INDULGE December 2016/January 2017 by Mike coto

INDULGE DECEMBER 2016 / JANUARY 2017

For DAN AND KATHRYN MIKESELL, art is life

ART BASEL ISSUE

DEFINITIVE GUIDE TO THE FAIRS CHECK IN TO AN ART HOTEL MIAMIâ&#x20AC;&#x2122;S NEW SKYLINE

LOCAL ARTISTS TO WATCH

Oral representations cannot be relied upon as correctly stating the representations of the developer. For correct representations, reference should be made to the documents required by section 718.503, Florida statutes, to be furnished by a developer to a buyer or lessee. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. This is not an offer to sell, or solicitation of offers to buy, the condominium units in states where such offer or solicitation cannot be made. Prices, plans and specifications are subject to change without notice.

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This project is being developed by Terra Weston Residential, LLC (“Developer”), which has a limited right to use the trademarked names and logos of Terra Group. Any and all statements, disclosures and/or representations shall be deemed made by residences within the project. Oral representations cannot be relied upon as correctly stating the representations of the developer. This is not intended to be an offer to sell nor a solicitation of offers to buy real estate to residents of NY, or in any other jurisdiction where prohibited by law, and your eligibility for purchase will depend upon your state of residency. All images and designs depicted herein are artist’s conceptual renderings, which are based upon preliminary development plans and are subject to change without notice in the manner provided in the offering documents. All such materials are not to scale and are shown solely for illustrative purposes.

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neighborhoods and a varied corporate, commercial, and retail environment. There is also a rich array of year-round cultural and community events and a beautiful Mediterranean-style Town Center with shopping, dining, and nightlife experiences. While Weston is renowned for its peaceful ambience — and ranked as one of the top 8 best places to live in America — residents of Botaniko Weston will enjoy the added measure of security and peace of mind provided by a gatehouse that is staffed 24 hours a day with cameras and state-of-the-art closed circuit television.

125 modern luxury homes situated on 121 graciously landscaped acres in Weston. Designed by visionary team Chad Oppenheim, Roney Mateu, , Terra, VStarr and Landscape Design Workshop. Botanikoweston.com | T 954 372 8466 | Sales Gallery 16479 Botaniko Drive North Weston, Florida 33326 Exclusive Sales and Marketing by Terra Realty, LLC.

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. OBTAIN THE PROPERTY REPORT REQUIRED BY FEDERAL LAW AND READ IT BEFORE SIGNING ANYTHING. NO FEDERAL AGENCY HAS JUDGED THE MERITS OR VALUE, IF ANY, OF THIS PROPERTY. All artistâ&#x20AC;&#x2122;s or architectural conceptual renderings, plans, prices, specifications, terms, features, dimensions, amenities, existing or future views and photos depicted or otherwise described herein are based upon preliminary development plans, and all and are subject to architectural revisions and other changes, without notice, in the manner provided in the purchase agreement or other information and the offering circular and may not be relied upon. All features listed for the residences are representative only, and the Developer reserves the right, without notice to or approval by the Buyer, to make changes or substitutions of equal or better quality for any features, materials and equipment which are included with the unit. This advertisement does not constitute an offer to sell or a solicitation of an offer to buy a unit in the condominium. No solicitation, offer or sale of a unit in the condominium will be made

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in any jurisdiction in which such activity would be unlawful prior to any required registration therein. We are pledged to the letter and spirit of U.S. policy for the achievement of equal housing throughout the Nation. We encourage and support an affirmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, sex, religion, handicap, familial status or national origin. Advertising & Interactive by Miami

Oral representations cannot be relied upon as correctly stating representations of the developer. For correct representations, make reference to the documents required by Section 718.503, Florida Statutes, to be furnished by the developer to a buyer or lessee. Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property. We are pledged to the letter and spirit of U.S. policy for the achievement of equal housing throughout the Nation. We encourage and support an affirmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, sex, religion, handicap, familial status or national origin. This ad does not constitute an offer to sell or a solicitation

THIS JANUARY, ELEVATE YOUR LIFE ON THE WATER. Rising above Miamiâ&#x20AC;&#x2122;s first new private marina in decades, The Reserve represents the most luxurious homes at Marina Palms. Elevate every moment with the most coveted views, premium finishes, upgraded amenities and personal services, including The Reserve house car â&#x20AC;&#x201C; a black Rolls-Royce Ghost for luxuriant jaunts around the neighborhood. On its own peninsula, The Reserve offers views over the marina on one side and a pristine nature preserve on the other. This epic panorama also takes in the broad sweep of the Atlantic horizon, punctuated by the glittering skylines of Sunny Isles and Downtown Miami. Step up to The Reserve and start living at the new height of waterfront luxury this January. Residences from $950k | Penthouses from $1.2 million 17111 Biscayne Boulevard, North Miami Beach, FL 33160 786.629.9670 | TheReserveMiami.com

of an offer to buy a unit in the condominium. No solicitation, offer or sale of a unit in the condominium will be made in any jurisdiction in which such activity would be unlawful prior to any required registration therein. Artist conceptual renderings.

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in this issue

132 FEATURES

INDULGE DECEMBER 2016 / JANUARY 2017

132 FEMININE FORM Meet Fort Lauderdale’s Francie Good Bishop, an artist, and husband David Horvitz, investor. For more than a decade, they have spotlighted artwork by women, most recently through their promised gift to the NSU Art Museum. 138 THE ARTISTS’ CHAMPION Bernice Steinbaum has closed her longtime gallery, but that hasn’t stopped her from supporting the artists she loves. Her passion is the subject of the film “Bernice.” 142 PRESIDENTIAL STYLE University of Miami’s first couple, President Julio Frenk and Felicia Knaul, have used art from their

collection to make the university’s residence feel more like home. 146 THE MAN FROM RUSSIA Vladislav Doronin brings his stamp from Moscow and Aman’s global resorts to Miami’s Edgewater neighborhood. 150 A PASSION SHARED For more than 50 years, Rosa and Carlos de la Cruz have shared their love of art with one another and, more recently, the Miami community through their privately funded de la Cruz Collection. 154 MIAMI CANVAS Here are seven local artists you may not know... but should.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

For DAN AND KATHERINE MIKESELL, art is life

ART BASEL ISSUE

DEFINITIVE GUIDE TO THE FAIRS CHECK IN TO AN ART HOTEL MIAMI’S NEW SKYLINE

LOCAL ARTISTS TO WATCH

ON THE COVER Dan and Kathryn Mikesell photographed in their Morningside home with works by Daniel Arsham (“Replica,” rear) and Derek Weisberg (“Begging to sink into repose,” right). Hair and makeup by Rory Lee. Photograph by Patrick Farrell.

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Oral representations cannot be relied upon as correctly stating the representations of the developer. For correct representations, make reference to the documents required by section 718.503, Florida Statute, to be furnished by a developer to a buyer or lessee. Your eligibility for purchase depends upon your state of residency. This offer is void where prohibited. Gran Paraiso is developed by PRH Paraiso Two, LLC (“Developer”), which, pursuant to license agreements, uses the trademarked names and logos of The Related Group, which is not Developer. This offer is made pursuant to the Prospectus for Gran Paraiso and no statement should be relied upon if not made in the öÍóúJPïëó úöÍç>MJM ïÍ ÜÍë RÜ ïAJ ¦JçJÖÍúJö¶ øëTöJ GÍÍïTDJ >ó TúúöÍß>ÔTïJ TÑM ÔTÜ çTöÜ MJúJÑM>ÑD ÍÑ AÍã ÔJTóëöJM TÑM TPïëTÖ PÍÑóïöëPï>ÍÑ¶ oÍPTï>ÍÑó TÑM ÖTÜÍëïó ÍG ã>ÑMÍãó¸ MÍÍöó¸ PÖÍóJïó¸ úÖëÔR>ÑD `ßïëöJó¸ TÑM óïöëPïëöTÖ TÑM TöPA>ïJPïëöTÖ MJó>DÑ JÖJÔJÑïó ÔTÜ çTöÜ GöÍÔ PÍÑPJúï ïÍ TPïëTÖ PÍÑóïöëPï>ÍÑ¶ ªÖÖ MJú>Pï>ÍÑó ÍG TúúÖ>TÑPJó¸ úÖëÔR>ÑD `ßïëöJó¸ PÍëÑïJöó¸ PÍëÑïJöïÍúó¸ PTR>ÑJïó¸ óÍG`ïó¸ ^ÍÍö PÍçJö>ÑDó TÑM ÍïAJö ÔTïïJöó ÍG MJó>DÑ TÑM MCPÍö MJïT>Ö TöJ PÍÑPJúïëTÖ TÑM TöJ ÑÍï ÑJPJóóTö>ÖÜ >ÑPÖëMJM ã>ïA ~Ñ>ï úëöPATóJ¶ ¦JçJÖÍúJö JßúöJóóÖÜ öJóJöçJó ïAJ ö>DAï ïÍ ÔTØJ ÔÍM>`PTï>ÍÑó¸ öJç>ó>ÍÑó¸ TÑM PATÑDJó >ï MJJÔó MJó>öTRÖJ Íö ÑJPJóóTöÜ Tó T ÔTïïJö ÍG PÍMJ PÍÔúÖ>TÑPJ or otherwise. There is no guarantee that any, or all off-site attractions, shopping venues, restaurants, and activities referenced will exist or be fully developed, as depicted, or that these would not change. The managing entities, AÍïJÖó¸ TöïãÍöØ¸ MJó>DÑJöó¸ PÍÑïö>Rëï>ÑD Töï>óïó¸ >ÑïJö>Íö MJó>DÑJöó¸ `ïÑJóó GTP>Ö>ï>Jó¸ TÔJÑ>ï>Jó¸ óJöç>PJó¸ TÑM öJóïTëöTÑïó úöÍúÍóJM ã>ïA>Ñ ïAJ ¨ÍÑMÍÔ>Ñ>ëÔ TÑM öJGJööJM ïÍ AJöJ>Ñ TöJ TPPëöTïJ Tó ÍG ïA>ó úëRÖ>PTï>ÍÑ MTïJ AÍãJçJö¸ Developer does not guarantee that these will not change prior to, or following, completion of the Condominium. Any art depicted or described may be exchanged for comparable art at the Developer’s discretion. Art may be loaned ïÍ¸ öTïAJö ïATÑ ÍãÑJM RÜ¸ ïAJ ªóóÍP>Tï>ÍÑ¶ ¨ÍÑóëÖï ïAJ öÍóúJPïëó GÍö TÖÖ ïJöÔó¸ PÍÑM>ï>ÍÑó¸ TÑM óúJP>`PTï>ÍÑó¶ JúöÍMëPï>ÍÑ GÍö úö>çTïJ Íö PÍÔÔJöP>TÖ ëóJ >ó ÑÍï TëïAÍö> JM¶ ÂÄÃ¿Å TöT>óÍ ãÍ¸ oo¨ ã>ïA TÖÖ ö>DAïó öJóJöçJM¶

in this issue

48 THE LOCAL 39 BAUHAUS, REVISITED Bold style that never goes out of fashion. 40 OFF THE WALLS Museum works to go. 42 SOLE SURVIVAL Miami Art Week is all about your feet. 44 MY 305 STYLE Artist Carlos Betancourt’s Magic City musts. 46 MY 305 STYLE Gallerist Lexing Zhang’s tips for urban Zen. 48 BEAUTY Secrets for looking your best during Art Week.

40 60

50 PHILANTHROPY Who are the emerging artists and performers worth watching? Culture supporters at parties around the region share their thoughts. 52 SOURCE Miami artist Bruce McQuiston aims to perfect the art of motorcycle maintenance. 60 CULTURE On this fall’s agenda: Opening of the Faena Forum, renewal of the Bakehouse Art Center and a tribute to Zaha Hadid.

THE MOVERS 67 ARTIST Portrait master Chuck Close makes Miami Beach his winter home. 70 ADVOCATE For Carolina Garcia Jayaram, the appointment as YoungArts’ new leader is a homecoming. 92 EYE Alex Gartenfeld’s curatorial vision shapes programs at Miami’s Institute of Contemporary Art and across the global art scene.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

in this issue

110 ART AND ARCHITECTURE The city’s sprouting skyline. 118 STAYCAYTION At an ever-growing number of local hotels, art immersion doesn’t need to end with Art Basel. 125 ESCAPE Perhaps best known for lobster, Midcoast Maine has become a nexus for artists and chefs who thrive on its nature and serenity.

THE GUIDE 163 ART BASEL IN MIAMI BEACH Here’s what you need to know about this year’s fair. 166 ALL ABOUT DESIGN Design Miami/ is changing up its look.

86 74 DIRECTOR Barry Jenkins’ heart-touching Miami movie has Oscar-watchers buzzing about a film nomination.

90 SPINNER Toto Gonzalez — better known as DJ Pauer — tracks Miami’s ever-changing sounds.

78 MENTOR Bahia Ramos, the Knight Foundation’s director of arts, helps non-profits navigate a profit-oriented universe.

92 PHILANTHROPISTS Dan and Kathryn Mikesell may be transplants, but they support all things Miami.

80 PIANO MAN Shelly Berg, dean at UM’s Frost School of Music, riffs on jazz as he takes on an additional role with the Arsht Center. 84 ENTREPRENEUR Jessica Goldman Srebnick stays true to her family’s street-art sensibilities as she stretches the canvas to Hard Rock Stadium and points north. 86 WORDSMITH Joshua Jean-Baptist brings swagger to his scripts for stage and screen. 88 RISING STAR Emily Tarallo is getting standing ovations at theaters across South Florida.

170 PUBLIC AND FREE The Art Public sculpture exhibit and other time-worthy events open to everyone. 172 AT THE MUSEUMS Great art experiences aren’t limited to the fair tents.

95 178 AT THE FAIRS During Art Week, art is all about the town. 180 REST FOR THE WEARY When your eyes and feet need a break, these handy businesses can help. 184 DATEBOOK Start planning now. Here’s what you need to know. 188 MAP We have the locations that your GPS is missing. 198 INDULGENCE Pop artist Gary Baseman draws together commerce, art and fashion in a bold way. The result is not a matter of need, but it may be an object of desire.

THE LIFE 95 DISH Local restaurants plate up foods that look as spectacular as they taste. 98 POUR At this trio of Miami bars, ingredients and flair are combined to create artisanal cocktails. 100 RECIPE Two South Florida chefs share their secrets for the ultimate noche buena feast. 104 NEIGHBORHOOD The spotlight is on Little Haiti, home to a culture griot that you can see in the galleries and taste in the corner restaurants.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

118

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guest editor’s letter

ven if you don’t revel in art fairs, the first week in December is a time to celebrate. In the 15 years since Art Basel launched its Miami Beach fair, our town has morphed from a sometimes-snubbed regional hub to a global cosmos a la London, Hong Kong, Tokyo and Buenos Aires. Even New Yorkers have caught Miami fever, buying multimillion-dollar condos up and down the sand. While many factors contribute to our growing reputation — palm trees and the bubbling culinary scene never hurt — our region’s cultural evolution is part of the allure. And while Art Basel shouldn’t get all the credit, it definitely helps fuel our fire. Since 2001 — before the fair actually came to Miami — I’ve covered Art Basel for the Miami Herald. And as in years past, I have the honor of guest-editing this year’s Art Basel Issue of INDULGE. Here you’ll find profiles of many of the Miamians who contribute considerable time, talent and funds to enrich South Florida’s cultural scene. Some are emerging artists, such as writer Joshua Jean-Baptiste and actress Emily Tarallo. Others, like painter Jane Wooldridge Chuck Close, are world famous. Some, like collectors Rosa and Carlos de la Cruz and Guest Editor Fort Lauderdale’s Francie Bishop Good and David Horvitz, invest their personal wealth in making world-class artworks accessible to our community. Kathryn and Dan Mikesell, pictured on this year’s cover, support all things Miami. Their Morningside home — not a mega-mansion but a regular family house — is filled with works by local (and yes, out-of-town) artists. Kathryn is a particular fan of Miami designers, including Ramona La Rue, Krel and Julian Chang, whose jumpsuit she wears on the cover. They have opened an art residency in a house near their own, and they created, run and support The Fountainhead Studios for artists in Little River. Beginning on page 163, you’ll find our annual guide to getting the best out of Art Basel and the surrounding art fairs and exhibits that make Miami Art Week some of the most vibrant days on the global social calendar. So this December, when you complain about traffic and out-of-towners clogging up your favorite restaurants, consider the cultural institutions that have blossomed in the 15 years since Art Basel came to town: the Arsht Center for the Performing Arts, the New World Symphony, the Perez Art Museum Miami, the YoungArts Campus, Institute of Contemporary Arts, the de la Cruz Collection, Wynwood Walls, Margulies Collection at the Warehouse, dozens of art galleries and terrific regional theater companies. Think of the artists and performers who can now call Miami home. Then grab a taxi (yes, they still exist) or Uber or Lyft and head out to Art Basel or Art Miami or one of the many other satellite fairs. Heck, go to several! Catch a free art talk or art film. Or just wander around the sculptures in front of The Bass museum in Miami Beach or catch one of the free exhibits in the Design District. Catch the spirit while you can: Though its afterglow lasts for months, Miami Art Week lasts only a few days.

INDULGE A S P E C I A L P U B L I C AT I O N P R O D U C E D B Y

PRESIDENT AND PUBLISHER ALEXANDRA VILLOCH EDITORIAL Art Basel Guest Editor Jane Wooldridge Editor in Chief Evan S. Benn Contributing Design Director John Michael Coto Miami Herald Special Publications Manager Roberto Hernández-Alende Contributing Beauty Editor Jennifer Scruby Contributing Style Editor Claudia Miyar Contributing Editorial Assistant Christiana Lilly Other contributors Shayne Benowitz, Harry Broertjes, Carlos Caso, Emily Cochrane, Christine Dolen, Lyn Farmer, Patrick Farrell, George Fishman, Carlos Frias, Cindy Krischer Goodman, Alastair Gordon, Chabeli Herrera, Carl Juste, Rory Lee, Jordan Levin, Jodi Mailander, Emily Michot, Ricardo Mor, Moris Moreno, Siobhan Morrissey, Galena Mosovich, Tere Figueras Negrete, Rene Rodriguez, Charles Trainor Jr., Lorraine Triolo, Anne Tschida Color correction Wilbert Mooyoung Visit our online edition: www.miamiindulge.com

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

editor’s letter

rt is personal. That’s a refrain you frequently hear from collectors, gallerists and artists themselves. I wasn’t quite sure what it meant, until I went to Vermont with my father for a stone-carving workshop this summer. It was the second year we’d taken the weeklong course, under the expert direction of master sculptor Rick Rothrock at the Carving Studio and Sculpture Center in West Rutland. The previous summer, I’d taken my dad there as a gift for his 70th birthday. He’s an attorney by trade but has sculpted dramatic and beautiful bronze artwork for the past 20-plus years, and he was interested in working with stone. At the workshop, tuition fees include Rothrock’s instruction, use of the Carving Studio’s tools, communal dinners with fellow students and resident artists, and about 200 pounds of Vermont marble to carve, chisel and cut. I came out of the class last year with a sturdy flower pot that resides on my balcony in Coral Gables, plus a newfound appreciation for the art of stone-sculpting, and a new bonding tradition to Evan S. Benn share with my dad. Editor in Chief This year was different. My father, who was dealing internally with a health scare that he had not yet clued me in on, and I didn’t seem to be connecting in the same way we had the year before. Our lack of communication turned us both inward, and I funneled the emotions I was feeling — the unspoken words — into the piece I was creating. What I came up with, a “B” resting at an angle in a base, speaks to me in a way the flower pot never has. It reminds me of the helplessness I felt when my dad finally told me what was going on with him and what the next steps might be. And it reminds me of the exhilaration that came with the news of his scare being just that and nothing more. I’m eager to see what evokes similar reactions this year at Art Basel and Art Miami. You don’t have to make art to have a personal connection to it. Like food memories and certain aromas, art can transport you to a moment that occupies a special place in your heart and mind. Our Art Basel issue of INDULGE is intended to help you navigate the ever-growing international fair while paying special attention to the Miami artists, curators and patrons who are at the forefront of the art scene. Guest-edited by my colleague Jane Wooldridge — Miami Herald business editor and our resident art expert — the following pages represent the very best of what Miami has to offer to art-minded visitors and locals. Throughout Art Basel week and afterward, I hope you find that joy that comes from art that feels personal.

For editorial consideration: editor@miamiindulge.com KEEP IN TOUCH! Follow INDULGE on Twitter @MiamiIndulge, and follow @EvanBenn Friend us! facebook.com/MiamiIndulge @INDULGEmiami

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contributors JORDAN LEVIN

Patrick Farrell has been a Miami Herald photographer since 1987. He is the recipient of the 2009 Pulitzer Prize for Breaking News Photography — awarded for his photographs of the devastation in Haiti caused by a particularly brutal hurricane season — and many other major photography awards. He has documented major news events locally and abroad, including unrest in Haiti during the country’s 1994 military rule, Hurricane Andrew’s 1992 path of destruction in South Florida and childhood poverty in the Americas. He is an adjunct professor teaching photojournalism at Florida International University. Born in Miami, he graduated from the University of Miami in 1981. Farrell is married to Miami-based journalist Jodi Mailander Farrell; they have two young daughters. This year he’s watching the work of former colleague Joe Rimkus Jr. on Instagram, @photosbyjoecool.

CARL JUSTE

ANNE TSCHIDA

Under the threat of persecution, Haitian-born Carl-Philippe Juste and his politically active family were forced to flee their homeland in 1965. Settling in Miami’s Haitian community, Juste flourished academically and attended the University of Miami. Since 1991, he has worked as a photojournalist for the Miami Herald, both locally and on assignments in Pakistan, Afghanistan, Iraq and Haiti. He has received numerous awards for his work, including the Robert F. Kennedy Journalism Award. His work has been exhibited at various institutions and galleries. Juste is one of the founders of the Iris Photo Collective, a collaboration to create a new context in order to explore and document the relationship of people of color to the world. Among his many photographs for this issue is a series of images from Miami’s Little Haiti, where Juste spends much of his time and has a studio.

After graduating from the Medill School of Journalism at Northwestern University in Evanston, Illinois, Tschida moved to Hong Kong and worked for a variety of publications, covering the cultural arts of China and Southeast Asia. After a stint for an Asian newspaper in Los Angeles, she relocated to Berlin, and worked as a journalist during Berlin’s — and Eastern Europe’s — cultural revival after the fall of the Iron Curtain. She moved to Miami to become associate editor at Miami New Times, overseeing all cultural sections. Since leaving there, she has since written and edited for numerous publications about the vibrant arts scene that has sprouted in South Florida, including writing regular reviews for local and national publications including the Miami Herald. She currently is the editor of Artburst Miami. Her top tip for Art Week: Narrow your focus. Spend one day at Art Basel, then limit yourself to a neighborhood or handful of fairs per day.

ALASTAIR GORDON Alastair Gordon is an awardwinning critic and author who has written regularly about art and architecture for publications including the New York Times and the Wall Street Journal. Gordon teaches critical writing at Harvard University’s Graduate School of Design, and is a Distinguished Fellow at the Miami Beach Urban Studios of Florida International University. He writes the skyline architecture column for the Miami Herald and has published critically acclaimed books, including “Naked Airport,” “Weekend Utopia” and “Romantic Modernist.” He lives with his family in Miami. His favorite part of Art Week: the oddly quiet moments between events.

PATRICK FARRELL

Jordan Levin has been an arts and entertainment reporter and critic at the Miami Herald since 1999, covering dance and performance, Latin and pop music, cultural trend stories and investigative features. She has written and produced radio features for WLRN-Miami Herald News and has been an adjunct professor of feature writing for the University of Miami School of Communication. She also has written for the Los Angeles Times, the New York Times, the Wall Street Journal, and Latina, Billboard and Ocean Drive magazines. Before turning to journalism, she was a dancer in New York City and an arts presenter in Miami. She is especially looking forward to Miami Dade College Live’s presentation of “Traffic,” a citywide performance and participatory event scheduled for this year’s Art Week.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

SIOBHAN MORRISSEY Siobhan Morrissey worked as a reporter while studying law at the University of Miami. In the 1990s, she served as a prosecutor in Miami before returning to journalism in 2000. Her articles appear in numerous national publications, including Time, People, ESPN the Magazine, Cultured, Latina and the ABA Journal. Her reporting led to the rescue of a man trapped beneath an earthquake-flattened building in Haiti and justice for three men falsely accused of rape. Morrissey also has been appraising fine art for almost a decade for private and public collectors, including local museums. She is certified by the Appraisers Association of America, and in 2012 formed Morrissey Fine Art. Her favorite art forms are interactive — such as Marina Abramovic’s “Sleeping Exercise” at a previous Art Basel that allowed fairgoers to catch 40 winks.

The Arts are a major driver of the South Florida innovation, information, cultural economy and critical to the life of the mind. They inform the way we think, create, discern, solve problems, and adapt to our rapidly changing world. The creative and academic activities of FIUâ&#x20AC;&#x2122;s faculty, curatorial staff, and students in our colleges, schools and three museums support our quest for excellence and enrich the regional arts scene in our community.

Our State-of-the-Art programs: College of Communication, Architecture + The Arts | Center for the Humanities in an Urban Environment | FIU Communication Arts Studio FIU-Miami Creative City Initiative | Jewish Museum of Florida-FIU | Mary Ann Wolfe Theater | Miami Beach Urban Studios School of Environment, Arts and Society | The Herbert and Nicole Wertheim Performing Arts Center | The Patricia & Phillip Frost Art Museum The Royal@FIU World Stage Collaborative | The Wolfsonian-FIU | Writers on the Bay

Learn more at TheArts.ďŹ u.edu

the local

N E W. N O W. AND RIGHT HERE.

Compiled by Claudia Miyar

SCULPTURAL SHADES

Fendi sunglasses mirror the angularity of those beloved Bauhaus posters. $480. Neiman Marcus, The Village of Merrick Park, 390 San Lorenzo Avenue, Coral Gables; 786-999-1000; neimanmarcus.com.

TABLE THE TOPIC

Nesting tables, designed by Charlotte Perriand for Cassina, recall the lyrical purity of a Kandinsky painting. Set of five, $7,400. Poltrona Frau Group Miami, 59 Northwest 36th Street, Miami; 305-576-3636; poltronafraumiami.net.

bauhaus

BRIGHT LIGHT

Roche Bobois’ reissue of the 1965 Luigi Gorgoni-designed Buonanotte lamp can be adjusted to direct light up or down. $340. Roche Bobois, 450 Biltmore Way, Coral Gables; 305-444-1017; roche-bobois.com.

REVISITED

The bold forms and primary hues of Bauhaus design remain ever au courant thanks to furniture makers, fashion stylists and the inimitable Grace Jones.

TIMELESS STYLE

Keep up with The Jones with this modern classic dress from Max Mara. Price on request. Max Mara, Design District, 3841 Northeast Second Avenue; 305-770-6200; maxmara.com.

ON THE GRID

Though it will soon be a century old, the Bauhaus movement still feels fresh. With this fabric, you can take it wherever you want. Upholstery grade cotton-blend fabric. $248 per yard. Kravet, Design Center of the Americas, 1855 Griffin Road, Suite B-180, Dania Beach; 954-920-4735; kravet.com.

TAKE A SEAT

The Bauchair by Gianni Rossi showcases definitive lines, functionality and easy assembly — no screws or glue needed. And it comes in a children’s size. $130 small; $470 large. Elemental Store, 2399 Northwest Second Avenue, Wynwood; 786-276-5955; elementalstore.com.

www.miamiindulge.com | DECEMBER 2016 / JANUARY 2017 | INDULGE

the local Complied by Jane Wooldridge

PLAY ALL ANGLES

Gold-plated links designed by Petra Meiren can be worn as a wrap bracelet or long necklace. $260. Pérez Art Museum Miami, 1103 Biscayne Boulevard, Miami; 305-375-3000; pamm.org.

BAG IT

Wendy Stevens’ hand-fabricated bag in perforated stainless steel and leather handles the essentials — lipstick, phone and a credit card — in style. $495. NSU Art Museum Fort Lauderdale, 1 East Las Olas Boulevard, Fort Lauderdale; 954-525-5500; nsuartmuseum.org.

BUILD IT

walls

Tegu’s magnetic wooden blocks are the tools to stretch imagination. $30-$100 depending on size. Wolfsonian-FIU Museum, 1001 Washington Avenue, Miami Beach; 305-531-1001; wolfsonian.org.

OFF THE

Museum boutiques offer artful works you won’t find elsewhere. And unlike works in the galleries, you can take these with you.

MUGGED

Start the day with a jolt of joe in a pop-art homage to Miami, created for Miami Dade College. $12. Museum of Art + Design, Freedom Tower, 600 Biscayne Boulevard, Miami; 305237-7700; mdcmoad.org.

COLLARED

Industrial meets tribal in this resin-and-mesh choker designed by Joan Goodman for PONO. $370. Pérez Art Museum Miami, 1103 Biscayne Boulevard, Miami; 305-375-3000; pamm.org.

WRAP IT

Dutch designer Christie van der Haak, whose work is currently on display, created these butterfly-inspired VèVèlle scarves. $70. Wolfsonian-FIU Museum, 1001 Washington Avenue, Miami Beach; 305-531-1001; wolfsonian.org.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

EYE-CATCHER

No one can look away from these limited edition sunglasses designed by pop artist Barbara Kruger. $200. NSU Art Museum Fort Lauderdale, 1 East Las Olas Boulevard, Fort Lauderdale; 954-525-5500; nsuartmuseum.org.

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the local Compiled by Claudia Miyar

SHE’S A LADY

Lace, crystals and pearls embellish these feminine flats. $1,350. Jimmy Choo, The Village of Merrick Park, 360 San Lorenzo Avenue, Coral Gables; 305-443-6124; jimmychoo.com.

SLIP ’EM ON

The low, faceted heel and bright geometric accents take these Fendi mules from day to night. $700. Saks Fifth Avenue, Dadeland Mall, 7687 North Kendall Drive; 305-662-8655; saksfifthavenue.com.

SOLE

survival

During Art Week, comfort comes down — to your feet. In these chic styles, you can tread lightly with both ease and élan.

FOR THE GUYS

FREE SPIRIT

Suede booties with embroidered butterflies exude bohemian glamour. $2,145. Valentino, 140 Northeast 39th Street, Design District; 305-639-8851; valentino.com.

WHAT A STUD

Gucci’s classic men’s loafer gets a serious attitude adjustment with bold studs and spikes. $1,590. Neiman Marcus, Bal Harbour Shops, 9700 Collins Avenue, Bal Harbour; 305-865-6161; neimanmarcus.com.

FIT FOR A QUEEN

These Gucci flats featuring pearl, brocade and faux fur flourishes are anything but low-key. $1,100. Neiman Marcus, The Village of Merrick Park, 390 San Lorenzo Avenue, Coral Gables; 786-999-1000; neimanmarcus.com.

BE A STAR

These sneakers from Yves Saint Laurent make every man a star. $695. Saint Laurent, Bal Harbour Shops, 9700 Collins Avenue, Bal Harbour; 305-868-4424; ysl.com.

LA DOLCE VITA

Florentine flourishes bring a breezy, Italian flair to these Dolce & Gabbana espadrilles, $465. Nordstrom, Dadeland Mall, 7239 North Kendall Drive; 786-709-4100; nordstrom.com

WALKING TALL

Thanks to the chunky heel, these standout shoes from Christian Louboutin are amazingly comfortable. $995. Christian Louboutin, 161 Northeast 40th Street, Design District; 305-576-6820; christianlouboutin.com.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

READ MY LIPS

Needlepoint crimson lips on these red velvet slip-on sneakers speak volumes. $450. Stubbs & Wootton, 340 Worth Avenue, Palm Beach; 561-655-6857; stubbsandwootton.com.

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the local STYLE By Christiana Lilly

THE COLOGNE

“It’s the lemony quality of it. It’s like wearing nature... It reminds me of Capri, it reminds me of the Greek Isles, it reminds me of Puerto Rico. It reminds me of Miami in the 1980s.” $105-173. Acqua Di Parma, Nordstrom at Dadeland Mall, 7239 North Kendall Drive, Miami; 786-709-4100; nordstrom.com.

THE SHADES

“I love the design. They’re a classic. I think that they are the first sunglasses that were ever come up with and they should be the only ones that exist. They look good on everybody.” $175. Ray-Ban wayfarers, Sunglass Hut, 446 Lincoln Road, Miami Beach; 305-673-8640; sunglasshut.com.

my 305 style CARLOS BETANCOURT The artist mesmerizes fans with eccentric kaleidoscopes and eclectic mixed media. A global citizen, he is inspired by artisans he encounters both in his travels and at home in Miami.

THE ICE CREAM

“Cream has a bohemian vibe. I can thrive on places like that. The owners gave Purple Rain to me to try it, and it was just perfection. So they introduced me to my favorite ice cream.” Cream Parlor, 8224 Biscayne Boulevard, Miami; creamparlor.com.

THE ART EXPERIENCE

“The very subtle influence of Art Deco [at Faena Hotel] honors the architecture of a period that is so vast. It definitely has a contemporary edge. The use of materials — there’s some things that scream Miami.” Faena Hotel Miami Beach, 3201 Collins Avenue, Miami Beach; 305-534-8800; faena.com/miami-beach.

THE ARCHITECTURE

“The exquisite lines of the Miami Marine Stadium — it’s a very, very rare example of that period in Miami. For years I would literally break in and see the graffiti. It has such an inviting power.” Miami Marine Stadium, 3501 Rickenbacker Causeway, Key Biscayne; 305-361-3316.

THE POETRY

“Richard Blanco and I have been friends for decades. I have a great appreciation for anybody who can put two words together that make sense! He makes us understand... not only Miami, but that idea of knowing where you’re from to really become universal.” $14. “City of a Hundred Fires,” Books & Books, 265 Aragon Avenue, Coral Gables; 305-442-4408; booksandbooks.com.

“This scarf was made in Lyon in the south of France and it’s silk — beautiful, exquisitely made, hand-rolled in the edges. It’s one of my most recognizable artworks from the Recollection series.” Silk scarf, carlosbetancourt.com.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

THE MUSEUM

“The marriage of the artworks, great design pieces, and then the outdoors is a perfect combination for me. Vizcaya kind of offers everything. I love the idea that it’s made with endemic materials from Florida, like coral. It’s a very honest expression of the materials that are found here.” Vizcaya Museum & Gardens, 3251 South Miami Avenue, Miami; 305-250-9133; vizcaya.org.

CARL JUSTE (CARLOS BETANCOURT)

THE SCARF

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the local STYLE By Christiana Lilly

THE SIP

“Soto Sake’s flavor is very pure, and it’s very pleasant. A really nice taste. I use it for a lot of gallery events and dinner parties.” About $40 for 750 ml. Soto Sake, Portofino Wine Bank, 500 South Pointe Drive, Suite 110, Miami Beach; 305-532-1988; portofinowinebank.com.

THE TOWEL

THE HANGOUT

“The River Yacht Club is one of my favorite hangouts. They have a very European kind of South of France vibe; the dinner ambiance there is very nice.” River Yacht Club, 401 SW Third Ave., Miami; 305-200-5716; riveryachtclub.com.

“I use them every time I go to the beach, and people always ask me where I got them. They’re a round shape with beautiful tassels on the edge. This takes beach towels to another level.” $148. The Bazaar Project, 4308 Northeast Second Avenue, Miami; 786-703-6153; thebazaar projectshop.com.

my 305 style LEXING ZHANG The owner of Art Lexing gallery in Miami describes her personal style and art preferences as “experimental and bold.” She believes that the more unique and irreplaceable, the better. THE ART

“Typoe is one of my favorite local artists. Not only is this piece beautiful, it also has a very beautiful social message.” typoe.com.

THE DANCE

“Nick Alain is a very talented designer. This light came from his collection, and it just instantly created a more dramatic feeling to the space.” The Bazaar Project, 4308 Northeast Second Avenue, Miami; 786-703-6153; thebazaarprojectshop.com.

THE EARRINGS

“Soledad Lowe is a really amazing jewelry designer — her father made jewelry for the royal family in Sweden. This particular earring that I love, it’s very simple, it’s very easy to match with outfits.” $350. Reckon hoops, soledadlowe.com.

CAL DIAZ (LEXING ZHANG)

“Miami City Ballet is a real gem. They have dancers from Cuba, Venezuela, Brazil, scholarship programs, freelance dancers from all over the country, and I think it’s a true reflection of how diverse Miami is.” Miami City Ballet, 2200 Liberty Avenue, Miami Beach; 305-929-7010; miamicityballet.org.

THE LIGHT

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the local BEAUTY By Jennifer Scruby

Grace Under Pressure

When you’re a gallerist or curator working Hurricane Basel, keeping your style intact is its own kind of art form. You’re up early, out late, darting around a city prone to crazy humidity and crazier traffic, and possibly fielding more questions in one week than you might otherwise in a year. So we asked a few of the art fairs’ fashionable players — known for their talent as well as their mastery of the whole cool-and-collected thing — to give us their best tips.

CATINCA TABACARU Catinca Tabacaru Gallery, NYC

KARLA FERGUSONSOIMAUD Yeelen Gallery, Miami

JANIS GARDNER CECIL Edward Tyler Nahem Fine Art, NYC

JAN AND TINA WENTRUP Wentrup Gallery, Berlin

DINA MITRANI Dina Mitrani Gallery, Miami

SECRET WEAPONS: Early-morning yoga (“preferably with a view of the ocean”), Kiehl’s lip balm, Chanel powder blush.

SECRET WEAPONS: Daily cross-training sessions, a soundtrack of hip-hop classics (“it keeps me grounded and focused on my mission of breaking barriers”), Tom Ford Ruby Rush Lipstick, Molton Brown Eye Rescue Ultracool Gel.

SECRET WEAPONS: A pre-breakfast meditation session, Estée Lauder Vérité Moisture Relief Crème, Opium Parfum by Yves Saint Laurent.

SECRET WEAPONS: Ocean swims (“for a natural sea salt treatment”), Aveda Be Curly conditioner, Cowshed Chamomile Refreshing Toner to mist on throughout the day.

SECRET WEAPONS: Emergen-C packets, Botanical Borealis organic lip balm.

“I think how you feel is how you look. Relaxed, happy — that’s what people come to the fairs for. They want to feel good and see that you’re doing well, too. So I have some sunshine from a little yoga stretching and some sea salt in my hair... people enjoy that.”

KIEHL’S LIP BALM kiehls.com.

“I wear very little makeup in general, and during Basel it’s no exception. The only thing I carry with me is a fierce red lipstick: Once I reapply, I tend to look like I did my whole face.”

“I’m definitely out every night, so I try to sneak back to my room and change my jewelry or into a dress that’s a little more fun, and maybe spray on some Opium for a mood shift. Because the parties in Miami are very glamorous, you know?”

THE TRICK FOR LOOKING BRIGHT-EYED BY MIDAFTERNOON: “Green tea and strawberries.” AVEDA BE CURLY CONDITIONER aveda.com.

“If I’m working the whole day, I’m adamant about being in bed by 11 p.m. so I can get up by 7 a.m. and function. Cuban coffee helps. And I love my Botanical Borealis lip balm. It’s made with pure essential oils and designed by a massage therapist friend.”

JAMES BARTLETT MoCADA (Museum of Contemporary African Diasporan Arts), Brooklyn SECRET WEAPONS: Meditation (“twice a day when I’m on my game”), Collier West Beard Oil, lots of water. “One thing that’s kind of challenging in Miami is the heat. I like to layer things and wear a lot of vests, so I use this natural deodorant spray from Bree & Milly (breeandmilly.com). Otherwise, I’m au naturel. I cut my own hair!” COLLIER WEST BEARD OIL collierwest.com

TOM FORD RUBY RUSH LIPSTICK tomford.com. ESTÉE LAUDER VÉRITÉ MOISTURE RELIEF CRÈME esteelauder.com.

CHANEL POWDER BLUSH chanel.com.

EMERGEN-C PACKETS WATER

MOLTON BROWN EYE RESCUE ULTRACOOL GEL moltonbrown.com.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

COWSHED CHAMOMILE REFRESHING TONER cowshedonline.com. OPIUM PARFUM BY YVES SAINT LAURENT. yslbeautyus.com.

BOTANICAL BOREALIS ORGANIC LIP BALM botanicalborealis.com

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T H E

PA R K

WO RT H

C O L L E C TION

the local PHILANTHROPY

3 Sarah Arison: Visual artist Zoe Buckman

1 Lisa and Jeffrey Akin: Ethiopian photographer Aida Muluneh

2 Bonnie Clearwater: Video artist Jen Clay and multimedia artist Allison Bolah

Support from culture enthusiasts keeps South Florida’s art scene vibrant. Here are images from the 2016 Season of the Arts, when INDULGE asked guests

Which emerging artists, writers or performers are you keeping an eye on 4 Edward Shumsky and Susan Kronick: Teddy Abrams, conductor

1. At the New World Symphony Gala. 2. With Hilary Swank at the Vanity Fair/ NSU Art Museum dinner. 3. With Maria Giulia Maramotti, Rosie Perez, Tony Yazbeck and Billy Porter at the 2016 YoungArts Backyard Ball. 4. At the Miami City Ballet 30th Anniversary gala with Dan and Tina Carlo, Robert Barlick and Ana Codina Barlick. 5. With Narciso Rodriguez and Patricia and Phillip Frost at the opening of the Narciso Rodriguez show at the Frost-FIU Museum of Art. 6. With Jenine Wardally at Peréz Art Museum Miami. 7. With Institute of Contemporary Arts Director Ellen Salpeter and Andrew Smulian at the ICA groundbreaking. 8. With Terry Schechter and Ira D. Hall at the Pérez Art Museum Miami corporate luncheon. 9. With ArtesMiami founder Aida Levitan and Luis de la Aguilera, president and CEO of U.S. Century Bank, at the ArtesMiami Lydia Cabrera Awards luncheon, where Books & Books guru Kaplan and Miami Dade College President Eduardo Padrón were honored for their roles as co-founders of Miami Book Fair International. WORDS BY GALENA MOSOVICH

6 Juwan Howard: Photographer Kevin Beasley

8 Carole Hall: Visual artist Lucia Hierro

7 Dean Colson: Abstract artist Tomm El Saieh

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

9 Mitchell Kaplan: Authors Marci Calabretta Cancio-Bello and Chantel Acevedo

GETTY IMAGES (#2); JASON KOERNER (#3); WORLD RED EYE (#4)

5 Jordana Pomeroy: Mexico’s Pia Camil and Croatia’s Dora Budor

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the local SOURCE

ART ON THE

road

Sculptor Bruce McQuiston transforms motorcycles into “luxury art”

ruce McQuiston was 16 when he bought his first motorcycle. He bought the Yamaha D250 for $500, just a couple of years after his first motorcycle ride. But his parents didn’t know. And when they found out, he had to sell it. “It was my mistake to have the title sent to the house,” he said, laughing. “I wasn’t the brightest kid.” But McQuiston would still keep racing and riding. To this day, he said, his parents still pretend he doesn’t ride motorcycles — even now, as the 57-yearold Pennsylvania native customizes old European motorcycles for a living, turning the retro rides into art. That passion for custom bikes has become a Miami business, Moto Studio, featured recently on AMC’s weekly biking show, “Ride with Norman Reedus.” Actor-host Reedus and “Easy Rider” star Peter Fonda stopped in for a visit before heading south on the Overseas Highway through the Florida Keys. It was a chance for McQuiston, who earned a sculpture degree from Kutztown University in Pennsylvania, to showcase how he combines his design background with the machines he loves. “It’s a merger between classic motorcycle architecture and modern materials,” McQuiston said. McQuiston always liked art, and chose sculpting as a career over the practical business degree his father would have had him pursue. “I have to love what I do, or I can’t do it,” he said. The passion for motorcycles was inspired by a different muse. “There’s a certain romanticism to motorcycles and the freedom it gives you. It’s really liberating.” It was in consulting with a client over a sculpture three years ago that McQuiston stumbled into the business of customizing motorcycles. The client saw a motorcycle McQuiston was designing for himself, and asked whether he could have one. Soon, McQuiston would be spending so much time designing bikes for new clients that it would be months until he finished his own motorcycle.

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“He builds a really incredible product,” said Landon Harris, a client who is looking to buy at least one more bike after his first purchase two years ago. McQuiston works only with Moto Guzzi and Ducati motorcycles because he prefers the visceral nature of the Moto Guzzis and the sophisticated touch of the Ducatis. “They make great noises,” he said. “And they’re fun to ride.” As he modifies the bike, McQuiston maintains the classic look but switches in his own parts or better technology to give the ’90s cycles a modern feel on the road. The bikes cost $20,000 to $70,000, depending on the design. His clients are mostly men, architects, investors and engineers with successful careers who can afford what McQuiston calls “luxury art.” Rafael Reyes, who was drawn to a picture of one of McQuiston’s bikes on a motorcycle website a year ago, says he sometimes has to park his customized Moto Guzzi far away from his destination to avoid onlookers if he doesn’t have time to answer questions. Someone, he said, always comes over to admire the bike. “I do believe it looks like a piece of art,” he says. “I think that’s why so many people are attracted to it.” WORDS BY EMILY COCHRANE / PHOTOGRAPHY BY PATRICK FARRELL

SCULPTURAL APPROACH Bruce McQuiston’s sculptures and motorcycles will be displayed together during Miami Art Week at Etra Fine Art. 2315 Northwest Second Avenue, Wynwood; 305-438-4383; etrafineart.com. Information: mcquistonsculpture.com; moto-studio.com.

art week miami 2016

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the local CULTURE

THE WORLD ACCORDING TO ALAN FAENA Alan Faena, the eminence blanc at the front of the ever-expanding Faena District in mid-Miami Beach, is not the main moneyman: That would be his business partner and backer, billionaire Len Blavatnik. Faena is not the designer: Mid-Century Beach maestro Roy France and an all-star clutch of architects are responsible for the dazzling array of buildings old and new that make up the district, a multi-block amalgam of super-luxe living and hospitality that’s adding culture and commerce to the mix with the inauguration of its singular jewel, the domed Faena Forum, and a companion bazaar and robotic garage. Nor is Faena the district’s principal cultural overseer: That role is filled by his life and work partner, Ximena Caminos, and a team of curators and advisers who are tasked

with filling the Forum to its capacious brim with a public program of performances, lectures and exhibits. Yet everything in the district seems to bear Faena’s ineffable touch, which somehow manages to marry a taste for austere modernism with an exuberant crimson sensibility and a love of baroquely rich decor that stops just the right amount short of too much. Not to mention his last name, which brands every building. There is the Faena Hotel, Faena House, Faena Bazaar, even Faena Park. But Alan Faena is, if anything, the un-Trump. A yoga practitioner who dresses exclusively in white, the Argentinean entrepreneur speaks in mellifluously poetic, high-minded and by all accounts utterly sincere cadences about the joy of living with culture and art and beauty, and how he intends

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

to deliver all that to the citizens of Miami at the new Faena Forum. He’s not afraid to get his white tennis shoes dirty as he leads visitors on a tour of the 43,000-square-foot Forum, designed by Rem Koolhaas’ Office for Metropolitan Architecture, which consists of a white cylinder attached to a white cube and woven together by a lace of cut-out windows. A dramatically cantilevered entrance leads to a stunning interior on two levels of in-the-round gathering spaces inspired in equal parts by the Roman Pantheon and Frank Lloyd Wright’s Guggenheim Museum. Topped by a dome with an oculus through which sunshine streams in during the day, its windows opening to views of waterway, city and ocean, the Faena Forum is the absolute locus of Alan Faena’s ambitious designs on Miami and Miami Beach.

And, at last, it will open — just before Art Basel, with a November 27 processional through the district featuring artists Carlos Betancourt, Carnival Arts, Los Carpinteros, Miralda, Marinella Senatore and Ernesto Neto. The site-specific performance, “Once With Me, Once Without Me,” will premiere November 28 and 29. Other programming through early December will include a series of solo presentations led by Iranian philosopher Reza Negarestani, the unveiling of a mural commissioned from Argentine artist Graciela Hasper, and films, virtual reality experiences and conferences. WORDS BY ANDRES VIGLUCCI / PHOTOGRAPHY BY PATRICK FARRELL

Faena Forum, 3300 Collins Avenue, Miami Beach; 305-534-8000; faenaart.com.

the local CULTURE

Architect Zaha Hadid, a part-time Miami resident, died March 31 of a heart attack. She was 65. “In many ways she was just starting to find her rhythm as a designer while simultaneously balancing her role as a global design diva... Among other distinctions, she was the only woman to ever win the covered Pritzker Prize outright, in 2004. In doing so, she managed to penetrate the inner sanctum of a profession that has been dominated by men for hundreds of years. At the same time, she transcended gender politics and could stand as an equal to any architect, male or female... Zaha was a protean, creative force of nature. There will not be another like her for a long time.” WORDS BY ALASTAIR GORDON, EXCERPTED FROM THE MIAMI HERALD, APRIL 1, 2016

“Under new management” is a fitting slogan for the Bakehouse Art Complex, which hired executive director Bibi Baloyra and associate director of exhibitions and education Yuneikys “Yuni” Villalonga last spring. Opened in 1987 in a former bakery in the then-woebegone Wynwood neighborhood, the Bakehouse is now on track to plan its 30th anniversary celebration, slated for February, and a vibrant exhibition program at the center, home to two galleries and 65 artist studios. Both new administrators have extensive curatorial and managerial experience in New York and abroad. Villalonga previously worked as a curator with a Havana-based nonprofit group. Baloyra came to Miami from Qatar’s National Museum. During Art Week, the Bakehouse presents “Autopia: Road Trips from the Cold War to the Present,” an exhibition curated by Elvis Fuentes that glorifies and critiques car culture with exhibitions and collateral events. WORDS BY GEORGE FISHMAN / PHOTOGRAPHY BY EMILY MICHOT

Bakehouse Art Complex, 561 Northwest 32nd Street; 305-576-2828; bacfl.org.

LOOKING AHEAD...

Frost Museum of Science

FROST MUSEUM OF SCIENCE: The downtown museum is slated to open this spring. THE BASS: Reopens in spring 2017 after an $8.2 million expansion of the Miami Beach museum. INSTITUTE OF CONTEMPORARY ART: ICA is scheduled to move into its permanent Design District quarters, designed by Spain’s Aranguren + Gallegos Arquitectos, in fall 2017. NORTON MUSEUM OF ART: The Foster + Partners-designed expansion of the West Palm Beach Museum is projected to open in December 2018.

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The Bass Institute of Contemporary Art

Norton Museum of Art

NORTON MUSEUM OF ART (COURTESY OF FOSTER + PARTNERS); HADID (AP PHOTO)

Awakening

Tribute Zaha Hadid

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BEAUTY IS IN THE DETAILS

the movers { ARTIST }

Chuck Close

The wheelchair-bound portrait master “is one of the luckiest people in the world.”

PEOPLE WHO M OV E M I A M I .

he secret is out: Chuck Close, whose monumental, hyper-realistic portraits draw both awe and sevenfigure prices, is now a Miamian. At least part-time. This winter marks the fifth year since Close first came to Miami for the December art fairs. Later that winter, when he contracted a treacherous case of pneumonia in New York, he and his doctor decided he needed sun. South he came. “I try to lay low,” he said of his Miami life, sitting in the Miami Beach condo he uses as a studio. A second apartment, upstairs, passes for home. “Nobody knew I was here.” Nobody except art cognoscenti like Franklin Sirmans, director of the Pérez Art Museum Miami, which honored Close at its January gala. Bonnie Clearwater, director of NSU Art Museum Fort Lauderdale, which hosted an exhibition of photographs by Close that closed in October. And celebrity pals like Paul Simon who drop by for a visit. At 76, Close lives much as he always has, flouting convention. “I always think of myself as 28,” he said, a vestige of coming of age at a time when anyone over 30 was suspect. “I tend to surround myself with young people, sometimes younger than my children... Artists my age are sometimes bitter and angry. I don’t want to hear a bunch of old farts whining.” DEFYING THE ODDS The feisty Close has long defied the odds, both physically and artistically. A poor student hampered by learning disabilities, Close was told as a teen that he had no chance of going to college. Then he went on to earn a Master of Fine Arts degree from Yale University. Though he suffers from face blindness, a condition that prevents him from recognizing faces, he has become one of the world’s preeminent portrait painters.

the movers

Portrait-making had gone out of fashion when Close began his career in the 1960s, and has remained an artistic stepchild through much of his working life. That suits him just fine. “I’m perverse enough that I like going against the grain. I figured I wouldn’t have much competition. “Painting was dead. I had no facility with sculpture. Portraiture was the most moribund thing you could do.” To his own surprise, it has sustained him throughout his career. After a blood clot left him a quadriplegic in 1988, Close strapped a brush onto his arm and kept painting. “Likeness is pretty much a byproduct,” he said of the portraits he paints, painstakingly, in as a series of tiny images on a massive grid. From a distance, they reveal themselves as a whole. “In general I’m not interested in telling a story. But a face is a roadmap of someone’s life. It’s all spread out for the world to see.” Said Clearwater, “It looks simple, what he does. But it’s actually complex. Each square becomes an abstract painting in itself. What he’s doing is being figurative and abstract at the same time.” Said Sirmans, “He is one of those people who has helped us see differently in the way he has treated portraiture.”

owes his life, in part, to Fidel Castro. When he graduated from college in 1961, tensions between Cuba and the United States were thick. To avoid being drafted, Close needed to stay in school. It was too late in the year to apply for master’s studies at his alma mater, the University of Washington. He called the dean at Yale, where he had studied during a summer, and was moved to the top of the waiting list. When a place opened up in September of that year, he immediately drove cross-country to join a class that included Brice Marden, Richard Serra and Robert Mangold. “If I hadn’t done that, no one would have any idea who I am.” He wouldn’t have been honored with a Fulbright scholarship, been interviewed by CBS, feted at museums worldwide, received the National Medal of Arts. He wouldn’t be serving on the President’s Committee on the Arts and Humanities, where he and other highprofile artists are using arts programs to reduce truancy and increase engagement at troubled schools. “I’m one of the luckiest people around. I’ve always been lucky,” he said. “People say, ‘What about the wheelchair?’ I am lucky in who I’ve met along the way. I’ve lived in exciting places. I get tremendous pleasure from what I do.”

CUBA CONNECTION As for the artist himself, he said he

WORDS BY JANE WOOLDRIDGE / PHOTOGRAPHY BY EMILY MICHOT

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

Top: Self-Portrait/Five Part, 2009 Jacquard tapestry. Above right: Self-Portrait, 2014 (European-style oil woodcut), woodcut.

“Likeness is pretty much a byproduct,” he said of the portraits he paints, painstakingly, in as a series of tiny images on a massive grid. From a distance, they reveal themselves as a whole.

the movers

{ ADVOCATE }

Carolina Garcia Jayaram The new CEO of the YoungArts Foundation returns to her roots, singing her own bohemian rhapsody. 70

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arolina Garcia Jayaram has always loved the arts, chasing bohemian dreams to the University of Colorado at Boulder, then studying poetry in New York. But when she unexpectedly found herself in a director’s job at the literary support group PEN, Jayaram discovered her true creative path. “I realized I’m better off as an advocate than as an artist,” said Jayaram, 41. “I wanted to run the show. I wanted to be the executive director.” And she is. In June, Garcia Jayaram became president and CEO of the National YoungArts Foundation. She takes over at a crucial juncture as the group expands beyond its core program of weeklong intensive residencies for teenage artists to help its more than 20,000 alumni and to shape YoungArts as a creative platform in Miami. The move is a double homecoming for Jayaram. Although her Cuban-born parents raised her in Orlando, she spent lots of time with her extended family in Miami. After her PEN epiphany, she returned in 2001 to attend the University of Miami School of Law. Told during a mock interview that there was no place for a lawyer in the arts, she started Legal Art (now Cannonball) in 2002 to educate artists on legal issues as the recently arrived Art Basel Miami Beach raised the stakes. “Nobody knew how to protect themselves,” she said, sitting in her YoungArts office overlooking Biscayne Boulevard. Living cheaply in a South Beach studio (a partner dubbed their business model “two chicks and a calculator”), she became close to a vibrant circle of young visual artists, including future successes Daniel Arsham and Hernan Bas. Miami’s cultural scene began to boom. “It was a really cool time to be here,” Jayaram said. In 2006 she met her husband, attorney Vivek Jayaram, after he complained to a mutual friend about Miami’s lack of culture. “I know an arty girl,” the friend said. “And she’s throwing an arty party.” The couple moved to Chicago in 2009. Jayaram was leading United States Artists, which fosters mid-career artists, when she met Sarah Arison, the YoungArts trustee taking over a leadership role from her grandmother and co-founder Lin Arison. Jayaram was advising the group on their search for a new CEO when she was asked to consider the job herself. “I was like, ‘How did I not see that?’ ” Jayaram said. “Everything fell into place.” Between the cozy mid-Beach neighborhood where she and her husband are raising their 4-year-old son, her Cuban family nearby and the comfort of living in a diverse city, Jayaram is thrilled to be back. “This feels the most like home of anywhere I’ve ever lived,” she said. That she is leading a key institution on Miami’s still-growing cultural scene bolsters her sense that she’s on the right path. “I like building things. I really like collaboration and innovation. There’s still so much to be done. It’s a really exciting time to be here.” WORDS BY JORDAN LEVIN / PHOTOGRAPHY BY CARL JUSTE

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the movers

{ EYE }

Alex Gartenfeld

ICA-Miami’s chief curator sharpens his edge with nonstop global exploration in preparation for the New Museum’s 2018 Triennial program in New York.

t’s hard to deny that Miami-based curator Alex Gartenfeld is a prodigy. At age 29, he serves as the founding deputy director and chief curator of the Institute of Contemporary Art Miami, a role that places him near the top of an institution that is fast becoming one of the city’s essential arts destinations. Gartenfeld first gained acclaim in 2009 for turning his tiny apartment in New York into a gallery called Three’s Company, placing art in every empty space. Shortly thereafter, he expanded his gallery ambitions by moving into a slightly larger apartment in the Lower West Side with Matt Moravec and called it the West Street Gallery. Forbes Magazine named him to its 2012 “30 Under 30” list, and in 2013 Bonnie Clearwater,

then director of the Museum of Contemporary Art North Miami, persuaded him to join the team. When former MOCA board members created the ICA, Gartenfeld moved with them. At the ICA, Gartenfeld wears two hats. As chief curator, he directs the museum’s exhibitions. As deputy director, he is involved with the public and educational programs, and works with the administrative team for the museum’s move into its permanent home, a 30,000-square-foot space under construction in the Miami Design District slated to open in late 2017. In addition to his role at the ICA, Gartenfeld is also co-curator for the prestigious New Museum’s 2018 Triennial, an ambitious program held every three years by the New York museum to predict

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the future of contemporary art. In that role, he is traveling the world to discover “the exciting emerging artists of our time” in a period when the art world is becoming more universal as artists around the globe challenge the traditional roles of art and culture. While doing double curatorial duty keeps his schedule crammed, the Triennial gig allows him to “keep the ICA ahead of the curve” because he is visiting undiscovered talents who could work with the ICA in the future. Some of them are here, in our ever-changing city. “There are generations of really inspiring artists in Miami, and one of the things I enjoy most about living here is the dialogue I get to have with them.” WORDS BY RICARDO MOR / PHOTOGRAPHY BY CARL JUSTE

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the movers

{ DIRECTOR }

Barry Jenkins Though he lives in L.A., the one-time Northwestern High School football player hasn’t forgotten his hometown. His love letter to Miami may be Oscar-bound.

arry Jenkins had to leave Miami before he could fall in love with it. Born at Jackson Memorial Hospital in 1979 and raised in Liberty City, he graduated from Northwestern High School, where he played football alongside two future NFL stars, ran track

and earned grades good enough to attend Florida State University on a scholarship. His original plan was to major in English and creative writing. But during his junior year, on a fateful whim, he enrolled in FSU’s prestigious College of Motion Picture Arts. “I had always liked movies, but I

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never in a million years considered making them,” said Jenkins, 37. “That was something that just didn’t seem possible to me.” Although he wasn’t a hardcore film buff as a teenager, Jenkins has strong memories of watching “Die Hard” and “School Daze” repeatedly on TV and going to the movies.

“I remember taking the bus to the Omni and feeling really comfortable in the air conditioning watching ‘Coming to America’ or ‘The Color Purple.’ The movie theater was just this place that felt really good. They had this merry-go-round inside the mall that made it look like the Taj Mahal to me.”

“Moonlight,” shot in Miami, tells the story of a young gay man living in Liberty City.

of the year by The New York Times. Then Andrew Hevia, a fellow Miamian also living in San Francisco, invited Jenkins to return home and direct a short film in 2011 for the seventh edition of the Borscht Film Festival, which Hevia co-founded. The resulting 20-minute “Chlorophyl,” an ode to the new, arts-friendly Miami that had emerged since Jenkins moved away, didn’t fare that well on the festival circuit. But during his stint with Borscht, Jenkins met playwright Tarell Alvin McCraney. The two men had a lot in common — they grew up a few blocks from each other, and both had mothers who struggled with drugs. They started talking about adapting McCraney’s autobiographical play “In Moonlight Black Boys Look Blue” into a film. When McCraney won a $625,000 MacArthur Fellowship grant in 2013 to further his theater career, he gave Jenkins his blessing to write and direct the movie on his own. “Moonlight,” which was shot in Miami last fall using a combination of professional actors and locals, tells the story of Chiron, a gay young man living in Liberty City with his crackaddicted mother (Naomie Harris), from childhood to adult over the course of three eras, the 1990s, the 2000s and the present day.

TO THE WEST COAST Four days after graduating from FSU, Jenkins moved to Los Angeles to pursue a filmmaking career. He spent two years working as a production assistant on various projects, then quit to concentrate on his own movies. His first feature, 2008’s “Medicine for Melancholy,”

was shot for $13,000 in San Francisco, where Jenkins was living. The movie, inspired by Jenkins’ recent break-up with his girlfriend, followed a young couple over the course of 24 hours after a drunken one-night stand. “Medicine for Melancholy” was chosen as one of the best movies

ACADEMY AWARD BUZZ The movie, which premiered at the Telluride Film Festival in September, also screened at festivals in Toronto and New York before opening in theaters in October. The critical praise that has greeted the movie has catapulted Jenkins onto Oscar prognosticators’ short lists for a Best Director nomination next year. But the film — an unexpectedly gentle, lyrical portrayal of emotional alienation and the importance of human connection during our

formative years — is also a love letter to Miami, urban blight and all. In Jenkins’ words: “Miami felt really small to me when I was a kid. You couldn’t really leave the neighborhood — the city was so compartmentalized — and because of the way I grew up, I don’t remember it as a happy place. But it wasn’t like ‘Boyz n the Hood,’ either. There weren’t as many guns on the street as there are now. It didn’t feel like a dark place, even though there were a lot of dark things going on around us. “People have been talking about how the visuals in ‘Moonlight’ are so bright and colorful and beautiful, and yet the story is so heavy. That’s how I think about growing up in Miami: Life was very heavy, but it was still a beautiful, inspiring place. And I fell back in love with Miami during the process of making this movie. “The support from the community was so strong. We tried to cast as many local people as possible, for budgetary reasons and also because I wanted the voice of the city in the film. “When we shot at night, parents would come out and tell me, ‘We don’t usually let our kids out after dark, because there are no street lights, but since you all got your movie lights, it’s a lot safer.’ Kids would come on the set and sit at the video monitors and watch me work and point at me and tell each other, ‘He grew up here!’ I could tell from their faces that seeing me — this black dude walking around all this machinery, calling action — was an eye-opening experience. “It was just as eye-opening for me, because I realized at that moment that maybe if I had seen somebody walking around a movie set like this in my neighborhood when I was a kid, I would have gotten to filmmaking a lot sooner.” WORDS BY RENE RODRIGUEZ PHOTOGRAPHY BY DAVID BORNFRIEND

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the movers

{ MENTOR }

Bahia Ramos This Brooklyn-raised culture devotee speaks the language of money.

s a student growing up in Brooklyn, Bahia Ramos balanced the seasons among her passions — fall for sports, spring for theater production, with ballet and museum visits accompanying her Panama-born mother in between. Eventually, arts won out. Today Ramos, 42, is the Arts Program Director for the Knight Foundation, where “making art general” is shorthand for providing access across the spectrum of neighborhoods, ethnicities, age, educational and income groups. The foundation has invested $125 million in South Florida’s arts community since 2005. Ramos knows the nuts and bolts of doing this. As a consultant with Man Group plc’s corporate responsibility department in London and government affairs manager for the Brooklyn Children’s Museum and Brooklyn Botanic Garden, she learned how money works. In her current job, she focuses on the practical, holding grant-writing workshops for artists, helping

organizations hone their strategies and teaching them how to create budgets and assess progress. For some, even the Knight Foundation’s 150word application — for awards from $3,500 for individuals to $170,000 for large institutions — can spark anxiety and doubt. Ramos demystifies it all, yet still makes time for the big picture. “I talk to people, I go to things. I explore... We want to make sure that we lift up talent from every neighborhood within our cities and provide a pathway for them,” she said, “so that people feel the inherent value we all have.” That pathway sometimes leads to dynamic exchanges, as when Detroit’s premier “Jit” — as in jitterbug — performers engaged in dance-offs with Miami’s 6th Street Dance Studio and with a group of Zimbabwean dancers. The road can also take unexpected twists. “O, Miami,” begun in 2011, has offered poetry in prescription bottles, clothing tags, yard signs, airplane banners, painted rooftops and other nontraditional “delivery systems.” Removing elitist

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connotations is vital to Knight — and to Ramos. “Artists are truth-tellers,” she said. In Knight terms, that can mean supporting technical innovators like Ivan Toth Depeña, whose augmented-reality app delivers stories and historical imagery to Miami MetroMover passengers via smart devices. Or it can mean “old school” story collectors, like Hank Willis Thomas, whose touring inflatable “Truth Booth” allows visitors to anonymously record a two-minute statement of their personal truth, whether gentle or iconoclastic. Knight doesn’t promulgate specific political or religious views, nor censor them. Public dialog is key. These days, Ramos spends half her time traveling. Rejuvenation means harking back to her youth in dance classes at the Little Haiti Cultural Center. “Afro-Cuban or West African dance is where I’m the most free and expressive,” said the self-described “Blatina.” “It’s nice when your passion for work and your passion in life completely merge.” WORDS BY GEORGE FISHMAN / PHOTOGRAPHY BY CARL JUSTE

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the movers

{ PIANO MAN }

Shelly Berg The new director of the Arsht Center’s Jazz Roots program riffs off friends, students and a passion for the notes.

ike any great jazzman, Shelton “Shelly” Berg knows the importance of collaboration, that artful exercise in trust on which improvisation and innovation often hinge. It has played out in a staggeringly accomplished, Grammynominated career that includes musical partnerships with everyone from Ricky Martin to Renée Fleming. It has underscored Berg’s academic philosophy as a transformational dean at the University of Miami’s Frost School of Music. And it is the hallmark of the acclaimed Jazz Roots series at the Adrienne Arsht Center, which Berg now serves as artistic adviser. This fall Jazz Roots began its ninth season, which is impressive for a series that less than a decade ago seemed a gamble in jazz-indifferent Miami. But the milestone is nonetheless bittersweet: Berg takes on this expanded role in the series following the death of Jazz Roots’ cofounder — and Berg’s longtime friend — music executive Larry Rosen. “For me, just taking this on is in itself a tribute to Larry,” said Berg, who has been involved with Jazz Roots since its opening season in 2008, the year after he moved to Miami to take the top job at UM’s music school. “The reason that Jazz Roots was a success, when people didn’t think that a jazz program could fill a 2,000-seat hall, was because of Larry’s vision. I try to make my leadership of the series an extension of Larry’s vision.” Rosen, who co-founded the contemporary jazz label GRP and produced and engineered music for contemporary jazz artists like Arturo Sandoval, was passionate about the possibilities of bringing an art form usually experienced in clubby, intimate venues to the Arsht’s Knight Concert Hall.

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His instinct, and fervor, hit a chord. The Jazz Roots series has expanded to performing arts centers in Orlando, Dallas, Indianapolis, Atlanta and Las Vegas. Jazz Roots and the Frost School of Music’s Henry Mancini Institute also partnered with the National YoungArts Foundation for “Jazz and the Philharmonic,” a special program on PBS. PASSION FOR JAZZ Roughly 80,000 tickets have been purchased for the Jazz Roots series since its launch, in addition to the hundreds of school-age musicians who attend the concerts for free each season, said John Richard, president and CEO of the Arsht Center. “Larry and Shelly were the yin and yang of Jazz Roots, and it was a logical hand-off from Larry to Shelly,” said Richard, who called Berg and Rosen “two of the men I care the most about.” “I can see the synergy and the love between these two men,” he said, “and the continuation of this passion for jazz.” This season opened, fittingly, with a tribute to Rosen, and includes performances by the Jazz at Lincoln Center Orchestra, as well as bluesrocker Steve Miller — who will join Berg on stage for April’s “From Ma Rainey To Miles Davis: A Blues Journey.” “I have a saying my jazz friends probably don’t like: If you’re too hip for the room, you probably are,” said Berg, whose office, tucked inside UM’s Gusman Concert Hall, has the paperwork-and-bookshelves vibe of most college deans, save for the gleaming black grand piano that takes center stage. “It’s not a value judgment. You have to take the audience from an entry point and bring them along with you.” Berg knows a thing or two about playing to an audience.

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the movers Shelly Berg, dean of the University of Miami's Frost School of Music, continues to play piano and compose, even as he takes on a new gig with the Arsht Center's Jazz Roots program.

“You can’t only play classical music. Or only play jazz music. You’re a product of your influences,” said Berg, who has worked with a dizzying array of musical royalty that includes Gloria Estefan, Bobby McFerrin, Stevie Wonder, Aretha Franklin and Queen Latifa. Born in Cleveland, Berg — whose dad was a jazz trumpet player — began playing piano at age 4. At 6, he entered the Cleveland Institute of Music. At age 9, he composed his first work, commissioned for the opening of a new synagogue. He remembers his father, Jay Berg, taking him to sit in on jazz sessions as a kid. “He was my first jazz teacher,” says Berg, who was also inspired by his mother, Lorraine, a writer. “Her love of language influenced me a lot as well. There are lyrics in songs — and language matters.” Living with artistic parents meant he never saw a career in music as an insurmountably foreign goal. “I always felt validated in wanting to be an artist. For many people, they get the opposite in their upbringing,” he said. STUDENT BECOMES TEACHER At 15, Berg moved with his family to Houston, where he played regularly with jazz all-stars passing through town. As a teenager, he turned down a job with bandleader Woody Herman to finish his education. He eventually earned a graduate degree with honors from the University of Houston School of Music. He began his teaching career at San Jacinto College North in Northshore, Texas, and San Jacinto College in Pasadena, California, before moving to Los Angeles in 1991 to join the music faculty at the University of Southern California Thornton School of Music. He continues to compose, arrange, record and perform while teaching, running the Frost program and raising a family with wife, Julia Berg, a music industry veteran and communications director at UM. At the Frost, Berg said he has worked with a willing faculty to create more experiential methods of teaching — replacing traditional lectures, for example, in favor of labs with just four or five students. “You can’t only play classical music. Or only play jazz music. You’re a product of your influences,” said Berg, who has worked with a dizzying

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array of musical royalty that includes Gloria Estefan, Bobby McFerrin, Stevie Wonder, Aretha Franklin and Queen Latifa. It was after Berg moved to Miami to take the Frost gig in 2007 that he became close with Rosen, through Berg’s stint as president of the International Association of Jazz Educators. “If Larry Rosen and I had both lived in New York — OK, but irrelevant. But we both lived in Miami now. There weren’t that many of us. Suddenly, we needed each other,” said Berg. “And we became best friends. We schemed together. We planned together. And I got caught up in the brilliance of Larry Rosen.” Now heading toward his 10th anniversary at Frost, Berg said he marvels at the opportunities Miami affords young music students. “Because the city is so collaborative, we’re performing at the Arsht Center. We’re performing at the New World Center. We’re doing television specials and film scores. It’s very much a product of what Miami is,” said Berg. Students and faculty play frequent jazz gigs in places like Brickell, Midtown and Wynwood — a scene largely unthinkable when Jazz Roots first started in 2008. “Miami is a city on the move,” he said, “and I think that’s infectious.” WORDS BY TERE FIGUERAS NEGRETE / PHOTOGRAPHY BY PATRICK FARRELL

FEEL THE BEAT Jazz Roots 2016-17 Season, The Adrienne Arsht Center, 3300 Biscayne Boulevard, Miami; 305-949-6722; arshtcenter.org. University of Miami Frost School of Music’s Festival Miami, 305-284-4940; festivalmiami.com.

the movers { ENTREPRENEUR }

Jessica Goldman Srebnick

The Wynwood Walls curator expands her late father’s legacy with a new venture designed to bring global street art to unconventional venues.

essica Goldman Srebnick watches as identical twin artists whimsically spray red, gray and black paint on the wall of the Dolphins’ Hard Rock Stadium, creating a massive abstract mural on the stark gray concrete previously ignored by stadiumgoers. Srebnick encourages the twin artists, How and Nosm, offering praise as the two begin at opposite sides of the space and paint to the middle, where the design will meet. She is clearly enthusiastic about her new venture, which extends the street-art sensibilities of Wynwood Walls to spaces far beyond downtown Miami. “We have used art as an igniter for change,” explained Srebnick, 46, mother, businesswoman and founder of the new enterprise, Goldman Global Arts. “Art, in my opinion, is the greatest form of unbridled activity. This company was founded on the premise of bringing integrity, art, beauty and creativity into life in unexpected ways.” WYNWOOD AND BEYOND It was her late father, developer Tony Goldman, who re-engineered a onceneglected warehouse enclave into a vibrant showcase for internationally acclaimed street art. But it has been Srebnick who has expanded the initial Wynwood Walls onto adjacent land, curates the district and selects artists for new installations. When the opportunity arose to partner with the Miami Dolphins, Srebnick said she saw it as “a game changer” for the stadium and for herself as a curator. She used Instagram to scout worldwide for artists and commissioned 19 murals using talent from 10 countries outside the United States. “It’s all about different styles and different perspective,” she said. “We really wanted that here. There is so much space, so many walls, and we wanted to bring different styles here from different parts of the world.” One might expect sports-related murals at a stadium best known for football. In fact, only two of the 19 murals have any connection to sports. “We wanted to do things that were incredibly energizing and colorful. It is about choosing world-class art,” Srebnick said. U.S. DEBUTS A few of the stadium artists have made previous appearances on murals in Wynwood — including How and Nosm and Peter Tunney — and at the Houston Bowery Wall in New York, which Srebnick also curates. But most are making their first U.S. appearance at the Hard Rock Stadium. “Having a wall like this is an incredible platform for anyone,” she said. The stadium images include a colorful hand, playful astronauts and abstract designs. Srebnick and Miami Dolphins owner Stephen Ross unveiled most of them at the team’s season opener in late September. As at Wynwood Walls, the artwork will expand to new walls and change over time. “We wanted to give lots of artists opportunities,” said Srebnick. Tom Garfinkel, president and CEO of the Miami Dolphins and Hard Rock Stadium, said his venue represents a global entertainment destination and wants to reflect that image. “Miami is a leader in culture for the country and the rest of world, not just for sports but for entertainment and arts, which is where Jessica comes in,” he said. “The art in stadium is representative of that cultural leadership.” Beyond the stadium, Srebnick said Goldman Global Arts aims to create more large-scale, impactful projects all over the world. “We want to change perception, expand the mind, bring beauty to new places and give artists an incredible platform that they deserve.” WORDS BY CINDY KRISCHER GOODMAN / PHOTOGRAPHY BY AL DIAZ

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the movers

{ WORDSMITH }

Joshua Jean-Baptiste The writer, actor and director shows hustle and style both on stage and off.

oshua Jean-Baptiste was on his way to baseball tryouts at North Miami Beach Senior High School when his life took a turn. A friend asked the talkative yet socially awkward kid whether he was interested in a theater audition. Why not? “Literally, I walked onstage, and the rest is history,” Jean-Baptiste remembered. Today, with his “partner in creative crime” Edson Jean, he is the co-creator and co-star of the web comedy series “#Josh,” winner of Project Greenlight’s Digital Series Contest. Two of his full-length plays, “Voices of the Island” and “Them Beaux,” were chosen for the competitive SandBox Series at Miami Theater Center; he wrote them, he said, after seeing “a really, really bad show” there and deciding he could do better. In February, he’ll perform an expanded version of his solo show “Space Apes,” a piece about black male incarceration that was his 2013 senior project at Miami’s New World School of the Arts; the show will be part of the “Politics of the Personal” series at Broward College’s South Campus.

Jean-Baptiste, 28, credits lessons learned from his high school drama teachers Daphne Sicre and Keisha Smith with shaping him into the multifaceted artist he is today: actor, playwright, screenwriter, director, leader. And at New World, he said, “they groomed you to be a self-sufficient, professional actor... you very much don’t wait around for [opportunities].” To cut his travel time to school, Jean-Baptist moved in with the two-years-older Edson Jean and Jean’s cousins during his sophomore year. He found himself “living in synch” with the world of young Haitian-Americans, a world depicted in “#Josh.” “Edson and I use our source material — traditional, conservative Haitian culture — in the same way. We were very mischievous when we were kids,” he said. “Ass-whuppings shaped us into who we are today.” Jean-Baptiste said being surrounded by macho men who coached him on how to interact with women provided the seeds of “#Josh,” and though his game is evolving, he still might show up for a date wearing a three-piece suit.

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His friend, collaborator and fellow New World grad Maria Corina Ramirez said Jean-Baptiste’s sartorial style is reflective of who he is. “He is resourceful, meticulous and highly intellectual — you can tell by just looking at the aesthetic of the things he pieces together for his daily wardrobe,” she said. “He’s got a little bit of street swag, a little bit of smarty pants and a little dash of cool. He’s a beautifully balanced mixture of all these things.” Edson Jean called his friend “daring, resilient and unique. Josh understands that work begets work. I’ve seen him crank out multiple plays in the time it takes some to get through the first draft of one.” Currently, Jean-Baptiste laughingly describes himself as a starving artist. But likely not for long. “Coming from where I grew up, I always felt I was on the outside looking in. Once I was in my first New World show, what I thought wasn’t accessible to me — I was inside of it,” he said. “At the end of the day, we were raised in the ’hood with a hustler mentality. Now we’re hustling with the opportunity to put good work out there.” WORDS BY CHRISTINE DOLEN / PHOTOGRAPHY BY AL DIAZ

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the movers

{ RISING STAR }

Emily Tarallo A young actor returns home, taking center stages across South Florida.

t 25, Emily Tarallo would seem to be a young performer. But the radiant artist with the deep red hair has already had more than 22 years of dance training, experience that has fed into her work as a teacher, choreographer and musical-theater dance captain. After graduating in 2014 from Florida State University, Tarallo returned to South Florida to build a career in theater. It was a world she already knew well as the daughter of Carbonell Award-winning actor Barry Tarallo and directorstage manager Amy London. Emily “has always described being onstage as being ‘home,’ ” said London. Tarallo had another close-to-home role model in her late stepfather Bruce Adler, a double Tony Award nominee. Onstage, yes, but not as an actor. Then, in 2015, “I auditioned for ‘Cabaret’ at Stage Door

Theatre, thinking it was a dance part. I completely fell in love with theater.” She has worked all over South Florida since then, appearing in “A Chorus Line” and most recently in “Swing, Swing, Swing” at Stage Door in Margate; “Peter Pan” and “Curtains” at Boca Raton’s Wick Theatre; “Big Fish” for Slow Burn Theatre at the Broward Center; “Songs for a New World” and the leading role of Ariel in “Footloose” for Boca Raton’s Marquee Theater; “West Side Story” (as a Shark girl and a Jet girl) at Actors’ Playhouse in Coral Gables; and “Hair” for MNM Productions at the Kravis Center in West Palm Beach. In that last show, she not only acted in the musical’s famous nude scene but asked director-choreographer K.D. Smith whether she and a couple of the other actors could perform it standing on the part of the set that was

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elevated above the stage — a bold move. “I thought it would bring something new to it. It was a beautiful moment,” Tarallo said. Tarallo plans to grow her résumé in a theater community she loves, and deepen her acting and singing skills, before taking a stab at New York. Slow Burn Theatre’s Patrick Fitzwater, who will direct her this winter in “Xanadu” at the Broward Center, pinpoints her magic. “I think every production she graces has shined a little brighter because of her,” he said. “She’s a stunning beauty with a stunning heart and soul.” Added her proud father: “There are some actors and dancers who just seem to have that little something extra. Try as you might, you can’t [keep your] eyes from being drawn to them. Emily has that.” WORDS BY CHRISTINE DOLEN / PHOTOGRAPHY BY PATRICK FARRELL

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the movers { SPINNER }

Toto Gonzalez The Venezuelan-born DJ melds the sounds of an ever-changing Miami into a soundtrack booming with power.

usician/producer/DJ Toto Gonzalez grew up in a monoculture in Puerta la Cruz, Venezuela. The fifth of six boys, he started by banging on his mother’s pots, then became a teen rock rebel. When he got to Miami in 1993 (ostensibly to study business administration), living in a Kendall suburb recently devastated by Hurricane Andrew, he felt lost. “Trying to identify Cubans, Venezuelans, Argentines, Haitians, Jamaicans — it was a shock,” said Gonzalez, 41. “In Venezuela everyone was the same.” But Gonzalez would become a groundbreaker in forging a new musical identity out of Miami’s cultural jungle. He was a drummer in a top local band, Soniko, as rock en español ignited Latin America and the Miami music scene. In the early 2000s he began DJing and promoting alternative Latin music via Fabrika, a company that started as a party at a pre-hipster Wynwood bar for kids who loved both Nirvana and Argentine rock gods Soda Stereo. But by the mid-2000s Gonzalez, now making electronic music, found his sound was expanding back to the salsa and merengue he had rejected in Venezuela, and beyond to the fusion he heard around him or when he opened for acts like world music star Manu Chao. “I wanted to make this really minimal electronic music, but I had all this sabrosura [sweetness] messing me up,” Gonzalez said. “By this time I’d been exposed to all this music in Miami, I started embracing all that, the Latin side of me.” He would remix Nine Inch Nails to a cumbia beat, Daft Punk with oldschool merengue. The sound he calls Electropico is infectious, startling, danceable, with a playful way of juxtaposing cultures as he does with his stage name, Mr. Pauer, a Spanish spelling of “power.” His first solo album, 2011’s “Soundtrack,” was nominated for a Latin Grammy. Since then, he has played major festivals in Latin America and events from the Latin Grammys to the Latin Alternative Music Conference. For the past four years, Gonzalez has worked from a studio at the Miami Light Project space in Wynwood, where computers and mixing boards sit next to global percussion instruments including a Colombian tambora and African djembe. His latest album, “Orange,” showcases Miami musicians, from longtime local stars like Itawi and Fulano to newcomers the Osorio sisters, in the latest iteration of the continuously percolating Miami sound Gonzalez wants to bring to the world. “Miami as a city is always changing. It’s always becoming a better Miami,” he said. “Now I think about how can I use the best part of Miami to be an artist and show it to the world? I really embrace this as my city and take it everywhere I go. Gloria or Pitbull, that’s all good, but there’s much more. I want to get people excited about the Miami I know.”

WORDS BY JORDAN LEVIN / PHOTOGRAPHY BY AL DIAZ

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the movers { PHILANTHROPISTS }

Kathryn & Dan Mikesell For this Miami couple, supporting local artists goes beyond collecting artwork.

ight pours through the windows of the modest Mid-Century Modern house in Morningside, accentuating the art that is jam-packed throughout the place, inside and out. The result is an inviting atmosphere in what could have been a staid, museum-like home of collectors Kathryn and Dan Mikesell. But that wouldn’t fit the effervescent personalities of the owners. Don’t worry about putting a glass down on the wooden living-room table, an artwork from Argentine native and now locally based artist Agustina Woodgate. “You don’t need a coaster,” said Kathryn. “It is an everchanging piece of art.” The artist agreed: “The piece is called ‘doormat,’ and indeed it is meant to be used.” The table and its relationship to artist and collectors sums up the extraordinary art life of the Mikesells. They have deeply personal connections with the art they collect, and with the residency and studios they support: The Fountainhead Residency, which hosts three to four international artists in a house across the street for two months; and the Fountainhead Studios, which provides space for about 30 local artists in Miami’s Little River neighborhood. “Our home is a work of art,” explained Kathryn. She and her husband, an entrepreneur, sought out a place that was welcoming and also architecturally conducive to displaying all types of contemporary art — wall space for large paintings, floor space for installations, nooks and crannies for video or sculpture. And still lots of light. ‘IT BECAME OUR LIFE’ The collecting started in the most intimate way. When the two moved to Miami in the early 2000s, they often traveled for their various work. To stay connected, they would discuss art purchases longdistance. If one saw an artwork, it would have to be OK’d by the other during detailed conversation about the piece, and about the artist. “It became our thing,” said Kathryn, “our way of communicating.” Added Dan: “Over the years it became our life.” The couples’ collecting life paralleled the exploding growth of Miami’s art community, and they developed relationships with local artists who have become wellknown names. Scattered about the house are works by Bert Rodriguez, Daniel Arsham, Typoe, Susan Lee-Chun, Cristina Lei Rodriguez and many more. In 2008, the Mikesells decided to move past

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simple collecting and help nurture Miami’s art world. Walk across the street in this leafy Upper Eastside neighborhood to another light-filled house, and you can see artists from Germany, Israel, South Africa and other countries working at the residency, which has hosted artists for eight years. Airfare and accommodations are provided, and the artists are asked to actively participate in Miami’s scene. In return, many of them also get exposure in galleries. Artists from Fountainhead have been part of some of the most interesting shows at Locust Projects, Spinello Gallery, Emerson Dorsch, Primary Projects and at museums such as Pérez Art Museum Miami and the Bass Museum. The Mikesells also opened up studio spaces in a warehouse in Little River, dubbed the Fountainhead Studios. “It all was a way for us to get closer to artists, both from abroad and here,” Kathryn, “and to help them out.” AN ART FAMILY Their house of art has blossomed as well. There are surfboards by street artist Barry McGee; a piece from British-Caribbean artist Hew Locke, whose hanging boat installation inaugurated the PAMM museum atrium; a hologram by Hank Willis Thomas that eerily changes depending on the viewpoint. A sculpture by South African Nicholas Hlobo, whose amorphous sculptures have found favor at the Tate Modern and the Havana Biennial, is also part of the collection. Below the window in the front room, a little stream runs along the wall, which includes a tiny waterfall and fish. When the room is quiet, the trickling water adds to the ambience. Apparently, neighborhood kids like this attraction as well. The Mikesells have two teenage children, son Galt and daughter Skye. They are big fans of the whole scene, often appearing at art openings. In the backyard, Galt has set up his own outdoor studio, where he is reworking discarded street signs; the proud father thinks there is potential there. And above the swimming pool is a piece from local artist Timothy Buwalda; it’s made from the hood of his grandfather’s pickup truck. Buwalda didn’t want this very personal piece to go just anywhere, so he made sure it went to a welcoming, family home, here with the Mikesells. WORDS BY ANNE TSCHIDA / PHOTOGRAPHY BY CARL JUSTE

the life

D I N I N G. E N T E R TA I N I N G. AND GETTING OUT IN THE 305.

{DISH}

THE

EYES HAVE IT

Eyes first. That’s how South Floridians consume everything, so expect picture-perfect plates on exhibit at Miami’s latest culinary stars. (And yes, the food really does taste as spectacular as it looks.) LOS FUEGOS Francis Mallmann, South America’s most celebrated chef, performs live-fire cooking in the fairytalelike Faena, with the hotel’s golden mammoth skeleton sculpture by Damien Hirst presiding over all. The disciplined simplicity of the Argentine grill master’s seared tomahawk steak, slow-braised lechon and plump sweetbreads is all the more striking enveloped by Miami Beach’s latest monument to grandeur. Faena Hotel, 3201 Collins Avenue, Miami Beach; 786-655-5610; faena.com.

ADRIAN MUELLER.

PLANT FOOD + WINE MIAMI Talented raw-food chef Matthew Kenney sets out to convert carnivores with his high-end meatless concept inside Wynwood’s Sacred Space wellness center. Local vegetables are his vegan muses for innovative creations, such as kimchi dumplings, banana leaf tamales and green gazpacho. They’re (almost) too pretty to eat. 105 Northeast 24th Street, Miami; 305-814-5365; plantfoodandwine.com.

Hearts of Palm with Leche de Tigre, Avocado, Choclo and Shiso at Plant Food + Wine Miami.

ALTER Brad Kilgore, a 2016 Food & Wine Best New Chef, keeps the focus on food inside an unmarked Wynwood warehouse. Soft egg with sea scallop espuma, grouper cheeks and Cape Canaveral prawns are among the stunners that rotate on a tasting menu that playfully challenges diners. 223 Northwest 23rd Street, Miami; 305-573-5996; altermiami.com.

the life Left, Cindy Hutson’s Zest in downtown Miami features “cuisine of the sun.” Below center, grouper cheeks with black rice at Alter. Below right, gaucho-style steak at Los Fuegos.

ZEST MIAMI Caribbean Queen Cindy Hutson colors our downtown world with a new sibling for her standout restaurants in Coral Gables and Negril, Jamaica. Bright papaya, mango and avocado, along with jerk meats, curried seafood and Scotch bonnet peppers, set a diaspora vibe with inventive island fare that is fresh as a Jamaican breeze. 200 South Biscayne Boulevard, Miami; 305-374-9378; zestmiami.com. KYU A Banksy menu quote about the role of art introduces diners to the American-Asian barbecue at KYU (pronounced “Q”), an eco-friendly eatery on a Wynwood side street. Thick slices of oak-smoked Wagyu brisket reign on a wood stump platter, surrounded by a court of pickled cucumbers and red onions, shiso and cilantro herbs, and three beakers of BBQ sauces. 251 Northwest 25th Street, Miami; 786-577-0150; kyumiami.com. BEAKER AND GRAY Locally owned by childhood friends, the Wynwood sensation combines creative plates with a popular craft cocktail bar. The former warehouse has been turned into an elegant, masculine space where velvety libations of mescal and lavender do time with pumpkin pork rib gnocchi, key lime beets and grouper with elderflower and fennel. 2637 North Miami Avenue, Miami; 305-699-2637; beakerandgray.com.

Clockwise, from above: White fish truffle with lychee at NaiYaRa; mimosa doughnut with Champagne glaze at The Salty Donut; Waygu beef brisket at KYU; baby beets with strained yogurt at Beaker & Gray.

NAIYARA Chef Piyarat Arreeratn, aka “Chef Bee,” showcases artisanal sushi and elevated interpretations of Northern Thai specialties learned at his grandmother’s side. Green curry sea bass in creamy coconut sauce and crispy red curry duck are among the Bangkok-inspired beauties enticing crowds to Miami Beach’s emerging

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Sunset Harbour neighborhood. 1854 Bay Road, Miami Beach; 786-275-6005; naiyara.com. THE SALTY DONUT Another reason to look forward to the end of the week: This artisanal doughnut shop in Wynwood opens at 11 a.m. Friday through Sunday, peddling small-batch craft doughnuts

until they sell out (which they always do). Maple-bacon, guavaand-cheese and weekly specials are on tap, along with doughnut holes sporting alcohol-filled syringes. Get in line or, better yet, stay in bed and order from UberEats. 50 Northwest 24th Street, #103, Miami; 305-925-8126; saltydonut.com. WORDS BY JODI MAILANDER FARRELL

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the life {POUR}

ARTISANAL

SPIRITS

When it comes to cocktails, there’s no debate about artistry. Ingredients count; so does style.

very year as Art Basel kicks up, bars and restaurants fill with aficionados of all things artistic and artisanal. The inevitable conversation — just what is art, anyway? — goes best with cocktails served in one of our city’s many lively bars. No longer does that mean the endless parade of vodka tonics, frozen daiquiris and mojitos that may have once characterized our subtropical city. With more than 15 million visitors each year, the standard is high. Any bartender can toss ingredients into a shaker or blender and turn out an easy gin and tonic or cloying frozen daiquiri, but to stand out from the crowd takes something extra. For many, that involves a combination of mixing skill and high-end ingredients. “That means fresh ingredients like herbs and fruit juices and unusual spirits,” said Chris Cuomo, general manager of Brickell’s uber-trendy restaurant and bar Komodo. “Having a craft element to our cocktails makes them more interesting.” By way of example, Cuomo whips up a take on the classic cocktail called the Old Pal. “I wanted classic but also new,” he said. “To brighten it up I brought in fresh citrus, StGermain (an elderflower cordial much loved by bartenders) and Hudson’s Baby Bourbon, an artisanal spirit from New York. It has great flavor and a beautiful bottle, both of which are good talking points.”

‘IT’S GREAT THEATER’ That sentiment is echoed by Steven Minor, manager of the MO Bar at the Mandarin Oriental on Brickell Key. “Having a story is key,” he said. “It lets us take guests on a journey. Part of a luxury experience is giving

something unique,” like his exotic Good Things Come in Pairs with a pair of whiskies, both Scotch and rye. “It takes a month to craft all the ingredients, like making our own bitters and mellowing the cocktail in a barrel on the bar.” When it’s ready, Minor pours the liquid into a glass containing a single two-inch sphere of ice and pops it into a clay pot where he infuses it with apple wood and cigar smoke. “Bringing a cocktail out of a cloud of smoke is pretty dramatic, but a good cocktail is art — it’s great theater, one guest at a time.” The artisanal spirit strikes across town in Coral Gables, where Lef Kraounakis dramatically channels a 1920s speakeasy in a plush, wood-paneled bar on Miracle Mile. “Copper 29 Bar is small, and image is important. Craft spirits fit with our image, and usually have very high quality. Using them is one way to show our attention to detail,” said the Greek-born Kraounakis, who once worked with Minor at the Mandarin. LOCAL ART To illustrate, Kraounakis stirs up a deceptively simple and crafty riff on the trendy cocktail classic Negroni, a blend of equal parts gin, sweet vermouth and Campari. The original is a bright cherry red color from the Campari and vermouth, so Kraounakis swaps out the bitter Campari for a nearly clear cult aperitif called Suze Saveur d’Autrefois, which means “Suze, flavor of another time.” He balances the bitter with Dry Curaçao, an orange liqueur from the Caribbean, and for the gin, he grabs a bottle of Prescribed Spirits Barrel Finished Gin, a softly aromatic spirit made in 30-gallon batches by Fort Lauderdale distiller A.J. Fazendin.

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Using locally sourced aromatics, it’s about as artisanal as spirits get. “Local art,” said Kraounakis with a ready grin, “and it tastes good too.” You can recreate Kraounakis’ beautifully balanced White Negroni at home. This recipe makes a three-ounce cocktail, the traditional size of a drink before the megamartini craze took over bars. INGREDIENTS 1 ½ oz Prescribed Spirits Barrel-aged Gin ¾ oz Suze Saveur d’Autrefois ¾ oz Ferrand Dry Curaçao 1 dash of grapefruit bitters Stir the ingredients in a mixing glass with ice for 20 seconds, then strain over one or two large ice cubes in a rocks glass. Garnish with a grapefruit peel and enjoy with a sense of artistic calm. WORDS BY LYN FARMER / PHOTOGRAPHY BY CHARLES TRAINOR JR.

THREE STANDOUT MIAMI COCKTAILS • Old Pal ($17), made from bourbon, bitters, vermouth, citrus and elderflower cordial. Komodo, 801 Brickell Avenue, Miami; 305-534-2211; komodomiami.com. • Good Things Come in Pairs ($29 with smoke presentation), made from two whiskies (single malt Scotch and rye), and pairs of bitters, vermouths and liqueur at MO. Mandarin Oriental Hotel, 500 Brickell Key Drive, Miami; 305-913-8358; mandarinoriental.com. • White Negroni ($12), with bitters, triple sec and gin. Copper 29, 206 Miracle Mile, Coral Gables; 786-580-4689; copper29bar.com.

makoto

the life {RECIPE}

THE HOLIDAY

No South Florida noche buena is complete without the guest of honor: roast pig. Chefs Jose Mendin of Pubbelly Boys and Roberto Guerra share recipes for making pork in and out of the box. WORDS BY CARLOS FRÍAS

oberto Guerra has nothing up this sleeve. Nothing up that sleeve. It’s the mystery box at the center of his act that’s magic. For more than 30 years, Guerra has been selling the leading brand of caja china (pronounced ka-ha chee-na), the roasting oven that is at the center of Cuban holidays, Christmas Eves and birthday parties. The man coined and trademarked the name “La Caja China” (in English, “The Chinese Box”). The lovely assistant inside? An entire pig. For the uninitiated, the caja china is simple: It’s a wooden box lined with stainless steel and a metal lid where the charcoal sits. Inside, the whole lechon roasts

100

undisturbed, cooked with indirect heat over four hours, emerging tender and juicy and with a crispy skin. Follow the directions, and “it’s foolproof,” Guerra said. Ah, but therein lies the key: Foodies are fools for roasted pork. The lechon inside its caja china becomes a backyard gathering place for armchair caja connoisseurs to opine on the correct technique to roast the pig. They will add more charcoal than is required. They will open the box to check the skin. They will insist on flipping it too early. They shake their heads and mutter, “You’re doing it all wrong.” In short, they’ll ruin it by overthinking it. Guerra blames himself. He built a box that is so simple to use and leaves large hunks of meat — from

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

whole chickens, turkeys and pigs to pork butts and shoulders — so perfectly cooked with so little input that it makes for fidgety home cooks. Guerra can’t take all the credit. It was his father who remembered seeing the caja china being used behind Chinese restaurants when he was a traveling salesman in Havana. Guerra built a box with his dad in 1985 just to see how it worked, and he quietly started selling them just to keep his father busy. (Guerra owned an exporting business.) But when Miami chef Doug Rodriguez asked him to borrow five boxes for the 2003 South Beach Wine & Food Festival and other chefs saw how brilliantly his pork emerged, Guerra’s La Caja China became an overnight success, earning praise from the likes of Bobby Flay and The New York Times, with full-page features in magazines from Vogue to Playboy. Nowadays most of his sales — 92 percent — are to “Gringolandia,” he said: the U.S. Northeast and Midwest, where he said home cooks are better [than his Cuban brethren] at patiently following the instructions he includes with the box about how to roast the pork and how to marinade it. “If you tell them they have to strip down to their underwear to do, they’ll do it,” he joked. “It could not be more simple. It just works.” Really, though: Follow the directions and let the caja china do its work. When you feel the urge to freelance, grab a beer, sit back, watch the coal’s heat waves rising, and meditate.

GUAVA-STUFFED PORK SHOULDER Not ready to roast an entire pig in a caja china? Roberto Guerra’s recipe for a guava-stuffed pork shoulder (seen on “Throwdown with Bobby Flay”) is a good introduction to using the box without having to roast an entire pig. INGREDIENTS 1 pork shoulder, about 8 pounds 1 cup mojo sauce (homemade or store-bought) 4 tablespoons adobo criollo 2 tablespoons kosher salt ½ pound ham, thinly sliced 8 slices bacon 1 cup prunes 1 cup guava shells 1 (12-ounce) bottle Malta 2 cups brown sugar, divided 1. Remove bone from shoulder and flatted meat so it can be rolled. If the pork is very fatty, remove some of the fat. Score remaining fat and marinate in mojo, adobo and salt for at least 12 hours or overnight. 2. Line meat with ham, bacon, prunes and guava shells. Roll meat carefully, keeping filling inside the roll. Tie with butcher twine. 3. Mix Malta with one cup of the brown sugar, and rub half of the mix over the meat. Use the remaining cup of brown sugar to cover the meat. 4. Place meat in a roasting pan, cover with aluminum foil and cook for one hour in an oven heated to 325 degrees. After an hour, turn the meat and pour the remaining Malta-brown sugar mixture over it. Cook for another hour, until the internal temperature reaches 180 degrees. 5. To serve, cut into slices and pour drippings over meat. Serve with rice, yuca or fried plantains.

AL DIAZ (PHOTO OF ROBERTO GUERRA); ROBERTO KOLTUN (GUAVA-STUFFED PORK SHOULDER); SOURCE FOR GUAVA-STUFFED PORK SHOULDER: LACAJACHINA.COM.

FEAST

THE ART OF DESIGN

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Anita Bigelman

Lydia Eskenazi

Abigelman@aol.com HardingRealty.com

Lydia@LydiaEskenazi.com LydiaEskenazi.com

305.343.6796

305.785.0440

Harding Realty, Inc. 9473 Harding Avenue, Surfside, Florida 33154

COCHINILLO Pubbelly chef Jose Mendin shares the recipe for his mouth-watering cochinillo, made without a caja china: INGREDIENTS 1 suckling pig leg, about 5 pounds Vegetable oil, enough to cover pork 2 Â˝ cups mojo (recipe below) Sea salt to taste MOJO 1 bunch cilantro 1 bunch parsley 2 shallots

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6 garlic cloves Juice of 4 oranges Juice of 3 limes Juice of 3 lemons 1 tablespoon cumin Kosher salt to taste Black pepper to taste 2 cups vegetable oil 1. Blend together all mojo ingredients in a blender or food processor; reserve. 2. Heat oven to 260 degrees. Place pig leg in a pot and submerge in oil. Cover with foil and cook for about five hours.

3. Remove pork from oil and let cool. Pull meat from the bones into a bowl, separating and reserving the skin. Season meat with mojo and sea salt to taste. 4. Place meat in a casserole dish, compressing the meat as much as possible. Place reserved skin on top, weighing it down with a plate or heavy item. Refrigerate for one day, then portion into squares. 5. To serve, heat a small amount of oil in a nonstick skillet over mediumhigh heat, and sear squares of cochinillo, skin-side down, finishing them in a 400-degree oven.

JUAN FERNANDO AYORA (JOSE MENDIN, COCHINILLO)

the life

the life Rachelle Salnave, filmmaker.

{ NEIGHBORHOOD }

LITTLE HAITI A cultural spotlight has been cast on Little Haiti. The neighborhood of Haitian immigrants and refugees since the 1970s was officially designated Little Haiti by the city of Miami in May, replacing the historic Lemon City name. This designation comes as the neighborhood is changing: It has become the next frontier for Miami’s art world. Premier galleries — Spinello Projects, Emerson Dorsch, Yeelen Gallery, Nina Johnson — have migrated from Wynwood to Little Haiti (roughly Northeast 54th to 71st streets between Interstate 95 and Northeast Second Avenue) and to Little River, just to the north. The shift brings the inevitable tension between development and preservation, but it has also made Little Haiti a more dynamic and inviting neighborhood to live in and visit. Destinations like the Little Haiti Cultural Center and the Libreri Mapou bookstore, as well as Haitian art galleries and restaurants, are ripe for exploration in a neighborhood that is continually evolving.

Meet our guide.

Born in Harlem, Rachelle Salnave initially didn’t identify with her Haitian heritage and even tried to conceal it because of the negative “worldwide image of how Haitians were perceived,” she said. In 1993, at age 17, Salnave visited the country where her mother and father were born. It was not her first trip to Haiti, but this time, she said, it was an eye-opening experience that would be the impetus for her award-winning documentary “La Belle Vie: The Good Life,” currently making its way through the film festival circuit. She moved to Miami in 2011 to pursue a graduate degree in Motion Pictures at the University of Miami, and immersed herself in Little Haiti while delving deeper into her heritage. Since then, she has become a solid presence in the community, creating Ayiti Images, a Miami-based traveling film festival showcasing Haitian filmmakers and their stories. Salnave’s mission is to deconstruct what it means to be Haitian and to share the human story of her culture with the world. “We love outsiders,” she said. “It’s like Creole. You mix it up and it turns into something else.”

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ʻLibreri Mapou is where you’ll find books coming out of Haiti today.’

Best spot for authentic Haitian food?

Carl Juste Studio

“Leela’s Restaurant. I love the chicken and sauce or steamed snapper. Everything’s so fresh. It feels like mom or grandma’s cooking. Sometimes I go in the morning for mange creole, a traditional breakfast with mayi moulen, which is cornmeal often served with red beans or codfish. It’s a nice place to sit down. And they’ll talk to you, which is good because I like to talk.” 5650 Northeast Second Avenue; 786-355-8507; leelasrestaurant.com.

Best place to run into neighbors?

Libreri Mapou

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“Every third Friday of the month at the Little Haiti Cultural Center during “Big Night in Little Haiti,” there’s live music in the courtyard. It brings together people who live and work in the community, but also people from West Palm Beach, Kendall, Homestead. It’s intergenerational. I love seeing the people who left Haiti in the 1960s who are senior citizens now. They run

the life into people and say, ‘Oh, I haven’t seen you in 40 years!’ ”212 Northeast 59th Terrace; 305-960-2969; littlehaiticulturalcenter.com.

Best place to learn about Haitian culture?

“Libreri Mapou is where you’ll find books coming out of Haiti today. Most of the better ones are in French, which can be a challenge, but some of them are in English. It’s run by [Jan] Mapou, who is a gem, like the griot (oral historian) of the community. He has a show on WLRN on Friday nights.” 5919 Northeast Second Avenue; 305-757-9922.

Favorite piece of street art in the neighborhood? “I love the piece outside of Cafe Creole at 58th Street on Northeast Second Avenue by street artist Serge Toussaint. He’s created most of the art you see on the walls in the neighborhood. This mural depicts Mecca, a local rapper, poet and community activist. Serge took his image and created it to be like the image of Henri Christophe, a forefather of the revolution of Haiti. I think it’s genius to use a modern-day activist and re-create him dressed as our forefather.” Northeast Second Avenue at 58th Street.

Daleus for the Miami Herald and a very talented photographer. He’s a fun guy to hang out with and is very friendly to all out-of-towners and visitors. His studio is in the back of the Little Haiti Cultural Center. (While you’re there, stop in to see artist Edouard Duval-Carrie, whose studio is just steps away.)” Carl Juste, 212 Northeast 59th Terrace; 305-960-2969. Edouard Duval-Carrie, 225 Northeast 59th Street; edouardmiami@yahoo.com

Serge Toussaint

Favorite art gallery?

“Daleus Museum and Art Gallery features the art of Joseph Wilfrid Daleus. If you call him in advance, he may give you a nice shot of rum. He also did the murals at Tap Tap on South Beach. Nina Johnson, called Gallery Diet when it was in Wynwood, is a hit with the contemporary art crowd.” Daleus, 5910 Northeast Second Avenue; 305-891-0030. Nina Johnson, 6315 Northwest Second Avenue; 305-571-2288; ninajohnson.com.

Best place to take out-of-towners?

“The Rara on Fridays at 10 p.m. at the Little Haiti Cultural Center. They play traditional Haitian roots music, the music of our revolution. People play these long, cylindrical horns [called vaksens] that make a deep ‘rara’ sound. It’s a big carnival in the streets, and people drink rum and celebrate.” 212 Northeast 59th Terrace; 305-960-2969; littlehaiticulturalcenter.com.

Best bakery?

“Miami may be known for its empanadas and Jamaican patties, but soon everyone will know about the Haitian patties. The best Haitian patty shop and bakery in South Florida is the New Florida Bakery. Their patties and bread are the best. Haitians have an

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Edouard Duval-Carrie Studio amazing, distinctive cuisine that is far underrated and under the radar. Try these patties and I bet you, you won't be able to have just one.” 46 Northeast 62nd Street; 305-759-1704.

[Wilkinson “Ken” Sejour], he’s very charismatic. They fry the pork, then put it in sauce and serve it with plantains and pikliz hot sauce.” 200 Northwest 54th Street; 305-754-2223; chefcreole.com.

Best griot?

What's a neighborhood hidden gem?

“Chef Creole. There are a few locations throughout Miami. It’s a fun place. If you ever meet the guy

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“The Carl Juste Studio. It’s invite only. Carl Juste is a photojournalist

Favorite shop?

“The Little Haiti Thrift Shop has unique finds from Haiti. While the store sells used items, there is a small section that has amazing new Haitian jewelry being made today.” 5863 Northeast Second Avenue; 786-308-9785; thriftshopmiami.com. WORDS BY SHAYNE BENOWITZ / PHOTOGRAPHY BY CARL JUSTE

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It’s SoMi Old Lisbon opened its doors in January 1991 with their ﬁrst location on Coral Way. With their open kitchen concept and sumptuous seafood dishes, their notoriety for authentic Portuguese cuisine has compelled them to open two additional locations— South Miami, and Sunny Isles coming soon!

www.oldlisbon.com 1698 SW 22nd Street (Coral Way), Miami

Earth is the healthy, taste-full organic alternative to traditional restaurants and fast food. With fresh, made to order bowls for Every Body, every diet, and every mood, we maximize “healthy” and “fresh” with every meal we serve. We are dedicated to shaping the nutritional habits of our community through wholesome, delicious food!

www.earthmia.com 5831 Sunset Drive, Miami

greenmonkey® redeﬁnes the way people think of and practice yoga. Through continuous expansion, innovation, and research- driven programs, we deliver a powerful practice that elevates the quality of life not only for our students but for the communities beyond our studio walls. Our coral Gables studio offers a variety of classes, workshops, massages and private instruction.

www.greenmonkey.com 1430 S Dixie Hwy, Ste 116, Coral Gables

It all started in 1982 with one restaurant in Columbus, OH. Since then Buffalo Wild Wings has grown to have a store in every state in the U.S. and continue to open B-Dubs® around the world (you’re welcome, Earth). But really, all you need to know “About Us” are these three things: Wings. Beer. Sports.™

www.buffalowildwings.com 5701 Sunset Drive, South Miami

South Miami Jewelers, a family business serving our community since 1984, offers great service and quality items. Our store is a full service jewelry business providing everything from repairs to custom designs that meet all our clients’ needs. We offer an extensive line of ﬁne jewelry ranging from diamonds set in white, yellow and rose gold, precious and semi-precious jewelry, pearls, engagement rings, and some Italian silver lines.

www.southmiamijewelers.net 7214 SW 57th Avenue, South Miami

Red Sunset Merchants Association

Threefold Café is an Australian owned and themed eatery born from our love for specialty coffee and great food. Our main objective is to showcase coffee and food in a way that represents the food culture in our home city of Melbourne, (Australia) being eclectic and on point. Although we are well known for our breakfast experience, one of our best kept secrets is our chef inspired dinner menu.

www.threefoldcafe.com 6907 Red Road, South Miami

The Dog from Ipanema was founded in 1986 with one simple goal: to provide the highest quality services to dogs and cats in a clean and respectful environment. We love our clients and their people and welcome owners who want to accompany their “babies” during grooming sessions. What’s more, we’re open 7 days a week to accommodate their busy schedules!

www.thedogfromipanema.com 7230 SW 57th Ave., South Miami

TacoCraft is a semi-authentic boutique Taqueria and Tequila Bar serving modern interpretations of Mexican street food classics — prepared with the best local, seasonal and sustainable ingredients. The menu features a selection of tacos made with hand-crafted tortillas, classic Mexican appetizers and entrees. It’s bar serves over 150 different Tequilas/Mezcals — as well as a wide selection of Craft Beers, from local breweries.

tacocraft.com 5829 SW 73rd Street, South Miami

Splitsville Luxury Lanes™ is a 25,000 square-foot bowling and dining complex located in the Shops at Sunset Place. Splitsville offers an eclectic menu that features everything from fresh-rolled sushi to traditional favorites like mouth-watering cheeseburgers and hand-tossed pizzas. Splitsville’s atmosphere is a rare combination of upscale and nostalgic feel which is the perfect place for your party.

www.splitsvillelanes.com 5701 Sunset Drive, South Miami

The Area Stage Company is a professional theatre company that speaks a language of passion; passion for its work and love for the idea of establishing an artistic legacy in our community. Since 2008 this not-for-proﬁt performance space has provided a home for the very best in jazz, world music, comedy, performance art, musicals, ﬁlm, play readings, and the staging of professional plays.

www.areastagecompany.com 1560 S Dixie Hwy, Coral Gables

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Originality, authenticity and exceptional quality... these are the attributes we live by. We believe eyewear today is as much about technology as it is about beauty, and our goal is to ensure you have the best of both in your frames and lenses. At Edward Beiner we carry a complete line of brands, precision performance frames and lenses, as well as curated selections to match your every lifestyle.

www.edwardbeiner.com 5817 Sunset Dr., South Miami

ROK:BRGR is a gourmet Burger Bar and Modern Gastropub – with an old school dedication to service and quality. With over 15 signature Burgers to choose from, made-to-order salads, appetizers and other signature dishes, ROK:BRGR offers a lid for every pot. Over 50 Craft Beers and 10 Signature Cocktails are guaranteed to please any palate! Currently located in South Miami, Gulfstream Park/ Hallandale Beach and Downtown Fort Lauderdale.

rokbrgr.com 5800 SW 73rd St, South Miami

Since 1946, Lanes has been dressing the most discerning men in South Florida. Located in the heart of South Miami, Lanes offers a large selection of merchandise and fabric samples for made-tomeasure clothing and shirts by Canali, Canali, Samuelsohn, Jack Victor and other premium Italian and American designers.

lanessouthmiami.com 5700 Sunset Dr, South Miami

Il Vaporetto has brought the authentic Trattoria experience back to Sunset! With exquisite Italian classics, specialty seafood dishes, and the freshest, best quality meats and ingredients, we strive to deliver a fantastic meal and memorable experience for every visit. Be sure to peruse our expansive wine list and signature cocktails at our “Vaporetto” shaped bar!

Local luxury day spa, Myra & Company has called South Miami home since ﬁrst opening in 1979. Today their premier spa continues to offer the best in beauty and wellness trends—everything from massage and hair and nail services to Pilates and laser hair removal. Visit Myra & Company for a day of relaxation or a beauty-session for a special occasion, where every guest is treated like family!

miamispa.com 7313 SW 59th Ct., South Miami

Station 5’s tag line, “Handcrafted and Homemade”, truly encompasses the ethos of the rustic, dimly lit, cozy restaurant. Chef Ralph Colon, with his signature sauces, Caribbean background and European ﬂair, serves up our seasonal New American menu, with the perfect combination of style and dish presentation. The menu features dishes from signature seafood and featured oyster selections, to top quality steaks, burgers and specialty tacos.

www.station5miami.com 5845 Sunset Dr., South Miami

RAZZLEDAZZLE Barbershop is a classic 1940’s-style oasis where men receive pampering with an edge of sexiness. Voted best barbershop in Miami 2 years in a row by Miami New Times, RAZZLEDAZZLE specializes in haircuts, hot lather shaves, shoe shines plus hand and neck massages. Featuring gold-trimmed walls, classy chandeliers and vintage photos, guests will feel like they’ve just stepped into a maﬁa movie! But don’t worry, you won’t get whacked!

www.razzledazzlebarbershop.com 5740 Sunset Drive, South Miami

Teixeira Poftugal Restaurant is an authentic Portuguese restaurant with a quality assortment of meat, ﬁsh and signature sides. Experience the deliciousness of our dishes that is sure to please the palate. Our friendly and attentive staff is sure to make the experience even better. “We look forward to seeing you here at Teixeira Portugal Restaurant.” — Chef Teixeira

www.ilvaporetto-restaurant.com 5894 Sunset Drive, S. Miami

teixeiraportugal.com 1569 Sunset Drive, Coral Gables

Exercise Your Options! at LA Fitness’ South Miami club located at the Shops of Sunset Place. With an array of ﬁtness classes including Zumba, Indoor Cycling and Kickboxing, we offer programs daily that suit your schedule and interest. From our renowned basketball leagues to ﬁtness consultations and instruction, LA Fitness South Miami has the health club experience (at a low monthly rate!) you’ve been searching for!

Currently located in the quaint township of Southmiami on its ever growing and popular Sunset Drive, Giancarlo Designs INC. has been at the fashion fore-front of exclusive ﬁne jewelry and one of a kind, hand crafted creations. Like any fashion house, Giancarlo designs INC. follows through seasonally with new and innovative designs for the fashion savvy consumer.

www.laﬁtness.com 5701 Sunset Drive, South Miami

www.giancarlojewelry.com 5794 Sunset Drive, Miami

the life {ART & ARCHITECTURE}

Miami’s shimmering new

SKYLINE The globe’s most influential architects continue to reshape the city

iami continues to be a booming frontier of new development, forever inviting experimentation as the city transforms itself from adolescence to maturity, from a vacation idea to a world-class cultural destination. In this sometimes fevered quest for new identity, architecture with a capital “A” plays a leading role, offering affirmation and a sense of arrival with new projects by a pantheon of world-class architects including the late Zaha Hadid, Jean Nouvel, Herzog & De Mueron, Bjarke Ingels, Rem Koolhaas, Renzo Piano, Richard Meier, Nicholas Grimshaw, Marcio Kogan, Arquitectonica, Ricardo Bofill and Enrique Norten. Here’s a look at what’s rising on the city’s ever-changing skyline:

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DOWNTOWN/PORT AREA ONE THOUSAND MUSEUM Though incomplete, the skyscraper going up at 1000 Biscayne Boulevard, One Thousand Museum, makes a fitting epitaph for the late Zaha Hadid, a validation of her lifelong vision of breaking down barriers, both social and architectural. Even as a construction site, it’s well worth a walk-around. Only about 18 of 62 stories are up so far, but they give you an idea of the scale and sheer bravado of this project. One can already sense the muscular tension of the building’s innovative engineering, its exoskeleton structure snaking up each corner, flaring out and in like dueling wishbones. When seen from afar, these supporting tendrils appear almost delicate,

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

like Gothic tracery, but they are massive, cast-in-place concrete forms that will carry most of the building’s downward load and allow for uninterrupted interior spaces. Miami’s existing skyline, with its anorexic white grids and “vertical ice-cube trays,” as Norman Mailer once described them, might be anywhere — Tampa, say, or Dallas. But when Zaha’s tower is finished, it will give downtown Miami an instantly recognizable character that it has lacked, at least since the early 1980s brought the playful residential towers by Arquitectonica of the Babylon, Atlantis, Imperial. While only a few of us are rich enough to live in one of Zaha’s ultra-luxury units, we can at least enjoy the acrobatic ingenuity of the building’s exterior. The building’s

One Thousand Museum

(MIAMI SLYLINE) ADOBESTOCK; (1000 MUSEUM) ZAHA HADID ARCHITECTS; (FROST SCIENCE MUSEUM) GRIMSHAW ARCHITECTS.

unfinished superstructure surprised me the other day when I was driving east on Interstate 395. I’d never seen it from behind like that, popping up so unexpectedly, like something from the future. But it’s a future informed by the past. Oddly enough, it made me think of the early work of Erich Mendelsohn, in particular his Einstein Observatory (Einsteinurm) in Potsdam (1921), the way the sinewy forms branch upward, cupping air, like a living entity — a tree, a flower, the gills of a fish — a thing in the process of becoming something else.

The 250,000-square-foot museum was designed by Nicholas Grimshaw, who also has designed many state-of-the-art transportation hubs, airport terminals and

experimental environments like the Eden Project in Cornwall, England. The placement of the Frost Science Museum certainly sets the bar high for expectations: It is

wedged between Zaha’s elegant One Thousand Museum exoskeleton to the west and Herzog & De Meuron’s Perez Art Museum Miami to the east. Frost Science Museum

FROST SCIENCE MUSEUM The Frost Science Museum, also under construction and about 80 percent complete, is currently scheduled for completion next year.

www.miamiindulge.com | DECEMBER 2016 / JANUARY 2017 | INDULGE

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the life

Grove at Grand Bay Royal Caribbean Terminal

Three other nearby projects are worth watching. One is the 170,000-square-foot Royal Caribbean Terminal, just across the harbor from PAMM, that will take the form of two intersecting translucent wedges by the architecture firm of Broadway Malayan, and will be reached via the handsome port tunnel by Arquitectonica. Another is MiamiCentral station at Northwest First Avenue between Third and Eighth streets that will be a terminal for high-speed train travel between Miami and Orlando. This privately financed, mixed-use urban complex will not only feature the station but include a hotel as well as 200,000 square feet of retail space, two residential towers

and 100,000 square feet of office space, all designed by Skidmore, Owings & Merrill in conjunction with Miami-based Zyscovich Architects. MiamiCentral is scheduled to be completed by mid-2017. South of the Miami River, one of the most noteworthy projects to open this year is Swire Properties’ Brickell City Centre. The sprawling urban mixed-use project covers nine acres along South Miami Avenue between Sixth and Eighth streets that includes three levels of luxury retail shopping, highend condos, office buildings and a five-star hotel. The seemingly high-risk plan is to create a major new destination, a vector of holy consumerism and gentrification that will pump much-needed vitality

into a formerly scrappy downtown area — all in one single push. The entire project was designed by Arquitectonica, which has taken on similarly ambitious urban projects in other countries. Its first for Swire was a large-scale shopping complex in Hong Kong — Festival Walk — that opened in 1998. Brickell City Centre’s residential and retail operations are open for business, but its most eye-catching feature is its massive Climate Ribbon. Made of steel, fabric and glass, the ribbon undulates through the complex, capturing sea breezes, collecting rainwater and providing a passive cooling system while adding the spatial glue that holds together the center’s various components.

Brickell City Centre

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COCONUT GROVE Despite their complex structures and construction delays, the twisting sisters of Bjarke Ingels’ Grove at Grand Bay have managed, somehow, to transform and rebrand all of Coconut Grove, the oldest continuously inhabited neighborhood in Miami, and bring it screaming into the 21st Century. When you approach from the north, cruising down Bayshore Drive — past waterfront parks, marinas, restaurants with quaintly nautical themes — one of the towers helicopters up, directly on axis with the four-lane avenue. It creates a new entry point to the Grove that is at once inviting, skyward yearning, complex and ultra-modern. Even the mediocre brown office buildings from the 1980s seem refreshed and more self-aware as a result. Danish architect Ingels understood from the start that the most engaging element in Miami is sky. The twin towers of his design break away from orthogonal conventions as they catch sea-tinted light and the reflections of passing clouds, especially along the turning, flaring edges. The breezy void between the 20-story towers is further activated and “sculpted.” The air feels torqued, pushed and pulled between the rotating forces on either side. When complete, the elevated plaza designed by Raymond Jungles will surely be one of the most dynamic urban spaces in Florida. The swirling shape the architect chose to exploit is not unlike a Category 5 hurricane. The inherent irony (and humor) of this project lies in the fact that local building codes are severe, in large part, because of just such tropical disturbances. While possibly tempting fate, the trope doesn’t overwhelm or distract from the inherent beauty of these two engineering marvels.

(ROYAL CARIBEAN TERMINAL) COURTESY: ROYAL CAIBEAN INTERNATIONAL; (GROVE AT GRAND BAY) COURTESY GROVE AT GRAND BAY; (BRICKELL CITY CENTRE) COURTESY: BRICKELL CITY CENTRE.

DOWNTOWN & BRICKELL

Institute of Contemporary Art Miami (ICA)

Façades of the new stores are essentially advertisements for the brands they promote within and, as such, are relatively restrained.

(ICA MUSEUM) ARANGUREN & GALLEGOS; (MUSEUM GARAGE) JÜRGEN MAYER (2).

Museum Garage, Façade by Manuel Clavel.

DESIGN DISTRICT The master plan of the Design District continues to expand along the northsouth axis of Paseo Ponti, a pedestrian passage named after Giovanni “Gio” Ponti, the Italian architect and industrial designer. The paseo begins at the Palm Court in the south, anchored around Bucky Fuller’s Fly’s Eye Dome, up past Northeast 40th Street, breaking through the next block to 41st Street and terminating at Paradise Plaza with a slew of new stores designed by the likes of Daly Genik, Freeland Buck, Tolila+Gilliland,

Museum Garage, Façade by Jürgen Mayer.

Johnston Marklee and MOS — a mini-city of high-end retail stores, restaurants, public artworks and more. There’s also the new Institute of Contemporary Art Miami (ICA), a blocky white structure with fractured façade going up on 41st Street and designed by the Spanish firm of Aranguren & Gallegos as well as a 119-room hotel by Neri & Hu at the corner of Northeast 40th Street and First Avenue. This constitutes Phase III of Design District development, and most of these buildings will be finished in 2017.

Façades of the new stores are essentially advertisements for the brands they promote within and, as such, are relatively restrained. Good taste prevails throughout the Design District, but a morsel of exuberant excess has been allowed to seep into the master plan with a surreal cluster of architectural treatments that were curated by architect and former museum director Terence Riley and wrap around the outer skin of the Museum Garage, a 900-car parking structure that sits across from the ICA at Northeast 40th

Street and First Avenue. A cluster of interlocking puzzle parts by German architect Jürgen Mayer commands the corner with red, black and blue graphics — not unlike the dazzle camouflage used on World War I battleships. This being a collaborative intervention, Mayer’s façade merges and interacts with the work of five other firms, including a Baroque explosion of cartoon-like icons by Nicolas Buffe and a screen of actual cars that have been suspended in a state of perpetual gridlock by Spanish architect Manuel Clavel.

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MIAMI BEACH In my imagination, the Faena Forum, at 33rd Street and Collins Avenue, will always have a semi-ruined, Piranesi-meets-Melnikov quality. Even in its finished state, it feels like an ancient temple to the sun gods, with a taut, drum-like skin, complex cutouts radiating in sunburst splashes, oddly suggestive of woven Gothic fenestration but digital and flattened for the 21st century. Miami Beach is blessed to have a new cultural institution designed by one of the world’s most innovative firms, OMA (Rem Koolhaas and Shohei Shigematsu). From certain angles it is heroic; from others it is nondescript, almost banal. The wedge-like void and Martian-friendly staircase on Collins Avenue give it both a sculptural and philosophical ambiguity. The angle of light makes all the difference as the exterior has been left bone-white, a movie screen for shifting light and shadows, especially during evening hours when the pink-andpurple sunset brings a lurid blush around the outer edges.

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In that regard, exterior graphics by Studio Job seem almost sacrilegious, detracting as they do from the tight, basket-weave exterior and its reflective virtues. They also diminish the sense of visual tension that rubbernecking motorists experience when driving down Indian Creek Drive. Spiraling ramps, loggia and trapezoidal windows on the interior carry on the “future ruin” theme, with a generous nod to film’s Dr. Caligari and German Expressionism. Faena Park (also by OMA) is a multi-level parking structure that sits a block north of the Forum. In other cities, this type of structure is often relegated to a minor, ancillary role. But we are in Miami, where cars get pampered and given the VIP treatment. With its perforated shell of medusa-white concrete and its sculptural consistency, OMA’s sixstory cheese-grater is, in some ways, the most noteworthy of all the new Faena buildings, upstaging its more sophisticated neighbors to the south. As with the Forum, the pale coral-type surface serves as articulated foil for sea-brewed light and shifting shadows.

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It feels like an ancient temple to the sun gods, with a taut, drum-like skin, complex cutouts radiating in sunburst splashes, oddly suggestive of woven Gothic fenestration but digital and flattened for the 21st century. Faena Park

(FAENA FORUM) FAENA/OMA; (FAENA PARK) COURTESY: FAENA.

Faena Forum

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SURFSIDE FOUR SEASONS In the original sketch that Richard Meier drew with a flourish on a linen napkin (so goes the local mythology), the Four Seasons Surf Club looked rather small, even quaint. The bulk is broken up into

several sections, staggered back at an angle from the beach. The final version, however, seems to loom much larger. Transparency has been pushed to the limit, with layers of glass walls and balconies that can appear like a two-block-long display for voyeurs. The new luxury

Four Seasons-Surf Club

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hotel anticipates welcoming its first guests this spring. FENDI CHATEAU For a structure that has so much transparency, the Fendi Chateau doesn’t exactly hover and dance above its beachfront site at 96th

Street and Collins. But in the evening, with cumulonimbus towering over the Everglades, and the sun declining in the west, the building assumes a poetic interlacing of reflections, especially around the corners, which seem animated and charged with intention. In ancient Egypt, a mastaba — literally meaning “house for eternity” — was a tomb with flat roof and inwardsloping sides, usually made from mud bricks. This updated version of the mastaba is made from undulating swathes of glare-resistant glass, not mud; the tenants are not anointed priests but eager urbanites hoping for solace and a good ocean view. With 12 stories and only 58 units, it has, more or less, the right scale for Surfside. Wave-like balconies echo oceanic patterns of sand and water. The tapered sidewalls allow for ample wedges of sky and light to break through on either end, helping to break the uniform monotony of the boxy condos and hotels that crowd along the length of Miami Beach. WORDS BY ALASTAIR GORDON

(FOUR SEASONS) DBOX; (FENDI CHÂTEAU) COURTESY: FENDI CHÂTEAU - RESIDENCE;

Fendi Château

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{STAYCATION}

ARTFUL

LODGERS For style-savvy travelers, a trio of new hotels adds culture to a getaway.

alk the beach. Hang at the pool. Sleep with art. If Miami Art Week doesn’t sate your art lust, a weekend in Miami Beach can pique your creative craving any time of the year. A stay at the chic Delano South Beach hotel, for instance, is filled with Easter eggs: The all-gold chair in the lobby? That’s by Salvador Dali and one of only three in the world. Those ornate chairs at the shallow end of the pool visible from your all-white cabana? Piero Fornasetti circa 1954, numbered and valued at $5,000 each. Or perhaps the celeb-magnet W South Beach is more your style. The lobby’s Andy Warhol silkscreens will catch your attention — when you’re not sneaking a glance at the steady stream of A-listers. The utopian, wall-size murals at the Faena Hotel Miami Beach — the Faena equivalent of the Sistine Chapel, this one by Argentine artist Juan Gatti — vie with other distracting views (the hotel is another celeb hangout, previously hosting the queen herself, Beyoncé). Elsewhere in the hotel, artistic immersion seeps into the senses at the Living Room lounge and Veranda dining room: both are lit by Alberto Garutti chandeliers that flicker when lightning strikes in the Argentine pampas.

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Above: The Nobu Hotel, inside the Eden Roc, showcases “Florida Set” by Josh Smith. Right and below: Marco Palmieri’s “Ciao” wall vinyl hangs behind the concierge desk at Nautilus, where Martin Sotot Climent’s “Unknown Feldschlosschen, 2014” is displayed in the lobby.

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A N I CO N R E D E F I N E D BY A L E G E N D

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Left and below: Casa Claridge’s elevator resembles a space odyssey, and the hotel’s pink atrium is marked by a hanging paper sculpture. Bottom: Bob Bonis Archive Lightboxes at the Betsy Hotel.

Casa Claridge’s centerpiece is its all-pink atrium — pink marble floors, plush salmon sofas and a massive, hand-cut paper sculpture by Argentine artist Manuel Ameztoy.

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Around the Beach, other hotels have kept their mini-galleries for year-round guests. In September, the Shelborne Wyndham Grand South Beach on Collins Avenue began monthly art exhibitions. The first featured fiber centered around the theme of “women’s work” by local artists Aurora Molina and Stacy Conde. Over on Ocean Drive, The Betsy hotel permanently features one of the world’s two Bob Bonis exhibitions on its hallways, displaying about 200 vintage photographs that offer a peek into the behind-the-scenes lives of the Beatles and the Rolling Stones. When the Art Deco hotel completed renovations in November, its fusion with next-door neighbor Carlton Hotel was sealed by — what else? — a public art installation: A gigantic, mirror-like orb suspended between both buildings. Staycationers and vacationers alike have more options than ever thanks in part to the three new players in Miami’s hotel industry that have tapped into the Sagamore’s legacy while creatively infusing their brands with art. CASA CLARIDGE’S While the name Faena is synonymous locally with the Faena Hotel Miami Beach and its ninefoot gilded skeleton of an extinct woolly mammoth, it also lends its sensibilities to its subtler sister down the street, Casa Claridge’s. Casa Claridge’s centerpiece is its all-pink atrium — pink marble floors, plush salmon sofas and a massive, hand-cut paper sculpture by Argentine artist Manuel Ameztoy that hangs from the ceiling in ascending tones of pink and bathes the room in bubblegum hues. The Mediterranean Revival-style hotel opened in December 2014 as a more-affordable option for travelers who want a taste — but perhaps not a six-course meal — of Argentine developer Alan Faena’s eclectic touch. The 50-room hotel displays a handful of paintings and prints by South American artists, as well as a pentagon-shaped gold diptych piece by Croatian artist Sinisa Kukec. Rooms continue the pink theme

PATRICK FARRELL (CASA CLARIDGE'S)

Miami’s artistic portfolio gets more crowded by the day. Over the past two years it has attracted three new hotels — Nautilus, Nobu and another Faena creation, Casa Claridge’s — each offering up its creative sensibilities to discerning locals looking for a staycation with a culture kick. They continue a trend that was born on Collins Avenue in 2001, when the 92-room Sagamore Hotel had only just opened and Art Basel was a Swiss international art show coming to Miami for the first time. But the Sept. 11 attacks delayed Basel until the coming year, leaving artists already in town without a place to display their work. The Sagamore’s bare white walls welcomed the art, earned it the title of the “Art Hotel,” and began an art-centered hospitality movement that would grow globally in the years since, stretching from Denver to Madrid, Louisville to Zurich, New York to Nice to Wellington, New Zealand. December’s 15th Edition of Art Basel Miami Beach marks a milestone year for the Sagamore as well. In late August, the Sagamore kicked off the #SagamoreIsArt live event with a performance by street artist Abstrk. The program, curated by street-art aficionado Sebastien Laboureau, runs indefinitely with an eclectic cast of artists — including Banksy and Mr. Brainwash — installations, galleries and music. And during Basel, the hotel will display 100 years of French lingerie in its public spaces. “Our mission is to embrace the hotel’s iconic elements and past times, but also expand upon it by creating one of the only hotels on the Beach to offer the public ongoing art programming and recurring exhibits, organized in partnership with leading international galleries, artists, nonprofit organizations and museums,” Laboureau said. Art continues to be as important as ever at The Sagamore, even after the death of owner Marty Taplin in March. Taplin and his wife, Cricket, curated the hotel’s 600-plus-item art collection. New owner InSite Group of Fort Lauderdale intends to keep the historic property’s cultural legacy alive.

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with accents in Frette linens and terracotta tiles. One downside: There is no swimming pool. Casa Claridge’s also plays host to a rotating “Elevate” art series, which features site-specific installations by emerging and mid-career local artists. Earlier this year, Cuban-born, Miamibased artist Beatriz Monteavaro’s “Return to Tomorrow” installation transformed the hotel’s elevator into an experience reminiscent of a ride on Space Mountain. The black-lit walls glowed with alien-green intergalactic symbols of space ships, planets and stars. Green laser lights reflect symbols on the elevator’s riders. Monteavaro’s piece has been up since March, but come Art Basel, the restored hotel will host a new installation whose details it would not reveal in advance. Casa Claridge’s, 3500 Collins Avenue, Miami Beach; 305-604-8485; casaclaridges.com. Mid-December rates from $150. NAUTILUS SOUTH BEACH, A SIXTY HOTEL The trendy Nautilus South Beach isn’t shy about its artistic preferences, either: The lobby wall is an art gallery. In this, its inaugural year, the 250-room oceanfront property hosted Wonderwheel, a yearlong installation project with Los Angeles-based nonprofit the Depart Foundation. The perimeter wall of the lobby displays videos, paintings, sculptures and installation works by international artists. “Contemporary visual culture is a vital part of today’s travel experience,” said Jason Pomeranc, owner and co-founder of Sixty Hotels. “We have always embraced

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At the Sagamore, art is far more than decor; it’s the core of the hotel’s identity.

art as an integral element of our hospitality offering, and we’re delighted to partner with the Depart Foundation to house their permanent project space in Miami.” Nautilus’ artistic roots are visible from the concierge desk, which sits in front of a large wall vinyl by artist Marco Palmieri with a pattern of the word “ciao” in cursive and a large hashtag. The contemporary works are interwoven with a storied past. A Morris Lapidus design, the hotel, originally called just Nautilus, features homages to its 1950s past: preserving Lapidus’ neo-Baroque designs, restoring the lobby’s landmark “staircase to nowhere” and incorporating mid-century, jet-set style furniture. During Basel, the hotel transforms, complete with beach

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tents and celebrity parties, to fully embrace the city’s annual celebration of art. Nautilus, 1825 Collins Avenue, Miami Beach; 305-503-5700; sixtyhotels.com. Mid-December rates from $175. NOBU HOTEL AT EDEN ROC MIAMI BEACH In early December, one of Miami’s most recognizable hotels, the Lapidus-designed Eden Roc, is taking on a modern-day spin. The hotel unveiled a “hotel within a hotel” concept with the opening of the Nobu Hotel at Eden Roc Miami Beach, a 206-room addition in collaboration with celebrity chef Nobu Matsuhisa, actor Robert DeNiro and Hollywood producer Meir Teper. Designed by architect David Rockwell, Nobu Hotel at Eden Roc

Miami Beach will keep some of its mid-century touches (rooms and suites are set in the landmark Eden Roc tower) and fuse them with touches of Japanese architecture. Accommodations feature a Japanese beach house motif with teak accents. Fourteen works of art, curated by Peter Brant of the Connecticut-based Brant Foundation Art Study Center, will be displayed in the common areas, including a permanent fixture: a commissioned, bright abstract work by New York-based artist Josh Smith, “Florida Set,” that takes center stage at the hotel’s Bar Nobu. “Josh Smith’s piece mirrors Nobu’s dynamic aesthetic while also reflecting the atmosphere of Florida. The vibrant color palette complements the rich materials used throughout the hotel — walnut, bronze, washi paper — while also incorporating the colors and landscape of Florida,” said Laurence Dubey, general manager of Nobu Hotel at Eden Roc Miami Beach and Eden Roc Miami Beach. “It was absolutely integral to include art in the hotel.” Foodies will also get their version of art: The in-house Nobu Miami restaurant will blend Chef Matsuhisa’s Tokyo training with time abroad in Peru. And the new Malibu Farm, from California chef and cookbook author Helene Henderson, opens this month. Nobu Hotel at Eden Roc, 4525 Collins Avenue, Miami Beach; 305-531-0000; nobuedenroc.com. Mid-December rates from $429. WORDS BY CHABELI HERRERA

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Palette and

PALATE

For connoisseurs, Midcoast Maine is the new seaside nexus of aesthestics and cuisine.

JONATHAN LAURENCE (MAINE CENTER FOR CONTEMPORARY ART)

hen Jared Cowan and his wife graduated from Rockland High School in the late 1990s, they couldn’t imagine ever returning to the downtrodden Maine port. Privacy-seeking celebrities and the wealthy summered in Islesboro, a short ferry ride away, or at the rolling waterfront estates of Rockport, a half-dozen miles to the north. Tourists escaping Boston and New York headed up the road to pretty Camden, home to the schooner cruising fleet. Those who stopped in working-class Rockland to visit the Farnsworth Art Museum rarely stayed more than a few hours. Two decades later, Rockland is nudging out tonier Portland as the arts lovers’ place to be. The cozy brick downtown is lined with boutiques, eateries, an art film house, an artisan olive oil boutique and about two dozen art galleries. Last June, the Center for Maine Contemporary Art, previously tucked away in Rockport, opened a new Toshiko Mori-design space just a block from the Farnsworth. Roughly one in seven of the town’s 7,200 permanent residents is a visual artist. And that doesn’t

include the potters, furniture makers and other craftspeople scattered along the inlets and hillsides, said Cowan, a sculptor, owner of the Asymmetrick Arts gallery and chair of the nonprofit group Arts in Rockland. PALPABLE ENERGY They join a heritage of historical artists who worked in the area: Edward Hopper, Marsden Hartley, Frederic Edwin Church, Louise Nevelson, Georgia O’Keeffe, Winslow Homer and Andrew Wyeth, to name but a few. “The energy continues to bubble up,” said Christopher Brownawell, director of the Farnsworth, which hosts more than 100,000 visitors a year. “One generation feeds off the next.” Increasingly, art isn’t limited to the canvas. From Penobscot Bay and the loamy Maine earth come the paints of the culinary plate. Of course there’s lobster — which explains the 50-person queue for lobster rolls that backs The new Toshiko Mori-designed Center for Maine Contemporary Art in Rockland, top, is located just off Main Street, bottom. The 1935 painting by N.C. Wyeth is on display at the Farnsworth Art Museum, a block from CMCA.

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up traffic outside Red’s Eats in Wiscasset. But that’s nothing compared with the waiting list for reservations at The Lost Kitchen in the town of Freedom, where every seat for the sevenmonth 2016 season was booked just days after reservations opened. In a converted mill, chef Erin French preps welcome boards with homemade olives and local cheeses while her sister, Alicia, sets fresh wildflowers onto the rough-hewn tables that will host 40 lucky diners for the evening’s single seating. French crafts the menus based on her weekly visits to local farms. On a late-summer night, that means heirloom tomato salad — likely grown by Victoria, a longtime friend who also serves tables; summer squash soup; grilled lamb chops and berry shortcake, with sorbet along the way. Patrons choose their wines from the basement cellar store run by French’s mother. This marks the mill’s third season. The restaurant’s previous incarnation shuttered after French and her then-husband split, leaving her broke. She moved back in with her parents. When the mill space became available in 2014, she opened The Lost Kitchen. Despite its remote location — an hour from Rockland, 30 minutes from Belfast — it quickly became a must-snag reservation, winning raves from Food & Wine magazine. Said French, “This is just about getting back to my roots, to doing what I love. It’s like any form of creativity; it’s selfexpression and it’s edible.” Her cookbook is due out this winter. Twenty miles east, the Belfast space that held French’s previous restaurant is now occupied by raw food chef Matthew Kenney, whose Wynwood restaurant, Plant Food + Wine, wins raves for its masterful presentation and surprisingly rich tastes. Kenney, too, is a Maine native who grew up foraging for fiddlehead ferns and harvesting

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fresh vegetables from the family garden in Searsport, just north of Belfast. Several years ago Kenney opened a culinary academy in the former shipbuilding center, similar to the one he runs in Wynwood but with the focus on local produce. He calls Arata, the current name of his Belfast restaurant, “a culinary incubator.” In 2015 it was called Gothic and featured small plates and local ingredients. In 2016, the menu highlights ramen, steamed buns and Asian-accented dishes. (It is now closed for the winter.) THE ART WORLD IS HERE Said Kenney, “Maine is a great place to start a business because the costs are lower,” keying into one of the ingredients for artists as well. That includes Alex Katz, Robert Indiana, David Driskell and Joseph Borofsky, whose works inaugurated the Center for Maine Contemporary Art last summer, along with local favorites like Eric Hopkins and photographer Peter Ralston. In summer, said Suzette McAvoy, director of CMCA, “the entire New York art world is here... This is where work gets done. It offers beauty and isolation.” It’s something the Wyeth family has known for generations. First N.C., then Andrew and now Jamie have spent summers near Port Clyde, home to the ferry that shuttled locals and guests to Monhegan Island, a longtime artists’ colony.

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They are closely tied to the highly regarded Farnsworth, charged with celebrating Maine’s |role in American art. Its downtown facilities include a Wyeth wing featuring rotating exhibitions of Andrew’s studies, and a nearby annex — once a historic church — that showcases works by all three family members. The countryside Olson House, where Andrew painted his famous “Christina’s World,” is managed by the Farnsworth, which hosts Wyeth tours. Next year, the museum will hold special exhibitions marking Andrew’s 100th birthday. But the Farnsworth isn’t just about the past. The massive “EAT” sign by Robert Indian appeared in 2009, after an Indian retrospective. Its 2016 blockbuster “Pushing Boundaries” explores the remarkable collaboration between master printmaker Donald Saff, whose studio at the University of South Florida in Tampa became the go-to atelier for fabricating complex works by Jim Dine, Nancy Graves, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist and James Turrell. It’s no wonder that 800 to 1,000 visitors come out for the summer First Friday art walks. And even more are expected in 2017, when the Farnsworth hosts exhibits and events celebrating the 100th anniversary of Andrew Wyeth’s birth. Said Brownawell, “It’s hit a tipping point. Rockland is coming into its own.”

ROBERT LIANG (ARATA)

Clockwise, from top: Arata, Matthew Kenney's Belfast restaurant; an opening at the Farnsworth Museum; Chef Erin French at The Lost Kitchen; crisp oyster appetizer prepared by French.

the life Clockwise, from left: McLoons lobster pound in South Thomaston; welcome board at The Lost Kitchen; historic Limerock Inn in Rockland; Asian-spiced vegetables at Arata.

GETTING THERE: Rockland is about a four-hour drive from Boston or a 90-minute drive from Portland, Maine. It also has its own commercial airport, accessed from Boston via CapeAir; capeair.com. WHEN TO GO: Lobster pounds and other seasonal businesses are open Memorial Day to Labor Day, when the calendar is filled with festivals (celebrating jazz, lobsters, windjammer sailing ships and local craftspeople), antique shows and fairs. Regional festivities run into the fall (when the town of Damariscotta hosts the October Pumpkinfest, including a car-smashing contest) and into winter, with Rockland’s Pies on Parade fundraiser, Camden’s National Toboggan Races and the Camden Conference; camdenrockland.com. WHERE TO STAY: At the chic new 250 Main boutique hotel by the waterfront, you’ll be surrounded by works by local artists in a sophisticated ambiance a la Portland; 250mainhotel.com. For historic coziness, try bed-and-breakfasts Limerock Inn; limerockinn. com, Berry Manor Inn famous for its pies; berrymanorinn.com, and the Lindsey Hotel, a former sea captain’s home in downtown; lindseyhotel.com. Golfers favor the Samoset Resort; near the Rockland lighthouse; samosetresort.com. Camden features numerous historic bed-and-breakfasts and the luxury Camden Harbour Inn. camdenharbourinn.com.

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DINING: The Lost Kitchen offers set, multicourse dinners Wednesday through Saturday in Freedom, about 30 minutes west of Belfast; book in midApril or get relegated to the waiting list; 207382-3333 and on Facebook. Matthew Kenney’s Arata, in historic Belfast, offers innovative cuisine with local ingredients; open summers; arata@ matthewkenneycuisine.com. To dine at Nebo Lodge you’ll need to go by boat to North Haven; book a roundtrip sail through the Lodge for dinner in summer or take the public ferry and stay overnight to taste the freshest oysters and veggies on the planet; nebolodge.com. Primo is a longstanding Rockland gourmet favorite; be sure to reserve well in advance; primorestaurant.com. Arguably the best all-day breakfast in Maine is at Rockland’s Home Kitchen Café; don’t miss the Sinnies (giant sweet buns) and the Bennies with

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lobster, crab, spinach and whatever is in season; homekitchencafe.com. LOBSTER POUNDS: Lobster pounds abound and are open during summer daylight hours; they include Waterman’s; watermanslobsterco. com, McLoons; mcloonslobster.com, in South Thomaston and Miller’s in Spruce Head (207594-7406.) Red’s Eats in Wiscasset is famous for killer lobster rolls; don’t bother to hold the butter. Open in summer; redseatsmaine.com. AUTOMOTIVE ART: Car and airplane lovers won’t want to miss the Owls Head Transportation Museum, which features exhibits, auctions and regular themed weekends drawing local vintage cars; owlshead.org. WORDS AND PHOTOGRAPHY BY JANE WOOLDRIDGE

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Flaunting

the feminine Fort Lauderdale’s David Horvitz and Francie Bishop Good, herself an artist, have given ‘women’s work’ a new definition with a collection focused on female artists. WORDS BY RICARDO MOR

Twenty-five years ago, David Horvitz and Francie Bishop Good purchased their first artwork together, an abstract wooden sculpture by Louise Nevelson. Since then, Horvitz, an investment manager, and Good, an artist, have become Fort Lauderdale’s most prominent arts patrons, with a private art collection notable for its emphasis on contemporary female artists. Today, the couple — married 31 years — are expanding their legacy by making their artworks more accessible than ever. While Miami is home to many world-renowned collectors, few would guess that one of South Florida’s most progressive would reside in Fort Lauderdale, a city whose cultural scene is still very much on the rise. Horvitz and Good’s collection is a rare gem, so notably unique that in the 2000s, the art book publisher Rizzoli deemed them the world’s only private collectors with a public exhibition space dedicated to contemporary female artists. Rizzoli was referring to Girls’ Club, a nonprofit alternative arts space in downtown Fort Lauderdale that the couple founded in 2006 to present exhibitions — often of works from their own collection — and programs on, and for, contemporary women artists. Their own collection includes photographic pioneers Catherine Opie, Carrie Mae Weems and Vivian Maier; painting prodigies Elizabeth Peyton, Mickalene Tomas and Cecily Brown; and multidisciplinary mavens like Dara Friedman and Jillian Mayer. With so many artists in the collection coming from so many different disciplines, it’s hard to pin down its core. But Horvitz offers a clue, noting that much of the work “is not easy” to digest. Many of the recent acquisitions are conceptual in nature, resulting in body of works that flout convention.

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P H OTO G R A P H Y BY A L D I A Z

In that, they are distinctive, said Frances Trombly, a Miami-based fabric artist whose work Good and Horvitz have purchased. “I believe they collect what inspires them, not what the market tells them to collect,” she said.

DUAL INSPIRATION The collection long has been influenced by Good’s own art practice. That, in turn, has been inspired and shaped by the artists she collects, she said. Good’s work spans the realms of photography and painting, and she has been featured in numerous exhibitions locally and nationally. This year, she was the subject of a solo show at the Hilliard University Art Museum in Lafayette, Louisiana, curated by Jane Hart, a South Florida-based independent curator. The show, titled “Comus,” features a recent body of work that connects Good’s photography and painting practices. Many of the works combine scanned portraits from Good’s yearbooks and those of her late mother, and scans of her paintings that contain some of her mother’s costume jewelry. Hart said that Good’s willingness to push boundaries and work in multiple disciplines is what makes her work remarkable. “What I think makes her stand out among artists is that she’s interested in experimentation beyond one single process,” said Hart. An artist’s practice spills over into all aspects of life. Still, few live as intimately with art as Horvitz and Good. On any given day, they can view many of the 700 or so works they own. Francie Bishop Good and David Horvitz live among the art in their Fort Lauderdale home, designed by Deborah Berke. Good’s “Comus” series hangs on the wall of their breakfast room.

A changing selection appears in their airy private home, where Horvitz and Good live with Lucky, Buddy and Bosco, all rescue dogs of mixed heritage.

Opposite page: Good gets cozy with Buddy. This page, from top: Horvitz in their library, with a work by Teresita Fernandez on the wall; a light-hearted touch in the living room.

A changing selection appears in their airy private home, where Horvitz and Good live with Lucky, Buddy and Bosco, all rescue dogs of mixed heritage. It was designed for the couple, whose four children are grown, by New York-based architect Deborah Berke Partners (whose founder is now dean of the Yale School of Architecture). Located on a Fort Lauderdale canal off Las Olas Boulevard, the house was designed to ensure there was enough wall space to highlight their art collection while incorporating the garden, water and light outside the massive windows. The result is invitingly tropical, a welcoming modern home that reflects the couple’s personalities.

ELICITING EMOTIONS Horvitz also works with the art; much of it hangs in the offices of SouthOcean Capital Partners, a private investment firm where Horvitz works as chairman. It is an unusual place for a display of more than 100 artworks, many of which are bracing and provoke strong reactions. Horvitz said that he gets the most pleasure out of the works when he sees the emotions they elicit from those who visit his office. “The office is filled with art that is not traditionally seen in offices... People who work with me absolutely love it, and they get so excited when we rehang and bring something else. We have business people come through and they see this enormous Mickalene Tomas nude right by the front desk... their eyes get really big and they go ‘Wow!’ They appreciate that, and I appreciate that.” But most importantly, their collection has been the heart of Girls’ Club, which is also home to Good’s studio. The space has been a leading institution in the burgeoning Fort Lauderdale art scene, in part because it is one of the only alternative art spaces in the city tapping into the global art landscape, culling from an international roster of artists from the couple’s collection while also

Located on a Fort Lauderdale canal off Las Olas Boulevard, the house was designed to ensure there was enough wall space to highlight their art collection while incorporating the garden, water and light outside the massive windows. The result is invitingly tropical, a welcoming modern home that reflects the coupleâ&#x20AC;&#x2122;s personalities.

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Horvitz and Good at Girls’ Club, the alternative Fort Lauderdale space they created to showcase work by female artists. showcasing homegrown talents. Sarah Michelle Rupert, gallery director of Girls’ Club, attributes its success to the size of the institution, which adds a personal touch when compared to larger art organizations. “I think some of its uniqueness comes from the fact that we are so small. Our connection with the audience is very personal. The three of us — Francie, Michelle [Weinberg, creative director of Girls’ Club] and myself — are giving tours, curating shows, directing with interns and fellows,” Rupert said. Still, after 10 years in its Margi Nothard-designed space, Girls’ Club will move out in early 2017 — the building is being sold — and proceed with nomadic programming. The final exhibit at the space will be “Pink Noise: Flexing the Frequency,” an exhibition that will explore “the prevalence of the feminine association of the color pink in contemporary art and life.” It will close early next year. Beginning this winter, Girls’ Club will organize a series of multidisciplinary public performance projects called OFFSITE with local artists Jen Clay, Vanessa Garcia,

Jenny Larsson and Christina Pettersson. The institution will curate two shows on location: “Women Painting” at Miami Dade College’s Kendall Gallery and “Change Agents” at the Art and Culture Center of Hollywood.

NEW AUDIENCES Girls’ Club’s transition from a brickand-mortar institution to a roaming program is part of a larger effort by Horvitz and Good to bring the collection to new audiences. For example, the show at the MDC Kendall gallery will be the first time Girls’ Club has ventured into Miami-Dade County. By hosting the exhibition at the westernmost campus of the college in the city’s deep suburbs, the institution is serving an area where there has been a relative dearth of contemporary art exhibitions. But while Girls’ Club’s nomadic programs will be temporary, Horvitz and Good are cementing their legacies in more permanent ways. Most significantly, they recently made a promised gift of more than 100 works to the NSU Art Museum Fort Lauderdale. The promised gift

is the core of an exhibition titled “Belief + Doubt: Selections from the Francie Bishop Good and David Horvitz Collection,” which highlights work by artists including conceptual portrait photographer Cindy Sherman, text- and photo-based artist Barbara Kruger and the late Cuban artist Ana Mendieta, known for her “earthbody” works in various media. The show runs through Dec. 10. The promised gift is part of their continued philanthropy with the museum. Horvitz has served on the museum’s Board of Trustees since 2006, and since 2013 the David and Francie Horvitz Family Foundation has committed to $2.5 million in challenge grants to it. The NSU Art Museum isn’t the only institution benefitting from a donation by the couple. Horvitz’s alma mater, Kenyon College in Gambier, Ohio, also will receive a selection of works. Between the two donations, their collection will shrink by roughly a third, to around 600 works. While some collectors would have bittersweet emotions after parting with so many works, Good said they are more than happy to see them find new homes.

“I was never one of those collectors who wanted to have their own museum,” she said. “I’m really excited to share them. I’m thrilled [to donate them]. They should move on. They should be enjoyed by other people. It should inspire other people, other artists, and other kids.” ☐

ON VIEW THROUGH DEC. 10: “Comus,” works by Francie Bishop Good. Paul and Lulu Hilliard University Art Museum, University of Louisiana at Lafayette, 710 East Saint Mary Boulevard, Lafayette, La. 70504. 337-482-2278; hilliardmuseum.org. THROUGH JAN. 22: “Belief + Doubt: Selections from the Francie Bishop Good and David Horvitz Collection.” NSU Art Museum Fort Lauderdale, 1 East Las Olas Boulevard, Fort Lauderdale; 954-525-5500; nsuartmuseum.org. THROUGH EARLY 2017: “Pink Noise: Flexing the Frequency” Girls’ Club, 117 Northeast Second Street, Fort Lauderdale; 954-828-9151; girlsclubcollection.org.

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BERNICE

WORDS BY SIOBHAN MORRISSEY PHOTOGRAPHY BY AL DIAZ

LOVE FOR AND LOYALTY TO HER ARTISTS HAVE PUT THIS EBULLIENT MIAMI DEALER ON A FIRST-NAME BASIS WITH COLLECTORS AND CREATORS ALIKE. The seven photographs are arranged to show an enduring link between artist Maria Magdalena Campos-Pons and her mother, each holding one end of a beaded rope like an umbilical cord. The large-format Polaroid work, “Replenishing,” runs nearly floor to ceiling, and spans more than five feet in width. It’s part of an edition of three. The Pérez Art Museum Miami owns one; another sold at auction. The Smithsonian offered to buy the third. The owner, Miami art dealer Bernice Steinbaum, refused. In many ways the work is emblematic of Steinbaum’s life. Her sense of love and loyalty encompasses not only her own late mother and Steinbaum’s three children but to the extended family of artists she has represented over the past four decades. Today Steinbaum, who gives her age only as “over 21,” is recognized as an icon in the art world, heralded for promoting female artists and people of color at a time when doing so was not fashionable, first as a university professor at Drake and Hofstra, and then as a gallery owner on New York’s Madison Avenue and later in Wynwood.

LASTING IMPRESSION

Bernice Steinbaum interacts with Carrie Sieh’s multipaneled work of an industry mill town. The piece includes embroidery, painting and drawing on all sides.

Although she closed the gallery in 2012, Steinbaum continues to make her mark on the art world. Last year, filmmaker Kristina Sorge released “BERNICE,” a compelling documentary that puts Steinbaum on a first-name basis with her public. Steinbaum attributes much of her success to her mother, Sarah, who raised five children alone after her husband suffered a fatal heart attack in 1950. “I had a very strong role-model mother who made it better for me because she just kept going forward and didn’t sit around and say, ‘Woe is me. I’m a widowed woman at such a young age, with five children.’ ” The youngest of the five children, Steinbaum was 8 years old at the time. Then, she said in a near-whisper, “My father died on my birthday. My mother died 19 years later on the same day.” It is a haunting coincidence — one you’d never suspect if you’ve seen the ever-ebullient Steinbaum in public, dressed in the flamboyant greens, vibrant pinks and electric blues of the clothes she designs for herself. Still, her parents’ deaths turned her birthday into a day of mourning and remembrance, and shaped the life Steinbaum has since led. “For a long time, it was dreadful for me,” she said. “Just dreadful.” A friend helped her find some solace in the pain.“ ‘Bernice, don’t you realize how wondrous that is?’ ” Bernice recalled her friend asking. “ ‘They will always remember you if there is an afterlife, and you will always remember them, and they will always celebrate your birthday with you.’ ” Suffering is a universal language, and perhaps it is her personal connection to such profound suffering that has made Steinbaum a champion of those marginalized by society. When she opened her first gallery in New York, Steinbaum decided to exhibit 50 percent women and 40 percent people of color. She continued with that approach, which made both cultural and economic sense, when she moved to Miami in 2000 to be near her children, who live in Florida.

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Although she closed the gallery in 2012, Steinbaum continues to make her mark on the art world. Last year, filmmaker Kristina Sorge released “BERNICE,” a compelling documentary that puts Steinbaum on a first-name basis with her public. The artist had his own unhappy brush with wildlife. In 2012, he was sentenced to 20 months in jail for smuggling exotic animal parts to use in his artworks. Steinbaum stood by him. “I think they used him as a scapegoat,” she said. “No one threw Bob Rauschenberg in jail because he used a bald eagle.” While de Molina was away, Steinbaum wrote to him almost every day. He has kept all of her postcards, “one of my highlights of the day” during his incarceration, he said. From the start, the relationship between the two was more than merely dealer-artist. “She’s my friend,” he said. “Everything else is great, but the fact that she’s my friend matters the most.”

TRYING TO HELP

MORE THAN A DEALER Miami-based, Haitian-born artist Edouard Duval-Carrié said Steinbaum is more like family than an art dealer. Duval-Carrié was one of the first Miami artists to join her gallery, after Steinbaum wooed him with a huge box of brownies. Today, one of his paintings greets visitors to Steinbaum’s Coconut Grove home. “That was very sweet of her,” he said, adding: “She’s been very good for me, and I was very sorry to see her [gallery] close.”He was equally impressed with how even-handed Steinbaum was with artists. “Her concept of fairness was very, very important to us,” he said. “Once you joined her roster of artists, she had to promote you at the same level as any other. She was always very good about that. We never felt like the ugly ducklings in the crowd.” Steinbaum worked hard to get Duval-Carrié into various collections, both in private homes and public museums. “It was always very exciting working with her,” he said. “I’ve been placed in many collections that I don’t think people would even have been aware of me if it wasn’t for her.” Steinbaum is known for supporting her artists beyond the dictates of a commercial relationship. The artists often respond in kind, sometimes creating art especially for her. One couple known as “Ghost of a Dream” created a collage from postcards left over from one of Steinbaum’s shows, aptly named “Reclaimed Miami.” The massive collage holds a place of honor in her home, secured beneath glass as a floor rug. Nearby stands a sculpture of an imaginary creature — part lion, part crocodile — covered with rooster and pheasant feathers. The Lewis Carrollstyle hybrid is quintessential Enrique Gomez de Molina, a Miami artist who mixes the best bits of species to produce eye-catching and mind-expanding variations as a way to focus on man’s destructive impact on the environment and natural habitats. He created his sculpture during the controversy over the poaching death of Cecil the Lion, shot last year by an American trophy hunter.

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Steinbaum’s sense of loyalty and fairness plays out in the “BERNICE” documentary, nowhere more strongly than when she attempts to help Chinese artist Hung Liu with a family matter. Liu’s father had been imprisoned by the communists in 1948, just seven months after her birth; she hadn’t seen him for more than 40 years and believed he was dead. In 1994, she learned he was still alive, living in a work camp because he had nowhere else to go. Steinbaum tried to arrange for him to travel to the United States for medical care, but he was too frail and died before he could make the journey. Steinbaum’s own home displays her abiding affection for Liu and appreciation of her talent. Large-scale paintings by the artist line the dining room. The image of a 13-year-old prostitute exposes bound feet to reveal a mass of nubby toes fused into a triangular-shaped foot. Next to it hangs a painting of several Chinese eunuchs with cigar boxes covering their missing genitals. “That was created around the time of the Lewinsky affair,” Steinbaum said, referring to President Bill Clinton’s extracurricular activity. Many other works in Steinbaum’s home also can be placed in historical context. There’s Carrie Sieh’s painstaking creation of an Industrial Revolution mill town, carefully crafted with textiles, graphite and paint. Then there’s the painting on her dining room ceiling made from crushed flies. Fabian Pena and Adrian Soca Beltran — better known as “ElSoca & Fabian” — embraced the medium as homage to a time in Cuba when flies were more common than art supplies. “Adversity,” said Steinbaum, “makes for great creativity.” One of the most memorable works in Steinbaum’s home recalls the dictates of early-Castro Cuba. Aurora Molina’s “Los Pioneros” is a trio of soft miniature mannequins made from stocking remnants and dressed in the white short-sleeve shirts, red shorts and blue ties of the communist indoctrination program for Cuba’s youth. When the sculpture is plugged in, the mannequins snap a salute, parroting their support for communism. The artwork produced a surprising rote response from one of Steinbaum’s guests. “My banker was visiting me in the kitchen of my house,” Steinbaum recalled. It was a “Manchurian Candidate” moment. As soon as she heard the sculpture’s prerecorded words, “You will pledge to communism,” Steinbaum said, the banker responded with a rote salute. In Cuba, the banker explained, those who didn’t respond were severely punished. But those who see the quirky artwork will be rewarded. As with many of the works in Steinbaum’s personal collection, what at first appears amusing may deepen into a lasting resonance. ☐

This page, clockwise from top left: A painting by Hung Liu hangs next to a bird cage by Troy Abbott in Steinbaum’s home; Steinbaum with photography by Maria Magdalena Campos-Pons; Pavel Acosta’s rendition of “Girl with the Pearl Earring,” made with paint chips on drywall; flies by Fabian and ElSoca; miniature 3-D panorama by Patrick Jacobs. Opposite page: Steinbaum prizes photography by Maria Magdalena Campos-Pons.

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Style

Vladislav Doronin at Aman Venice.

Presidential

The University of Miami’s first couple have infused the school’s official homestead with personal collections that make the house feel like home.

he 10,500-square-foot Pinecrest home comes with expansive windows overlooking moss-draped oaks, green leather armchairs and a name: Ibis House. It’s a stately place, with U-shaped wings framing a courtyard designed for entertaining. Perfect for the new president of the University of Miami, Julio Frenk — but not exactly a cozy family hideaway. How to make the house feel like home for two busy academic professionals, two daughters living at home and their dogs? “It was a challenge,” said Felicia Knaul, UM’s first lady. “We had not done that before. We had lived in our own home.” The answer, they found, was to surround themselves with art and cherished objects from their personal collections. The Francisco Zúñiga watercolor and sculpture are set in the hallway of the house, designed by Elizabeth Plater-Zyberk when she was dean of the university’s architecture school and completed in 2012. In the living room, a pair of lithographs by Rufino Tamayo hang on the wall. The kaleidoscopes on a living room shelf belong to the 62-year-old Frenk. His two most expansive collections aren’t visible on the first floor, which is often used for entertaining — though one might be soon. For Frenk, “the idea of fixing your attention on building bodies of interesting things that might form a collection is just a good intellectual exercise. It stimulates your curiosity. Most of the things I collect are things I love anyway,” he said. His largest is a treasury of operas, about 200 in all, including CDs and librettos, hidden from view. “To me, opera is the perfect art because it combines drama, music and, when seen on stage, combines all the elements of theater.” It reflects a childhood passion nurtured by his family. His mother is a classical pianist. Two sisters are professional musicians, one a cellist and the other a pianist. His twin sister writes pop music as a hobby. “I must have started listening seriously around 15 years of age,” he recalled. “I started with Mozart, as so many people do, because the Mozart operas have very funny or very intriguing plots, and the music is fantastic.” Some operas in his collection are organized by musician — Mozart, Verdi, Puccini. Others revolve around themes, like the Faust legend.

Then there are the ducks. Not just the carved wooden decoys that drive some aficionados, but broad-billed, web-footed waterfowl of all manner, from Africa and Asia. “I started to buy them when I worked for the World Health Organization and I used to travel a lot. It grew out of laziness; I didn’t have to think very much about what I would bring my kids. In almost every country you can find a duck.” Those, too, are out of sight while he figures out how and where to display them. ART AS AN EXPERIENCE

On view on the living room shelves is a selection of kaleidoscopes. One triangular viewer features polished agate. Another resembles a pair of opera glasses. Yet another looks like a Buddhist prayer wheel affixed to a wooden box. “Kaleidoscopes are such fascinating objects,” he said. “They allow you a very original glimpse of reality. A kaleidoscope is made of glass and mirrors, and this explosion of artistic formulations is the basic idea of the kaleidoscope. They are artistic objects in and of themselves, not just what you see.” Many were purchased by Knaul, 50, for her husband. The artwork is a result of the couple’s shared interests, reflecting a love for his native Mexico and the Canadian-born Knaul’s adopted home. “We didn’t buy as an investment or for accumulation. It’s mostly an aesthetic experience,” he said. The lithographs by the late Tamayo, best known for his paintings and sculptures, are rare artist proofs of Adam and Eve, colored by hand. The works by the late Zúñiga came in part through the couple’s acquaintanceship with his son. Even these reflect their shared professional interests at the university — home to both the community’s first art museum, the Lowe, and the first music program, the Frost, Frenk is quick to point out. Also represented are their shared interests in inclusion and equality, women’s health and the university’s hemispheric role. Zúñiga, explained Frenk, challenged conventional notions of feminine beauty, using as his models women from the Tehuantepec region, home to indigenous peoples. “He has this magnificent way of revealing the beauty of subjects that were not traditionally the models of Western art. That’s a huge cultural contribution.”

WORDS BY JANE WOOLDRIDGE / PHOTOGRAPHY BY MORIS MORENO STYLING BY CLAUDIA MIYAR / FELICIA KNAUL’S WARDROBE BY NEIMAN MARCUS

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On the living room shelves is a selection of kaleidoscopes. One triangular viewer features polished agate. Another resembles a pair of opera glasses. Yet another looks like a Buddhist prayer wheel affixed to a wooden box. Knaul’s particular interest in women comes from her own experience battling breast cancer and her academic work and health activism. “There are a lot of misconceptions about what beauty can be,” she said. Her own post-cancer breast reconstruction was unsuccessful. “A woman without a breast is no less a woman, no less attractive,” she said. Her work encompasses social justice globally, especially related to poverty and access to healthcare for women and children, and it is woven into her roles as professor in public health at UM’s Miller School of Medicine and as director of the Miami Institute for the Americas. “Gender inequities have prevented health systems and economies from taking full advantage of women as movers of economic development,” she said. “How women participate as physicians and the work women do in the hemisphere should be a concern for both genders.” The family’s hemispheric bent isn’t limited to the parents. Their daughters are adjusting rapidly to the move from Boston to Miami. “I think they’ve drawn quite a lot of comfort in having more of a Latin American influence in their lives,” Knaul said of the two daughters living in Miami. “It’s in their heart and Mexican blood.” ☐

To make Ibis House feel like home, the family added artwork throughout the house, including 12 hand-colored botanical engravings by Filippo Arena that hang in the dining room and works by Francisco Zuñiga in the entry hall.

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FROM RUSSIA WITH LOVE Russian real estate mogul Vladislav Doronin sets his sights on the West, focusing on projects centered on elegance and artful precision. WORDS BY JANE WOOLDRIDGE

As a boy growing up in the palatial city of St. Petersburg, Russia, Vladislav Doronin first visited the Hermitage with his mother. Though the museum is perhaps best known for its Impressionist paintings, the works that resonated with the young Doronin were those by the Russian avant-garde. His early affection for those bold forms and colors spilled into a broad passion for the visual that encompasses architecture, design and contemporary art as he built a real estate-development empire centered in Moscow that has expanded to Miami and New York. After a stint as a commodities trader for Marc Rich’s firm in Switzerland, Doronin returned to Russia in 1993, bringing the expertise of highly regarded international architects to his office, retail and residential real estate projects. During the years since, his Russian firm, Capital Group, has developed more than 70 projects encompassing more than 75 million square feet, working with architects including SOM (formerly Skidmore, Owings & Merrill), France’s Jacques Grange, Spain’s Ricardo Bofill Taller de Arquitectura and Italy’s Massimo Iosa Ghini. In 2014, Forbes’ Russian-language edition dubbed Doronin one of the “Kings of Russian Real Estate.” In pre-election times, he was often dubbed “the Russian Donald Trump” — a reference only to real estate; his spokespeople say he has no political aspirations. He often is called a billionaire, though he doesn’t

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appear on the Forbes Richest list. His own Moscow home — he calls it his “biggest extravagance” — was designed by the late Pritzker Prizewinner Zaha Hadid, whose last condo building, 1000 Museum, is now rising near the Pérez Art Museum Miami. The two met a dozen years ago when Doronin hired her to plan an 800,000-square-foot condo building in Moscow that ultimately failed to win government approval. By then, he said, they had become friends. “I still wanted to do something with her,” he said. The two met in London’s tony Mayfair neighborhood. He explained what he was seeking. “I don’t want to see any neighbors” — even though those along the so-called “tsar’s road” in a wooded area just outside Moscow are not exactly the proletariat. “I want to see blue sky above the trees. You have to go above the forest. She basically designed it at the table. “ ‘Do you like it?’ she asked me. I fell in love with it.”

HADID-DESIGNED HOME The result is a 40,000 — yes, 40,000 — square-foot home more in the vein of the Starship Enterprise than the typical dacha. It is the only private home designed by Hadid built before her unexpected death this year from a heart attack. (She has designed several others for private clients, but they have not yet been constructed.) “I feel very sad,” Doronin said of her death. “She became a close friend of mine. We had dinners together.

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She came to my house... It was too early. She was a genius.” For Doronin’s 57-story bayfront condo project in Edgewater, Missoni Baia, Hadid recommended Hani Rashid, principal of New York’s Asymptote Architecture. Rashid said it invokes the minimalist spirit of Josef Albers, Donald Judd, Sol LeWitt and Jesús Rafael Soto, creating a live-in sculpture. The Italian fashion house Missoni is defining the interior ambiance in its first real-estate collaboration. Doronin’s U.S. firm, OKO Group, also has announced a 47-story residential tower on Biscayne Bay at 25th Road, to be designed by Adrian Smith + Gordon Gill Architecture, the firm behind Saudi Arabia’s gargantuan Jeddah Tower. He also holds property on Brickell Avenue — the result of a previous partnership with Miami developer Ugo Colombo — and said he is actively seeking more Miami sites. He began coming to the city in the 1990s, and in 2008 bought a home on Star Island. When he was younger, he said, “It was my dream to build something in Miami. I love New York; Miami was close and I would go for the weekend. It has different weather and a different atmosphere. “I see how it has been growing in the last 10 years. Miami has become a 24-hour city. It is internationally significant,” he said, ticking off stats about airport traffic. “It is growing with exciting cultural development, with Art Basel and interior design.” And

then there are the restaurants: Milos, Casa Tua, Zuma come quickly to mind. “What is important for me is it’s a nice life. Good weather and a happy life. Also for me, I like in general that America is a safe country. Safe for children, hospitals, education.”

GLOBAL ART Doronin also has homes in London and New York. So much space for the exquisitely designed furniture he collects, by Gio Ponti, Jean Prouvé, Le Corbusier, Charlotte Perriand, George Nakashima, Mies van der Rohe. On his wish list: Isamu Noguchi. “I like interior design. I love to stay at home. I like the homelike environment, to cook dinner and be with the family,” said the father of one. He has both Italian and Japanese chefs but he sometimes cooks himself. “I love Italian. I do pasta.” One can scarcely imagine the 54-yearold — so film-star handsome that his private life, once widely followed, has become an off-limits topic — dicing his own smelly garlic. Grilling steak and fish, yes. With four homes, Doronin also has plenty of space for his art collection. Along with early purchases of Russian avant-garde masters Kazimir Malevich and El Lissitzky, Doronin collects works by more contemporary giants: Jean-Michel Basquiat; Ed Ruscha; Richard Prince; Urs Fischer; Julian Schnabel; Anish Kapoor; Frank Stella. He encourages young Russian artists and cultural projects through his Capital Group

Vladislav Doronin at Aman Venice.

Foundation, founded in 2009. He also has funded the restoration of historic Moscow churches and synagogues, cancer research, programs for disadvantaged women and children and preservation of tigers in the wild — activities that earned him a place in a 2011 Forbes Russian-language article on business people who have made Moscow a better place. In shaping his art collection, Doronin works with advisers — reportedly including New York gallerist Tony Shafrazi — but when it comes to furniture or artwork, the decisions about what to buy rest with him alone. “It's like a Fabergé,” he said, referring to the Russian royal jeweler. “People tell me what is real or not real Fabergé. Then I decide if I like it. I’m not only buying because of the name and investment. I'm buying what I personally like.” Recently he has turned his attention to photography. His holdings include a large selection of blackand-white works by the late actor and filmmaker Dennis Hopper; Doronin has loaned it to London’s Royal Academy for a retrospective. “I think [Hopper] shows a real America,” noting particularly Hopper’s series of images from President John F. Kennedy’s funeral. “He was part of this movement, of representing America of this period. He was avantgarde in his period.”

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It’s a theme that reverberates. Avant-garde. Ahead of his time.

AMAN JUNKIE Given his appreciation for design, it’s no wonder that Doronin has often spent vacations at Aman resorts, whose sanctuaries in remote Shangrilas like Bhutan, Phuket and Bali have become jet-set faves for their exquisite architecture and equally polished service. The brand is often listed among the world’s best by Travel + Leisure, Condé Nast Traveler and the World Travel Awards. He first became familiar with the brand when he worked in Hong Kong, in 1990, and visited Amanpuri, on

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the lush Thai island of Phuket. “I left Russia because love to travel,” he said. “I was shocked by the design, service and all amenities [at Amanpuri]. It has an amazing location.” He quickly became an Aman junkie, visiting each new property — in Indonesia, Bhutan, India, and then beyond Asia, in Morocco, Montenegro, Turkey and Wyoming. “I go to Aman because it’s not only the location, it’s the architecture, amazing service, food, interior design. And the peace.” Nathan Lump, editor in chief of Travel+Leisure, agrees. “Aman creates environments that feel very special — highly attuned to place, but also consistently peaceful and Zen.

And then they deliver an experience that pays off on that environment, whether you want to hole up and veg on site or get out and explore. Overall it is the most consistent experience [within each property] that I have encountered among resorts.” A few years ago, Doronin was offered the opportunity to buy the brand, and he did so with a partner. “It was a good synergy between me and the best brand in the world,” he said. But the partnership soon deteriorated; after a contentious court battle, earlier this year Doronin was awarded sole ownership. Since Doronin took over, Aman has added four properties, in Japan, China and the Dominican Republic, plus a 170-foot sailing yacht, Amandira. When an Aman near Shanghai opens in late 2017, it will bring the number of properties to 31, in 20 countries. Doronin wants to expand the brand further into urban markets. It’s a global design, in sync with Doronin’s ambitions to expand his real estate empire. Last year, he purchased New York’s iconic Crown Building at the prestigious corner of 57th Street and Fifth Avenue — an edifice once owned by Philippines President Ferdinand Marcos and later by former New York Gov. Eliot Spitzer. Partner Michael Shvo controls the retail space; Doronin has the rest. Next in his sights: Europe and Asia. And Miami, where he is seeking a site for an Aman. To Doronin’s way of thinking, Miami is a relative bargain. Creating luxury condos similar to those he is developing in Miami costs three times more in New York and London. And that, he points out, translates into more favorable prices for buyers in a city they have come to know and desire. “Miami became a very international city,” he said. For Doronin, his youthful dream of staking a homestead in the tropics has become a reality. “My dream comes true.” ☐

CLAUDIA URIBE (OKO OFFICE)

This page, from top: Doronin’s personal office at the OKO offices in the Design District features “The Wives” painting by The Bruce High Quality Foundation; Doronin’s residence outside Moscow, designed by Zaha Hadid. Opposite page, clockwise from top left: Amanyara Yara Pavilion bedroom in Turks & Caicos; Aman Tokyo spa pool; Aman Venice dining room; Amangiri pool in Utah; Amanemu mineral spring in Japan; Amanera Casa Grande in the Dominican Republic.

A PASSION SHARED

ROSA AND CARLOS DE LA CRUZ SHARE THEIR LOVE OF CONTEMPORARY ART WITH SOUTH FLORIDA WORDS BY GEORGE FISHMAN PHOTOGRAPHY BY PATRICK FARRELL Even before they married 54 years ago, Rosa and Carlos de la Cruz shared a heritage of arts. Her architect grandfather designed Cuba’s capitol building in Havana. His home was the only Cuban building designed by Richard Morris Hunt, architect of both the imposing New York Public Library and New York’s palatial Frick Collection. In 1954, Carlos’ mother, Dolores Suero Falla, met Salvador Dali in New York and commissioned his portrait of “Lolo,” which remains a beloved touchstone of the couple’s collection. It is one of the very few treasures the two families got out of Cuba before they fled the Castro regime. “As exiles, we’ve seen that the only thing you can bring is knowledge,” said Rosa. Financial success, derived from a daring play in the early 1980s to acquire regional distribution rights for Anheuser-Busch beverages and other brands, enabled the couple to reengage with the visual arts. Rufino Tamayo’s “Stargazer” was their first major purchase, and anchored a substantial collection of Latin American modernist works.

of paper, photographs and pile of candy are unwavering testaments to his influence. He, along with the visceral, yet lyrical work of the late Cuban-born Ana Mendieta, pivoted Rosa and Carlos’ eyes and hearts toward contemporary work. “From early on, we wanted to share this experience with the public, and we started opening our home in the early ’90s,” said Carlos. That 15,000-squarefoot Key Biscayne residence has hosted numerous open houses — particularly for Art Basel visitors. “People want to see how people live with art,” said Rosa. The collection outgrew the house, even with extensive additions. “Basel also outgrew the house,” she said, recalling a party in 2004 that was attended by 2,500. This December, after a hiatus, Rosa and Carlos will reopen their home for two events by invitation only. Guests will find a continuation of the museum space themes, but with rooms primarily devoted to works by Dana Schutz, Sterling Ruby, Laura Owens, Christopher Wool, Rudolf Stingel and Nate Lowman.

BEFRIENDING ARTISTS

In the Design District, the 30,000-square-foot Collection — always with free entry — is more convenient for hosting groups and acts as a nexus for the couple’s educational goals. “We see this space as an extension of our home,” said Carlos. Already within hailing distance of a cluster of other art and design venues, they will soon gain a next-door neighbor: the Institute of Contemporary Art’s new facility. “Since opening the museum, we’ve focused on programming and community-based outreach,” said Carlos. That includes sending students from the nearby DASH Design and Architecture Senior High)

Their interests shifted when they encountered Félix González-Torres’ challenging conceptual work and then befriended the artist. “At the beginning you don't understand Félix... and after you've lived with him for 10 years you’re still discovering new things. He's an artist that's like an artichoke,” said Carlos. González-Torres’ soaring seagull billboard marks the entry to the privately funded de la Cruz Collection exhibition space they built in the Miami Design District in 2009 to share their passion with the public. The artist died in 1996, but his enigmatic string of light bulbs, stacks

A SECOND HOME

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This page: The de la Cruz Collection in the Design District. Opposite page, clockwise from top: At home with Jim Hodges’ “In a Brighter Light,” 2002; Isa Genzken’s “Goethe” at the de la Cruz Collection; Aaron Curry’s 2010 sitespecific installation at the Collection. Opening page: The de la Cruzes at home with Thomas Schutte’s “You Are My Son,” 1998.

IF YOU GO “Progressive Praxis” at the de la Cruz Collection. 23 Northeast 41st Street, Miami Design District; 305-576-6112; delacruzcollection.org. de la Cruz home events: Request invitations at info@delacruzcollection.org.

magnet school to New York for twoweek study sessions in partnership with the Knight Foundation. In 2017, the couple will travel with the graduating Bachelor of Fine Arts class from the New World School of the Arts to Venice for the 57th Venice Biennale. Mark Bradford, an artist with whom they have a longstanding bond, will represent the United States there. In his youth, Bradford made signs and cut hair wraps in his mother’s South Los Angeles beauty salon; recently, he co-founded a nearby educational foundation. Bradford’s personal history, scholarship, sociopolitical commentary and ongoing community engagement animate his work and powerfully resonate with the de la Cruzes. Such relationships underlie the collectors’ commitment to purchasing in depth. They vehemently disdain the “Whitman’s Sampler” approach. “Our collection has evolved as

we have grown as collectors,” said Carlos. That means owning multiple works from each artist and carefully moderating the temptation to add works by “new” artists who continually come to their attention. “We’re opening our doors, but very carefully,” said Rosa. “Not saying no, but ‘Let me look into it first.’ ” Their collection encompasses a broad range of contemporary practice. Now largely comprising American and European artists, it mirrors the collectors’ active engagement. They frequently visit galleries and art fairs, consult with advisers and read widely. (The New Yorker, Art Daily and The Financial Times are among favorite sources.)

FORGING PARTNERSHIPS The de la Cruzes have formed vital friendships with artists who present public talks in the collection space. Among those is Sterling Ruby, whose dramatic works

(including one newly acquired painting) greet visitors just inside the Collection building. Artists become partners, consulting in the installation of their works. Visits to artists’ studios inform both purchases and curation. In a visit to artist Wade Guyton’s New York studio, Carlos learned that Guyton had been influenced by German artists including Albert Oehlen and Martin Kippenberger. “As a matter of fact, the only work in [Guyton’s] studio that was not made by him was a Kippenberger. That is why, in our ground floor gallery, works by Kippenberger and Oehlen (studio-mates in the 1980s) flank Wade’s massive piece.” In 2010, Guyton collaborated with Kelley Walker to create a sprawling, studio-like installation on the Collection’s second floor, replete with worktables, tools, paint cans and works in progress. Aaron Curry also “occupied”

a major space in 2010, painting, sculpting, wrapping and drawing on site. All works are purchased and owned by the de la Cruzes, without any outside funds. Annual exhibition openings timed to Miami Art Week reflect the collection’s gradual evolution. Acquisitions of works by such artists as David Ostrowski, Dan Colen, Tauba Auerbach, Sterling Ruby and JPW3 are configured with other collection works to generate new thematic connections and conversation. This year’s show, “Progressive Praxis,” which opens November 29, investigates the consequences of increasingly sophisticated scanning and printing technologies in art, contrasted with artworks produced by hand with traditional materials. A newly published pamphlet that draws historical comparisons with exhibited works will further the collection’s educational mission.

The de la Cruz Collection’s small staff includes practicing artists, who accompany visitors and provide insights and anecdotes. They install the works and even participate in curatorial choices. Requests to loan works for external exhibitions demand careful deliberation. Rosa sits alongside her team at a bank of computers, and long-time director Ibett Yanez describes an open, collective decision-making operation. “Dealers typically offer us new works of the artists we collect — especially when they’ve made significant changes,” explained Carlos. “The three off us discuss it informally and reach a conclusion. Nobody has veto power, and we try not to bully each other.” That collaborative approach characterizes and permeates the de la Cruzes’ engagement with art. It's an animating principle that can be sensed — if not actually seen — in the collection. ☐

BEYOND THE LIMELIGHT

Seven local artists you may not know — but should.

BY SIOBHAN MORRISSEY

RANDAL LEVENSON PRESERVING AMERICAN BEAUTY Photographer Randal Levenson learned everything he needed to know about “getting the shot” from his stint as a Fuller Brush man. As a door-to-door salesman for two summers, Levenson was the top producer in his area. The offer of a free gift — a comb or a potato scrubber — would get him in the door. “The first couple of doors you knocked on, it was tough trying to make a sale,” he said. “After that, the first time you make a sale, that’s your job.” That experience in approaching strangers stood him in good stead when it came time to ask people whether he could photograph them. Levenson uses a large-format camera with a dark cloth and tripod, which means people have to sit still and be willing subjects for him to get the shot.

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RANDAL LEVENSON, 70. Family: Married (to fine art conservator Rustin Levenson); two sons (Moss and Cormac) and one daughter (Geddes.) Inspiration: The eldest of 10 children, Levenson’s first exposure to photography was through his father, an amateur enthusiast who gave him his first camera, a Brownie. Levenson said he has been influenced by Walker Evans and Robert Frank, and even helped print some of Frank’s work. Contact: randal@randallevenson.com; randallevenson.com. Gallery representation: Joseph Bellows Gallery, La Jolla, California: josephbellows.com; Robert Klein Gallery, Boston: robertkleingallery.com. See: Open for studio visits by appointment during Art Basel in Miami Beach. Call 786-810 -8640.

Opposite page: Photographer Randal Levenson and his daughter, painter Geddes Levenson, at the family home in Miami. This page, far right: Geddes slips inside one of her current works; near right: Randal photographed bee exterminator Jeff Thomas.

“If somebody moves two inches, I don’t have a shot,” he said. “They have to cooperate.” Such was the case when he was a photography student at the Rhode Island School of Design and he happened upon an old man sitting on a stoop, relaxing with his cane and pipe. “When I walked by, in my head I was having a conversation with myself,” he said. “It’s like Fuller Brush. You just go back and present yourself.” The man cooperated, and Levenson was quite pleased with the picture. “I don’t know if I’ve done better,” he said. “I got the picture and after that, I never walked by a picture again. If it’s there, take it.” For almost half a century Levenson has followed that credo, documenting the hidden and overlooked elements of American society. During the 1970s he focused on carnival denizens, typically people with deformities or peculiar talents such as snake handling or fire eating. In 1982, he and the late Spalding Gray of “Swimming to Cambodia” fame collaborated on the book “In Search of the Monkey Girl,” which documents the carnie life and its characters. Those black-and-white vintage photographs continue to attract collectors. Today Levenson focuses on full-color works that feature everyday Americans and Americana. His image of a Dixie Freeze diner in Tennessee is awash in color, with a royal blue sky providing counterpoint to the diner’s illuminated pink sign. A chance encounter with bee exterminator Jeff Thomas in Miami resulted in a memorable portrait that is almost devoid of color, save for the large green leaves of a creeping plant in the background. The framed photographs hang in the Levenson dining room. The bee man also appears, in altered form, in the artwork of his daughter, Geddes. She incorporated several versions of the portrait into her paintings, which transform the bee man into an astronaut exploring other galaxies or collecting stars in a jar.

GEDDES LEVENSON A BRUSH FROM BIRTH When she was a baby, Geddes Levenson slept in Jackson Pollock’s bed. Nearby, her mother, renowned art conservator Rustin Levenson, worked on restoring the famed artist’s studio. From birth, Geddes was surrounded by great art and great artists. She met the leading artists of the age at her mother’s studio, formerly New York Conservation Associates and since renamed ArtCareNYC. (The studio has since expanded to include spaces in Los Angeles and Miami, where the family moved in 1990.) “She grew up in the studio, so she was surrounded by art and met artists that we worked with,” Rustin Levenson said. “Keith Haring, Jasper Johns and others came to the studio.” And at age 3, Geddes had as auspicious a start as any artist, first appearing at the prestigious Gagosian Gallery in New York. Rustin explained: “We were doing a job on some Warhols at the Gagosian Gallery. Geddes was along, coloring in the corner. One of the associates taped up some of her drawings.” She added , with a wink, “It was her first show.” An emerging artist with fine art degrees from Brown University and Pratt Institute, Geddes Levenson has since exhibited her art in such

established settings as Governor’s Island in New York and Momenta Art in Brooklyn. She also shows in experimental venues, such as the Placeholder Gallery in Miami, that encourage artists to explore and produce artwork often considered too risky for commercial galleries. Levenson is slated to again show at Placeholder during Art Basel, along with her artistic collaborator, Annie Blazejack. The two met in Miami while playing on the same Little League team, which Blazejack’s father coached. When not on the field, they would paint together. That hasn’t changed. “We do all our work together,” she said. “We consider every work that we make — whether or not the other person has even seen it — to be made by both of us... It’s impossible to separate where I’ve been influenced by her, where she’s been a part of the creation.” For the Art Basel show, they plan to turn the gallery space into an intergalactic campsite, complete with a simulated campfire and surrounded by paintings that are like planets orbiting a sun. Another great influence in Levenson’s artistic life is her photographer father, Randal Levenson. He tried to teach her to visualize an image before creating it. While that may work for photography, Geddes found it inhibiting for painting. “If I know too much what things are going to look like in the end,” she said, “I can never maintain the energy to finish them. I need to keep some mystery for myself in the work and as I’m creating it.” PHOTOGRAPHY BY CARL JUSTE

GEDDES LEVENSON, 30. Family: Single. Inspiration: Admires the post-Impressionists and is particularly fond of Henri Matisse. Some of her work references his famous paintings, such as “La Danse” and “Bathers with a Turtle.” Her latest work grew from the philosophical questions raised in Stanislaw Lem’s seminal work, “Solaris.” As explored in the book, she wants to expand her understanding of reality, and in turn that of her viewers. Contact: annieandgeddes.com; geddeslevenson@gmail.com. See: Dec. 3-Jan. 14: “Double Sunrise,” Placeholder Gallery, 7350 Northeast Second Avenue, Miami.

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JORDAN MASSENGALE AN EYE, AND A HAND, FOR DETAIL Police didn’t have to call in a sketch artist when Jordan Massengale’s nextdoor neighbor was bludgeoned to death almost 20 years ago. Massengale simply drew the suspect’s face from memory. His sketch helped catch a killer. As unlikely as it seems, Massengale’s art also has been used to help explain the intricacies of algebra. And at least one South Beach clubgoer once claimed it holds strange powers. Born just outside of Toronto, Massengale studied at the University of Windsor and came to the University of Miami for his Master of Fine Arts during the early 1990s. “I came here because my weakness was color,” he said. “I came here for vacation in ’92 in the winter. Wow. Every house is painted these Art Deco colors . . . and when the sun hits those, they illuminate. I actually became quite good with color.” He also became adept at teaching others to paint and draw, gaining teaching credentials throughout Miami, including positions at the University of Miami, Florida International University, Miami International University of Art and Design, and Miami Dade College. Today, he teaches drawing at the Savannah College of Art and Design in Georgia while continuing to exhibit his artwork in Miami through the John DeFaro gallery. “This is my New York,” he said of Miami’s burgeoning art scene and how it embraced him early in his career, years before Art Basel electrified the area. Massengale’s most recent drawings feature imaginary machines with whirling propellers and cameras. He sets these amid a backdrop of turbulent weather highlighted by charcoal marks that he sometimes makes by drawing simultaneously with both hands. The images create an alluring sense of movement. His paintings hold the same fascination. Robert F. Blitzer, whose textbook “College Algebra” incorporates real-life and pop-culture references to highlight the connection between math and students’ lives, liked

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Massengale’s painting of a Smith & Wesson .38 Special so much that he included it in a chapter on crime rate statistics. Massengale said it was the first and only time he held a gun. His girlfriend’s father had given her the gun for protection, he said, adding: “I picked it up. My hand was trembling. It was a big Clint Eastwood gun. It was both dangerous and beautiful.” His art also transfixed at least one patron of the now-defunct South Beach club Chaos. The woman claimed Massengale’s portrait of Bacchus literally made her sick and threatened to sue the establishment. The club removed the painting, but not before asking the artist to create several more works. Perhaps the most practical use of his art came around the turn of the century, when he drew the portrait of a man wanted for murder. He recalled seeing the suspect in a truck with the victim. Massengale was pulling weeds in front of Brook Dorsch’s gallery in Wynwood, trying to beautify the place before an opening. They locked eyes the way men do when sizing up each other. That fixed the man’s face in the artist’s memory — a blond, blue-eyed man in his mid-40s or 50s who had a tattoo on his neck and the husky physique of a man who had done time in prison. “I helped catch the guy,” Massengale said. “Perhaps I had some influence on changing the district, in making it safer for people to enjoy going to art exhibitions.” PHOTOGRAPHY BY CARL JUSTE

JORDAN MASSENGALE, 47. Family: Divorced, and currently in a relationship. Inspiration: Massengale began painting at age 6 so that he could spend time with his father, a professional sign maker who relaxed by creating oil paintings. Contact: jordanmassengale.net; 912-200-0176.

This page: Lydia Rubio uses artistic gestures to represent individual letters, creating her own language. Opposite page: Jordan Massengale’s drawings create an illuminating sense of movement.

LYDIA RUBIO ART, ARCHITECTURE AND EVER-CHANGING PERSPECTIVES Robert Rauschenberg stunned the art world with his Combines, which added three-dimensional objects to his canvas and blurred the line between painting and sculpture. Lydia Rubio is taking that concept one step further by blurring the lines of creation between painter and viewer. By offering viewers fragments of paintings — like puzzle pieces — Rubio encourages them to touch and rearrange the work in whatever way pleases them. When a painting has multiple parts, multiple combinations are possible. While Rubio offers several viable arrangements to provide structure to each of her fragmented paintings, she maintains there is no right or wrong way to hang the art. “That is the most important concept that I’ve had,” Rubio said. Her approach adds an element of chance for discovery and alleviates the boredom of continuously looking at a painting from one perspective. “Change it around,” she urged. “Change the painting around and then separate it. I have people who have installed two paintings on a wall, two paintings on the opposite wall. And they talk to each other.”

The concept of moving things around is nothing new to the Cuban-born Rubio. She has been on the move since age 14. She and her family fled to Puerto Rico in 1960, the year after Fidel Castro came to power. By her own count, she lived in eight different cities before returning earlier this year to Miami, where she maintains a studio at The Fountainhead. She has exhibited extensively throughout North and South America, including solo shows at the Bronx Museum of the Arts, the NSU Art Museum Fort Lauderdale and the Bass Museum of Art in Miami Beach. A Harvard-educated architect, Rubio is constantly experimenting with space and how art fits into a space. Her public works — such as the exquisite sculptures of birds and boats combined with paintings of clouds and sky at the Port of Miami — illustrate what she calls the handshake between art and architecture. Her individual paintings often incorporate architectural aspects as well. During the 1980s she experimented with extending art beyond the frame, sometimes adding strips of wood to rectangular works, prompting the eye to include the space where no frame exists. Rubio said she is revisiting that concept with her current works. The language of art is also an area that intrigues Rubio, who has devised her own series of artistic gestures to represent individual letters. They are her own form of hieroglyphics in paint, a way to communicate more deeply without uttering a word. Rubio’s latest work also includes the peaceful colors of her childhood home in Cuba, the soft blues of the Caribbean and the warm, tawny tans of the beaches. Rather than emphasize the pain of exile, she exalts the cherished memories of a world before she was uprooted. “When I see the world and the violence that exists nowadays, I am overwhelmed,” she said. “I want my work to be peaceful and calm, to give people peace and calm. That’s why I am going back to a certain poetics of water, the idea of my childhood colors of sand and sea.” PHOTOGRAPHY BY PATRICK FARRELL

LYDIA RUBIO, 70. Family: Divorced. Inspiration: “I grew up with the smell of oils in Havana,” said Cuba native Lydia Rubio. “My grandmother painted every day in the living room. She was an influence since I was 5. I left Cuba when I was 14, and I have paintings I left behind in Cuba.” Contact: lydiarubio.com, 305-720-5311. Gallery representation: Beaux-Arts des Amériques, Montréal, Canada, c/o Jacqueline Stoneberger: jacquie@beauxartsdesameriques.com.

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Robert McKnight is the kind of artist who can transform whatever materials are at hand.

ROBERT McKNIGHT RECASTING THE COMMONPLACE More people are familiar with Robert McKnight’s artwork than with probably any other artist in town. Millions of motorists on Interstate 95 pass his murals every month, and roughly a million more see his work at Zoo Miami each year. While they might be traveling too fast to see his signature, most motorists can’t miss McKnight’s 75-foot-tall renderings of blues guitarist Muddy Waters and trumpeter Louis Armstrong gracing an outside wall of the Pinnacle Park Apartment complex in Liberty City, where the expressway meets 79th Street. McKnight is also noted for construction and design of the rock façades at Zoo Miami, such as the Caribou/Musk Ox exhibit. More than a muralist, McKnight is the kind of artist who can transform any materials into a more meaningful object. A rolled-up tube of Mylar becomes a majestic orchid with a few snips of his scissors. Mosaic tile has a second life as modern jewelry. Even bits of wood from broken furniture take on a second, more exciting life under his hands.

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Born in South Carolina and raised in Coconut Grove, McKnight obtained a BFA in painting from Syracuse University, which included overseas study in London at the John Cass School of Art. He has since exhibited in galleries throughout the United States and Europe, including the Whitehall Museum in London, the High Museum in Atlanta and the Lowe Art Museum at the University of Miami in Coral Gables, as well as the Art Africa Miami Arts Fair. Despite his success in later years, McKnight’s early artistic ventures were not immediately appreciated. “They made me repeat the first grade because I used to draw in the textbooks,” McKnight said, explaining that he became preoccupied with drawing super-heroes and that he and his older brothers, Douglas and Sam, would often compete to see who could draw the best Batman or Superman. As he advanced in school, McKnight became known for his artwork, so much so that when his band class didn’t have enough instruments to go around, he said, the teacher let him draw instead. “I had wanted to get the saxophones,” he said. “They ran out. I guess they picked up on my artistic talent. I had an extra art class.” Today, McKnight tries to foster an appreciation of art through art workshops. At one workshop at Miami’s Bakehouse Art Complex, he met and later married Neith Nevelson, the granddaughter of famed sculptor Louise Nevelson. Although the marriage ended in divorce, Nevelson’s artistic influence remained. Like Louise Nevelson, McKnight built a career out of creating art with whatever is at hand, and began experimenting with wood collages. But he wanted to avoid the comparison to Louise Nevelson, who created numerous wood collages that she painted black. For years he avoided using black, or even painting his works. But then he decided to free himself from that self-imposed restriction. “When I started using the black, I saw what it was,” he said of his decision despite the chance that his work might be seen as derivative. That choice gave him the freedom to create on his own terms. “Now I can branch away from that and take it on my journey.” PHOTOGRAPHY BY CARL JUSTE

ROBERT MCKNIGHT, 65. Family: Divorced, with one daughter (Xochtle McKnight), one granddaughter (Xacha Williams) and one stepdaughter (Issa Minnoni). Inspiration: Comic book super-heroes that he and his brothers, Douglas and Sam, would draw when they were in elementary school. Contact: robmckfineart.com; 786-260-2973. McKnight is affiliated with KROMA Gallery, 3670 Grand Avenue, Coconut Grove; kromamiami.com; 305-446-5150. See: Nov. 5-Jan. 8: “transphysics: istwa, landscapes, paisajes,” a group show curated by William Cordova at the Art and Culture Center/Hollywood, 1650 Harrison Street, Hollywood; artandculturecenter.org; 954-921-3274.

SALVATORE J. LA ROSA A MASTER OF SLOW ART Salvatore J. La Rosa seeks the infinite in the minute. “I like small things,” he said simply. While that might be true, it also seems as if he is trying to unravel a tiny corner of the universe, and in doing so reveal the essence of life. Where once his works were large and slathered with paint, now he concentrates on a canvas that sometimes is no larger than an 8-by-10-inch sheet of paper. Works that he created decades ago often get cut and reshaped into collages that depict his current perspective, all while referencing his past. La Rosa is very much a creature of his times. Born six months before the attack on Pearl Harbor, he experienced the aftermath of the war growing up in Pittsburgh as the son of Italian immigrants from Sicily. After a stint at the University of Miami, he went to Kent State University when college campuses were roiling in protest over the United States’ involvement in Vietnam. He graduated from Kent State with a BFA in 1964 and an MA in 1968, two years before four students there were shot dead by the Ohio National Guard. Much of his art looks down from the top of an abyss or, conversely, up from the depths. These are not joyful, easy works. They are perhaps too honest in that they reveal a part of the psyche that most prefer to keep hidden. A contemplative and courtly man, La Rosa returned to Miami, continuing to paint and joining the faculty at Miami-Dade Community College, where he taught for 37 years. His own talent was evident. In 1970, during a membership exhibition at the Miami Art Center, both Burdines and Air France chose his works for their annual purchase prize. The Burdines selection was a quasiabstract portrait of a man who appears to be both brooding and bristling with emotion. Five years later, in 1975, La Rosa and fellow artist and friend Robert Thiele became the first Miami-area artists to exhibit at the Whitney Biennial, a show considered the vanguard of the contemporary art world.

Although La Rosa continues to create with a manic fury, he has become more and more reclusive. He exhibits only sporadically, often with several years passing between shows. The fact that he eschews gallery representation might have something to with that. The thought of haggling over the price for his art makes him queasy. “It’s too painful to deal with people who want everything for half-price,” he said. His last two major shows were at the Museum of Contemporary Art in North Miami, in 2005, and the Bridge Red Studios, in 2011. When he resurfaces, it’s as if the collective memory is gone and people once again rediscover his genius. Now, at age 75, La Rosa feels an urgent need to finish what he started. He is finally able to objectively assess — and comprehend — his own work. “It took me a long time to look at my work,” he said. “I like the idea of slow looking. Everything has to have mystery. It’s like Jasper Johns — he doesn’t like puzzles that you can solve. What I knew 50 years ago, I’m just now starting. Too bad we don’t live to 200.” PHOTOGRAPHY BY PATRICK FARRELL

SALVATORE J. LA ROSA, 75. Family: Single. Inspiration: His biggest inspiration was his father, Joseph Edward La Rosa, a professional sign painter and former Works Progress Administration artist who created monumental figural drawings for the libraries in Pittsburgh. “Growing up in Pittsburgh,” he said, “I was just fascinated with all the art books my dad had around the house and the smell of turpentine, oil paint and brushes.” Contact: Salvatore’s Art Studio Inc., 305-757-7980.

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Ralph Provisero is best known for his large-scale sculptures, such as “Know Where You Stand.”

RALPH PROVISERO SCULPTING FROM MEMORY When Ralph Provisero embarked last May on a yearlong residency at the Deering Estate in South Miami-Dade, he decided to create his own furnishings despite what was available onsite. The one-room studio includes an army cot, a three-legged camp stool and a “Money Bags Bean Bag” — all stitched together from old canvas money bags that were once used to transfer coins from his family’s vending machine business to the bank. Provisero’s brilliance is the subtlety that evokes emotional responses — sometimes an eruption of laughter, other times a sense of nostalgic longing. To achieve both, he looks for materials that have been eclipsed by technology as a means to preserve the memory of those closest to him. One of Provisero’s latest art projects honors his mother, who is still alive, for her hard work as a single parent. A Miami native and the eldest of four children, Provisero was 6 years old when his father died from lupus at age 42. His siblings were 5, 3, and 2 at the time. Provisero created a mini-tapestry of his mother’s life by meticulously stitching together old cards from the card catalog once used at Miami’s main library. With just nine cards from the periodicals section, Provisero highlights his mother’s teachings, referencing the Journal of Biblical Literature, the Journal of Counseling & Development, the Journal of Early Adolescence and the Journal of Nutrition. A hole at the bottom center of each card indicates how it was secured by a rod in the catalog cabinet. The red thread that he used to secure the card to a cloth backing provides a sense of nostalgia and gives the appearance of a hand-stitched sampler. For his mother-in-law, the cards reference Gourmet magazine, Good Housekeeping and Good Government. “She’s Italian, so I put that in there as a kind of a joke,” he said, referring to a card with information about an article on gondoliers. He also included a card featuring “Gourmet, the Magazine of Good Living” because, he said, “she cooks like Martha Stewart. She throws these elaborate parties. When we went to Italy, we rented an apartment. She brought the silverware, the dishes, everything. She made that place like we had been living there for 15 years. Linens and everything.” When not creating his art, Provisero can be found in the classroom. He teaches at the New World School of the Arts; previously he taught at

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Florida International University, Miami Dade College and the University of Miami. He also serves on the Curatorial Advisory Board of the MDC Museum of Art + Design. In addition to his residency at the Deering Estate, Provisero has served as a visiting artist at the Kansas City Art Institute and Washington University in St. Louis, and received the Atlantic Center for the Arts/Joan Mitchell Foundation Scholarship for visual artists in residence. Perhaps Provisero is best known for his large-scale sculptures. He obtained a BFA in sculpture from the Kansas City Art Institute followed by an MFA from the University of Miami. A monumental steel and slate work, “Pietra Veloce,” measures 8 feet by 16 feet by 7 feet, and occupies a greensward on the UM campus near the Lowe Art Museum. The Deering Estate centered two of his arrow sculptures in an ellipse that anchors a grassy expanse leading to Biscayne Bay. He also makes indoor sculptures and installations. One that embodies pure joy and the exuberance of youth is a work titled “Jump,” which features a belt-seat swing suspended in mid-air, as if a child had reached a great height and suddenly jumped. In a way, that sculpture is a metaphor for Provisero’s work — a giant, joyous, physics-defying leap into the unknown. PHOTOGRAPHY BY RALPH PROVISERO

RALPH PROVISERO, 49. Family: Married (Monica Roos), two sons (Nico, 8, and Rocco, 3). Inspiration: The desire to know how things fit together inspired Provisero to become an artist. “When I was little, I was always messing with my mom’s stuff and kind of putting things together, just to see what fits with what, if I can make something new,” he said. “That kind of creativity was what spurred a lot of my interest.” Contact: provisero.com; info@provisero.com; 305-776-3212. See: Nov. 5-Jan. 8: “transphysics: istwa, landscapes, paisajes,” a group show curated by William Cordova at the Art and Culture Center/Hollywood, 1650 Harrison Street, Hollywood; artandculturecenter.org.

ALTERNATIVE ART SPACES Artist-run spaces and other non-gallery venues showcase worthy artists whose work often falls beneath the radar of commercial art establishments. They include: BRIDGE RED AND UNDER THE BRIDGE STUDIOS These artist-run spaces in North Miami include exhibition rooms as well as studios. Upstairs, Bridge Red is run by sculptor Robert Thiele, his painter daughter Kristen, and photographer Francesco Casale; it generally shows art often not seen in public for decades. Downstairs, video artist Lou Anne Colodny (who helped found MOCA in North Miami) has expanded her studio to offer artists exhibition opportunities. Both hold openings and closings on Sunday afternoons; 12425 Northeast 13th Avenue, North Miami; bridgeredstudios.com; facebook. com/Under-the-Bridge-N-Miami.

community while enriching the community through arts education and programming. 3670 Grand Avenue, Miami; kromamiami.com.

LAUNDROMAT ART SPACE This gallery plus studio space in Little Haiti is run by an artists’ collective made up of mostly former Art Center/South Florida residents who lost their home when the flagship center closed its doors last year. It is indeed a former coin laundry, and along with open studios has a big front courtyard for nighttime music and food parties. 5900 Northeast Second Avenue, Miami; laundromatartspace.com.

LOCUST PROJECTS DIMENSIONS VARIABLE Since its 2009 founding by artists (and husband-wife) Frances Trombly and Leyden RodriguezCasanona, this collaborative space has had four homes. For Art Week, it opens in its new location on Miami Dade College’s Wolfson Campus in downtown Miami with “The Rest is History,” featuring works by 14 international and local artists. The partnership with MDC gives DV a free, eight-year lease. Open by appointment; email dv@dimensionsvariable.net or 305-501-6865. 300 Northeast Second Avenue, Third Floor, Miami Dade College Building 1.

KROMA The name is a play on the word “chroma,” an artistic term used to convey the intensity or purity of color. KROMA is a collective space in the heart of Coconut Grove that provides studios and gallery space for artists to exhibit the work they create on-site. The venue provides exposure for artists in the African American

The granddaddy of Miami’s alternative art spaces, Locust Projects was founded in 1998 by three Miamibased artists, Elizabeth Withstandley, Westen Charles and COOPER. Over the years, the nonprofit institution has developed a hallowed reputation for letting artists do what they do best — create in an uninhibited manner. Local, national and international artists create site-specific installations that sometimes result in digging below the subfloor or removing the ceiling. Almost anything goes, and the exhibits are as boundless as one’s imagination. 3852 North Miami Avenue, Miami; locustprojects.org.

MEETINGHOUSE Located in the penthouse of the historic Art Deco Huntington Building downtown, the spectacular space could outshine the art, which is why much of what is shown here has an architectural sensibility and works

intentionally with the high ceilings and arches. Run by an artists’ collective, it also has a socialactivist bent, with art auctions for special causes. 168 Southeast First Street, Miami; meetinghousemiami.org.

MIAMI-DADE PUBLIC LIBRARY MAIN BRANCH Situated in the downtown Cultural Plaza next to HistoryMiami, the library has been producing art exhibitions for some time, and this year is hosting a 37-year retrospective of one of Miami’s favorite creators, the marionette maker Pablo Cano. The novel setting is family-friendly, and the myriad puppets tell stories just like the books on the library shelves. 101 West Flagler Street, Second Floor, Miami; www.mdpls.org.

NOGUCHI BRETON The alt-art gallery is run by three artists who want to give exposure to underappreciated artists. In a former storefront in Little River, and as a take on the expensive fashion-obsessed Design District that shed its art galleries, it was initially named Guccivuitton. Maybe because of a lawsuit from the design house (no one knows, or is saying) it was renamed Versace Versace Versace, and now it is Noguchi Breton. 8375 Northeast Second Avenue, Miami; noguchibreton.net.

PLACEHOLDER GALLERY This nonprofit artist-run space provides the freedom to experiment and exhibit outside the typical art world market. Placeholder functions as an incubator for artists to create outside their comfort zone and produce works considered too risky for commercial

galleries. Launched last year by artist and curator Javier Hernandez, Placeholder has hosted eight shows with more than 50 artists, including Jim Drain, Bhakti Baxter and Christina Petersson. Placeholder is also a venue for visiting artists in residence, facilitating the crosspollination of ideas between Miami artists and others from across the country. 7350 Northeast Second Avenue, Miami; placeholderart.org; facebook.com/ placeholder7350/info/.

SWAMPSPACE Founded by artist and arts fabricator to the stars Oliver Sanchez, this “swampy outpost” is meant to be a facilitator of grass-roots art projects and a place to raise awareness of the unique South Florida environment without the sales pressure of a commercial gallery. It’s had a nomadic life and is — for now — in the Design District. 3940 North Miami Avenue, Miami; swampspace.blogspot.com.

THE INDEX GALLERY With a focus on photojournalism and documentary photography, The Index Gallery seeks to reveal what is often invisible to others through thought-provoking exhibits that explore the link between visual arts and social awareness. Giselle De Vera, former owner and curator of two photography galleries in Wynwood (Filtro and Gallery I/D), opened The Index Gallery last year in the same complex as Placeholder Gallery. 7350 Northeast Second Avenue, Miami; theindexgallery.com. — ANNE TSCHIDA, SIOBHAN MORRISSEY

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THEGUIDE EVERYTHING YOU NEED TO KNOW FOR ART BASEL MIAMI BEACH 2016 AND OTHER ART WEEK EVENTS

Images of people with art throughout the guide courtesy of Lorraine Triolo, lorrainetriolo.com.

THEGUIDE

ARTBASELMIAMIBEACH:

What’s new for Year 15? In Miami, the first week of December means nonstop art, thanks to Art Basel in Miami Beach and the many satellite fairs that have grown up around it. This year’s Art Basel fair features 269 exhibitors from the Americas, Europe, Asia and Africa who will offer artworks by modern masters, leading contemporary artists and those just beginning to make a name for themselves. All the works at the fair are for sale. Granted, most are for those with well-padded wallets. But take a good look around; some prices fall within the range of mortals. And all can be seen for the price of an admission ticket — a lot less than trooping to museums and galleries all across the world, and more convenient by far. Art Basel Global Director Marc Spiegler and Noah Horowitz, director for the Americas, fill us in on this year’s fair.

Noah Horowitz

Marc Spiegler

INDULGE: What will be different about Art Basel in Miami Beach this year? HOROWITZ: Last year I was pleased with how serious the show looked, which is a reflection on both the quality of individual works and the broader thematic installations. We anticipate the same quality yet again this year, with thoughtful presentations in all sectors, but particularly in Survey, which focuses on work from before 2000 and offers the opportunity to reconsider artists whose market may not accurately reflect their critical importance.

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What highlights should we expect? I’m particularly looking forward to seeing Rita Ponce de León and Ishmael Randall Weeks at Ignacio Liprandi, Max Hooper Schneider at High Art, Wong Ping’s video installation with Edouard Malingue Gallery and also Galerie Leme’s presentation of Vivian Caccuri, who works with sound and who was a special discovery for me at the latest edition of the São Paulo Biennial in September. How do you keep the fair fresh so collectors and connoisseurs will want to come back? While we value innovation, we believe that our collectors come to Art Basel because of the quality of the galleries and the work being presented, and thus we prioritize this above all else. This year, I’m particularly excited about the fact that we have a dozen new entrants to the Galleries sector, spanning an elite younger generation of gallerists like Altman Siegel (U.S.), GALLERYSKE (India), Labor (Mexico) and Gregor Podnar (Germany), as well as established names like Galerie Greta Meert (Belgium) and a wealth of specialists in the modern period, including Bergamin & Gomide (Brazil), Di Donna (U.S.) and Menconi + Schoelkopf (U.S.).

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How is the renovation project at the Miami Beach Convention Center affecting this year’s fair? Vsitors will certainly be able to see some evidence of construction to the convention center, but this is mainly limited to the exterior of the building. All eyes are on the future, of course, and in 2017 we’re excited about the

ART BASEL IN MIAMI BEACH December 1-4; public hours begin at 3 p.m. Dec. 1. Miami Beach Convention Center, 1901 Convention Center Drive, Miami Beach. One-day ticket: $50 online, $55 onsite; college students and seniors 62 and older, $34; those under 12 free when with adult. Run of show ticket: $105 online, $115 onsite. Combo ticket with Design Miami/: $60 online, $65 onsite. Information: artbasel.com. Parking: Valet parking available at the convention center; public lots are located at the Convention Center and at 17th Street and Pennsylvania Avenue. Parking fills quickly.

prospect of introducing a new floor plan and, by 2018, to inaugurating the completed state-of-the-art facility. Are there particular challenges facing this year’s fair? The city is deeply concerned with issues such as traffic and construction that affect both local residents and visitors, and is doing its absolute best to address and remedy these concerns on an ongoing basis. One notable upside this year is that the Venetian Causeway will be reopened in time for the fair, providing more-fluid access between South Beach and downtown Miami. Art auction prices have been mixed this past year. How do you expect that to affect Art Basel? SPIEGLER: Auctions reflect just a small section of the overall market — while a sale typically has 100 lots from several dozen artists, our galleries will present works by over 4,000 artists at Art Basel in Miami Beach. We are confident that Art Basel's galleries will bring strong works in a range of mediums, themes and price points — as they have always done — and that we can expect another successful edition with strong sales. Read the full interview at miamiherald.com/artbasel

THEGUIDE

A new design for

DESIGNMIAMI Q&A with Design Miami/ Executive Director Rodman Primack

Whether you’re mad for Midcentury Design or want just to grab of selfie in the new Campana Brothers “fur cocoon” chair at Louis Vuitton, Design Miami/, the sister fair to Art Basel, offers a glimpse of vintage and futuristic. This year, along with design displays and seminars, Design Miami/ is getting a facelift. Director Rodman Primack fills us in.

Rodman Primack

INDULGE: What will be different about this year’s Design Miami/ fair? PRIMACK: There has been a complete redesign of the floor plan. Fairgoers will encounter a much-expanded entrance plaza. Upon entering the fair, visitors will walk directly into the gallery program and be immersed in a broad range of collectible design. The fair opens up to the Talks Theater, the Design Collaborations program

SHoP Flotsam & Jetsam DesignMiami/ SHoP Architects

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featuring leading design-brands collaborating with cutting-edge design talent, and public spaces including the DAP bookshop and Dean & DeLuca café. When it comes to historical design pieces, there is only so much available. How do you find the elements to keep the fair fresh? Collectors want to see new and special things at Design Miami/, and our job is to make sure that the galleries are bringing their “A” game — truly the best work. The market has long been dominated by mid-century French makers such as Jean Prouvé, Jean Royère and Charlotte Perriand, but as prices for their works have risen substantially. Many [collectors] have moved on to mid-century Scandinavian and Italian as well as the subsequent generation of French designers

THEGUIDE WHERE TO SEE DESIGN-FOCUSED EXHIBITS Design Miami/: November 30-December 4 at the tent at Meridian Avenue and 19th Street (adjacent to the Miami Beach Convention Center), Miami Beach. One-day tickets $25 online, $30 onsite. Combo ticket with Art Basel, $60 online, $65 onsite. 305-572-0866; designmiami.com.

like Joseph-André Motte and Pierre Paulin. More and more people are buying across genres and periods, collecting the best they can, whether it is a Max Ingrand sconce for FontanaArte, a Prouvé Présidence Desk, a Tenreiro painted glass top dining table or a contemporary piece by Wieki Somers or Max Lamb. Tell us about the forum aspects of this year’s fair. This year we will have a dedicated Talks Theater designed and supported by the New York-based architect/developers DDG and Arizona State University. Douglas Elliman is supporting the Design Talks program, which is shaping up beautifully with a number of major architects scheduled to participate. Also we are thrilled to be launching at the fair a new initiative in partnership with the United Nations, called “Building Legacy: Designing for Sustainability,” in support of the 2030 Agenda for Sustainable Development. The program will bring together architects, designers and producers to promote concrete solutions to protect the planet for future generations. What project has won this year’s pavilionentrance competition? We have been presented with more than double the outdoor space at the entry of the fair from previous years. This has allowed us to team up with the Miami Design District and the Institute of Contemporary Art to commission a project from this year’s Panerai Design Miami/ Visionary Award recipient, SHoP Architects, that will suit all of our needs. The project, titled “Flotsam & Jetsam” is the largest 3-D printed structure of its kind, and will provide a compelling animation/organization to our visitors

DESIGN DISTRICT Along with exhibits at the Institute of Contemporary Art and the de la Cruz Collection (see pages 172174), boutiques and venues throughout the Miami Design District will showcase special exhibits and events. District highlights include:

Design Miami/ SHANNON KESTLE

Art&Art Collection: Privately funded cultural initiative presents a survey of artwork focused on Latin American geometric abstraction. 3841 Northeast Second Avenue, Suite 201.

from the moment they arrive at Design Miami/ 2016. After the fair, the installation will be reinstalled for two years at the Jungle Plaza in the Miami Design District.

"Desire": Works centered on concepts of the erotic, presented by Jeffrey Deitch and Larry Gagosian and curated by Diana Widmaier Picasso. November 30-December 4. Moore Elastika, 191 Northeast 40th Street.

What else should we know about this year’s fair? For the 12th edition of Design Miami/, we were heavily inspired by the iconic work of John Alcorn, a distinguished illustrator and commercial artist/designer who created some of the most memorable illustration work of the 20th century, including visual identity for the likes of Pepsi and Campbell’s soup. We were so lucky to be given access to Alcorn’s immense archive, which [resulted in] a new capsule collection we’ve created in partnership with Parisian brand Maison Kitsuné. It will be available at the fair this December and The Webster Miami as well as Maison Kitsuné stores in New York, Paris and Hong Kong.

Dior boutique: Pop-up installation/collaboration of artists Mat Collishaw, Ian Davenport, Daniel Gordon, Chris Martin, Jason Martin, Matthew Port and Marc Quinn. 162 Northeast 39th Street; 305-576-4632.

INTERVIEW BY JANE WOOLDRIDGE

Dior Homme: Short film directed by Larry Clark inspired by skate culture. 161 Northeast 40th Street, Suite 102; 305-571-3576. Janus Et Cie: Showcase and auction of artwork by special needs students of South Florida Jewish Academy. Silent auction 5-8 p.m. November 30. 3930 Northeast Second Avenue, Suite 106; 305-438-0005. Locust Projects: Huffer Collective (artists Ahol Sniffs Glue, Jason Handelsman and Swampdog) presents “sculptural tumbleweeds,” a collection of works shaped by being shipped via the mail; Alexis Gideon’s multimedia installation “The Comet & The Glacier,” melding music, video, performance and animation occurs December 1 at 10 a.m., and 8 p.m., December 2-4 at 11 a.m. and also at 6 p.m. December 3. 3852 North Miami Avenue; 305-576-8570. Loewe Foundation: Exhibition of works by Irish artist William McKeown (1962-2011) and British potter John Ward (b. 1938). November 30-March 31. 110 Northeast 39th Street; 305-576-7601. Luminaire Lab: Exhibit of design from Brazil, in partnership with Vogue Casa Brazil. Exhibition: December 1-31; 3901 Northeast Second Avenue; 305-576-5788. Markowicz Fine Art: Photographs reflecting love and longing by BJ & Richeille Formento. November 28-January 2. 110 Northeast 40th Street; 786-615-8158. Swampspace: "DaBombDiggity” exhibit of the 1980s art scene of New York’s East Village. 3040 North Miami Avenue; 305-710-8631.

Design Miami/ EMILY MICHOT

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Honk if you love

Art Week isn’t just for VIPs. Across Miami and the Beaches, free installations, performances and shows pop up throughout Art Week, this year scheduled for November 27 through December 4. A few of our top choices: JOIN THE PARADE Argentine developer and culture maven Alan Faena opens the Rem Koolhaas-designed Faena Forum arts center with Tide by Side, a carnival-style parade through the Faena Arts District neighborhood, a series of solo presentations by Iranian philosopher Reza Negarestani and performances of the newly commissioned ballet “Once With Me, Once Without Me.” The parade begins at 3 p.m. November 27 and progresses along Collins Avenue between 32nd and 36th streets; artists Carlos Betancourt, Los Carpinteros, Miralda and Ernest Neto are slated to participate. Tickets for the November 29 ballet at the Faena Forum, 3300 Collins Avenue, cost $25; faenaart.org.

Locust Projects GO PUBLIC A glow-in-the-dark lamppost by Wagner Malta Tavares, Tony Tasset’s giant pair of arrows posing the question “Which Way is Up?” and Erwin Wurm’s staggering headless human forms are among

Traffic Jam the 20 sculptures in the Art Public exhibition on the Collins Avenue lawn of The Bass museum, created this year around the theme “Ground Control.” While you’re there, check out Ugo Rondinone’s “Miami Mountain,” recently acquired by the museum. The exhibit opens at 8 p.m. November 30 with a free performance including a garlicinfused beverage and a David Bowie tribute by drag performer Lady Bunny. Through December 4, free tours are offered daily at 2 p.m. 2100 Collins Avenue, Miami Beach. HONK! No, this isn’t just another I-95 backup. Riffing off one of Miami’s pet vexations, MDC Live Arts presents Steve Parker’s “Traffic Jam,” a series of interactive soundand-motion performances involving bicycles, pedicabs, cars and horns of both the musical and automotive variety. The peripatetic road rally will pop up at various locations around town from November 30 through December 2, culminating in a live event at 3 p.m. December 3 in college’s Biscayne Boulevard parking lot between Northeast Fifth and Sixth streets.

I Am Your Grandma an exhibition of works by 50 modern and contemporary artists exploring the emotional, physical and spiritual aspects of eroticism curated by Diana Widmaier Picasso. Not, perhaps, for young eyes. Open 10 a.m. to 8 p.m. November 30 through December 3, 10 a.m. to 6 p.m. December 4 at the Moore Building. 191 Northeast 40th Street, Design District. SCREEN As part of Art Basel’s film program, sound works and short films (including “I Am Your Grandma,” by Miami’s Jillian Mayer) are shown nightly from 6 to 11 p.m. November 30 through December 4 on the giant Wallcast screen at Soundscape Park outside the New World Center. At 8:30 p.m. December 2, the feature film “Maurizio Cattelan: Be Right Back” by Maura Alexrod will be shown at the Colony Theater. 1040 Lincoln Road; entry is free, but seating is limited.

DESIRE Following on their 2015 collaborationexhibit “Unrealism,” New York uber-art dealers Jeffrey Deitch and Larry Gagosian are once again coming together to create “Desire,”

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

BUZZ Each morning before fair time, Art Basel hosts free “Conversations” with artists, gallerists and influencers. This year they include a chat between artist Julio Le Parc and curator Estrellita Brodsky and a discussion of technology’s impact on art. They begin at 10 a.m. December 1 through December 4 at the Miami Beach Convention Center. 1900 Convention Center Drive. For details, see artbasel.com. RAP MEETS OPERA Live performances accompany Alexis Gideon’s “The Comet and the Glacier” video opera (think “Hamilton”) and installations at Locust Projects as they explore the vicissitudes of memory. 3 p.m. November 28, 7:30 and 9 p.m. November 29, 10 a.m. and 8 p.m. December 1, 11 a.m. December 2-4 and again at 6 p.m. December 3. 3852 North Miami Avenue, Design District; locustprojects.org. ART IN THE BOX Brooklyn-based José Parlá, known best for his murals, returns to his native Miami to create a site-specific installation in the Jewel Box building of the YoungArts campus as part of a commission by Rolls-Royce Motor Cars North America. Open 10-2 p.m. November 29, noon to 6 p.m. December 1, 10 a.m. – 6 p.m. December 2-15. YoungArts, 2100 Biscayne Boulevard, Miami.

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Art Public

Presented in partnership with West Kendall Baptist Hospital Celebrate Art Basel Miami Beach at the Patricia & Phillip Frost Art Museum FIU

Sunday, December 4 | 9:30 a.m. - noon • • •

Complimentary outdoor breakfast Talk by renowned artist Judy Pfaff Guided tours of the Sculpture Park at FIU

For more information, call 305.348.2890 or visit

Judy Pfaff, Blue Note, 2014 Mixed Media Courtesy of the Artist

10975 SW 17th St, Miami, FL 33199

t. 305.348.2890 | e. artinfo@ﬁu.edu | w. frost.ﬁu.edu

The Frost Art Museum receives ongoing support from the Steven & Dorothea Green Endowment; the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture; the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor and the Miami-Dade Board of County Commissioners; Helena Venero Endowment; and the Members of the Frost Art Museum.

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At the

MUSEUMS MIAMI-DADE ARTCENTER SOUTH FLORIDA An Image is a multifaceted event combining advertising prints and architectural renderings, lectures, film screenings and educational platforms, all focused on the image of a transforming city and identity: how real estate speculation, racial and social divides and shadow economies form our landscape. Starting at 1 p.m. December 1, the London-based Otolith Group leads a workshop, talk and screening about the impact of film and images. 924 Lincoln Road, Miami Beach; 305-674-8278. BAKEHOUSE ART COMPLEX The emergence of the metropolis of Miami coincided with the love affair with the car in post-World War II America — and both signified a new freedom and new beginnings. But the ubiquitous automobile culture also grew up in the tension of the Cold War. Autopia: Road Trips from the Cold War to the Present looks, through the eyes of artists, at the impact cars had on Miami, on Cuba (those 1950s relics that still putter along), on economies, sprawl and expanded travel throughout the world. Through January 13. 561 Northwest 32nd Street, Miami; 305-576-2828; bacfl.org. CIFO The French critic Baudelaire once equated the question children have of their toys to that of society of its art — where is the soul of it, he asked? That is loosely the theme behind the multinational grouping of artists in Todo percepción es una interpretacion: You are part of it, culled from the Ella Fontanals-Cisneros Collection.

Here, too, in a contemporary context, the art will ask you to look for its soul. Through March 12. 1018 North Miami Avenue, Miami; 305-455-3333; cifo.org. DE LA CRUZ COLLECTION The spectacular three-story space in the Design District run by one of Miami’s major collecting families is unveiling Progressive Praxis, which focuses on PAMM new processes of art-making. That includes the adoption of increasingly sophisticated scanning and printing technologies, digitally based and even virtual imagery, which are intermingled with a diversity of old-fashioned, hand-working techniques and traditional materials. Opening November 29 and running through the end of the year. 23 Northeast 41st Street, Design District. 305-576-6112; delacruzcollection.org.

FAENA ART The inaugural of the muchanticipated Faena Forum cultural arts complex in Miami Beach is keeping true to its promise of presenting innovative and also public art — with an opening shot of a psychedelic geodesic dome planted on the sands of the beach. The garden-like orb will host films, projections, performances and virtual-reality happenings. November 30 through December 4. Collins Avenue at 33rd Street, Miami Beach; faenaart.org. FROST ART MUSEUM-FIU Cuban American fashion designer Narciso Rodriguez is known for his sleek couture that has been woven into the world of visual arts and dance (in collaborations, for instance, with photographer Cindy Sherman and choreographers Christopher Wheeldon and Jonah Lowe Art Museum

Frost Art Museum Bokaer). But to the public, he might be best known for creating the dress that Michelle Obama wore on Election Night 2008 — now that’s a world stage. Narciso Rodriguez: An Exercise in Minimalism examines the harvest of this widely versed designer through garments, purses and works of minimalist art. Through January 8. For those mystified by body piercing, Pierce, Mark, Morph runs through Feb. 12. 10975 Southwest 17th Street, Miami; 305-348-2890;frost.fiu.edu. HISTORYMIAMI The Miami Street Photography Festival is more like a happening, although it is based around a gallery filled with photographs from more than 50 countries focusing on documentary images from the streets. As part of the newly established Center for Photography, the fest will include lectures, workshops and street walks, and feature guest photographers such as Richard Kalvar, Alex Webb and Maggie Steber. December 1 through 4. 101 West Flagler Street, Miami; 305-375-1492; historymiami.org.

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THEGUIDE INSTITUTE OF CONTEMPORARY ART, MIAMI (ICA) The solo survey of 75 works by German artist Thomas Bayrle from the 1960s forward is a great fit for the ICA’s surroundings, the Design District and Miami. Bayrle, who has been widely shown from the Tate Modern to several documenta exhibitions, has a Pop Art foundation, and creates art that explores themes of transportation, exploding urban environments and repetition. His compositions of small grids and cubes can look like computergenerated prints, but he was creating these socially conscious images long before the internet age. Through March 26. 4040 Northeast Second Avenue. 305-901-5272; icamiami.org. LOWE ART MUSEUM UNIVERSITY OF MIAMI The Vesper Project is one of the most intriguing and inventive exhibits of the year, groundbreaking not for shock value but because of its rich layers. Artist Titus Kaphar has recreated the remains of a Connecticut home in which a family who were black but passed as white lived in the 19th century, and adds his own artwork to the décor. Through whitewashing surfaces, erecting silhouettes and incorporating his art, a new but still obfuscated story is told. Also on display: Donald Sultan’s Disaster Paintings, in a rare collected showing. Both through December 23. 1301 Stanford Drive, Coral Gables; 305-284-3535; miami.edu/lowe. THE MARGULIES COLLECTION AT THE WAREHOUSE Along with expanding its already impressive artworks of Anselm Kiefer, this season Margulies will add major works from Greek-born Jannis Kounellis, who created elaborate installations mixing all sorts of genres and became associated with Arte Povera, a boundary-defying 1960s movement that utilized unconventional materials. Its art is also well-represented in the Collection. Through May 2017. 591 Northwest 27th Street, Miami; 305-576-105; margulieswarehouse.com.

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limelight, exhibiting in London, Tokyo and New York. The YoungArts master teacher recently was commissioned to paint a monumental mural for One World Trade Center, the largest painting in New York, and is now creating a site-specific installation, Roots, in the Jewel Box on the foundation’s Biscayne Boulevard campus. 2100 Biscayne Boulevard, Miami; 800-970-2787; youngarts.org.

Pérez Art Museum Miami MDC MUSEUM OF ART + DESIGN Korean-born Sunkoo Yuh is one of the breed of artists making ceramic sculpture cool — and respectable — again. He has shown locally at Mindy Solomon, and here in Grafted Stories Yuh will have ample space to display his mystical sculptures, each one a little island of tightly packed human figures, plants, animals and otherworldly creatures. Through January 15. Freedom Tower, 600 Biscayne Boulevard, Miami; 305-237-7700; mdcmoad.org. MUSEUM OF CONTEMPORARY ART NORTH MIAMI The solo show The Other Dimension from Cuban-born Miami artist Antuan

Spanish Cultural Center Miami

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

Rodriguez (who goes by the singular moniker Antuan) engulfs the entire museum in an exhibit divided into seven parts. Each room is based around a narrative from the artist best known for his metal sculpture and installations, with works exploring categories such as Words That Kill, Changing Our Fables and On the Verge of the Other Dimension. Through January 22. 770 Northeast 125th Street, North Miami; 305-893-6211; mocanomi.org. NATIONAL YOUNGARTS FOUNDATION José Parlá showed his abstract, gestural paintings on the streets of Miami in the early 1980s, before he launched into the international

PEREZ ART MUSEUM MIAMI Kinetic art is synonymous with 20th century South American art, a particular style of abstract painting and sculpture — often based on the perceived movement of the work or of the viewer — that only belatedly has been recognized in the Northern Hemisphere. Case in point: Julio Le Parc: Form into Action is the first U.S. retrospective of the pioneering kinetic artist, born in Argentina in 1928, who broke ground in playing with perception, illusion, light and participatory viewer interaction. More than 100 pieces from 1958 to 2013 ask the visitor to engage in this multidimensional kinetic experience. 1103 Biscayne Boulevard, Miami; 305-375-3000; pamm.org. RUBELL FAMILY COLLECTION RFC in Wynwood is always a must-stop on any itinerary because of the Rubell family’s reputation for presenting cuttingedge contemporary art. This year’s offerings are divided into two exhibitions. The first floor is dedicated exclusively to Brazilian artists, whose sociopolitical artworks are expressed in installation, painting and photography. The 20 galleries on the second floor will feature hundreds of pieces acquired within the past two years in an exhibit titled High Anxiety. December 1 through May 2017. 95 Northwest 29th Street, Miami; 305-573-60900; rfc.museum. SPANISH CULTURAL CENTER MIAMI (CCE) Transforming Landscapes: Havana-Miami is a solo exhibit from Nestor Arenas, in which he examines an evolving Cuban

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THEGUIDE works from the first part of the 20st century that challenged the status quo with more-expressionistic views. Through April 16, 2017. 1001 Washington Avenue, Miami Beach; 305-531-1001; wolfsonian.org. WYNWOOD WALLS This year’s program, entitled Fear Less, will encompass 12 new walls from international artists, all thematically linked by the title and a distinct double meaning — it is a call to be fearless in a world that often seems awash in fear. According to Jessica Goldman Srebnick, CEO of Goldman Properties and chief curator since 2012, “Every year we choose a unifying theme and ask our artists to somehow address this in their work with the goal of pushing the narrative. This year, with everything going on in the world, I felt it appropriate to advocate a message of courage.” December 1 through 4, the Goldman Global Arts Gallery of the street artists will be open. 2520 Northwest Second Avenue, Miami. thewynwoodwalls.com.

BROWARD FORT LAUDERDALE

NSU Art Museum identity through painting, sculpture, photos and video. The artist has divided Cuba into two walled-off city-states, one that blocks the future, the other that denies the past in relentless pursuit of shiny development, and both are unsustainable without a middle ground. Through January 1. 1490 Biscayne Boulevard, Miami; 305-448-9677; cemiami.org/en. VIZCAYA MUSEUM & GARDENS The astonishingly beautiful villa and grounds, built in the early 20th century on Biscayne Bay, has always held many secrets. The second of a two-part art exploration of this site, Lost Spaces, opens for Art Week and seeks to “excavate” some of these lost spaces. Artists Leyden Rodriguez-

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Casanova, Mira Lehr, Kerry Phillips and Brookhart Jonquil incorporate installation, sculpture, performance and architectural interventions to reactivate previously dormant places. Through October 2017. 3251 South Miami Avenue, Miami; 305-250-9133; vizcaya.org. THE WOLFSONIAN-FIU The museum continues its eclectic exploration of the history of design, this time with Modern Dutch Design, which focuses on the period from 1890 to 1940, when the Netherlands was an innovative center for design and architecture that drew from its history as a trade, maritime and colonial power to create novel styles. Through June 11, 2017. Also up: The Pursuit of Abstraction, highlighting

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

ART AND CULTURE CENTER / HOLLYWOOD Transphysics: istwa, landscapes, paisajes is a fascinating survey of South Florida arts, crossing generations, ethnicities and genres. Included are works from Florida’s first recognized home-grown (and self-taught) talent, Purvis Young; the expressionistic puppetry of Pablo Cano; pieces from early contemporary pioneers such as Robert Thiele and Karen Rifas; the botany-based art of Onajide Shabaka; and artwork from well-known Cuban-born Glexis Novoa. The diverse artistic expression is realized through sculpture, painting, audio and film. Through January 8. 1650 Harrison Street, Hollywood; 954-921-3274; artandculturecenter.org. NSU ART MUSEUM FORT LAUDERDALE The dark, complex, monumental sculptures and paintings from the

extraordinary contemporary German artist Anselm Kiefer have been a hit in South Florida for several years, and this expansive exhibit seals that popularity. Regeneration Series: Anselm Kiefer from the Hall Collection includes 50 works from the 1960s on, from the artist known for plumbing traumatic history and ancient mythologies. As a bonus: Samson Kambalu: Nyau Cinema, a U.S. solo premiere featuring 12 films from the Malawian artist who entwines in his work a fascination with Nietzsche, history and humor. Both through August 27, 2017. One East Las Olas Boulevard, Fort Lauderdale; 954-525-5500; nsuartmuseum.org.

PALM BEACH NORTON MUSEUM OF ART Lovers of the printed image are in for a treat with this year’s biannual Rudin Prize for Emerging Photographers, as the nominees have been chosen by superstars such as Shirin Nishat and Rineka Dijkstra. The four selected — three Americans and one Ukrainian — have not limited their craft to the camera; they also work in performance, dance, video and, in one case, with hand-made books. Through January 15. Also on view, the exceedingly timely Question Bridge: Black Males, a collaborative project for which several nationally known artists have recorded 1,600 questions and answers of 160 African American men in nine cities and created an evolving installation. Through December 18. 1451 South Olive Avenue, West Palm Beach; 561-832-5196; norton.org. WORDS BY ANNE TSCHIDA

The Margulies Collection

PRESENTS

Baroque

TROPICAL

MUSIC FESTIVAL XVIII 2016 – 2017 SEASON

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ADSM

Come experience the passion of the Baroque Period (1600 – 1750), which has produced some of the most profound expressions of emotion in artistic history – moving performances from a time when music brought “heaven to the earth.”

November 27, 2016 DR. OGLESBY “MUSIC OF PRAISE AND THANKSGIVING” St. Thomas Episcopal Church, Coral Gables • 3 PM

November 10, 2016

FUOCO E CENERE “VERSAILLES”

Church of the Little Flower, Comber Hall, Coral Gables, Opening Reception • 7 PM Concert • 8 PM

December 6, 2016 HOPKINSON SMITH Church of the Little Flower, Comber Hall, Coral Gables • 8 PM

February 24, 2017 APOLLO’S FIRE Coral Gables Woman’s Club, Coral Gables • 8 PM

March 3 ACRONYM St. John’s By the Lake, Miami Beach • 8 PM

February 26, 2017 PROFETI DELLA QUINTA Coral Gables Woman’s Club, Coral Gables • 3 PM

March 5 VENICE BAROQUE ORCHESTRA St. John’s By the Lake, Miami Beach • 8 PM

March 1, 2017 ARS LONGA Wertheim Concert Hall, Florida International University, Miami • 8 PM

All venues and times subject to change. Visit website for latest information.

T IC K ET S V IS IT: M I A MI BACH SO CI E T Y.OR G | CALL: 30 5-6 69-1376 | EMA IL: IN FO @MIAMI BACHSOCI E TY.O RG T HE MIAMI BACH SO CI E TY | P.O. B OX 4 03 4 | CORAL G ABLES, FL 33 1 1 4

THEGUIDE

F AIRSALLAROUND the town

LORRAINE TRIOLO

One fair returning to its longstanding Midtown location is Art Miami. Miami’s longest-running art fair predates Art Basel, and typically draws even more visitors, with a 2015 total of 85,000.

TRANSPORTATION NOTES A free shuttle bus service will be available during fair hours between Pulse, Art Basel at the Miami Beach. Free shuttle buses will also run round-trip service between Miami and Miami Beach, as well as Midtown/Wynwood/downtown and from Midtown to the MiMo District/Little Haiti/Little River. December 1-4. miamitrolley.com.

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Miami Art Week isn’t just about Art Basel. From Miami Beach to Midtown and downtown, art fair tents pop up on the sand, in hotel ballrooms and on empty lots across town. More than a dozen satellite fairs — also called parallel fairs — offer artists and art lovers an opportunity to catch a glint of the spotlight, often at far more affordable prices than the blue-chip works offered at Art Basel in the Miami Beach Convention Center. Year to year, the fair scene changes. Some grow; some close; some move. New this year, for example, is Technique Art Fair in Miami Beach. Here’s a look at what else to expect: For satellite-fair regulars, 2016 will require a GPS. Many fairs have moved to new venues; some are returning to familiar haunts. Word to wise: Don’t assume you know where you’re heading; carry these pages or check out the Art Finder Miami app to be sure. One fair returning to its longstanding Midtown location is Art Miami. Miami’s longest-running art fair predates Art Basel, and typically draws even more visitors, with a 2015 total of 85,000. More than 130 exhibitors will showcase works by top names like Frank Stella, Willem de Kooning and Ed Ruscha. Actor Adrien Brody — also a visual artist — will showcase his most recent works. Sister fair CONTEXT, which focuses on cutting-edge works, moves a block north of Art Miami to Midtown Miami’s main green, along Northwest 36th Street. Along with 100 galleries, CONTEXT includes a project space for sound installations, projects from artists engaged with new technologies such as avant-garde wearables, and innovative sculptures. Just south of Art Miami is Superfine! The Fairest Fair, which is moving from Little Haiti. For its second edition, Miami-based artist Asser SaintVal, with support from Caron Paris, is creating a massive installation of helium sculptures combined with signature scents linked to the French perfume brand. Unlike most fairs, which focus on galleries, individual artists are among the 30 exhibitors, about half from South Florida. Prizm, located last year on Biscayne Boulevard, is also moving. This year’s venue is nearby, in Little River. The fair’s schedule provides locals with calendar relief by closing December 11, a week later than most fairs. The two-week show focuses on Africa’s cultural DNA with solo presentations by underappreciated artists from Africa and the African diaspora.

INDULGE | DECEMBER 2016 / JANUARY 2017 | www.miamiindulge.com

Last year, Spectrum and Red Dot shifted at the last minute to 1700 Northeast Second Avenue, in the Arts and Entertainment District. Good news: They’re in the same place this year. In Miami Beach, Miami gallerist Stacy Conde is launching Technique Art Fair at the Shelborne Wyndham Grand South Beach hotel. The inaugural show features an intimate look at the dealers and galleries focused on realism, surrealism and portraiture. After a one-year venue change, the everpopular NADA (New Art Dealers Alliance) Fair has returned to the Deauville Beach Resort on Collins Avenue at 67th Street. Miami Project, now in its fifth edition, also has moved again, this time to a parking garage in North Beach. PULSE has returned to last year’s location, Collins Avenue at 46th Street, just north of the Fontainebleau Resort. Highlights at this year’s two-tent pavilion include “Miami Marbles,” an installation of nine spheres by artist Anne Spalter, who has printed them with digitally manipulated images of Miami Beach. Fairgoers can download an app onsite to enhance the experience. An extension of Spalter's commission will also be on view at the COMO Metropolitan Miami Beach Hotel. For its Play sector, PULSE put out a public call for submissions. Ten of the 800 video offerings chosen for the fair will be on view thanks to curators Jasmine Wahi and Rebecca Jampol of Gateway Project Spaces in Newark, New Jersey. Fans of the peripatetic Fridge Art Fair may recall last year’s woes in obtaining permits. This year, Fridge is taking over the basement of The Betsy hotel with a new name, The Betsy’s Curated Mini-Fridge. The fair features small works that can “fit into a fridge” — providing an option for spacechallenged collectors. UNTITLED, hailed for the curation that positions galleries, nonprofit groups and artists in visual dialogue, returns to the literal beach under its signature white-and-pink tent on the sand at 12th Street. More than 20 countries will be represented this year. A special exhibit will include a show of conceptual works by a selection of Latin American artists from the 1960s and 1970s. New exhibitor BERG Contemporary, from Reykjavik, Iceland, will present rarely seen works by video artists Steina and Woody Vasulka. WORDS BY GALENA MOSOVICH