broward County’s Pioneers – those fearless men and women who furthered the diversity and cultural vibrancy of their local environs – the 44th Annual Pioneer Day invites you and your family to take part in a free reception and recognition ceremony on the afternoon of May 12. Hear live music and sample refreshments before watching Broward’s newest Pioneers – each nominated by local historical societies and municipalities – join the distinguished list of 1,500 other community leaders.

Showcasing the works of Miami’s most exciting emerging artists, Here & Now – the Miami Light Project’s signature commission project – kickstarts its 20th anniversary with an exhibition of cross-disciplinary works that boldly redefine South Florida’s contemporary performance art.

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Miami Dade College Museum of Art and Design

ABOVE: Freedom Tower, Photo by Francisco Moraga; Rina Carvajal headshot, Photo by Amalia Caputo



By Andrew Scott Do you have a personal philosophy you carry with you when making decisions for the arts and education programs you are cultivating in the community, and the programming you are cultivating at the Museum of Art and Design at Miami Dade College? The core of my philosophy is always “people first.” All the programs I focus on have a goal to connect with the community and facilitate as much involvement and accessibility as possible. Without the community, there is no museum. I believe that contemporary art and design can play a vital role in civic and public life. I want to create programs that encourage new ways of engaging with, and thinking about, art, civic space, and citizenship. Programs that instigate actions and conversations may become part of a more sustainable movement to transform our cities and our lives and may spark relationships among people and places and that foster a sense of belonging and inclusion. Can you share with us any exciting events that will be happening at the Museum of Art and Design at Miami Dade College in 2018? Our new overarching concept, Museum without Boundaries, has begun and will continue once the museum re-opens on April 5, after two years of renovations. The first of its programs, titled Living Together, is an exciting and ongoing cross-disciplinary series that offers thoughtful and challenging performances and exhibitions drawing from art, music, theater, politics, and poetry. Spread across the city at a wide array of venues, the series features performances, exhibitions, film and video screenings, readings, talks, and workshops reflecting on the cultural, social, and political realities of how we live today. Two upcoming events in the Living Together series feature major international artists. From April 7 to 29, we will present an exhibition called This Situation, by the internationally recognized British-German artist Tino Sehgal. This project combines aspects of theater, dance, the Socratic method, and unscripted interactions with visitors. In a gallery in the museum, six “interpreters” muse on topics both economic and existential. On May 19, we will present the exhibition More Sweetly Play the Dance, a video installation by acclaimed South African artist William Kentridge that will fill a space with an encircling procession, partly animated, partly filmed, mixing historical references with contemporary themes in a darkly comic celebration of resilience and life. Concurrently, the first design exhibition scheduled for our April 5 re-opening is By the

People: Designing a Better America, which explore the challenges faced by urban, suburban, and rural communities in the U.S. and its bordering countries. The underlying premise of the exhibition is that urban design and the design of public spaces is key to shaping social life and fostering positive social change. The exhibition presents collaborative designs for more equitable, inclusive, and sustainable communities. On the other hand, By the People aims to empower visitors to see themselves as designers— not just of objects, but also of ideas, strategies, and solutions that improve their daily lives. The exhibition will showcase innovative and impactful actions generated through design, and inspire creative problem-solving at local, regional, national, and even international levels. How important is it for a community to support and be involved with the arts? How can citizens become more involved and participate in empowering their community through the arts? Without the involvement of the community, democracy will falter. By definition, community implies some form of participation. The arts have traditionally been a way to bring together people from different cultures and backgrounds, many of whom are neighbors, but have varied lives and interests. At MOAD MDC, we are in the process of creating and implementing initiatives that foster the active involvement of people. Our aim is to ensure that the impact that Living Together creates in our communities will continue and our aim is to see this initiative remain a major component of our programming and mission for our institution. Though attitudes about women in positions of power have slowly been changing for the better, gender stereotypes still persist. What has been your experience as a leader in the arts—have you ever had any experiences in gender inequality, or do you think “the glass ceiling” specifically in arts leadership is a thing of the past? I think that there is definitely gender inequality for women in leadership positions. The standards in the executive world are much higher for women than for men. Also, women have to work harder even to get to that level. Although getting to leadership positions in the arts for women has become easier in recent years, many problems and challenges still exist; one of the most important is pay equity. Is there any advice you’d like to share with a fellow female who wants to make their mark by exploring a career in arts leadership?


Excel in what you do. Be resilient, persistent, brave, strong, and very flexible. Speak out when necessary, and be in solidarity with other women. CREATIVE + CONSCIOUS CULTURE




US District Court Judge Frederic Block recently awarded 21 street artists a staggering $6.7 million after their work was destroyed by a developer in 2013 at the 5Pointz warehouse complex in Queens, New York to make room for luxury condominiums. The street artiststurned-plaintiffs sued and subsequently won under the Visual Artists Rights Act, a 1990 law that protects artwork that meet certain requirements, after their works were deemed fine art. “The shame of it all is that since 5Pointz was a prominent tourist attraction the public would undoubtedly have thronged to say its goodbyes ... and gaze at the formidable works of aerosol art for the last time,” Block wrote. “It would have been a wonderful tribute for the artists that they richly deserved.” * Judge Frederic Block may be a federal court judge on the United State District Court for the Eastern District of New York, but don’t think that has stopped the Brooklyn native from dabbling in the arts, letting his creative expression lead, and flourishing in whichever medium he chooses. From musician, to musical writer and composer, to author, Judge Block has done it all and told Art Hive how he did it.


Francisco Fernandez - Dream of Oil

Marcela Villa: Judge Block, we love unassuming versatility here at Art Hive. People can wear many hats and have a variety of interests, and can succeed in them all if they put their mind to it. Were you always creatively inclined? What was your path to becoming both a federal court judge and a renowned musical artist and author? Judge Block: When I was a little kid, my mother played piano but she was just not the best pianist you ever heard; she played everything in the key of C, didn’t matter, there was only the key of C. God bless her, she was there and she got her kids music lessons. I was stuck with Franz, I will never forget his name, and I was 9 years old and we learned how to play the scales and read classical music. He was really one of the classic music teachers; he was a member of the first piano quartet and he spoke with a heavy accent, and he used to say, “Play with the fingers, not the knuckles,” and then he would whack me on the knuckles! So that’s how I started off, so naturally I quit after 9 months; that was enough, my fingers were all red and I couldn’t do it anymore. I have 2 older brothers; one was trying to learn how to play the clarinet, but he never had any musical talent - he was terrible. Eventually I took over the clarinet too, and then I had Sheldon who was taking music lessons from Mr. Kane; I remember all these names so many years later, it’s amazing. He used to come home with these books on theory, the chords, and how you go from major chords to minor chords and all that type of stuff. I was curious about that and he never really did much, so I picked up his books and I taught myself the theory of music. I guess it was just the curiosity and something about that, and I was fascinated by how you go from a c major to a c minor, and so I was pretty much self-taught. I was glad that Franz hit me on the knuckles though, because it did give me the boogie plays, and I sort of learned the boogie-woogie riffs and I had a lot of fun doing that. When I was a teenager I would play it at parties; I always played boogie-woogies, and I can still play boogie-woogie, so that’s how I OPPOSITE PAGE: Photo courtesy of Judge Frederic Block * Case No. 13-CV-05612(FB)(RLM), UNITED STATES DISTRICT COURT EASTERN DISTRICT OF NEW YORK

started. I sort of had music in my bones. That’s where it all began. I always played piano; I always used it as therapy. I didn’t take many lessons but I tried to develop my jazz riffs and other stuff. I played it my whole life so that was my background. When I was practicing law in Suffolk County where I practiced law for thirty years before I got the federal judgeship in 1994, there was a small little theater, sort of like a local community theater called Theater Three. They sort of borrowed during the winter time the theater for a musical, the United Artists, it was like a summer theater in Port Jefferson which is a place 60 miles from New York, and that’s where I practiced law and I became actively involved in the theater company. They used to have two parts to their theater: the main stage where they put on basic Broadway musicals, and they had a basement which was a little café they made and that had historical value to it because supposedly the film splicer was created there by a guy named Frederick Griswold in like 1903 and so it was called Griswold’s Cabaret. The company put on Best of Broadway type of little musicals on the weekends and stuff like that, and local talent to sing and such, so we were having fun doing that locally for the community. Then, United Artists wanted their space back full time for their own purposes so they wanted to evict the theater company. The theater company asked me whether I would help to save them from eviction so they can continue their shows, so that’s how I got involved in that. I started writing down these little silly songs like, “Suburbia Suburbia little houses in a row, grass that grows and grows,” just for fun and entertainment, and I had an ability to add melody lines and ideas; the executive director was really taken by it, and he said, “Fred, why don’t you do these little songs and we can put them in the cabaret?” I think he felt guilty that I was contributing all my time pro bono for the cause, so I did that and we started to package them together. Lo and behold, we had a little show down at Griswold’s Cabaret called Suburbia playing those little silly ditties and it was successful and people came every weekend; it was a full house and ran for 6 months and my gosh, what a surprise. CREATIVE + CONSCIOUS CULTURE





Out of that came the next venture and I got the idea of packaging songs for lawyers, doctors, and teachers called Professionally Speaking and that was the next show we did down there. Believe it or not, that wound up off-Broadway at the St. Peter’s Theater a year later. Amazing. I had written about all of this in my first book, Disrobed; I told all about that, and the story about how Professionally Speaking evolved is an incredible story unto itself. What happened was there was this theater company up in Connecticut, someone from there saw our show, and it got good reviews locally also, so they said, “Why don’t you do it for us at our theater company in Redding, Connecticut?” We did that, and then lo and behold, one day I get a phone call on a Sunday morning, “This is Tony Tanner speaking, is this Frederic Block?” He said, “You know, I would like to meet with you because I saw that show up in Connecticut where I have my summer home and I think it has potential to be a smashing off-Broadway sendup.” His name was Tony Tanner, he was a real person; he was the male lead years ago in a play starring him and Tony Newley calling Stop the World I Want To Get Off on Broadway, and he was the director of Joseph and the Amazing Technicolor Dreamcoat on Broadway, so I said, sure, I’ll meet you. The next week I had a meeting at the Harvard Club, law related; I was a member of the executive committee of the state bar association in my establishment, so I was dressed appropriately - a nice black pinstripe suit and a white shirt and tie for the Harvard Club, and afterwards I had to meet Tony Tanner. He lived on 91st or 92nd if I recall off West End Avenue, one of those walk up nice little brownstone flats, and I went up there and I was carrying my briefcase and I looked like a dumb lawyer. I ring the doorbell and out comes a guy in a flaming pink bathrobe with a masseuse rubbing his neck. He takes one look at me and says, “My God, you’re not dressed for the occasion, my dear.” So that’s how I met Tony Tanner, and lo and behold, he directed the show, we put it together, I had two people collaborating with me, and that became Professionally Speaking; that opened in 1984 if I remember correctly, at the St. Peters Theater which is now where the York Theater Company performs, and it’s in the Citi Corp building. That was a lot of fun, and we got good mixed reviews. We were sort of under finance; we were able to mount the show, this was just fun and games, it was Memorial Day weekend going into the summer months and suddenly it became deadly serious equity. The actor’s union wanted to get a commitment to continue the show and bankroll us into the summer months, and we just ran out of money and gas. It played for several weeks and got pretty good reviews; we played it down in Florida, in Fort Lauderdale, and on the west coast as well. If that would’ve been a hit and we had the money, who knows, I wouldn’t be a federal court judge. So that was a hobby, and then I started to write country music. I had a doctor friend of mine who lived in Smithtown right across where my office was whose son was a major guy in the country music world and he represented the Cash family all sorts of people, his name is Kenny, he’s still a major guy. His father Phil who is a surgeon went down to Nashville with me and he was connected to that world; he asked me to come with him so I wrote a song for the occasion. I wondered if a Jewish lawyer born in Brooklyn could write a country song, so I did my first and called it “She is a Cheap Date but look What She’s Cost Me” You can hear that because you can stream all my music. It was pretty cool, we almost got that thing published, and after that I just got a kick, and wrote several others. I got invited to a special class at the New School in New York here by a famous songwriter who is writing all of Randy Travis’ music and Hugh Prestwood. I took this class and I wrote more country music, but didn’t do anything with it at all. I got the federal court judgeship in 1994, and I was told by everyone that I was better off being a federal court judge than a starving songwriter. Music obviously was in my blood since I was with Franz at 9 years old.

Jonathan Cohen, Luis Lamboy, and Thomas Lucero­- Angry Orchard

MV: We know that you are overseeing the Five Pointz trial in NYC and the jury ruled in favor of the artists. Is there anything you can share with us about that? JB: I have to separate my professional responsibilities from my creative world, obviously. You can’t use your position to promote yourself, but I can’t stop anybody from writing about it, I just can’t talk about pending cases. I am in the throes of writing the opinion as we speak.

I tell the story about my father who was a very, very conservative guy and we used to make fun of him all the time; he was an orphan boy and did very well for himself, but he used to come home and used to sit at home with his suit and shirt and tie on, it was the reason we used to make fun of him. He was a good guy, and he never had any creative powers, or so we thought. He would sit and doodle at night, and he liked real estate, so he would draw little boxes, and put little furniture in the boxes and stuff like that. When my brother, who

interesting life story, I thought, and I thought by writing that it would be useful for younger lawyers because I tell a little bit of my life story in the beginning of the book. I didn’t come from a big law firm, I didn’t come from a privileged background, Harvard Law School or the US Attorney’s office, I practiced law in Suffolk County and was a solo practitioner. I tell the story of how it is that I came to be a federal court judge, but I got a lot of people telling me it was inspirational because it was the story of somebody who became a judge


MV: What advice would you give to someone starting a creative endeavor? JB: There are certain advantages to getting older and one of which is that you are assumed to have lots of wisdom and knowledge about everything; people keep asking me those questions and I don’t want to sound like a jerk like I know everything in the world. But you know, all the clichés are true, and that’s why they become clichés. The Greeks have a saying, I’m married to a Greek-American woman, that the definition of a tragedy is when you don’t realize your potential, when you hold back, when you keep things within; a lot of younger people are afraid to make themselves vulnerable to criticism, they are more cautious in many respects that when you get to be older, after a while you say what the hell. I think you should really follow your passion. If you have a passion in life, you’re going to have a good life. You see that all the time, people who are passionate about the law, passionate about music, they live longer, they live a fuller life, they really feel more actualized.

is still amongst the living happily so, adopted his daughter Pat, he gave my father a Humpty Dumpty paint by the number set with those dots that you can follow, and he was a very meticulous person so for sure he would come up and do a good Humpty Dumpty painting and he did; he followed all the dots and it was a great Humpty Dumpty painting. The next year for his 61st birthday, we gave him a set of oils; he never went to school, he never knew how to mix oils, and since he liked real estate, we gave him a copy of a Utrillo painting, a Parisian street scene, and 6 months later you couldn’t tell the difference between the Utrillo painting and what my father did. He did 6 or 7 more of these things and then he died! It always stuck with me, I would say, here is a person who had all this incredible talent in him that was never realized and just by quirk, suddenly you saw this man’s ability, and then I wonder how many people are like that. When I started writing my first book at age 78, I thought of my father as well as my grandma, and I thought what the hell, I can write now because I have something to write about; I got 23 years on the bench, I have an

who didn’t have that traditional background, and I sort of felt good about the fact that I did that and then I went from there to the new book I have, and here I am.

Judge Block followed every inkling passion that came his way, and being an artist and appreciating the value of art allowed him to do justice to the Plaintiffs in the famous NY 5Pointz litigation. His Opinion was published on February 12, 2018, and this is open for the public to read. He did his best to do right by the Plaintiffs under the Visual Artists Rights Act of 1990 (VARA). These artists were all on display at 5Pointz, which the Court recognized “had become the repository of the largest collection of exterior aerosol art…in the United States.” This was the first time the Court had to protect the rights of the aerosol “graffiti” artist, and that it did. Hopefully this precedent allows all mediums of art to be valued and respected. CREATIVE + CONSCIOUS CULTURE



Akiko Miyakami and Jonathan Cohen 足- Underwater Fantasy

Christian Cortes 足- Jackson Avenue Skulls

Richard Miller 足- Monsters II

Jonathan Cohen and Maria Castillo 足- Burner and Love Girl 72



Kenji Takabayashi 足- Starry Night

Nicholai Khan -足 Dos Equis Man

Jonathan Cohen 足- 7-Angle Illusion

Christian Cortes足- Skulls Cluster CREATIVE + CONSCIOUS CULTURE





at the MIAMI FILM FESTIVAL VANESA WILKEY-ESCOBAR, AMIGO SKATE About The Director: Vanesa Wilkey-Escobar is a Los Angeles-based filmmaker. She received her BFA at Ohio State University. She has worked extensively in several cinematic disciplines, such as art direction and production design. Amigo Skate, Cuba (18) is her directorial debut. Vanesa began exploring her Cuban roots for a film project and travelled to Miami in early 2015 to visit family and hear old stories and memories of Cuba. While there, she met Rene LeCour, founder of Amigo Skate Cuba, and was immediately drawn to the story around his charity and smuggling skateboards into Cuba. She called Chris, a fellow producer, and told him point blank – “We are going to Cuba” The rest is history. They managed to quickly raise the funds through generous Kickstarter donations and a private investor. In less than three months, they were on a plane with a crew of six with huge duffel bags stuffed with skateboards and film equipment headed for Havana, Cuba. What began that day was a two-year journey that culminated into a feature film documentary filled with images of a beautiful and dilapidated island. It holds the hopes and dreams of young Cuban skateboarders and the ambitions of a few aging American and Cuban skateboarders to gets those kids a little slice of freedom by way of a government approved skate park. About The Film: Skateboarding is as much a passion as a leisure activity—but to skate in Cuba requires a level of ardor we Americans know nothing about. Vanesa Wilkey-Escobar’s debut documentary tracks a transnational effort led by Miami’s own Rene Lecuor, founder of Amigo Skate, to get Cuban skaters the gear and space they need. The journey is uphill: the only current skate-park in Havana is built on a drainage ditch and the Cuban government is reluctant to recognize skateboarding—an American invention—as a valid sport. What’s more, negotiating with government officials demands a demonstrative respect for authority that can feel antithetical to those whose credo is founded in skate culture’s outlaw mentality. Filled with thrilling sequences of skate virtuosity, Amigo Skate Cuba presents a fascinating case of cooperation overcoming culture clash—and a universal portrait of freedom on four little wheels.









About The Director: Hannah Cheesman is a Canadian Screen Award-nominated actor, writer and filmmaker. Named one of Playback’s 2015 “Five to Watch”, and a 2014 TIFF Emerging Canadian Filmmaker. About The Film: An iPhone-obsessed gym rat is momentarily released from her monotonous existence after a Robaxacet overdose calls in to question her, forcing her to abandon her self-conscious isolation when she connects with an unlikely stranger. Photos courtesy of Miami Film Festival

About Miami Dade College’s Miami Film Festival Miami Film Festival is the only major film festival event housed within a college or university. Celebrating cinema in two annual events, Miami GEMS Festival in October and its 35th annual edition March 9 – 18, 2018, Miami Dade College’s Miami Film Festival is considered the preeminent film festival for showcasing Ibero-American cinema in the U.S., and a major launch pad for all international and documentary cinema. The annual Festival more than 60,000 audience members and more than 400 filmmakers, producers, talent and industry professionals. It is the only major festival housed within a college or university. In the last five years, the Festival has screened films from more than 60 countries, including 300 World, International, North American, U.S. and East Coast Premieres. Miami Film Festival’s special focus on Ibero-American cinema has made the Festival a natural gateway for the discovery of new talent from this diverse territory. The Festival also offers unparalleled educational opportunities to film students and the community at large. Major sponsors of the 2017-18 Festival season include Knight Foundation, American Airlines and Miami-Dade County. For more information,visit or call 305-237-FILM (3456).

OMILANI ALARCÓN, LATINEGRAS: THE JOURNEY OF SELF-LOVE THROUGH AN AFROLATINA LENS About The Director: Omilani Alarcón is a multidisciplinary artist and scholar. She received her degree in Africana studies at Cornell University and studied Yoruba at Nigeria’s Obafemi Awolowo University. Latinegras: The Journey of Self-Love Through an AfroLatina Lens (17) is her feature debut. About The Film: “Identity is a journey.” This first-person documentary follows Miami-based artist, scholar and filmmaker Omilani Alarcón’s on journey of self-actualization through history and heritage in both her native Puerto Rico and the continental United States. Filled with candid, lively interviews with women of both Latin American and African descent, Latinegras offers empowerment through knowledge and solidarity. Drawing inspiration from icons like Celia Cruz and Afro-Peruvian poet Victoria Santa Cruz, Alarcón examines the slow but steady evolution of latinegras representation in popular culture, while reminding us of the dark legacy of slavery and the problematic etymologies of terms like “mulatto” or “Creole.” LATINEGRAS is a celebration of cultural complexity and the importance of self-love, prompting each of us to look deep into ourselves and discover what it is that makes us beautiful. Fun Fact: Latinegras® Documentary has been 4 years in the making and was primarily filmed in Miami and Puerto Rico. Film Director, Omilani resigned from her job as a French Teacher in Miami-Dade Public Schools to pursue a career in the arts and used her last paycheck to purchase a Canon T5i DSLR on which the documentary was shot. With no prior knowledge of filmmaking, she simply picked up the camera and used her intuition to guide her on a self-funded journey.

RHONDA MITRANI, SUPERMARKET About The Director: Rhonda Mitrani began her career editing for independent film and television until she made her first documentary, CUBA MIA (02). About The Film: A playful satire about what women confront the moment they realize they’re pregnant: a complex economic system engineered to capitalize on birth and toddlerhood - all of which makes it shockingly easy to forget the simple wonder of creating life. CREATIVE + CONSCIOUS CULTURE




Exploring Painting with Vicki Siegel, instructor

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Profile for Art Hive Magazine

Art Hive Magazine /// #25 /// Spring 2018  

Creative + Conscious Culture. Featuring Orange Is the New Black star Adrienne C. Moore, photographer Maria Svarbova, Artist Alex Katz, World...

Art Hive Magazine /// #25 /// Spring 2018  

Creative + Conscious Culture. Featuring Orange Is the New Black star Adrienne C. Moore, photographer Maria Svarbova, Artist Alex Katz, World...

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