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Miami Beach 2008 And Satellite Fairs

Meeting the Nation’s Premier Man of Letters

The Fabric Of Creation

A Rarity In Today’s Art World CLASSIC CALDER

This original Gouache by the world famous Alexander Calder has been perfectly preserved, dated and hand signed by the artist. It is one of a kind, no copies or limited Editions ever made of this work of art. Approximate size 35” X 45” - Framed and matted May be seen by appointment only Location: Miami / Hollywood Florida area Private collector sale

Call Steve at: (954) 924-9921 or (305) 766-9797; email:



08 COVER: Guerra de la Paz “Monday”, 2005 (Detail from Power Ties Series) Photo Douglas Voisin LEFT: Guerra de la Paz “Magenta Flower”, 2002 Courtesy of the Artist

ART headlines

Louvre, Sebastiano Ricci, Iraq, Edgar Allan Poe, etc....................... 8

Book Review:

The Painted Word

by Tom Wolfe........................ 15

Film Review CHE directed by Steven Soderbergh............................. 17

The Wrestler

Three New Deals by Wolfgang Schivelbusch.........18 directed by Darren Aronofsky......... 19

Editors Choice:

Electric Kool-Aid Cabaret

The Photography of Darla Teagarden.............. 20

The Fabric of Creation: KAIJU Monster:

Troy Publishing Inc. Editor-in-chief

Jennifer Jolly Managing Editor

David DeRusso Copy Editor

Sean Lablanche Office Manager

Kerry Laking Office Assistant

Salina Delano Production & GRAPHIC DESIGN

Roch Nakajima & Felipe Osorio Illustrations by Bob C. ROCK Group LLC

Advertising, Visual Branding & Communication

Book Review

Film Review:


Guerra de la Paz.........................................24

Contributing Writers

Emily Watson, Mack Derouac, Terrie Temkin, PhD, David DeRusso, Blair Maynard, Olivia Garcia, Huey Fontaine Delahauterive, Michael Antonioni Media Consultants

Jeff Malin, Chris Chambers and Jeremy Abel For advertising rates and other information please call (305) 868-8769 Complete media kit online at: Advisory Board

Art Meets Vinyl Design.....................................30

American GORE Gore Vidal Interview................................. 34


DECONSTRUCTED.................................................37 ART BASEL GUIDE .........................................................................38 SATELLITE ART FAIRS GUIDE......................................................59



G is for Gallery..................................................................73 M is for Museum..........................................................90 T is for Theatre..........................................................95

Keith Jolly, Jim Simpson, Steve Weil, Diana Mooney, Robyn Pearlman, Ken Henson, Jeff Malin and Stuart Macnamara Ph.D. Subscription Information

Domestic subscriptions to Symposium Magazine can be purchased for $75 annually. To receive a subscription to Symposium Magazine please send checks or money orders payable to Troy Publishing Inc/Symposium Magazine, 1065 95th Street, #282, Miami Beach, FL 33154, USA Disclaimer

Symposium Magazine assumes no responsibility for the care and/or return of unsolicited materials. Return postage must accompany any material to be returned. In no event shall unsolicited materials subject this publication to any claim for a holding fee or similar charges. The views and opinions of columnists and letters to the editor do not necessarily reflect those of the publisher and staff of Symposium Magazine. Symposium Magazine reserves the right to edit copy for clarity and space. The entire contents of Symposium Magazine are Copyright 2008 by Troy Publishing, Inc. No portion may be reproduced in whole or in part by any means, including electronic retrieval systems, without the express written permission of the publisher. Symposium Magazine is published twelve times a year by Troy Publishing, Inc. All Rights Reserved.

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Editor’s Letter

The art world has been very hard at work, lately; from artists, gallerists, performers, and agents to city officials, event planners and the media; all have been working diligently to make preparations; as some of the world’s wealthiest art collectors descend on Miami for one of the most renowned Art Fairs – On Earth. Art Basel Miami, as Symposium readers well know; began in 2002, on the edge of a growing art market, as a spinoff of the successful Art Fair in Basel, Switzerland. Since launching in 2002, Art Basel Miami has seen an explosion in not only the turnout of collectors and curators, but of the over two dozen satellite fairs that have set up shop in Miami, at the same time; the hopes of these satellite fairs obviously being, to attract Basel’s collectors. This issue of Symposium marks a milestone for us as a publication. Over the last year, we have worked towards providing our readers, with a broad view into the World of visual art; our special Art Basel 2008 edition is certainly no exception. With one of the most comprehensive guides to Art Basel Miami Beach and the many satellite fairs surrounding it, Symposium not only offers its readers a wealth of information; but, does so, with the visual sophistication of superior design.



With the entire buzz around about whether we will see depletion in turnout and dollar signs, or whether the biggest parties will be more extravagant, or less extravagant; or whether there will be more celebrities or fewer celebrities, where we should go to see them, what we should wear and who we should show up with; let us pause to remember what this is all about: “Beauty, truth, immortality, order, harmony – these concepts and ideals have occupied us since the dawn of history. They enrich our lives and encourage us to extend ourselves beyond the limits of flesh and blood. Without them, life would be but a mean struggle for survival, and the value of survival itself would be unclear� -Pablo Picasso Thank you, dear readers, for joining us yet again. And, oh yeah, enjoy the art.

Jennifer T. Jolly Editor-in-Chief

SYMPOSIUM:our dialogue has expanded











ART 39 BASEL The Hub of the

Benazir Bhutto

International Art World

Finding Your Voice




Surveying a Career in Comix

BEIJING HEADLINES Art District Art and Culture News# KRIS LEWIS 798 PALLEY PAVILLION Art in the New China From Around the World A Portrait of a Portrait Artist


The Lowe Art Museum’s New Permanent Collection


Finger Painting�

A Delicate World of Intricately Layered Folklore

Artists Turn

American Palate

Pop Art Prankster

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SYMPOSIUM_5.indd 1

SYMPOSIUM_6.indd 1


A Brief History of the

8/4/08 6:56:02 PM

9/17/08 6:39:43 PM



Terrie Temkin on Starting a Private Foundation

Buddha Green Roots The art of Luis Valenzuela


Cuban Artists

Unbroken Ties

5/13/08 4:35:19 PM

7/2/08 3:21:15 PM




China’s Creative Revolution Comes to Coral Gables The Art of the Album Cover Alex Steinweiss & Mati Klarwein


Over the Ocean and

Nature Cultivates Creativity

into the Mountains

in an Underwater World





ART H E A D L I N E S DALLAS Sebastiano Ricci (1659-1734) The Vision of St. Bruno, ca. 1705 Courtesy of Heritage Auction Galleries

which point it appears in a probate list of works owned by Joseph Philipson (1773-1884) – a fur trader, banker and brewer whose dry goods store outfitted explores Lewis and Clark. Noted as the city’s first permanent Jewish settler, Joseph Philipson’s goal as a collector was to establish a public art museum in St. Louis, Missouri, which no one had done before. The Joseph Philipson Gallery of St. Louis was the very first collection of Old Master paintings west of the Mississippi river, and one of the earlier assembled anywhere in the United States. Philipson assembled some 400 works of Renaissance, Baroque and early 18th century paintings. It is believed that he most likely acquired the Ricci around 1814 in Paris. Sometime between 1844 and 1848, ownership of the painting was transferred to St. Louis lawyer and State Senator Charles Samuel Rannells (1813-1877), most likely to pay off legal fees. For more than 160 years, his descendants have owned The Vision of St. Bruno. It was never publicly exhibited or published, merely passed down from one generation to the next with no one aware of its origins or worth.

Lost Masterpiece of Sebastiano Ricci Discovered in Dallas The Vision of St. Bruno is a valuable, 300-year old Baroque masterpiece by celebrated master Sebastiano Ricci (1659-1734). For centuries, its whereabouts were unknown. Earlier this year, it was discovered in a Texas warehouse and now it is up for auction. The three-by-four foot painting depicts Saint Bruno, founder of the Carthusian order. He is shown in a landscape scene, reclining on the ground as he contemplates angels above. It was created around 1700 by Sebastiano Ricci (1659-1734) with the assistance of his nephew, Marco Ricci (1676-1730), who worked on the landscape. Prior to the recent discovery, the painting’s whereabouts were unknown, and few suspected it would ever be found. Its last known owner was an 18th century Italian nobleman, Count Francesco Algarotti (1712-1764), famous as an art connoisseur who, among other notable cultural achievements, shaped the Royal Collection in Dresden.

“Not having known the whereabouts of The Vision of St. Bruno any time after the 1776 publication of Algarotti’s collection, modern-day Ricci scholars have consistently recorded this painting in their catalogues as lost,” says Dr. Edmund Pillsbury, Chairman of Fine Arts at Heritage Auction Galleries and former Director of Fort Worth’s Kimbell Art Museum. Dr. Pillsbury was invited by a Dallas family about a year ago to a local fine-art warehouse, where the painting had recently been put in storage. “I went up without any particular expectations,” he admits. However, after examining it, Pillsbury determined that it was “the lost” Ricci masterpiece. Now, with the assistance of its most recent owners and aided by Heritage researchers, Pillsubury has successfully solved the mystery of its provenance. Following Algarotti’s death in 1764, ownership of the painting was not recorded again until 1844, at

Laura Taylor of Dallas, great-great granddaughter of Charles Rannells, says she remembers the painting hanging in her grandparents’ parlor and then in her parents’ living room. Her mother, who had seen another work by Sebastiano Ricci in a St. Louis art gallery, was the first to have suspicions about its significance. “She knew it was an important painting,” says Taylor. “She’s spent her whole lifetime trying to find out for sure.” Now, after centuries in the shadows, “the lost” Ricci painting has been consigned to auction by a Rannells family descendant. Conservatively estimated for its Dallas sale in the range of $600,000 to $800,000, interested parties can bid for The Vision of St. Bruno online at or visit Heritage Auction Galleries in Dallas. “The last important Ricci sold for $2.4 million. So, it’s fair to say it could go in the low seven figures,” says Pillsbury. “The painting’s grand design, confident use of rich Venetian palette, fluid brushwork and its beautifully preserved surface, show Sebastiano Ricci at his finest. The work is a grand example of why the artist enjoyed wide appeal in eighteenth century England, France and Austria as well as his native Italy.” 08



ATLANTA significant object: French sculptor Antoine-Louis Barye’s bronze “Lion Crushing a Serpent.” Themes of interest include the significance of technical mastery and the creative process, as well as the impact of the artist’s reputation. The presentation also incorporates smaller models and studies of the lion figure. The High Museum of Art launched its unprecedented three-year partnership with the Musée du Louvre in October 2006 to critical acclaim, continuing the High’s longstanding strategy of collaborating with international institutions to bring great art to Atlanta. “Louvre Atlanta” is bringing hundreds of works of art from Paris to Atlanta through a series of long-term thematic exhibitions exploring the range,

Antoine-Louis Barye, Lion with Serpent, 1832-1833 Courtesy of the High Museum of Art

The Louvre and the Masterpiece Comes to Atlanta The High Museum of Art in Atlanta is currently showcasing The Louvre and the Masterpiece, on view until September 6. Featuring 91 works of art drawn from all eight of the Musée du Louvre’s collection areas (spanning 4,000 years), the exhibition explores how the definitions of a “masterpiece,” as well as taste and connoisseurship, have changed over time. Paintings, sculpture, decorative arts, and drawings will reflect three major themes: the changing historical and cultural definitions of a masterpiece; authenticity and connoisseurship; and the evolution

of taste and scholarship. Together, the three sections of the exhibition explore a range of thematic questions about the concept of a masterpiece. The first section of the exhibition – entitled “What is a Masterpiece?” – is divided into two distinct parts. Part one explores the changing historical definition of “masterpiece” as a concept through a selection of objects from the ancient Near East through mid19th-century works. The second part introduces the idea of connoisseurship as a means of identifying works from the past as masterpieces. “Evolution of Taste and Knowledge,” the second section of the exhibition, explores masterpieces that were either rediscovered or reattributed based on the changing knowledge and perceptions of Louvre curators during the past 200 years. Included will be ten paintings and sculptures by artists who are well known today but who were overlooked in previous eras. In the third and final section of the exhibition, “Barye in Context,” several major themes are further explored through an in-depth examination of one

Above: Michelangelo Buonarroti Ideal Head of a Woman, 1515-1520 Courtesy of the High Museum of Art Left: Georges de La Tour The Card-Sharp (with Ace of Diamonds), 17th century Courtesy of the High Museum of Art

depth, and historic development of the Louvre’s collections. “Our partnership with the Louvre has brought outstanding, inspiring, and exciting works to Atlanta during the past two years. Now we have the opportunity to explore why some works of art are considered masterpieces,” said Michael E. Shapiro, Nancy and Holcombe T. Green, Jr. Director of the High Museum of Art. “Through a magnificent group of works in the Louvre’s collections, we’re suggesting that the definition of masterpiece is not fixed in time or place. We are also working to develop special interactive technologies that will provide visitors with new insights, enjoyment, and appreciation of the art.” 08



U.S. Department of State Implements Iraq Cultural Heritage Project Following an announcement made by First Lady Laura Bush on October 16, the U.S. Department of State will begin implementation of the Iraq Cultural Heritage Project (ICHP), an initiative aimed at assisting in the preservation Iraq’s ancient history. Appearing at a ceremony hosted by the Embassy of Iraq in Washington, D.C., First Lady Laura Bush explained that the State Department – through the U.S. Embassy in Baghdad – will be funding the ICHP with a grant of nearly $13 million, adding that an additional $1 million will be provided by the department’s Bureau of Educational and Cultural Affairs (ECA), “and Iraqi officials are requesting increased funding from their own government that will complement the project’s goals,” said the first lady. “Americans have become well versed in Iraq’s recent history,” said Mrs. Bush. “Yet many of us may not realize that the people of today’s Iraq are the guardians of 10,000 years of history – tablets etched with the earliest samples of human writing, musical instruments from the kingdom of Sumer, statues from the time of King Nebuchadnezzer. All of these ancient objects belong to the ‘Cradle of Civilization’ – a land we now call Iraq.” Implementation of the ICHP begins immediately and will take place over a two-year period. The project consists of three main areas of activity to be carried out with the guidance and cooperation of the Iraq

Ministry of Culture, ECA, and the U.S. Embassy in Baghdad. First, the ICHP will establish a Conservation and Preservation Institute in Erbil to be performed under technical guidance provided by the Walters Art Museum, the Winterthur Conservation Program, the University of Delaware, and the U.S. National Park Service. The new institute will train professionals “to preserve Iraq’s historic treasures and to protect more than 12,000 registered archaeological sites in Iraq,” said the first lady. Second, improvements will be made to the Iraqi National Museum. These will include the construction of storage facilities, as well as enhancing exhibition galleries and conservation facilities to further the core mission of the museum. The Iraq National Museum is “home to one of the world’s finest collections of Mesopotamian antiques,” said Mrs. Bush. “This institution has endured frequent closures during times of war and social unrest.” The museum’s doors were permanently sealed in 2006, but “the Iraq Cultural Heritage Project will hasten the day when the museum reopens its collections to all Iraqis – as well as to scholars and visitors from around the world.”

archaeologists and museum professionals. Under the program, Iraqis will study in the United States, “where they’ll learn the new methods of preservation that they were largely isolated from during Saddam Hussein’s regime,” said Mrs. Bush. Not only will the Iraq Cultural Heritage Project “promote national unity by highlighting the rich heritage that all Iraqis share,” but the project will also “benefit all humanity by preserving the great historic sites, archaeological wonders and cultural objects that tell the story of the world’s earliest communities,” said Mrs. Bush. “The United States is proud to partner with Iraq as it rebuilds its capacity to safeguard its birthplace of human civilization.” 08

Life-size bronze head, example of Akkadian metallurgy, probably representing Sargon of Akkad (2340-2284 BC), found at Nineveh. Courtesy of

The third and final phase will develop a professional training program for Iraqi


Unpublished Edgar Allan Poe Manuscript Found with Never Before Seen Verse A recently discovered version of “The Sleeper” (otherwise known as “Irene”), one of Edgar Allan Poe’s most important poems, has surfaced in rural Virginia. It is not only the unpublished and earliest version of a poem that Poe considered even better than “The Raven,” but it also features a new verse never before seen by the public. The poem that would eventually be known as “The Sleeper” had many versions. In the 1831 collection entitled Poems of Edgar A. Poe, the lyric poem appeared with 74 lines under the title “Irene.” It was published again as under the same title in 1836. By the time it appeared in the Philadelphia Saturday Courier on May 22, 1841, it was 60 lines and the title had been changed to “The Sleeper.” The last version was published in the Broadway Journal in May 1845. Edgar Allan Poe Photo of Daguerreotype W.S. Hartshorn (1848) From Library of Congress “Famous People” collection, Prints and Photographs Division, Reproduction Number: LC-USZ62-10610 This image is in the public domain because its copyright has expired

Poe frequently proclaimed “The Sleeper” to be a superior composition, worthy of more praise than it received. In a letter to admirer George W. Eveleth in 1846, Poe wrote, “In the higher qualities of poetry, it is better than ‘The Raven’ – but there is not one man in a million who could be brought to agree with me in this opinion.”

According to recent findings, the poem originated in 1830 – shortly after his foster mother had died – and written under the title “Lady Irene.” Found in the friendship album of a local belle of antebellum Richmond, where it was penned in Poe’s exquisite cursive handwriting, it remains the earliest example of one of the poet’s most potent themes – a lamentation on the death of a beautiful woman. The provenance of this find is impeccable and truly extraordinary. It contains a new stanza and other textual variants not found in the published versions. “Lady Irene” will be offered for auction in New York City on December 4 as part of Bloomsbury’s Important Books, Manuscripts, Literature, and Americana sale. Other highlights from the sale include a letter discussing religion typed and signed by Einstein, an Assyrian palace foundation brick from 1305-1274 BC with cuneiform describing the reinforcement of a canal, an autographed letter signed by John Adams wishing for retirement from public life and revealing his disdain for factional politics, and a rare separate state printing of The Constitution of the United States following its ratification.



Right to left: (all images Courtesy of the Los Angeles County Museum of Art) Portrait of a Lady, England, c. 1605-1615 Yale Center for British Art, Paul Mellon Collection Photo © The Bridgeman Art Library Armor, Milan, Italy, c. 1600-1610 The Metropolitan Museum of Art, New York, Fletcher Fund, 1938, Photograph © 1990 The Metropolitan Museum of Art. View of the armory in Hearst’s apartment in New York, c. 1929, Reproduced from the Collections of the Library of Congress, Photo by Underwood & Underwood.

Museum Reunites William Randolph Hearst’s Famed Collection From November 9 to February 1, The Los Angeles County Museum of Art (LACMA) will present Hearst the Collector, an unprecedented exhibition reuniting approximately 150 of the best works of art from the vast and varied holdings of media tycoon William Randolph Hearst (1863-1951). One of the most flamboyant collectors of all time, Hearst assembled a massive and distinguished collection that was largely dispersed and sold during a liquidity crisis in the late 1930s. The negative portrayal in the acclaimed Orson Welles film Citizen Kane – a dark reinvention of Hearst’s life – is largely attributed to the collection’s limited acclaim. Now, with many of the most significant objects brought together once more, Hearst is revealed as an accomplished and discriminating collector. The heir to a colossal fortune stemming from the Gold Rush of 1849, Hearst used his wealth to transform a single newspaper into a multi-media conglomerate. It was the beginning of a largerthan-life existence that warranted larger-than-life possessions. His 240,000 acre ranch in California was bigger than Washington, D.C., and his fivestory apartment in New York was the largest in the world. At these and other locations, Hearst housed a compilation of priceless antiquities that vastly exceeded that of any other collector in the world. The most important aspects of Hearst’s activities as a collector will be presented in LACMA’s exhibition, including his particularly strong collections of arms and armor, silver, and Renaissance tapestries. In

each of these areas, he surpassed virtually all his contemporaries, amassing the greatest quantity of top-tier works. His classical antiquities boasted the illustrious provenances of historic British collections, but his passion for California and American frontier, exemplified by his collection of 300 Native American textiles, set him apart from traditional American collectors in New York and Boston.

Half his collections were liquidated in 1937 after Hearst’s empire was threatened with financial crisis. Much of Hearst’s Georgian silver was purchased (with funds provided by John D. Rockefeller, Jr.) to begin the collection at Colonial Williamsburg in Virginia. Fully 25 percent of the renowned Otto von Kienbusch Collection of arms and armor in the Philadelphia Museum of Art came from Hearst. And other treasures eventually found their way to the Rijksmuseum, the Louvre, Metropolitan Museum of Art, J. Paul Getty Museum, and many other museums ranging from Mexico City to Jerusalem. Hearst donated hundreds of works of art to the Los Angeles County Museum of History, Science, and Art (which opened in 1913), thus laying the foundation upon which LACMA was eventually established in 1965. Hearst the Collector celebrates this history in conjunction with the 50th anniversary of the 1958 opening of Hearst Castle (the palatial estate built by Hearst halfway between Los Angeles and San Francisco, now a State and National Historic Landmark) to the public. A number of extraordinary loans from Hearst Castle will be highlighted to show the breathtaking range of Hearst’s interests. The installation design of Hearst the Collector, conceived by David Hundley, is inspired by the grandeur of Hearst residences, and filtered through a minimalist design sensibility. The result is a neutral viewing experience that allows visitors to focus on the beauty of the individual objects, while suggesting the scale of rooms in which the objects were originally displayed. 08 Claudio Coello, The Virgin Appearing to Saint James, Spain, 1677 Photograph by Victoria Garagliano/ © Hearst Castle ®/ CA State Parks Courtesy of the Los Angeles County Museum of Art


MIAMI Avvakumov who participated in the underground art movement during the Perestroika era. Today, after 17 years of living in a new socio-economic reality, Russian Dreams reflects ambivalence towards a lost utopia, as well as a reflects on the sense of contradiction and tension that is today’s 21st century Russia. The works in this exhibition resonate with the disconnected, random associations of dreams. They inhabit the profound melancholy over what has been lost. “This is an extraordinary fecund time for Russian art, with a diverse group of artists producing exciting and innovative work,” says Olga Sviblova, Director of the Multimedia Art Museum in Moscow and curator of Russian Dreams. “To truly understand this incredible moment in contemporary art, we need to look back to the generation of artists who had been categorized in an oddly romanticized way simply as ‘underground.’ Russian Dreams allows us to reexamine the works of these influential Sotsart artists in their own right and, in doing so, appreciate their impact upon artists working today.” 08 Yuri Avvakumov, Black Bone Mausoleum. Homage to the architect Schusev, 2008 Courtesy of the Bass Museum of Art Leonid Tishkov & Boris Bendikov, Roof from the Private Moon series (2003-2005) Courtesy of the Bass Museum of Art

Bass Museum of Art Presents Works by Leading Russian Artists From December 4 to February 8, The Bass Museum of Art in Miami will partner with the Multimedia Art Museum in Moscow to present Russian Dreams, a groundbreaking exhibition of cutting-edge works by contemporary Russian artists. In Russian Dreams, the artists have been selected to represent two distinct factions. The first encompasses those artists who emerged in the 1980s and ‘90s, a time when Russian art was continuing to sustain itself through volatile oppression and state-ordered censorship. The second group represents those artists whose work developed after the fall of the Soviet Union. Russian Dreams juxtaposes these two groups in order to effectively explore the evolution of Russian art through a significant period in time.

the scope of their work has changed. Examples from this group include Julia Milner, Rostan Tavasiev, Haim Sokol, and MishMash Project. Many of the pieces in Russian Dreams are intimate, personal, narratives, while others look back, referencing the bolder Sotsart of Yuri Albert and Yuri

Artists from the first group are the modern icons of Russian art, having risen to prominence in the era of Perestroika. Launched in June 1987, Perestroika was Mikhail Gorbachev’s program to implement economic, political, and social restructuring. Two unintentional results of the program: the toppling of the Soviet Union and a satiric blend of Socialist Realism and Pop Art, known as Sotsart, that parodied official state-produced art. Examples from this group include AES+F Group, Alexander Ponomarev, Vladimir Dubossarsky and Alexander Vinogradov, Dmitri Gutov, and Alexei Kostromacame. The second group of artists is typically between 20 and 30 years old. Their work has developed in a new, post-Perestroika Russia. Government bans on personal expression have been lifted and, as a result,

Alexei Kostroma, Feathered Aggression, 2008 Courtesy of the Bass Museum of Art



Alfred Kubin (1877-1959), Die Promenade (The Promenade), ca. 1904-05 Courtesy of the Neue Galerie New York

First American Museum Exhibition Devoted to Alfred Kubin The first major museum of exhibition to showcase the work of artist Alfred Kubin (1877-1959) is on view at the Neue Galerie New York through January 2009. The exhibition entitled “Alfred Kubin: Drawings, 1897-1909,” has drawn considerable Alfred Kubin in the first year of interest among his residence in Munich, 1898 scholars and in the Courtesty of the Neue Galerie press, with New York New York Magazine citing it as one of the exhibitions “you really cannot miss this fall.” Presenting more than 100 early drawings, watercolors, and lithographs, the exhibition highlights the expressionist illustrator’s penchant for the macabre.

his drawings are wildly varied technically and imaginatively. Populated by all kinds of mythic beings and monsters, they can be hilarious, creepy, scary, otherworldly, earthy and cosmic. Collectively they envision a world that is the opposite of that of modern science and technology: one that is driven by human irrationality, animal instincts and supernatural forces.

Coming of age in Munich in the late 19th century, he discovered the works that would become his major influences: the fantastic and morbid prints of French Symbolist Odilon Redon and of Beligian painter James Ensor, and the strange and imaginative etchings of German artist Max Klinger. Kubin’s early drawings were usually executed in an ink-and-wash technique that attempted to emulate the velvety aquatints of Redon and Klinger. He later adopted a more spontaneous-looking drawing style that is often described as “spidery.”

“Kubin plumbs the depths of the shadow world of the human subconscious, with its unguarded impulses and fears,” says Renée Price, Director of the Neue Galerie. “His drawings have the evanescence and the frightening clarity of our darkest dreams.” 08

Throughout his career, he worked almost exclusively on sheets of paper. Despite this restrictive format,

With literature as his source of inspiration, Kubin produced hallucinatory visions of violence and eroticism, illustrating for writers like Edgar Allan Poe, Fyodor Dostoevsky, and Nikolai Gogol. Included in the exhibition are illustrations from Kubin’s bizarre 1908 novel The Other Side. The artist’s entire iconography points to his traumatic experiences as a child and youth. Having witnessed his mother’s death at the age of 11, he became obsessed with death and dying, in particular murder and suicide. He suffered from acute anxiety and sexual paranoia, and his drawings show the influence of those maladies.

Right, top to bottom: Alfred Kubin (1877-1959) Selbstbetrachtung (Self-Observation), ca. 1901-02 Adoration, 1900-01 Die Dame auf dem Pferd (The Lady on the Horse, ca. 1900-01 Courtesy of the Neue Galerie New York




Jason DeCaires Taylor, Concept 3 Courtesy of Jason DeCaires Taylor

Underwater Art off the Coast of Mexico

Robert Stanley, Dorothy and Herbert Vogel Collection Courtesy of the Miami Art Museum

MAM Receives Gift of Fifty Works from the Vogel Collection The Miami Art Museum (MAM) has been selected to receive a gift of fifty works of art from New York collectors Dorothy and Herbert Vogel, with the help of the National Gallery of Art, the National Endowment for the Arts, and the Institute of Museum and Library Services. The gifts are part of a national gifts program entitled The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States. It will distribute 2,500 works from the Vogels’ collection of contemporary art throughout the nation, with fifty works going to a selected art institution in each of the fifty states. Artists whose work is being donated to Miami Art Museum include Will Barnet, Joel Fisher, Donald Sultan and Richard Tuttle. “The Miami Art Museum is proud to be the one museum chosen to represent the state of Florida,” says Terence Riley, Director of the Miami Art Museum. “The gift is generous and will make a significant impact on our collection. When all fifty of the pieces arrive, we will be cataloguing and studying them, and will look forward to sharing them with the public in an exhibition as a whole within the next two years. Once we move to our new building at Museum Park, they will be rotated into our collection at large and seen and appreciated in fresh new ways. This, I believe is precisely what the Vogels want for these works, for which they have so much personal passion.” The best-known aspects of the Vogel Collection are minimal and conceptual art, but these donations also explore numerous directions of the post-minimalist period, including works of a figurative and expressionist

nature. Primarily a collection of drawings, the 2,500 works the Vogels are donating also include paintings, sculptures, photographs, and prints by more than 170 contemporary artists, mainly working in the United States. Gifts to the first ten institutions were announced in the spring of 2008. The Vogel Collection has been characterized as unique among collections of contemporary art, both for the character and breadth of the objects and for the individuals who created it. Herbert Vogel (b. 1922), spent most of his working life as an employee of the United States Postal Service, and Dorothy Vogel (b. 1935), was a reference librarian at the Brooklyn Public Library. Setting their collecting priorities above those of personal comfort, the couple used Dorothy’s salary to cover the expenses of daily life and devoted Herbert’s salary to the acquisition of contemporary art. With the exception of the collection formed by their friend, artist Sol LeWitt, no other known private collection of similar work in Europe or America rivals the range, complexity, and quality of the art the Vogels acquired. “We hope this will be a truly national program, and that it will make the work of the many artists we admire familiar to a wider audience. We also hope our gifts will enable museums throughout the country to represent a significant range of contemporary art,” says Dorothy Vogel. 08

Underwater sculpture artist Jason DeCaires Taylor has embarked on the first phase of his new ambitious underwater project off the coast of Mexico. Located within the National Marine Park of Cancun, Isla Mujeres and Nisuc, the installations, designed to form artificial reef structures, will encompass a monumental body of work consisting of over 200 figurative pieces. Drawing on various influences, the works will include both contemporary and Mayan narratives and develop the use of live propagated coral within the structures. The first pieces, which are currently in construction, are entitled El archivo de sueños and El jardinero de coral. Creator of the world’s first underwater sculpture park, Jason de Caires Taylor has gained international recognition for his unique work. His sculptures highlight ecological processes and explore the intricate relationships between modern art and the environment. By using sculptures to create artificial reefs, the artist’s interventions promote hope and recovery, underlining the need to understand and protect the natural world. The recently completed land-based sculpture, Un-Still Life II, explores growth and organic transformation as part of the Municipality of Paliani Stone Symposium in Crete, Greece. The sculpture was carved from a single block of Travertine stone, the central area of which was removed to create a chamber, which was then filled with soil and compost. Nine hundred holes were drilled from the external face of the sculpture to the central chamber and filled with earth and seeds from native plant species. Like its underwater counterpart, which has been changed, marked and eaten by coral and other marine organisms, UnStill Life II will also be transformed and brought alive by the growth of the plant material. 08



By Mack Derouac


Paperback publisher Picador USA is reissuing 10 of Tom Wolfe’s 14 books – both novels and non-fiction – in an attempt to reach an audience of readers not yet familiar with the acclaimed author. This December Picador will publish The Painted Word, a scathing assessment of the art world as it existed in the 1950s and ‘60s. Though it was published more than 30 years ago, is The Painted Word still relevant today? The art may have changed but is the art world, still as Wolfe described it then?

There are many passages that read less like an edited work and more like a series of epiphanies someone has only recently written down. But, after awhile, Wolfe’s cadence contains a comprehensive clarity. The thesis: critics and so-called “art experts” have become more important than the artists themselves, not to mention the public. “In short: frankly, these days, without a theory to go with it, I can’t see a painting,” proclaims Wolfe. In other words, without understanding what a critic has to say about a piece of art, the artwork cannot be properly understood. And this, Wolfe observes, has resulted in a generation of artists who create works solely for the sake of critics and their wealthy art patrons. “The public is not invited (it gets a printed announcement later),” Wolfe writes. “The public whose glorious numbers are recorded in the annual reports of the museums, all those students and bus tours and moms and dads and random intellectuals…are merely tourists, autograph seekers, gawkers, parade watchers, so far as the game of Success in Art is concerned.” Success in Art is achieved through a process Wolfe calls “the art mating ritual.” First, the artist must play the part of the steadfast bohemian, and this earns them critical approval. Afterwards, they must ever-so-slightly transition to courting the approval of high society art patrons. Those unable to pull it off are doomed to obscurity. According to Wolfe, “Many artists become so dedicated to bohemian values, internalize their antibourgeois feelings so profoundly, that they are unable to cut loose, let go…and submit gracefully to good fortune; the sort of artist…who always comes to the black-tie openings at the Museum of Modern Art wearing a dinner jacket and paint-spattered Levi’s.”

How did it all get this way? Wolfe provides his own history in the following account: “In the beginning we got rid of nineteenth-century storybook realism. Then we got rid of representational objects. Then we got rid of the third dimension altogether and got really flat (Abstract Expressionism). Then we got rid of airiness, brushstrokes, most of the paint, and the last viruses of drawing and complicated designs.” And, then there was conceptual art: “… there, at last, it was! No more realism, no more representation objects, no more lines, colors, forms, and contours, no more pigments, no more brushstrokes. …Art made its final flight, climbed higher and higher in an ever-decreasing tighterturning spiral until…it disappeared up its own fundamental aperture…and came out the other side as Art Theory!” In response to Wolfe’s critical look at Modern Art, he himself received derisive criticism. The long litany of bad reviews all seemed to agree that, Wolfe simply didn’t know what he was talking about, because he didn’t know enough about art. And, in a way, their response validates his thesis. Art is an elusive creature, characterized by esoteric virtues that very few people understand, and yet most people will still look upon it with the stern appearance of complete and total comprehension. The question remains as to whether Wolfe’s observations belong to the period in time of which he wrote, or do they continue today. It’s a question to which only a learned few would know the answer. And, as such, perhaps it answers itself. 08


tom wolfe


the painted word

Paperback: 128 PAGES Publisher: picador Date:

december 2008






By Michael Antonioni

The 2008 Spanish-language biopic Che tells the story of Ernesto “Che” Guevara, the Marxist revolutionary turned martyr turned pop culture icon. Directed by Steven Soderbergh and starring Benicio del Toro as Che, the film is a merged version of two films: The Argentine and Guerilla. The first part (The Argentine) is a depiction of the Cuban revolution. It begins with Fidel Castro and Guevara leading an army of revolutionaries on their journey from Mexico to Cuba in 1956. It ends two years later with the overthrow of Fulgencio Batista. In this film, Guevara is portrayed at the pinnacle of his impassioned youth. He is eager and ambitious, fighting for the pursuit of a noble cause. By contrast to The Argentine, the second film (Guerilla) is noticeably anticlimactic. Containing less of the revolutionary fervor portrayed in the prior film, the story takes on an introspective tone. It begins with Guevara abandoning his life in Cuba, a life made comfortable by the success of the revolution that is perhaps too comfortable for a bent on continuing the revolution. He travels to Bolivia and attempts to once again manifest a government of Marxist idealism. His efforts, however, are unsuccessful. Without the camaraderie and unity of the Cuban revolution, Guevara is the isolated leader of a fruitless rebellion. At the conclusion of the film, he is shot to death in a rural schoolhouse by a drunken Bolivian soldier, the ignoble end to a thrilling story. As one might imagine, with so much to tell, the movie is by no means short. When it was screened on May 21 at the 2008 Cannes Film Festival it reportedly ran over four hours. Afterwards,

Benecio Del Toro Courtesy of IFC Films

Soderbergh cut five to seven minutes from each half of the film. It was shown at the 46th New York Film Festival and at the 33rd Toronto Film Festival as two separate films, separated by a 15 minute intermission. Despite its length and controversial subject-matter, Che has been a source of much fanfare. At the Cannes Film Festival, Del Toro won the Best Actor Award for his portrayal of Guevara in the film. The Canadian press called Che the “must-see” film of the Toronto Film Festival. And it premiered to a sold-out audience in Los Angeles at AFI Fest on November 1. On the other hand, early reviews of Che have been mixed, with some critics hailing it as a landmark source of cinematic brilliance and others calling it an inaccurate depiction of a controversial figure. In her review for the New York Times, based on a screening at the New York Film Festival, Manohla Dargis observes that “throughout the movie Mr. Soderbergh mixes the wild beauty of his landscapes with images of Che heroically engaged in battle, thoughtfully scribbling and reading, and tending to ailing peasants and soldiers.” According to Dargis, “Che wins, Che loses, but Che remains the same in what plays like a procedural about a charismatic leader, impossible missions and the pleasures of work and camaraderie,” referring

Benecio Del Toro Courtesy of IFC Films

to the “historical epic” as “Ocean’s Eleven with better cigars.” However, Dargis notes that “Mr. Soderbergh cagily evades Che’s ugly side, notably his increasing commitment to violence and seemingly endless war, but the movie is without question political – even if it emphasizes romantic adventure over realpolitik – because, like all films, it is predicated on getting, spending and making money.” As Christopher Hitchens once wrote, “Che’s iconic status was assured because he failed. His story was one of defeat and isolation, and that’s why it is so seductive. Had he lived, the myth of Che would have long since died.” He later added in a July 2004 Guardian piece by Sean O’Hagan that the legend of Che Guevara endures not because of how he lived, but how he died. “He belongs more to the romantic tradition than the revolutionary one,” Hitchens said. “To endure as a romantic icon, one must not just die young, but die hopelessly. Che fulfills both criteria. When one thinks of Che as a hero, it is more in terms of Byron than Marx.” 08 Title:



Steven Soderbergh


January 9, 2009



Steven Soderbergh, Courtesy of IFC Films



By Mack Derouac

THREE NEW DEALS Reflections on Roosevelt’s America, Mussolini’s Italy, and Hitler’s Germany, 1933-1939 The Great Depression was an international phenomenon that stretched far beyond the borders of the United States. Burdened by an incredible economic crisis, three very different countries came up with remarkably similar solutions for dealing with extraordinary problems. Wolfgang Schivelbusch’s book Three New Deals: Reflections on Roosevelt’s America, Mussolini’s Italy, and Hitler’s Germany, 1933-1939 compares their efforts by identifying the tactics unanimously adopted by Germany, Italy, and the United States.

President Roosevelt took office in March 1933 and immediately received from Congress powers “unprecedented in times of peace,” writes Schivelbusch. He used his authority to enact a series of emergency relief measures collectively known as the New Deal. Strange as it may seem, the measures undertaken by Roosevelt were not unlike those pursued by Germany and Italy.

into moral disrepute,” attempts to transform public opinion were hidden behind terms like “education” or “information.” Still, many elements of American life, from Roosevelt’s radio address to the Blue Eagle (a symbol provided to businesses who pledged compliance, and used to stigmatize those who did not) represent traditional methods of propaganda.

One similarity: all three nations were led by popular, charismatic leaders. Granting autonomous power to a single individual was part of what Schivelbusch calls the “psychology of politics” that followed the Great Depression. “People no longer looked to liberal democracy, which they held responsible for the Depression, for protection and guidance. Instead they placed their trust in a new type of authoritarian state, personified by Il Duce and the Fuhrer in Italy and Germany, and symbolically by President Roosevelt in the United States.”

From the modern perspective, democracy and fascism/national socialism are polar opposites. To suggest otherwise, as Schivelbusch does here, is no doubt provocative. But the comparison is not to be considered an attack on America, nor is it a defense of Nazi Germany and Fascist Italy. Wolfgang Schivelbusch is a historian, an academic in search of genuine truth, for whom the tough questions are the most important to ask. Innovative and well-researched, Three New Deals merely illustrates the harsh circumstances endured by these nations and their similar efforts to combat economic peril.

Another similarity: all three initiated various publicly-funded projects. Massive public projects reduced unemployment and improved living standards. “For Fascism, the New Deal, and National Socialism, those projects were, respectively, the reclamation of an area of swamplands, the building of dams and power plants along a forgotten river valley, and the construction of a national network of highways.” In Italy, Mussolini drained the Pontine Marshes southeast of Rome. In Germany, highways and roads were constructed. In the United States, Roosevelt initiated the Tennessee Valley Authority Act. Yet another similarity: all three used propaganda to manifest public approval. The Nazis were the most notorious government to use propaganda, going so far as to create a department for Public Enlightenment and Propaganda. But, according to Schivelbusch, other political systems were not above manipulating public opinion. Because, in the United States, “propaganda fell

It was a period of transition that culminated in World War II. When it ended, there was a dramatic shift in world order. And, perhaps, it’s the aftermath that proves to be most fascinating. Before World War II, “the United States, in contrast to militaristic Europe, was a peaceable republic of merchants,” notes Schivelbusch. “This self-image was reversed with little fanfare during the forty years of the Cold War; official acknowledgment came only with the new doctrine of preventive war and its implementation in Iraq in 2003. That Germany – the militarist monster of the past, America’s enemy in two World Wars, and since 1945, its most loyal ally – refused to participate in the invasion of Iraq made the exchange of roles powerfully clear.” 08


wolfgang schivelbusch


THREE NEW DEALS: Reflections on Roosevelt’s America, Mussolini’s Italy, and Hitler’s Germany, 1933-1939

Paperback: 256 pages Publisher: PICADOR Date:






By Michael Antonioni

THE WRESTLER Evan Rachel Wood and Mickey Rourke Courtesy of Fox Searchlight Pictures

Marisa Tomei and Darren Aronofsky Courtesy of Fox Searchlight Pictures

Mickey Rourke Courtesy of Fox Searchlight Pictures

Director Darren Aronofsky’s latest film The Wrestler tells the story of Randy “Ram” Robinson (Mickey Rourke), a professional wrestler from the 1980s who is forced to retire after a near-fatal heart attack. He takes a job at a deli, attempts to form a relationship with an aging stripper (Marissa Tomei) and does his best to reconcile with his estranged daughter (Evan Rachael Wood). It is the quintessential tale of the antihero, a man plagued by demons and flaws who dreams of one last chance to redeem a life of limited consequence.

The Wrestler is the fourth film by director Darren Aronofsky, who obtained international acclaim with Pi (1998) and later confirmed his limitless potential with Requiem for a Dream (2000). His third film The Fountain (2006) received mixed reviews and generally lacked the praise afforded to his earlier works. Now, in The Wrestler, he has not only opted to use the peculiar backdrop of professional wresting, he has also chosen to resurrect the career of actor Mickey Rourke. Rourke has, for the most part, managed to fade into film oblivion, though his early career looked replete with promise. Starring in films like Diner (1982) and Rumble Fish (1983), he played alongside a large ensemble of proven and promising talents, but it was Rourke who always seemed to stand out. In later years, however, his personal life overshadowed his acting career and rumors surfaced that directors found it difficult to work with him. He continued to work steadily, although he rarely appeared as the lead, and when he did it was usually in movies that failed at the box office. So, when Aronofsky picked Rourke over Nicolas Cage for the lead role in The Wrestler, it seemed strange. But, to the surprise of many, Rourke ended up being perfect for the role. The film may not be

Aronofsky’s best (it’s not bad but it doesn’t stand up against Pi and Requiem for a Dream), but it says something about him as a filmmaker that he chose to cast Rourke in the lead. Rourke transforms a predictable, sentimental drama into a gritty rendering of real emotion. Shot in rough-andready handheld style, the camera is rarely off him, nor does one want it to be. He expresses the full life of this man with his every word and gesture. Also in top form is actress Marissa Tomei. As the aging stripper Cassidy, she propels the character beyond the role of a mere female companion, forging for her a path to redemption not unlike Ram’s. As was the case with last year’s film Before the Devil Knows You’re Dead, Tomei’s willingness to appear nude is bound to receive some attention. In this film, however, one is more aptly reminded of the short role she had in Factotum (2005), in which Tomei plays Laura, the world-weary alcoholic girlfriend of Henry Chinaski (played by Matt Dillon). It seems interesting enough to note that Chinaski – the autobiographical antihero of author Charles Bukowski – is a character Rourke also portrayed in Barfly (1987). In fiction, the goals of the antihero are antithetical to those of traditional heroism. But, as is the case

with The Wrestler, the modern hero is bound by the moral complexities of an antihero. Ram is by no means a noble person, but he is not without virtue. His virtues resonate through the pain he personifies. His life has been dominated by pain in all its forms. Inevitable, inexorable, unpreventable, the pain is always present, so he devotes his life to it and at it he excels. He asks for no sympathy. And, while he may have regrets, he has no complaints.08




Darren Aronofsky


December 31, 2008





Editor’s Choice


Kool-Aid Cabaret

Darla Teagarden captures another world with her portraits. Thickly layered with its own vividly salacious splendor, each of her photographs resembles a dream that borders on a hallucinatory vision. “My photos are a direct tap into my inner life, the way I want real life to be all the time,” says Teagarden. Having no formal training, Teagarden’s artistic capacity has relied on past experiences. Photography is only the latest in a long series of her artistic endeavors. She was a make-up artist in Paris, a hair stylist in San Francisco, and a vintage clothing retailer in Germany. As a cabaret stage performer, she learned about set design and lighting. As a painter of semilarge mixed media pieces, she learned and practiced the principles of visual art. She calls her work “a one-night-only play, holding still.” Like a drama performed on a stage, her photographs are the culmination of a long and arduous preproduction process. Afterwards, little is done to alter her photos, so she relies on set design, hair, makeup and lighting. “My methods are pure theatre, learned by performing,” says Teagarden. “I begin by outlining in a sketchbook what my scene is going to be. I then build the narrative

Bee Charmer (Silver Cloud), Courtesy of Darla Teagarden

through props which I also sketch, then build in my garage.” Each of her props is handmade and handpainted, constructed out of plywood oils, acrylics, pastels and chalk. The process can take up to a week and a half to complete, whereas the shoot itself lasts only a couple of hours. “Most of the work comes before the model arrives,” says Teagarden. Historical styles, particularly the 1920s, permeate her portraits – part of a postVictorian nuance evidenced by exaggerated lips and corsets that appear in image after image. Clothing is used to further shape the surreal. Though outdated, the vintage clothing in her photographs is at least recognizable, contrary to the setting in which it is displayed. To the viewer, it is familiar imagery in an unfamiliar world. As such, clothing provides a basis in reality that magnifies the illusory surroundings.

The Photography of Darla Teagarden

Top: Deadly Dandy Polka Left to right: Evening Field, Filipa and Jewel Heist Rats, Courtesy of Darla Teagarden


Left to right: Single Mother, Dia De Los Muertos and Florence Nightingale, Courtesy of Darla Teagarden

Reality versus unreality is a prevailing theme. Teagarden contrasts conventionality and absurdity by providing both in a single image. Her photographs match people – often real, but sometimes unreal – with a counteracting environment – often unreal, but sometimes real. The Closing and Bee Charmer (Silver Cloud) are works in which the people are real and their environment unreal. In both, the setting is a surreal world characterized by a supernatural swarm of bees and an ominous white light seen in the distance. The people, however, are nothing out of the ordinary, in that they possess no inherent deformities or abnormalities. Aristocrat’s Quarters is a work in which the setting is real and the person unreal. The academic backdrop, comprised of scientific materials, represents unfeigned normalcy bound by logic. This is counteracted by a remarkably

unscientific entity, the woman with tentacles for legs. Jewel Heist Rats has a humorous and playful nonsensical setting, making it distinguishable from her other photographs. Notwithstanding the lascivious-looking tattoo-clad female wearing a black corset and silk pink boots, it has a certain innocent, cartoonish quality. Rats and thievery may be the subject, but childish absurdity is the dominant tone. Teagarden looks for inspiration in all forms of literature, “from prose to children’s classics,” as well as the works of Pop Surrealism. “Pop Surrealism is what generates the most energy, for me,” says Teagarden. “It generally has a great macabre undertone mixed with sex-glamour, which can be described as sinisterly sweet. The combination is a true modern hallmark of what art is right now.” 08

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Nine, 2007. Saatchi Collection, London,UK. Photo courtesy of Guerra de la Paz



By David De Russo

The Fabric

of Creation:

Guerra De La Paz Makes Sculptures Out of Clothes Until December 15 2008, the Main Library’s second floor exhibition space will be transformed by Polychrome Affinities, a groundbreaking exhibition showcasing, among others, the work of Guerra De La Paz. Established in 1996, Guerra de la Paz represents the artistic team of Alain Guerra and Neraldo de la Paz. Working out of a studio in Miami, they have come to personify the art of experimentation, enlisting innovative techniques to create that which is both beautiful and provocative. Recently, they have been focused on collecting piles of unwanted clothing and using them to pursue their unique approach to sculpture construction. Clothing has a significant symbolic value. It is immediately and universally recognizable yet culturally and personally specific; it personifies the conflict of identity versus society. Its presence in figurative art being not at all uncommon – many art movements used it to signify class and social status – it continues to serve as iconographic evidence. In the case of Guerra De La Paz, however, clothing is but a means to an end, raw material that has been recycled to create a representation of something else entirely. And though the sculpture created is aesthetically beautiful, one cannot help but be fascinated by the process through which it is created. “We try to make our concept, or the imagery that we create, as familiar to the viewer as the material is to them,” says Alain Guerra, speaking from the artists’ studio in Miami. “We want the first impact to be our composite, as opposed to, ‘Hey, look, they used a lot of clothing.’ But I think the familiarity of the material plays a big part too.” Alain Guerra and Neraldo de la Paz have worked in the same studio for over a decade. Located in Little Haiti amidst an anonymous sprawl of industrial properties just east of Second Avenue, there is no indication of its existence outside, no sign or plaque to identify

it as their studio. But inside one finds what one would expect – clothes. There are clothes in huge piles – on the floor, on tables, folded and layered on shelves. There is the distinct smell of dust, like the kind one might find in an attic, but it’s not overwhelming; the ceilings are high and allow for a comfortable atmosphere amidst the clutter. On a regular basis, the artists go to a nearby warehouse that ships clothing to the Caribbean and Russia and rummage through the large piles of discarded items. Other times they use what has been donated to them, or what they find amid the dealers in Little Haiti who specialize in hand-made clothing. Only the small garments are washed, and then only when it is absolutely necessary. “Otherwise, we’d be starting a laundry business,” says Neraldo de la Paz. The others they lay out in the sun to kill bacteria, but that’s it. The process of tearing apart the garments so they can be used as materials for the intended sculpture is long and arduous, as is the process by which garments are selected. Both artists approach the selection process with an attitude that is practical and somewhat metaphysical (for lack of a better word). “Sometimes when we’re selecting clothing we know exactly what we’re looking for – it can be toner, it

When it Rains it Pours, 2008. Photo courtesy of Guerra de la Paz


can be texture, it could be the color – but usually we always find something that is unexpected,” says Guerra. “We collect those too and eventually that dictates to us what it wants to become.”

“It goes through this cycle – it goes from retail to the trash, it changes hands. It embodies the energies of the people who wore it. It’s a little deeper to us than just textile.”

They talk about the time they found a woman’s prison uniform; at first being excited by it, and later unnerved. It had a “bad vibe,” they say, so it was rejected. They talk also about the many piles of army fatigues seen throughout the room, and once finding a note in one of the pockets. To them, the uniforms bear a unique individuality despite the identical color and design of each garment. “Most people don’t have names attached to their clothes, unless you have a grandmother who wrote your name on the back of your shirt like mine did,” says de la Paz. “We could probably go so far as to attach a face to the name,” says Guerra, performing what appears to be the common practice of continuing his partner’s thoughts.

“It’s also about mass consumption, and the disposability factor,” continues de la Paz. “It references the past. In clothing you can see what people wore – the patterns – and that goes back to fashion, but fashion for the mass consumption. What we were wearing back in the ‘80s is what people in Africa and Haiti are wearing today. Historically, it has a really interesting position, as to who’s using it when and why, what the logistics are sociologically.”

“The reason we use clothing – and not only clothing but used clothing – it’s clothing that’s destined for the landfill,” says Guerra.

Contemporary sculpture bears little resemblance to the traditional carved or cast figures. Much of that is due to the use of distinctive materials, as well as the introduction of color. The use of clothes by Guerra de la Paz is a continuation of sculpture’s ongoing expansion into nontraditional materials. And the Guerra de la Paz sculpture Rainbow, currently on view in the Polychrome Affinities exhibition, is a

Indradhanush, 2008. Installation at Main Miami-Dade Public Library, Miami, FL Photo Douglas Voisin/Guerra de la Paz.


Top: Sunt Omes Unum (“They are one”), Installation at John Michael Kohler Art Center, Sheboygan, WI Below: details, Sunt Omes Unum, 2008, Photo courtesy of Guerra de la Paz


Oasis, 2006. Site specific installation at The Chicago Cultural Center, Chicago, IL Photo Douglas Voisin.

noteworthy example of color in sculpture. Called “a rainbow you can touch” by the artists, the piece uses assorted clothing, steel and hardware to form ascending arcs of purple, blue, green, yellow, orange and red. All of the colors are remarkably bright, a reflection on both Miami and the artwork’s childlike innocence. The decision to showcase their work at the Miami Library during Art Basel, as opposed to any of the more conventional venues, affirms that they are less inclined to partake in the art scene uproar. With the annual occurrence of Art Basel Miami and the ongoing expansion of art districts like Wynwood, the Miami art scene has become a pinnacle topic that cannot be ignored. But when asked about their relationship to this enduring phenomenon, both artists seemed indifferent to the subject. It’s likely their work will be viewed by more school children than art patrons. But, according to Guerra de la Paz, that’s just fine with them.

“We really try to make the art accessible to everyone and not just the art crowd. The art crowd has preconceived ideas, as opposed to school kids who have a pure reaction,” says de la Paz. “We see a reaction from kids that are just toddlers to adults who are at the prime of their life or at the end of their life. The reaction isn’t much different from child to adult, even though the adult has the context to understand whereas the child is acting more to the immediate.” “Our work is the antithesis to what the art world is about, which is very esoteric,” says Guerra. “Our work can be easily read by both people in the art world and outsiders who know absolutely nothing because people of all walks of life are familiar with the materials and they’re familiar with the images.”08


Snake Charmer, 2007. Private Collection. Photo courtesy of Guerra de la Paz

Courtesy Harold Golen Gallery

怪 獣 8 SYMPOSIUM | 31

The artists include:



Kaiju (怪獣) is a Japanese word that means “strange beast,” but is often translated in English as “monster.” The most famous Kaiju is Godzilla, other well-known Kaiju include Mothra, Anguirus, Rodan, Gamera, and King Ghidorah. During the 1960’s, in Japan, toy vinyl figures of popular Japanese films such as Godzilla (a radioactive lizard) and Gamera (a giant flying turtle) became popular collectibles. Over the period of four decades the Kaiju has seen a dramatic rise in popularity, gaining it an international audience. The Kaiju and its influence on popular culture can be seen in a variety of artistic arenas from the “art toy” movement to modern couture as well as in the artworks of many “lowbrow” artists from around the world. During Art Basel Miami Beach 2008, the Kaiju show at ArtCenter/South Florida will bring the most exciting and subversive artists from Japan (East) and the United States (West) ever to be shown in a single exhibition. The exhibition will showcase the various Interpretations of Kaiju, in both Eastern and Western cultures. This exciting presentation aims to break new ground in the Kaiju art form, while at the same time, honoring its rich history. The exhibit includes many of the top artists, whose work is affiliated with the Lowbrow/Pop Surrealist movement, plus internationally acclaimed Japanese artists- making this show a rare occasion, bringing

together the best of the East’s and West’s interpretations Kaiju. The Kaiju Show is an exciting concept that taps into various emerging subcultures. For the last decade the Art Toy movement has gained a toehold in the US through specialized stores and boutiques. The lowbrow art/ pop surrealism genre has gained international recognition with artists like Mark Ryden, Shag, and Ron English. These are just a few of many artists who have become idols to fans of the movement. A special edition series, commemorative, Kaiju ceramic sculpture by Mark Nagata will be produced by Miles of Munk- Tiki, in collaboration with the Harold Golen Gallery for sale during the show. This highly collectable ceramic Kaiju sculpture will be limited to 25 and will elevate the traditional vinyl medium of the Kaiju to a more fine art level. Because of the highly

Courtesy Harold Golen Gallery



Courtesy Harold Golen Gallery

怪 獣


怪 獣

Courtesy Harold Golen Gallery

collectible nature of the Kaiju, some other exclusive merchandising opportunities will be available from Japanese Kaiju figure makers GARGAMEL, DREAM ROCKETS and RUMBLE MONSTERS.

South Florida is open Monday through Thursday from 11:00 a.m. until 10:00 p.m. and Friday through Sunday from 11:00 a.m. until 11:00 p.m. For further information please visit the website at

Established in 1984, ArtCenter/South Florida (located at 800, 810 and 924 Lincoln Road, Miami Beach) is a non-profit organization that provides subsidized studio and exhibition space as well as teaching opportunities to emerging and mid-career artists in their facilities. The mission of ArtCenter is to advance the knowledge and practice of contemporary visual arts and culture in South Florida while providing affordable programming and work-space for professional artists. ArtCenter/

Harold Golen, founder of Miami’s Harold Golen Gallery, curates this special December exhibition during Art Basel 2008. The Harold Golen Gallery focuses on Lowbrow/ Pop-Surrealist Art and has been featured in the New York Times, Architectural Digest, Blue Print Directory, Home, Miami Modern Luxury and Ocean Drive. Harold Golen was also the proprietor of the Miami Beach store “POP” an internationally known pop culture store. 08

Courtesy Harold Golen Gallery

Courtesy Harold Golen Gallery



By David De Russo Photos by Douglas Voisin


MY MEETING WITH THE NATION’S PREMIER MAN OF LETTERS On November 17, literary icon Gore Vidal made his first appearance at the Miami Book Fair. An author of more than 20 novels, five plays, many screenplays, hundreds of essays and a memoir, his latest book, The Selected Essays of Gore Vidal, is collection of 21 essays chosen from among the 114 previously compiled in United States: Essays 1952-1992, plus three recent essays. Known never to shy away from controversy, Vidal has been an outspoken critic of nearly everything – from government to religion to academia to media – and at the age of 83 he stills has plenty of fight left in him.

It’s a hot day in the middle of November, the day Gore Vidal is scheduled to speak at the Miami Book Fair. I meet him at the Raleigh Hotel on Collins Avenue right in the heart of South Beach. This time of year, warm weather beckons hordes of people beachside. Outside, the environment is a bristling nerve of activity. Inside, the setting changes; past the line of trees that guard the front entrance, the backdrop transitions to a state of calm, low key luxury. Vidal is waiting in the lobby, seated in a wheel chair (the result of a recent hip injury) and accompanied by his assistant. Attired in a dark gray suit, he looks regal, natural within the opulent setting of the Raleigh Hotel. Everything about him, from his voice to his appearance, projects a rare, old-fashioned dignity. He is gracious – sometimes humorous – but the high-powered realities of the world he inhabits make it difficult to deal with him on equal terms. More than an author, Vidal is an icon of American aristocracy. Born at the West Point Academy Hospital in 1925, his father, Eugene Luther Vidal, was an all-American quarterback, airline entrepreneur and director of the Bureau of Air Commerce during the FDR administration. His mother, Nina Gore, daughter of Oklahoma Senator Thomas

P. Gore, was an actress and socialite. After divorcing Gene Vidal in 1935, she married Hugh D. Auchincloss, who later became the stepfather of Jacqueline Kennedy Onassis. Vidal writes of his childhood in the memoir, Point to Point Navigation: “The children of the famous are somewhat different from the children of all the rest, including those of the merely rich…I could tell that I was not like the other children because of the questions that my teachers would ask me about my father and grandfather.” Reviewing Point to Point Navigation for New Criterion, Joe Rago describes Vidal as having “the droning hauteur of a patrician, born into every sort of privilege and with every sort of entrée, who at once professes a profound loathing for his class but never tires of declaring his station in life. And of course Vidal turns the same trick with America, pronouncing that he wants to rescue the country while remaining contemptuous of every facet of its existence.” A vocal critic of the Bush administration, Vidal has written three books on the subject: Imperial America (2004), Dreaming War (2003), and Perpetual War for Perpetual Peace (2002). His latest book, The Selected Essays of Gore Vidal, contains two essays extracted from these


works: Black Tuesday (from Perpetual War for Perpetual Peace) and State of the Union, 2004 (from Imperial America). In the introduction, editor Jay Parini describes Vidal has having “revived the political pamphlet as a genre,” adding, “If his temper has grown short in recent times, one can hardly blame him, as in many ways his worst nightmares have come true under the regime of George W. Bush.” As a public figure, Vidal’s wit and intelligence are often overshadowed by his malicious persona. The most well known example of Vidal invectives appeared in a series of television debates with William F. Buckley, Jr. in August 1968. During the debates, Vidal called his opponent a fascist, a racist, an anti-Semite, and a closet homosexual, adding that Buckley’s ideas were responsible for the murder of Bobby Kennedy. And, as Parini suggests, Vidal’s demeanor has not softened with age but perhaps grown more malevolent. On November 4, the night of the presidential election, a visibly annoyed and hostile Vidal was interviewed via satellite from Los Angeles by BBC News anchor David Dimbleby. He chided Dimbleby with snide remarks, telling his presenter he had no idea who he was, scolding him for taking answers at face value and claiming to know “too much about the subject” of U.S. politics to be appearing on television. Dimbleby went red with embarrassment before bringing the interview to an early end. “Gore Vidal has often treated writing as a blood sport, and it’s heartening to see he has lost none of his appetite for pursuing enemies, real or perceived, like a game hunter addicted to sheer brutal entertainment of the chase,” writes journalist Andrew Gumbel. He and Vidal have recently been engaged in a bitter dispute over the article “Who’s America Now? Not Gore Vidal’s,” written by Gumbel for the new Spanish-language Vanity Fair. “From a personal point of view, of course, it’s a little less heartening when the target happens to be me.” As a writer, Vidal is more than worthy of the praise he receives. Parini says it best: “Vidal’s intelligence, with its intense wattage, shines brightly everywhere, and when the beam narrows onto a passage, the passage glows.” In person, however, much of the Vidal charm and charisma seems notably absent. There are subjects he simply will not discuss; others, he will not elaborate. On the subject of literature, he is remarkably apathetic. On the subject of politics, Vidal has a great deal to say, but his opinions are

one-sided and spiteful. On every subject, he is negative. During my meeting with Vidal, his diatribe on John McCain begins with a sarcastic utterance. “Oh, I love the hero,” he says. “He crashes his plane…everyone was warned that he was the world’s worst flyer…he wasn’t shot down. Every time he would open his mouth he would start telling lies. And the girl up there in Alaska would repeat them.” At this point, Vidal’s voice escalates to a high-pitched squeal as he breaks into his Sarah Palin impression. High-octave impressions are a common occurrence throughout the meeting. Discussing Bush, Vidal once again augments his voice to create a high-pitched impression. His Bush impression is different from the Palin voice, but – coming from an elderly man amid this opulent setting – both impressions are equally eerie. Without warning, he will loudly and enthusiastically start speaking in a Bush voice, loudly crying out, “I’m a wartime president! I’m a wartime president!” Other times, he will yell, “I’m commander-inchief! I’m commanderin-chief!” The American people “have no power,” he says. “They have no say in the governments of the country. They got out of the habit of being citizens. We got a lot of getrich-quick oil and gas men at the core of it.” I point out that voter turnout was at an all time high in the last two national elections. “Well, I wasn’t counting,” he says. “Certainly didn’t change anything. You’re taking for granted that what you read is correct.” I argue that we have a free press in the United States. “Nonsense,” he says. My response: the government cannot control the press. “But money can,” he says. I ask about alternative media outlets, like the internet. “I like the theory of it,” says Vidal, “but it hasn’t done anything.” On the subject of Barack Obama, Vidal is somewhat optimistic; however, he is sure to taint his optimism with doubts. “I hope he can do something,” he says. “I voted for him, and I think he’s wonderful. But I don’t really know him.” He adds: “Now that he got elected, I would be fascinated if he were allowed to serve. Republicans are very good at finding all sorts of good reasons for not letting people serve. He has a problem. He’s an intellectual in a country that hates it. Just forget racism, it’s intellectuals that they really don’t like.” 08



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ART BASEL/08 miami beach Since its inception in 2002, Art Basel Miami Beach has become one the most renowned international art shows in the United States. From December 4-7, 2008, more than 40,000 art patrons are expected to attend the event, many of them industry players of every description. During the shows five-day run, a surge of artists, dealers, collectors, critics, curators and art-world followers will flood the




Convention Center. There, they will have the opportunity to observe, and possibly




Impressionistic landscapes and Cubist collages to neon sculptures and avantgarde video art.


Metro Pictures: Cindy Sherman Untitled, 2007/08 Color photograph, 63x70 inches (MP#462)

Art Basel Miami Beach features painting, drawing, sculpture, installation, print, photography, film, performance video, and digital art by more than 2,000 artists. Visitors can find works ranging from fresh and innovative works by today’s young artists to multi-milliondollar museum-caliber masterpieces. With over 800 applicants to choose from, the Art Basel Miami Beach Selection Committee – a commission comprised of renowned international art experts – has picked more than 240 galleries for this year’s show, including 99 percent of last year’s participants. About half of the exhibitors come from outside of the United States, with strong participation from Europe and Latin America, plus a number of galleries from Asia. More than 10 percent of the galleries presenting are new this year. Those galleries exhibiting for the first time or returning after a brief hiatus include Air de Paris (Paris), Greenberg van Doren Gallery (New York) and Eleni Koroneou Gallery (Athens). AB/08


Abreu (@ Art Supernova 2008): Jimmy Raskin Installation view, Miguel Abreu Gallery, New York, 2007

Zwirner & Wirth: Kiki Smith Untitled, 1993 Plaster with silver leaf, site-specific dimensions

Krinzinger (@ Art Kabinett 2008): Meret Oppenheim Frau mit Hut (Woman with Hat), 1978 Crayon on cardboard, 80x56 cm Copright Š 2008 for the reproduced works by Meret Oppenheim: ProLitteris Zurich

Approach: Gary Webb The Creator Has a Master Plan, 2004 Aluminium, rubber, steel, fabric, and fan, 190x287x49 cm


Kurimanzutto: Damián Ortega Proyecto para Plaza Pública, 2008 12 pieces of concrete: 4 pieces of 80x69x29 cm, 4 pieces of 54x47x29 cm, 4 pieces of 27x24x29 cm Wolff (@ Art Nova 2008): Guillaume Leblon Notes, 2007 Video, color, sound, 7 min 22 sec Photos of the production of the film Photo Credits by F. Doury

Mathes (@ Art Kabinett 2008): John Chamberlain Untitled No.1, 1960 Painted chromium-plated steel on board 33x32.4x14 cm Signed, titled and dated on the reserve ‚Chamberlain 60#1’

Schipper: Philippe Parreno The Ultrasonic Scream of the Squirrel, 2006/07 Digital print, aluminum, perspex, DVD (40 min), LCD screen (6.4 inches), 120x180 cm


Kern: Jonas Wood Basketball #1, 2008 Acrylic on paper, 12x15 inches

Perotin: Paola Pivi If you like it, thank you. If you don’t like it, I am sorry. Enjoy anyway, 2007 Aluminum, fiberglass, plexiglass rhinestones, 520x1427x27 cm, 20.5x47 feet x10.5 inches

Neu: Claire Fontaine Passe-Partout, (Berlin-Mitte),,,, 2008 Mixed media, 73x10x3 cm


Foksal: Pawel Althamer Metea, 2006-2008 Aluminum cast Detail

A Gentil Carioca (@ Art Nova 2008): Laura Lima Pheasants and Food, 2005 Birds, grain, fruit, leaves, flowers,plants,roots, earth, wood, fishnet, bread sculptures, and a chef (Mr. Oicram Rama), approx. 2000x500cm Banquet for pheasants and peacocks made by a chef

Deitch: Vladimir Dubossarsky & Alexander Vinogradov The Beatles, 2008 Oil on canvas, 116x153.5 inches

Campaña: Seb Koberstädt Bass, 2008 Deer antler, wax, pigment, 300x50x20 cm


Team: Banks Violette Untitled, 2007 Installation view, Team Gallery

CRG: O Zhang Salute to the Olympics, 2008 C-print, 120x170 cm


/ART NOVA The Art Nova sector of Art Basel is a chance for galleries – this year, 58 galleries from 21 countries – to present new artworks. Each gallery is permitted to choose no more than three artists whose works were produced within the last two years. Works by 132 artists from around the globe are on display in this year’s Art Nova sector. In 2008, the Art Nova sector has a record of 12 solo presentations, presenting works by Ai Weiwei (Urs Meile), Edgar Arceneaux (Vielmetter), Luis Camnitzer (Alexander Gray), Alexander da Cunhan (Vilma Gold), Michael Fullerton (Freedman), Cao Guimaraes (Roesler), Zheng Guogu (Vitamin), Yukinori Maeda (Taka Ishii), Naofumi Maruyama (Shugoarts), Kris Martin (Sies + Höke), Aïda Ruilova (Salon 94), and Sturtevant (mezzanin). AB/08

Sies + Höke: Kris Martin For Woman…, 2008 Bronze bell without pendulum, steel construction, 160x380x120 cm, site-specific dimensions Edition of 3+1 AP, each unique Installation view, Boros Collection, Berlin

Thumm: Christian Hoischen Lost Highway, 2008 Enamel, epoxy resin, fiberglass on polystyrene 100x143x5 cm

Taka Ishii: Yukinori Maeda Light Deposit, 2008 Wood veneer, plywood, acrylic, transparencies, reflective film, lambda print, plants, 300x440x230 cm Photo Credits by Andy Keate

Cobo: Diango Hernández Living room partido, 2006 Installation, dimensions variable


Bartolami: Eric Wesley Remix (Stage Coach), 2008 Cast bronze, 18x20x23 inches Meile: Ai Weiwei Marble Chair, 2008 Marble, 125x52x50 cm

XL: Sergei Shekhovtsov Rider, 2008 Styrofoam, acrylic, approx. 200x220x70 cm

Sfeir-Semler Randa Mirza Parallel Universes, 2008 C-prints, 40x60 cm


The Third Line: Fouad Elkoury What I Miss Most Is Your Incredible Smile, 2008 Color print, 50x75 cm

Cherry and Martin: Nathan Mabry Process Art (Dead Men Don’t Make Sculpture), 2008 Bronze, 87x58x41 inches

/ART SUPERNOVA Conceived as “an alternative form of gallery presentation in an art fair context,” Art Supernova is making its second appearance at Art Basel Miami Beach in 2008. Presenting recent works by emerging artists, Art Supernova arranges 20 galleries in an attempt to form “an experimental group show.” Instead of each gallery having its own separate booth, the exhibitors in Art Supernova have interconnected exhibition spaces and a common stage area. In these shared facilities they present works on paper, videos, performances, artist files, books, and catalogs. AB/08

Lawrence ENG: Kelly Mark I Have No Issues, 2008 Neon, plexi sculpture, 12x48x3 inches


Casas Riegner: Johanna Calle Tejido foliar (detail), 2008 Ink on paper, 140.5x175.4 cm

Gavlak: Jose Alvarez The Myth, 2008 Crystals, mineral crystal, feathers, porcupine quills, enamel, acrylic, and colored pencil on paper, 72x44 inches

Regina: Sergey Bratkov Mickey Mouse, from the series Juvenile Detention, 2001 Color photo, 120x90 cm

Breeder: Stelios Faitakis Dream, 2008 Oil, acrylic, latex, egg tempera, metallic paint, spray paint on canvas, 240x190 cm


/ART POSITIONS Finding new and innovative approaches to gallery presentation is an important part of Art Basel. One notable example of this is Art Positions, a segment of Art Basel that transforms beachside shipping containers into public art spaces where 20 emerging galleries can present their artists’ work. Located by the beach at Collins Park between 21st and 22nd Streets, Art Positions incorporates galleries from nine countries, each of them selectively chosen from over 120 submitted applications. Many of the artists incorporate the architecture of the shipping container as a starting point for their projects. AB/08 Rivington Arms: Darren Bader as = poaching the poachers (Back Room Installation Shot), 2007 Mixed media, dimensions variable

Monclova: Tercerunquinto I Am What I Am, 2008 Installation, approx. 500x1800 cm Installation view, Ikon Eastside, Birmingham


Redling: Drew Heitzler Untitled #1, 2008 Chromogenic print, 82x62.5 cm Edition of 3

Broadway 1602: Martin Soto Climent Good Intensions, 2008 Model for installation at ART Positions 2008

DĂ­az: Teresa Margolles Score Setting #5 (Preliminary investigation), CuliacĂĄn, October 19, 2007 Duration: 13 hours Man of 34 killed by hitmen in a car-to-car shooting in Tierra Blanca. The victim was commander of the tactical forces of the State Police. Federal officials reported that the state authorities would submit as evidence five AK-47 rifles, one AR15 rifle, and .45 and .38 caliber shotguns.

Blow 111: Gabriel Abrantes Untitled, 2007 Mixed media on canvas, 135x260 cm


/ART KABINETT This year’s Art Kabinett program promises to be an exciting mix of tightly focused exhibitions within the art show, including thematic group exhibition and solo shows from both emerging artists and historical figures. The Selection Committee has chosen 17 galleries to present Art Kabinetts – separate sections within the booths of the Art Galleries sector, providing a space to investigate single artists’ works or thematic group exhibitions in greater detail and spotlighting the skills of the exhibition curators. The 17 projects in this sector of the show feature a wide array of artists, ranging from young emerging artists such as Jonas Lipps and Tomasz Kowalski to historical figures like Meret Oppenheim, Francis Picabia, Robert Smithson and Marcel Duchamp. Group shows include exhibitions titled “Text and Image in 20th- Century Art” and “Kusama and Her Contemporaries.” AB/08

Naumann: Marcel Duchamp De ou par Marcel Duchamp ou Rrose Sélavy, 1966 Miniature replicas and color reproductions of work by Marcel Duchamp, 41.5x38.5x9.9 cm Edition of 75, Series F, made in Milan under the supervision of Auturo Schwarz (boxes later assembled in Paris by Jacqueline Matisse Monnier, stepdaughter of Duchamp), signed‚ Marcel Duchamp Copright © 2008 for the reproduced works by Marcel Duchamp: ProLitteris Zurich

Gmurzynska: Robert Indiana Love (Day and Night), 1967 Oil on canvas, 61x61 cm Copright © 2008 for the reproduced works by Robert Indiana: ProLitteris Zurich

Haas & Fuchs: Francis Picabia Espagnole à la guitarre, 1926/27 Gouache on cardboard, 40.5x29.3 inches Signed Copright © 2008 for the reproduced works by Francis Picabia: ProLitteris Zurich


Kaufmann: Carlo Mollino Untitled, 1960s Polaroid photographs, 10.8x8.5 cm

Cohan: Robert Smithson The Machine Taking a Wife, 1964 Plexiglass, machine parts, and photographs, 39x10x4 inches Copright Š 2008 for the reproduced works by Robert Smithson: ProLitteris Zurich

Carlier Gebauer: Tomasz Kowalski Exhibition view at carlier gebauer, 2008


/ART PROJECTS Art Projects features works by internationally renowned artists, selected from proposals by the galleries of Art Basel Miami Beach and installed in the outdoor public spaces of Miami Beach. These works engage directly with the spectator, interrupting the daily routine of passersby in poetic, alienating, and surprising ways.

Marks: Katharina Fritsch St. Katharina and 2nd Photo (Ivy), 2006/07 Polyester, acrylic, and oil-based ink and acrylic on plastic panel, sculpture: 66x15x13 inches, 168x38x33 cm, silkscreen: 110.25x157.5 inches, 280x400 cm Copright © 2008 for the reproduced works by Katharina Fritsch: ProLitteris Zurich

For the first time, most of Art Projects will be presented in a single site: Lummus Park, on Ocean Drive between 10th and 14th Street; one will be on view at Island Gardens, Watson Island, 888 MacArthur Causeway. Displayed in the public space of Miami Beach, this segment of Art Basel Miami positions art in the urban context and encourages participation by the general public. Most of the eight works are site-specific and commissioned for Art Basel Miami Beach, including Ai Weiwei’s one hundred blue shimmering ceramic bubbles, spread over an area of 600 square meters at Island Gardens and Ana Linnermann’s spinning palm tree at Lummus Park. Performance art in the public space will play a key role in this year’s Art Projects: Dora Garcia will recite surreal texts in fake guided tours carried out near the Art Projects. Jiří Kovanda will question the role and place of an individual in Miami, arranging poetic interventions on the streets near Lummus Park. AB/08

Shanghart: Yang Fudong Seven Intellectuals in Bamboo Forest, Part II, 2004 C-print, 83x112 cm


303 Gallery: Rodney Graham The Gifted Amateur, Nov 10th, 1962, 2007 3 painted aluminium lightboxes with transmounted chromogenic transparencies, 113x72x7 inches each

/ART BASEL CONVERSATIONS Since 2004 Art Basel Conversations has been a forum that encourages a lively exchange of ideas through a series of platform discussions. Conversations can range from single artists exploring their practice to larger panels that include the leading players within regional scenes and various fields of artistic activity. Presenting their current and upcoming projects, reporting on their experiences and commenting on the challenges they face, these speakers provide an insider’s view and open up the opportunity for dynamic and inspiring dialog.

Van de Weghe: Duane Hanson Tourists II, 1988 Polyvinyl, polychromed in oil and mixed media with accessories, lifesize

After each Art Basel Conversation, there is time allotted for the audience to approach the panel in a more informal fashion. The Art Basel Conversations forum promises to be intellectually exciting in 2008, as panelists include such renowned artists, collectors, curators, and critics as Chuck Close, Vik Muniz, Richard Flood, Hans Ulrich Obrist, Thelma Golden, Glenn Ligon, Billy Al Bengston, and Paul Schimmel, to name only a few. Panel topics include: “The Future of the Museum: Africa, America and the World,” “Public/Private: The Artist as Philanthropist” and Artistic Production: Los Angeles, an Alternate Art World Model?” AB/08


/ART SALON Taking place in the afternoon, Art Salon is an open platform for discussion with an emphasis on current themes in contemporary art. Informal in its format, yet international in scope, Art Salon encourages experimental discussions, presentations and events such as book signings, with the range of speakers including artists, curators, authors, and architects. The program offers an intimate experience for the audience, allowing them to engage with prominent and thoughtprovoking guests on a variety of current events in the visual arts, as well as to explore the challenges of artistic practice within the public realm. Participants include prominent artworld personalities such as Harald Falckenberg, Francesco Vezzoli, Dan Graham, Christine Macel, Scott Rothkopf, Dan Cameron, Olga Viso, Alanna Heiss, Richard Feigen, Josh Baer, Jerry Saltz and Shirin Neshat. AB/08

OMR: Ruben Ortiz-Torres Hi n’Lo, 2008 Chromogenic urethane, metal flake, hydraulics, extra batteries, steel, aluminum, and mechanic parts on a scissor lift, 97x52x90 inches Installation view, Zero1 Festival, MACLA, San Jose, CA In collaboration with The Fabric Workshop and Museum, Philadelphia, PA

/ART VIDEO LOUNGE Curated every year by a different expert in the field, the Art Video Lounge sited in the Botanical Garden offers interested visitors a platform to discover more about the ever-evolving field of artistic practice. This year’s Art Video Lounge, titled “Honey, I Rearranged the Image…!” presents an extensive overview of the latest work in video art by some of today’s most exciting international artists.

Zwirner: Jason Rhoades Highway to Heaven, 2003 Neon glass, plexiglass, neon transformers, metal shelving, ceramic donkeys, aluminum blocks, neon GTO cable, 10-outlet surge surpressor, rubber end caps, metal hooks, orange extension cord, 52x29x41 inches

This year’s Art Video Lounge curator is Rike Frank. The selection targets the interest of artists in investigating how images operate and construct our understanding of the world. They explore aesthetic concepts, everyday narratives, and sociopolitical realities and utopias. The daily film program is accompanied by special screenings and an exhibition. Videos include works by Omer Fast, Roman Signer, Sean Snyder, Ines Schaber, Karen Cytter, Rosemarie Trockel, Trisha Brown, Harun Farocki and Hito Steyerl. AB/08


De Carlo: Christian Holstad Fare Well Two Arms, 2007/08 Mixed media, site-specific dimensions

/ART SOUND LOUNGE The Art Sound Lounge at Art Basel Miami Beach gives visitors the opportunity to enjoy music and audio pieces in the verdant surroundings of the Miami Beach Botanical Garden. Listeners are provided with a personal sound system to use as they stroll through the Floridian flora. AB/08

Ropac: Georg Baselitz Installation view, Paris, 2008


/MUSEUMS & PRIVATE COLLECTIONS Once again, Miami’s leading private collections – among them the Margulies Collection, the Rubell Family Collection, CIFO, the private collection of Ella Cisneros, the de la Cruz Collection, the Mora Collection, the Scholl Collection, the Shack Collection, and the Robins Collection – will be opening their homes and warehouses to guests of the international art show. The museums of South Florida will be staging important exhibitions to coincide with Art Basel Miami Beach, including Yinka Shonibare at the Miami Art Museum; Anri Sala at the Museum of Contemporary Art; Possibility of Island (Mungo Thomson, Peter Coffin, and others) at MOCA at the Goldman Warehouse; and American Streamlined Designed: The World of Tomorrow at The Wolfsonian-FIU. AB/08

Klosterfelde: Vibeke Tandberg Untitled-7, 2007 Photographic print from collage, 50x50 cm

/SPONSORS & PARTNERS Art Basel Miami Beach has the support of many sponsors and partners. Among them are the world-renowned jeweler Cartier, which supports Art Basel Miami Beach as Associate Sponsor and will be present both with the Cartier Dôme in the Botanical Gardens and in the Art Collectors Lounge. NetJets, the first, largest and most experienced fractional aircraft ownership company in the world, continues its support for Art Basel Miami Beach with a large private lounge in the Art Collectors Lounge. Another Associate Sponsor is AXA Art, the globally active specialty art and collectibles insurance company, which will again provide multi-lingual guided tours at Art Basel Miami Beach. Art Basel Miami Beach has, as its most significant sponsor, the Swiss banking giant UBS. The firm, which served as a sponsor of Art Basel in Switzerland for the pat 15 years, has been the primary source of funding for Art Basel Miami Beach since its inception. “UBS is proud of our longstanding relationship with Art Basel and Art Basel Miami Beach and we are pleased to renew a multi-year partnership as the main sponsor of both art shows,” says Robert Wolf, Chairman and CEO, UBS Group Americas. “Supporting the arts is ingrained in our corporate culture and through these cultural partnerships we are committed to making the arts accessible to our clients, our employees, and the broader community.” Formed in the 1998 merger of Union Bank of Switzerland and Swiss Banking Corp., UBS is one of the world’s largest and most prestigious banks. In the weeks leading up to Art Basel Miami Beach, however, it has been burdened by both legal and financial concerns. In June, UBS was charged with a civil Internal Revenue Service summons, authorized by a Fort Lauderdale federal judge, ordering the bank to supply information on U.S. clients who have undisclosed offshore accounts. UBS itself has not been charged with any crime. Several months later – in October – the bank, hit hard by the global financial crisis, applied for a $60 million government bailout. The following month – in November, the month before Art Basel Miami Beach – Daniel Zuberbuehler of the Swiss Banking Commission said UBS might need more government aid to survive the financial crisis. AB/08

neugerriemschneider: Michel Majerus Mace the space ace, 2000 Digital print and lacquer on aluminium, sheetrock, 484x1443x971 cm Exhibition view, Michel Majerus. Installationen 92-02, Kunsthaus Graz, Graz, 2005


/ART MARKET ECONOMY The weak economy has resulted in a recent decline in art market sales, suggesting some collectors will be less likely to make large purchases at this year’s Art Basel Miami Beach. Prior to the latest economic downturn, the art market had been booming. In 2007, auction and private sales at the two leading auction houses, Sotheby’s and Christie’s International, totaled $12.5 billion, nearly double the prior year. This year, however, most notably in the past few months, sales have been dwindling. At London’s Frieze Art Fair in October, auctions of contemporary art held at Sotheby’s and Christie’s generated less money than predicted; many works remained unsold. Christie’s contemporary art sale in New York on November 12 generated $113.6 million, half of the low presale estimate; nearly a third of the 75 lots offered went unsold. The night before, the contemporary sale at Sotheby’s New York generated $125 million for the night, far below the low estimate of $202 million; almost a third of the 64 pieces offered did not sell. Hufkens: Thomas Houseago Astronaut no.1, 2008 Tuf-cal, wood, hemp, graphite, iron rebar, 218x239x132 cm, 86x94x52 inches

Last month, Sotheby’s reported third quarter revenues of $76 million (a $9.1 million or 11 percent decrease over the prior third quarter) and a net loss of $46.2 million. Bill Ruprecht, President and Chief Executive Officer of Sotheby’s responded: “It is hardly surprising that our business is not immune from the unprecedented global economic turbulence which has impacted so many other businesses. Our auctions this autumn were assembled over the summer when the world was a very different place and predictably we are now seeing a softening in a number of markets, particularly where there has been a big price appreciation. There is a new reality and consignors will need to adjust their expectations accordingly.” Co-Directors Marc Alain Spiegler and Annette Schönholzer are optimistic about the 2008 Art Basel Miami Beach. Regardless of an uncertain market, over 200 galleries will show their best work and hope for high sales. In their opinion, the economy may very well result in more reasonable prices for art, which has the potential to attract more serious collectors. “It’s obviously more of a buyer’s market,” says Spiegler. “I have been talking to a lot of collectors. They feel it’s a better time to buy art.”

Sprüth Magers: Robert Elfgen Antriebswelle, 2008 Mixed media, dimensions variable Installation view

According to Spiegler, gallery owners and directors know how to survive the financial crisis. “I think most people who run galleries are by nature optimists,” he says. “Most of the people who are running the kinds of galleries we deal with have been through ups and downs of the economy. People will find a way.” AB/08


/ART BASEL’S NEW DIRECTION In January 2008, Basel parent company Messe Schweiz chose Cay Sophie Rabinowitz, Annette Schönholzer and Marc Spiegler to replace former Director Samuel Keller. The resignation of Cay Sophie Rabinowitz in April left Schönholzer and Spiegler solely responsible for directing this year’s Art Basel Miami Beach. Messe Schweiz based its decisions on the recommendations of an Appointment Committee headed by Dr. Cyrill Häring, Chairman of the Art Basel Appeals Commission. The international Appointment Committee began inviting and evaluating candidates at the beginning of 2007.

Presenhuber: Valentin Carron Nous ne marcherons plus jamais seuls Installation view, Centre Culturel Suisse, Paris, 2008

Annette Schönholzer was born in 1964; a dual citizen of Switzerland and the United States, she lives in Basel. After studying English, film, and German at the University of Zurich from 1987 to 1994, she graduated from the International Centre for Culture and Management (ICCM) in Salzburg with an MAS degree in 2000. A member of the Program Committee and Curator of the VIPER International Film, Video, and Multimedia Festival from 1994 to 1998, she has also worked for various public and private institutions promoting the arts, most recently between 1997 and 2001 as Co-Head of the Cultural Competence Center of Canton Aargau. She was Project Manager of the BIOPOLIS show at the Swiss National Exhibition, Expo.02, from 2000 to 2002. Ms. Schönholzer has been Show Manager of the Art Basel Miami Beach international art show since December 2002. Marc Spiegler was born in 1968. A dual citizen of France and the United States, he is married and lives in Zurich. He studied Political Science in the USA

Annette Schönholzer, Co-Director

“We are convinced that this management team will enhance Art Basel’s position as the world’s leading art fair and strengthen cooperation with our partners,” between 1986 and 1990, and attended the Medill School of Journalism in Chicago from 1992 to 1994, earning a Masters of Journalism. He has been a freelance art journalist and columnist since 1998, writing for such magazines and newspapers as The Art Newspaper, Monopol, Art & Auction Magazine, ARTnews Magazine, Neue Zürcher Zeitung, and New York Magazine. He has served as moderator and panelist at various symposiums. “We are convinced that this management team will enhance Art Basel’s position as the world’s leading art fair and strengthen cooperation with our partners,” says René Kamm, Chief Executive Officer of Messe Schweiz. AB/08 Marc Spiegler, Co-Director


SATELLITEFAIRS wynwood/south beach

In addition to the main fair located at the Miami Beach Convention Center, Art Basel Miami Beach has numerous satellite fairs. Each of these unique venues provides tremendous opportunities for viewers to observe museum-quality works, created by established and emerging artists, and represented by top-tier art galleries from around the world.

Wynwood Art District /AQUA ART MIAMI WYNWOOD


42 NE 25th Street

3000 NE 1st Avenue

Aqua Wynwood is an intimate booth-style fair featuring approximately 48 exhibition spaces with permanent 10 to 12-foot museum-quality walls. Aqua leases the warehouse year-round, allowing exhibitors and their artists plenty of time to create special installations and other projects which are difficult in temporary spaces. Aqua Wynwood also features a breezy open air lounge in the spirit of the courtyard at the Aqua Hotel.

Art Asia will inaugurate its first International Asian Contemporary Art Fair in 2008 from with a special preview on December 3rd. The fair will host 60-80 leading world galleries selected through an international selection committee and will further feature a strong program of talks, presentations and discussions by leading authorities in contemporary art – curators, artists, critics, notable collectors and other art specialists – concerning issues that matter in Asian contemporary art today.

Admission: $15, ticket good for the week at both Aqua locations Preview: Tuesday evening, Dec. 2, 5 - 8pm Hours: Daily 11 - 7pm, Sunday 11 - 3pm

Admission: $15, Students and Seniors $10 Hours: December 3rd, 12 - 6pm December 4th, 11 - 6pm December 5th & 6th, 11 - 8pm December 7th, 11 - 6pm Courtesy Aqua Art Miami


Wynwood Art District


/ART MIAMI Midtown Blvd (NE 1st Avenue) between NE 32nd & NE 31st Street

Art Miami is the city’s longest running contemporary art fair, regarded as one of the most important in America. Established in 1989, Art Miami showcases leading national and international contemporary art galleries and prominent institutions, combining a selection of special exhibitions and curatorial projects, outdoor sculptures and video installations. In its 19th edition, Art Miami 2008 will feature nearly 100 galleries. Art Miami 2008 will have a unique Art Video–New Media lounge. The 4,000-square-foot lounge will be the largest at any of the Miami art fairs and will present works from six major, international art institutions. Admission: $15 one day pass, $20 multi-day pass, $10 students and seniors Press and Professional Preview: December 2nd, Noon - 4pm (Invitation Only) Preview: Tuesday, December 2nd, 5 - 10pm (Invitation Only) Hours: 11 - 8pm daily, Sunday 11 - 7pm


Denise Prince Spring Line, C-print, 2007 Courtesy Apama Mackey Gallery, Houston TX Participating in Bridge Miami

Bridge Miami Wynwood NE 1st Avenue and NW 34th Street

Building on three highly successful years in Miami Beach, Bridge will host their inaugural Bridge Miami Wynwood. The fair will feature some of the best in international emerging art, presented in a modular, museum grade exhibition space, built on a 60,000 square foot development in Miami Midtown, immediately adjacent to Art Miami, Photo Miami, and centrally located between Scope, Pulse and Aqua. In addition to a spectacular booth fair, Bridge Miami Wynwood will also showcase an outdoor sculpture project. Shuttles will run between the Bridge Fair locations 12pm-10pm daily. Public and VIP tours daily, check website for times. Hours: December 3rd, 4th, 5th, 11 – 9 pm December 6th and 7th, 11 - 7 pm. Opening Night Party: December 2nd, 6pm Closing Night Reception: December 7th, 6 pm Carolyn Monastra “Sandcastle,” digital C-print, 16 x 20 inches, 2000 Courtesy Susan Eley Fine Art, New York, NY Participating in Bridge Miami


Akiyoshi Mishima “Yves”, 2007, oil paint on canvas, 1303 x 975 mm Courtesy: Nanzuka Underground, Tokyo, Japan Participating in Bridge Miami

Melanie Authier Stringer, Acrylic on Canvas, 2008, 36 x 48 in. Courtesy: Michael Gibson Gallery Participating in Bridge Miami London, Ontario, Canada

Virginie Sommet ”The Air Conditioner for After Life”, Joss Paper, 2007,14” x10”. Courtesy: Collective 173-171, New York, NY Participating in Bridge Miami

Paul Muguet Blues,2008 Lacquer on shaped wooden doors, 213 x 180 cm. Courtesy: Galeria 13 Participating in Bridge Miami Mexico City, Mexico


Wynwood Art District

Pieke Bergmans Infected Crystal Virus Courtesy Design Miami


Swarovski - Lovegrove Courtesy Design Miami

/DESIGN MIAMI NE 39th Street and 1st Court

Inspired by the galvanizing effect of Art Basel Miami Beach, the founders of Design Miami set out to create a design fair unlike any other. Design Miami is the global forum for collecting, exhibiting, discussing, and creating design. The show includes the Design Galleries, Satellite Exhibitions, Design Talks, and the Designer of the Year Award. Admission: $20 Preview and Special Events: December 2nd Hours: 11 - 7pm daily

Elke Walter Courtesy Design Miami

LC860 Courtesy Design Miami


/FOUNTAIN MIAMI 2505 North Miami Avenue

Fountain Miami, the alternative art exhibition known for presenting cutting-edge and independent art galleries, sets up shop in an industrial warehouse for its latest installment this December. Fountain is a guerilla-style event, dubbed by many as the “Anti Art Fair” for its brash, off-the-wall offerings of non-traditional art exhibitions in the art fair environment. Fountain’s venue, a large and dramatic 8000 square-foot complex with both interior and exterior exhibition areas, is adjacent to all the major Wynwood fairs. Participating galleries receive approximately 700 square feet of exhibition space, so visitors can expect massive installations of contemporary painting, sculpture, performance and new media art. Admission: Suggested Donation of $5 VIP/Press brunch: Wed Dec 3, from 10am to Noon and Thursday Dec 4, from 9am to Noon Reception for the artists: Friday, December 5; 7pm–midnight Wynwood Arts Tour: Saturday, December 6; 7pm–10pm Hours: 11 - 7pm daily

/GEISAI MIAMI 2136 NW 1st Avenue

Hosted by Pulse Contemporary Art Fair, Geisai Miami features 21 artists selected from a pool of hundreds of international applicants. Geisai Miami made its debut in December 2007, establishing itself as an exceptional art fair platform that aims to bring energy and open market experience to the Miami art fair scene. Admission: $15, Students and Seniors $10 Price includes admission to Pulse Contemporary Art Fair Hours: December 3rd, 10 - 3pm December 4th, 5th, 6th, 10 - 6pm December 7th, 10 - 5pm

Courtesy NADA Art Fair MIami

/NADA ART FAIR MIAMI Ice Palace, 1400 N. Miami Avenue

The New Art Dealers Alliance (NADA) is pleased to present the 6th edition of the NADA Art Fair in Miami. Featuring 88 emerging art galleries from 18 countries, the NADA Art Fair is renowned for its diverse, high quality group of exhibitors as well as its unique atmosphere in the vast sound stages and gardens of the Ice Palace Studios. For the past two years the New Art Dealers Alliance (NADA) Art Fair Preview, benefiting New Museum, has been one of Miami’s hottest tickets in December and this year’s preview will be no exception. The NADA Art Fair Preview celebrates what NADA and the New Museum are all about: the next generation of artists and what is happening now in contemporary art around the globe. Individual tickets for the preview benefit and concert are available to purchase online at, or at the door.

Courtesy NADA Art Fair MIami

Admission: Free Benefit Preview: December 2nd Hours: December 3rd, 11 - 5pm, December 4th, 5th and 6th, 11- 7pm, December 7th, 11 - 4pm

Courtesy NADA Art Fair MIami


Wynwood Art District


/PHOTO MIAMI 31st and North Miami Avenue

Photo Miami is the leading international contemporary art fair for photo-based art, video and new media. In 2008, Photo Miami will showcase works by over 200 contemporary artists. Over 60 new and established galleries will present highly anticipated works – many that will be seen in the U.S. for the first time. The event also features a dedicated Solo Projects section, organized by independent curator and author Paco Barragån, who serves as the head of the Photo Miami selection committee. Highlights include multimedia media installations by artist Carlos Aires (Galeria Sandunga) and artist Sabine Dehnel (MasArt Gallery). Admission: $15 Hours: December 3rd, 11 - 3pm December 4th -6th, 11 - 7pm, December 7th, 11 - 6pm Opening Reception: December 2nd, 6 - 10pm (Invitation Only)

Carlos Aires Courtesy Photo Miami

Chi Chien Wang Courtesy Photo Miami James Turrell Courtesy Photo Miami


Wang Zhije No.10, 2007 Oil on canvas Courtesy of Galerie Michael Schultz Berlin | Seoul | Beijing


Mequitta Ahuja Roots, 2008 Enamel and charcoal on paper Courtesy of BravinLee programs

2136 NW 1st Avenue (entrance on NW 21st Street)

Held annually in New York and Miami, Pulse presents high-quality artworks in an environment that serves both seasoned and emerging collectors. The format is divided between a main section devoted to a select choice of international galleries, and the Impulse section featuring solo and two person exhibitions by emerging galleries. In 2008, more than 100 galleries are exhibiting, including many first-time participants. The Impulse section will present 19 emerging galleries, 14 of which will be exhibiting for the first time. Pulse will also present a series of special programs, installations and events – features that have defined its past editions. Admission: $15, Students and Seniors $10 Price includes admission to GEISAI Miami Hours: December 3rd 10 - 3pm, December 4th -6th 10 - 6pm, December 7th 10 - 5pm Additional PULSE images on next two pages>

Michael Dinges Homing Pigeons (Dead Laptop Series), 2007 Engraved plastic, acrylic paint Courtesy of Packer Schopf Gallery


Wynwood Art District


Kelly Richardson Twilight Avenger, 2008 High definition 16:9 video Courtesy of Birch Libralato Pulse Contemporary Art Fair Miami

Nobuhito Nishigawara Waikiyoku, 2008 Clay, mirrors and paint Courtesy of Mark Moore Gallery Pulse Contemporary Art Fair Miami

Pieter Hugo Abdullahi Mohammed with Mainasara, Lagos, Nigeria, 2007 Digital C-print Courtesy of Yossi Milo Gallery Pulse Contemporary Art Fair Miami

Laurie Hogin The Economics of Heaven, 2005 Oil on canvas Courtesy of Schroeder Romero Pulse Contemporary Art Fair Miami


Holly Andres The Missing Bird, 2008 Courtesy Robert Mann Gallery Pulse Contemporary Art Fair Miami

Caldwell Snyder Dine Courtesy Red Dot Miami

/RED DOT MIAMI Corner of 36th Steet and NE 1st Avenue/ Midtown Blvd.

Red Dot Miami will host approximately 40 high-quality contemporary art galleries specializing in emerging, midcareer and established artists. Designed to complement the offerings exhibited at neighboring fairs, Red Dot Miami will feature international galleries – both returning and first-time participants – selected to provide collectors of all levels with a broad range of works and media. Red Dot Miami’s move to a booth-based event in a temporary structure will provide exhibitors with a sophisticated, friendly environment, and ample space in which to build upon the engaging presentations and diverse styles that the fair has already established.

Hyungkoo Lee Anas Animatus, 2006 Resin, aluminum sticks, stainless steel wires, springs, oil paint Courtesy of ARARIO NEW YORK Pulse Contemporary Art Fair Miami

Private Preview Reception: December 2nd, 6 - 10pm (subject to change) Hours: December 3rd - 6th, 11 - 8pm December 7th, 11 - 7pm


Wynwood Art District


/SCOPE ART FAIR 2951 NE 1st Avenue (Between NE 29th & 30th Street)

Miami’s original emerging contemporary art fair returns for its seventh year this December. Expanded in size and global in reach, Scope will host 88 exhibitors from 22 countries in a new 60,000 square-foot pavilion. The third edition of Museum Presents, a non-commercial exhibition space in the Scope Pavilion, features emerging contemporary Latin American artists selected by the Cisneros Fontanals Art Foundation (CIFO). The Scope Foundation is partnering with CIFO to spotlight their commitment to the cutting edge emerging artists of Latin America who push beyond nationalistic stereotypes to reach an international audience.

Oliver Van Den Berg Courtesy Scope Art Fair

Admission: $15 and Students $10 Preview: Wednesday, December 3rd, 3 - 9pm Hours: December 4th, 5th and 6th, 10 - 8pm December 7th, 10 - 6pm

/SCULPT MIAMI 46 NW 36th Street

The Sculpt Miami fair exhibits an outstanding sculpture collection by prominent modern artists from around the world (Jorge Blanco, John Berry, James Taylor, L’oriano Galloni, among many others). It focuses on the newest aesthetic tendencies in contemporary art, innovative techniques and the use of original materials. Sculpt Miami will be the only art space completely dedicated to showcasing contemporary sculptures, making it a vital source for art lovers who wish to discover the new developments in modern sculpturing. This is the first time in Miami. Admission: $5, Seniors half price, Students free Press and VIP Preview (by invitation only) 8pm - 11pm Tuesday December 2, 2008 Hours: December 3rd - 6th, 11 - 8pm December 7th, 11 - 5pm Nanako Kawaguchi Courtesy Scope Art Fair




1530 Collins Avenue

The South Seas Hotel, 1751 Collins Avenue, between 17th and 18th Streets

This art fair features 42 galleries, with a strong representation of west coast dealers, especially Seattle, Portland, San Francisco and Los Angeles. The hotel is a nice venue for both looking at art and enjoying the outdoors; all of the rooms face an outside courtyard.

This fair encourages participation from new and emerging galleries, as well as established galleries new to the art fair scene. The South Seas offers a unique one of a kind oceanfront hotel location with access to the beach.

Admission Price: $15, ticket good for the week at both Aqua locations Preview: Wednesday evening, Dec. 3rd, 7-10pm Hours: Daily 11 - 8pm, Sunday 11-4pm

Hours: 11 - 8pm, Sunday 11 - 6pm Reception: Friday, December 5, 8 - 10pm Stasys Eidrigevicius “Prayer” photograph Courtesy Thomas Masters Gallery

/ARTIST FAIR The Shelborne Hotel, 1801 Collins Avenue

This fair was created as a resource for artists to exhibit during the prime Art Basel Miami Beach week. Most of the existing fairs cater only to galleries, leaving no opportunity for talented, successful and working artists to participate. The Artist Fair was created to fill this void and to allow professional artists to exhibit – without gallery representation – their paintings, photographs, mixed media and works on paper. The fair is also open to galleries who wish to exhibit a solo artist, curators and installation artists. Hours: December 4th - 6th, noon - 8 pm Sunday, December 7th, noon - 6 pm

Victor Grasso “The Catch”, oil on linen. Courtesy SOMA NewArt Gallery


/BRIDGE ART FAIR MIAMI BEACH Catalina and Maxine Hotels, 1732 Collins Avenue

This is the third year for Bridge Miami Beach, conveniently located within a few blocks of Art Basel Miami and the convention center. Visitors can browse nearly 80 rooms of international emerging and contemporary art. Each Bridge Art Fair features an international focus, defined both by geography and culture, providing each show with its own distinctive curatorial premise. Hours: December 5th and 6th, 11 - 9pm December 7th, 11 - 7 pm. Opening Night Party: December 4th, 6pm Poolside Party: December 5th, 10pm. Closing Night Toast: December 7th, 6pm

Hung Liu “Girl and Crane”, mixed media Courtesy of Turner Carroll Gallery

Inka Büttner “Living with Claus was not always a bowl of cherries”, 2007. Collage, various materials, 27.5 x 34.6 cm. Courtesy Durstewitz Sapre, Hamburg, Germany Dmitry Kawarga ‘Crystallized Thought Forms No. 985’. photography, plastification, 2007, 66x100 cm Courtesy: Barbarian Art Zurich, Switzerland

/FULL HOUSE POOL ART FAIR Cavalier Hotel, 1320 Ocean Drive

The simple, modest approach of the PooL Art Fair offers an exciting alternative to the “art fair” experience for dealers and collectors, as well as the general public. PooL’s purpose is to create a meeting ground for outstanding artists, primarily those artists who do not yet have gallery representation. The show will be comprised of young contemporary art dealers, artist agents, emerging galleries, artists’ collectives, and nonprofit organizations. Admission: $10 suggested donation Hours: 4 - 10pm

/INK MIAMI Suites of Dorchester, 1850 Collins Avenue

Thirteen notable publishers and dealers will exhibit new publications, projects and acquisitions by leading contemporary artists. Visitors looking to purchase prints or works on paper should plan on attending this small art fair. It is located just a few blocks from the convention center and Art Basel Miami. Admission: Free Hours: December 4th, 12 - 7pm Opening Brunch Celebration: December 4th, 10 - Noon December 5th and 6th, 10 - 7pm, December 7th, 10 - 3pm




is f or G A L L E R Y

Charlottenstrasse 2 D-10969 Berlin-Germany 49 030 25 93 86 07

GALERIE BARBARA THUMM Dircksenstraße 41 D-10178 Berlin-Germany 49 030 28 39 03 47

GALERIE BARBARA WIEN Linienstraße 158 D-10115 Berlin-Germany 49 030 28 38 53 52

GALERIE BARBARA WIEN Markgrafenstreße 68 D-10969 Berlin-Germany 49 030 25 94 29 84

GALERIE CHRISTIAN NAGEL Weydinger Str. 2-4 10178 Berlin-Germany 49 030 40 04 26 41

PERES PROJECTS > BERLIN Dash Snow Piece, “Untitled” (Gotcha!), 2008 Collage – Newspaper, artist’s semen, glitter 11.25” x 13.75” (27.94 x 35.36cm.) Courtesy Peres Projects

GALERIE GITI NOURBAKHSCH Kurfürstenstr. 12 10785 Berlin-Germany 49 030 44 04 67 81

Arndt & Partner > BERLIN

William Cordova (in collaboration with: Carlos Sandoval de Leon and Mark Aguillar) Moby Dick(Tracy) (after ishmael, chico de cano y carl hampton), 2008 Mixed media on reclaimed police car, 121,92 x 193,04 x 274,32 cm /48 x 76 x 108 in Photo: Todd Johnson, Originally commissioned and produced by Artpace San Antonio Courtesy Arndt & Partner Berlin/ZurichCourtesy Newman Popiashvili Gallery

BERLIN ARNDT & PARTNER CHECKPOINT CHARLIE Zimmerstrasse 90-91 D10117 Berlin-Germany 49 030 280 8123

c/o ATLE GERHARDSEN Holzmarktstr. 15-18, S-Bahnbogen 46 10179, Berlin-Mitte, Germany 49 030 695 183 41

CONTEMPORARY FINE ARTS Galerie GmbH Am Kupfergraben 10 10117 Berlin, Germany 49 030 288 78 70


Galerie Barbara Thumm > BERLIN

Fernando Bryce Courtesy Galerie Barbara Thumm

GALERIE EIGEN + ART Auguststrasse 26 D-10117 Berlin-Germany 49 030 28 06 60 5

Invalidenstraße 50-51 D-10557 Berlin, Germany 49 030 20 61 38 75

GALERIE GUIDO W. BAUDACH Oudenarder Str. 16-20 DE-13347 Berlin-Germany 49 030 28 04 77 27

Barbara Wien Galerie > NEW YORK CITY Thomas Ravens, W3 / 2008 water color on paper, 50x70 cm Courtesy: Galerie Barbara Wien, Berlin


Lari Pittman, “Untitled”,2006 Cel vinyl and aerosol enamel on paper framed 56,5 x 47 cm (22 1/4 x 18 1/2 inches) Unique GAG#LP 010 Courtesy: c/o – Atle Gerhardsen, Berlin



Markgrafenstreße 67 D-10969 Berlin-Germany 49 030 2400 863 0

Linienstrasse 85 D-10119 Berlin-Germany 49 030 2839 0139

GALERIE AUREL SCHEIBLER Witzlebenplatz 4 D-14057 Berlin-Germany 49 030 30 30 13 29

CONTEMPORARY FINE ARTS > BERLIN Georg Baselitz, “Cleo”, 2008 oil on canvas, 200 x 200 cm / 78 3/4 x 78 3/4 in Photo: Jochen Littkemann Courtesy Contemporary Fine Arts, Berlin

Galerie Guido W. Baudach > BERLIN

André Butzer, “ohne Titel”, 2008 oil on canvas, 200 x 250 cm, photo: Roman März Courtesy Galerie Guido W. Baudach, Berlin

8 SYMPOSIUM | 73 MONIKA SPRUTH PHILOMENE MAGERS Oranienburger Straße 18 D10178 Berlin-Germany 49 030 28 88 40 30

NEUGERRIEM SCHNEIDER Linienstr. 155 10115 Berlin-Germany 49 030 28 87 72 77

NIELS BORCH JENSEN GALERIE UND VERLAG Lindenstr. 34 10969 Berlin-Germany Deutschland 49 030 61 50 74 48

Johann König > BERLIN

Annette Kelm Herbert Tobias Record Covers, 2008 c-print mounted on Alu-Dibond ( three parts ) 96 x 74,6 cm / 37 3/4 x 29 1/4 in Courtesy Johann König, Berlin

PERES PROJECTS Schlesische Str. 26 10997 Berlin-Germany 49 030 61 62 69 62


Lindenstrasse 34 DE-10969 Berlin-Germany 49 030 20 61 48 3

LONDON Galerija Gregor Podnar > BERLIN

Dan Perjovschi, “Skate Board” (A-D), 2008 Marker on wooden skateboard  80 x 20 cm (31.5 x 7.9 inches) Courtesy Galerija Gregor Podnar, Berlin / Ljubljana

GALERIJA GREGOR PODNAR Lindenstrasse, 35 10969 Berlin-Germany 49 030 25 93 46 51

GALERIE HAAS & FUCHS Niebuhrstrasse 5 D10629 Berlin-Germany 49 030 88 92 91 90


Ryuji Miyamoto (*1947) “Nada-ku, Kobe, After the Earthquake”, 1995 Gelatin silver print, 100 x 80 cm., Ed. of 15 Courtesy Kicken Berlin



Rudi Dutschke Str. 26 10969 Berlin-Germany 49 030 21 23 68 90

Zimmerstrasse 90-91 10117 Berlin-Mitte-Germany 49 030 28 35 30 5



Dessauer Straße 6-7 10963 Berlin-Germany 49 030 26 10 30 80

Lindenstrasse, 35 10969 Berlin-Germany 49 030 50 59 68 20

GALERIE KAMM Rosa-Luxemburg-Str. 45 D-10178 Berlin-Germany 49 030 28 38 64 64

GALERIE NEU Philipp Str. 13 10115 Berlin-Germany 49 030 28 57 55 0


GALERIE MAX HETZLER Zimmerstraße 90-91 D-10117 Berlin-Germany 49 030 22 92 43 7

Axel-Springer-Str. 43 10969 Berlin-Germany 49 030 40 57 47 16

Monika Sprüth Philomene Magers > BERLIN

23 Dering St. London, W1S 1AW, UK 44 020 7629 7578

ANTHONY REYNOLDS 60 Great Marlborough St. London, W1F 7BG, UK 44 020 7439 2201

BLOW 111 GALLERY 37 Heneage St., Unit 3 London, E1, UK 44 020 7734 7477

CARL FREEDMAN GALLERY 44A Charlotte Rd. London, EC2A 3PD, UK 44 020 7684 8890

Andreas Gursky Jumeirah Palm, 2008 C-print Image courtesy of the artist and Monika Sprüth Philomene Magers, Berlin London


Dash Snow Piece Untitled (Gotcha!), 2008 Collage – Newspaper, artist’s semen, glitter 11.25” x 13.75” (27.94 x 35.36cm.) Courtesy Peres Projects


Galerie Kamm > BERLIN

Lorna Macintyre, “Arcadia”, 2008 Plywood, gloss paint, wood, glass, wild flowers, 121 x 163 x 110 cm Photo: Stephen Waite, Courtesy Galerie Kamm, Berlin

Linienstr. 155 D-10115 Berlin-Germany 49 030 28 87 78 82

Hotel Gallery > LONDON

Peter Saville, “Vacancies”, 2003 neon lettering, mirror box, black perspex plinth 29.3 x 70 x 19.8 cms / 11 1/2 x 27 1/2 x 7 3/4 ins, Edition of 5 HTL-SAVIP-00010, Courtesy Hotel Gallery


JAY JOPLING/WHITE CUBE 48 Hoxton Square London, N1 6PB, UK 44 020 7930 5373

KATE MACGARRY 7A Vyner St. London, E2 9DG, UK 44 020 8981 9100

MONIKA SPRUTH PHILOMENE MAGERS 7A Grafton St. London, W1S 4EJ, UK 44 020 7408 1613

STEPHEN FRIEDMAN GALLERY 25-28 Old Burlington St. London, W1S 3AN, UK 44 020 7494 1434

THE APPROACH E2 47 Approach Rd. London, E2 9LY, UK 44 020 8983 3878

THE PARAGON PRESS 6 Wetherby Gardens London, SW5 0JN, UK 44 020 7370 1200

THOMAS DANE GALLERY 11 Duke St., First Floor London, SW1Y 6BN, UK 44 020 7925 2505

VICTORIA MIRO GALLERY 16 Wharf Rd. London, N1 7RW, UK 44 020 7336 8109

VILMAN GOLD GALLERY 6 Minerva St. London, E2 9EH, UK 44 020 7729 9888

WADDINGTON GALLERIES 11 Cork St. London, W1S 3LT, UK 44 020 7851 2200

Jay Jopling/White Cube > LONDON

Jake and Dinos Chapman, “One Day You Will No Longer Be Loved II (No.5)”, 2008 Oil on canvas, 18 1/8 x 18 7/8 in. (46 x 48 cm) © the artist, Photo: Todd-White Art Photography Courtesy Jay Jopling/ White Cube (London)

CORVI-MORA 1A Kempsford Rd. London, SE11 4NU, UK 44 020 7840 9111


HAUSER & WIRTH COLNAGHI 15 Bond St. London, W1S 4AX, UK 44 020 7399 9770

6-24 Britannia St. London, WC1X 9JD, UK 44 020 7841 9960



2 Herald St. London, E2 6JT, UK 44 020 7168 2566

17-19 Davies St. London, W1K 3DE, UK 44 020 7493 3020



196A Piccadilly London, W1J 9DY, UK 44 020 7287 6600

53 Old Bethnal Green Rd. London, E2 6QA, UK 44 020 7729 3122

JAY JOPLING/WHITE CUBE 25-26 Mason’s Yard London, SW1Y 6BU, UK 44 020 7930 5373

Maureen Paley > LONDON

Banks Violette, “as yet untitled (single screen)”, 2008 Wood, epoxy, ash, steel, steel hardware, hand-cast aluminium hardware, aluminium, sandbags, duct tape 244 x 488 x 80 cm - 96 1/8 x 192 1/8 x 31 1/2 inches Courtesy of Maureen Paley

YVON LAMBERT LONDON 20 Hoxton Square London, N1 6NT, UK 44 020 7729 2687



29 Bell St. London, NW1 5GY, UK 44 020 7535 7350

AIR DE PARIS 32, rue Louise Weiss 75013 Paris-France 33 01 44 23 02 77

LISSON GALLERY 52-54 Bell St. London, NW1 5DA, UK 44 020 7724 2739

MAUREEN PALEY 21 Herald St. London, E2 6JT, UK 44 020 7729 4112

Vilma Gold > LONDON

Alexandre da Cunha, “Black series I (large)”, 2007 bath towels and copper pipes 302 x 302 cms, 118 7/8 x 118 7/8 ins Courtesy Vilma Gold

STUART SHAVE/MODERN ART 23-25 Eastcastle St. London, W1W 8DF, UK 44 020 7299 7950

SUTTON LANE 1 Sutton Lane London, EC1M 5PU 44 020 7253 8580


Allora & Calzadilla, “Internal Combustion (Eye of the Needle)” 2007 35mm film transferred on video, Edition of 6 Courtesy of the artist and Lisson Gallery

Sutton Lane > LONDON

Sean Paul, “Death, Without a Name”, 2007 Poster, vitrine,84 x 59.4 cm / 33 x 23.4 inches Courtesy of Sutton Lane, London / Paris

74 Mortimer St. London, W1W 7RZ, UK 44 020 7631 4210

Galerie Almine Rech > PARIS

Daniel Lergon, “Untitled”, 2008 Acrylic paint on fabric 140 x 100 cm Courtesy Galerie Almine Rech, Paris-Brussels

8 SYMPOSIUM | 75 GALERIE HOPKINS-CUSTOT 2, Avenue Matignon 75008 Paris-France 33 01 42 25 32 32

GALERIE JOCELYN WOLFF 78, rue Julien-Lacroix F75020 Paris-France 33 01 42 03 05 65


GALERIE KAMEL MENNOUR 60, rue Mazarine 75006 Paris-France 33 01 56 24 03 63

GALERIE KARSTEN GREVE AG 5, rue Debelleyme F75003 Paris- France 33 01 42 77 19 37 html Galerie Hopkins-Custot > PARIS

Franck Stella, “Color Maze” 63 x 63 inches or 160 x 160 cms, acrylic on canvas Courtesy Galerie Hopkins, Paris


Air de Paris > PARIS

59, rue Quincampoix 75004 Paris-France 33 01 42 71 74 56

Dorothy Iannone, “Your Names Are Love Father God”,1970/71 Collage, acrylic on canvas, 190 x 150 cm Courtesy Air de Paris, Paris



16, rue Duchefdelaville 75013 Paris-France 33 01 53 60 90 30

10, rue Charlot 75003 Paris-France 33 01 42 77 38 87



19, rue Saintonge F 75003 Paris-France 33 01 45 83 71 90

76, rue de Turene & 10 impasse Saint-Claude 75003 Paris-France 33 01 42 16 79 79

Jaume Plensa, “Thief of Words I”, 2008 Stainless steel 70 x 64 1/8 x 64 1/8 in (178 x 163 x 163 cm) © Jaume Plensa Courtesy Galerie Lelong

GALERIE LELONG PARIS 13, rue de Téhéran 75008 Paris-France 33 01 45 63 13 19

79, rue du Temple 75003 Paris-France 33 01 48 04 70 52


7, rue Debelleyme 75003 Paris-France 33 01 42 72 99 00

6, rue de Braque 75003 Paris-France 33 01 40 29 08 92 Galerie Lelong > PARIS



GALERIE YVON LAMBERT 108, rue Vieille-du-Temple 75003 Paris-France 33 01 42 71 09 33

GB AGENCY 20, rue Louise Weiss 75013 Paris-France 33 01 53 79 07 13

Art:Concept > PARIS

Whitney Bedford, “Untitled (Yellow Storm)” 2008 Ink and oil on panel, 22 x 26 in. Courtesy Art: Concept, Paris

Galerie Kamel Mennour > PARIS

Shen Yuan, “Poïkilotherme”, 2008 Installation : Murano glass thermometere, water and carp koï 302 x 18 x 22 cm, View of the exhibition “Le Degré Zéro de l’Espace”, Kamel Mennour, Paris © Shen Yuan Photo Marc Domage Courtesy the artist and Kamel Mennour




is f or G A L L E R Y



1 NE 40th St., Ste. 5 Miami, FL 33137 305-572-0400


4141 NE 2nd Ave. Suite 107 Miami. FL 33137 305-576-1355


Specializes in contemporary Cuban art 1652 SW 8th St. Miami, FL 33135 305-644-5855

ALEJANDRA VON HARTZ FINE ARTS 2630 NW 2nd Ave. Miami, FL 33127 305-438-0220


200 SW 30th RD. Miami, FL 33129 305-854-1010

AMADLOZI GALLERY 6161 NW 22nd Ave. Miami, FL 33142 305-638-6771



3185 W 76th St. Hialeah, FL 33018 305-722-2041


Private Dealer 2300 SW 57th Ave Miami, FL 33155 305-266-6663

95 Shore Dr. W Miami, FL 33133 305-860-3311


201 NE 152nd St. Miami, FL 33162 786-274-1200

769 NE 125th St. North Miami, FL 33161


AMERICA GALLERIES 301 Lincoln Rd. Miami Beach, FL 33139 305-532-3524

Americas Collection 2440 Ponce De Leon Blvd. Coral Gables, FL 33134 305-446-5578


ARTBELLO GALLERY 336 E 9th St. Hialeah, FL 33010 305-882-0073

ART CENTER OF SOUTH FLORIDA ART GALLERY 800 Lincoln Rd. Miami Beach, FL 33139 305-538-7887

ART DECO US GALLERY 14645 SW 42nd St. Miami, FL 33175 305-222-1144


130 NE 40th St. Miami, FL 33137 305-572-0040


Features 4 International group shows yearly 1 NE 40th St., Ste 3 Miami, FL 33137 305-573-5730

ART GALLERY & SCULPTURE BY IVETTE SCULL 11488 Quail Roost Dr. Miami, FL 33157


ART MARCEL GALLERIES 420 Espanola Way Miami Beach, FL 33139

ArtSpace/Virginia Miller Galleries > MIAMI

Li Xiaodong, Dream Series 1, Porcelain Shards from the Ming and Qing dynasties, 68x39.5 inches, 2006-2008 Courtesy of ArtSpace/Virginia Miller Galleries


Miami’s longest established Fine Arts Gallery. Virginia Miller has presented close to 300 exhibitions in her nearly 35 years as a curator. 169 Madeira Ave. Coral Gables, fl. 33134 305-444-4493

ASHLEY’S ART FRAME & GALLERY 6990 Indian Creek Dr. Miami Beach, FL 33141 305-861-4909



5625 SW 8th St. Coral Gables, FL 33134 305-262-5700 5582 NE 4th Ct. Miami, FL 33137 305-801-1047


801 Brickell Bay Dr., Apt. 363 Miami, FL 33128 786-777-0007 616 S Miami Ave. Miami, FL 33130 305-373-1772


Featuring work by world famous PopArtist Romero Britto 818 Lincoln Rd. Miami Beach, FL 33139 305-531-8821

240 N. Krome Homestead, FL 33030 305-247-9406



Clyde Valentine, “Honor.Courage.Commitment.” 68 x 48 Courtesy of Art Fusion Gallery

2451 Brickell Ave. Main Floor Miami, FL 33129 305-858-6776

1680 Michigan Ave Miami, FL 33139 305-535-9935


8761 SW 133 St. Miami, FL 33176 305-282-9154



46 NW 36th St., Loft 3 Miami, FL 33127 305-448-2060





4141 NE 2nd Ave. Ste. # 202 Miami, FL 33137 305-573-1920

3863 Shipping Ave. Miami, FL 33146 305-569-9990



ART ROUGE > MIAMI Ciria, “Twirl” Oil on canvas Courtesy Art Rouge


922 Lincoln Rd. Miami Beach, FL 33139 305-534-4384



785 NE 125TH St. North Miami, FL 33161 305-899-2135 1157 SW 6th St. Miami, FL 33130 305-326-0800


2912 Ponce De Leon Blvd Coral Gables, FL 33134 305-774-6006


CRYSTAL ART GALLERIES 725 SE 9th Ct. Ste. Main Hialeah, FL 33010 305-885-5358

DALEUS Museum & ART GALLERY 1688 NE 123rd St. North Miami, FL 33181 305-891-0030

DAMIEN B. CONTEMPORARY ART CENTER 282 NW 36th St. Miami, FL 33127 305-573-4949

DANIEL AZOULAY GALLERY 3900 NE 1st Ave Miami, FL 33137 305-576-1977

DAVID CASTILLO GALLERY 2234 NW 2ND Ave. Miami, FL 33127 305-573-8110

DAVINCI GALLERY AND FRAME 2914 Ponce De Leon Blvd. Coral Gables, FL 33134 305-460-9002


3170 Commodore Plz. Miami, FL 33133 305-461-1777


An electic mix is ever present in the paintings, sculptures and installations exhibited at the gallery. Diana Lowenstein strives to introduce vibrant new artists, undoubtedly enriching the community’s art diversity. 2043 N Miami Ave. Miami, FL 33127 305-576-1804

DIASPORA VIBE GALLERY 3938 N Miami Ave Miami, FL 33127 305-573-4046

16600 NW 54th Ave. Hialeah, FL 33014 305-621-0110

3155 Ponce De Leon Blvd. Coral Gables, FL 33134 305-461-1050

1646 SW 8th St. Miami, FL 33135 305-644-3315





194 NW 30th St. Miami, FL 33127 305-573-2130


1555 SW 8TH St. Miami, FL 33135 305-642-3080

Gallery Emmanuel Perrotin


Kerstin Braetsch , “Dr.Pressure”, DAS INSTITUT (A.Roeder_ K.Braetsch),digital print, 24.3 x 36 inches, 2008 Painting: “Dr.Pressure”, DAS INSTITUT (K.Braetsch), oil on paper, 72 x 110 inches, 2008 Courtesy Kevin Bruk Gallery

DORSCH GALLERY 151 NW 24th St. Miami, FL 33127 305-576-1278

DOT 51

51 NW 36th St. Miami, FL 33127 305-573-9994

DURBAN SEGNINI GALLERY 372 SW 38th Ave. Miami, FL 33146 305-774-7740


1130 Ocean Dr. Miami Beach, FL 33139 305-538-3558

EMMANUEL ART GALLERY 860 NE 140th St. North Miami, FL 33161 305-899-1015

EMMANUEL JAVOGUE FINE ARTS 123 NW 23rd St. Miami, FL 33127 305-573-3903

ESTATES ART GALLERY 345 Lincoln Rd. Miami Beach, FL 33139 305-672-7892

ETRA FINE ART 10 NE 40th St. Miami, FL 33137 305-438-4383

EUROPEAN ART GALLERY 61 NE 40th St. Miami, FL 33137 305-438-9006

EVELYN AIMIS FINE ART 3780 NE 199th Ter. Miami, FL 33180 305-792-0300

FENIX FINE ARTS 1756 W 8th Ave. Hialeah, FL 33010 305-649-6089


The chic new on-line art gallery and broker known for shaking up the gallery circuit 3615 NE 207TH St. Miami, FL 33180 305-933-1362

FINE ART FORUM AT THE GALLERY CENTER 608 Banyan Trail Boca Raton, FL 33431 561-995-0985

51 Miracle Mile Miami, FL 33134 305-445-8566


2910 Ponce De Leon Blvd. Coral Gables, FL 33134 305-447-1740


A favorite of Symposium Magazine this gallery is a “must-see” for you Low-Brow art Patrons. 314 NW 24th St. Miami, FL 33127 305-989-3359

46 NW 36th St. #2 Miami, FL 33127 305-576-7616

IVORY ART GALLERY 180 NE 39th St. Miami, FL 33137 305-571-9302

JASON SCHOEN FINE ARTS 1221 Brickell Ave., Ste. 900 Miami, FL 33131 305-858-4887

JORGE M SORI FINE ART 2970 Ponce De Leon Blvd. Coral Gables, FL 33134 305-567-3151

Karen Lynne Gallery EAST AT THE GALLERY CENTER 608 Banyan Trail Boca Raton, FL 33431 561-995-0985

KEVIN BRUK GALLERY 2249 NW 1st Pl. Miami, FL 33127 305-576-2000

FREDRIC SNITZER GALLERY 2247 NW 1st Pl. Miami, FL 33127 305-448-8976


18457 S. Dixie Hwy. Cutler Bay, FL 33157 786-293-0647

GALERIA ARCHE 742 SW 16th Ave. Miami, FL 33135 305-643-2555

GALERIA DEL SOL 1628 Michigan Ave Miami, FL 33139 305-674-7076


20633 Biscayne Blvd. Miami, FL 33180 305-932-6166

HAROLD GOLLEN GALLERY > MIAMI Courtesy Harold Gollen Gallery


A unique selection of work by American Modernists, Latin American Masters and early southwest artists 3162 Coodore Plz. Miami, FL 33133 305-444-2600




Gallery featuring original works in the areas of painting, sculpture and design 6900 Biscayne Blvd. Miami, FL 33138 305-754-9062

LINCOLN CENTER ART GALLERY 618 Lincoln Rd. Miami Beach, FL 33139 305-535-7415

1390 Ocean Dr. Miami Beach, FL 33139 305-695-7355

3312 N Miami Ave. Miami, FL 33127

With the original gallery in Paris the Miami gallery showcases contemporary artists from across the globe. 2534 N Miami Ave. Miami, FL 33127 305-573-3554




Ivan Loboguerrero, “Missing You”, 2006 Oil on Canvas, 47 x 47 in. Courtesy Jorge M Sori Gallery

105 NW 23rd St. Miami, FL 33127 305-576-8570




is f or G A L L E R Y




98 NW 29th St. Miami, FL 33127 305-438-0069

LYLE O. Reitzel GALLERY 2441 NW 2nd Ave. Miami, FL 33127 305-573-1333


1654 SW 8th St. Miami, FL 33135 305-642-6122

Milou Gallery 17 NW 36th St Miami, FL 33127 305-573-8450

2391 Coral Way Coral Gables, FL 33145 305-854-6068

Miami Art Group offers the finest art to serious collectors while also providing unique purchasing options to the corporate and hospitality markets. 126 NE 40th St. Miami, FL 33137 305-576-2633


85 Merrick Way Coral Gables. FL 33134 305-445-2783


Pan American Art Projects

2610 Ponce De Leon Blvd. Coral Gables, FL 33134 305-443-2573

810 SW 16th Ave. Miami, FL 33135 305-631-0025




2730 SW 3rd Ave Miami, FL 33129 305-854-7104

1518 Ponce De Leon Blvd. Coral Gables, FL 33134 305-444-9360

1516 SW 8th St. Miami, FL 33135 305-642-8922


2450 NW 2nd Ave Miami, FL 33127 305-573-2400



9700 Collins Ave., Ste. 218 Bal Harbour, FL 33154 305-868-3337

PHTHALO GALLERY MILOU GALLERY > MIAMI “Start me Up”, 2008 oil on canvas, 72x72 inches Courtesy of Milou Gallery

MOLINA ART GALLERY 1634 SW 8th St. Miami, FL 33135 305-642-0444


PAN AMERICAN ART PROJECTS > MIAMI Rene Francisco Rodriguez, Heaven, 2008 Oil on canvas, 49 x 95 inches Courtesy of Pan American Art Projects

SILVANA FACCHINA GALLARY 1929 NW 1st Ave. Miami, FL 33136 305-576-4454

70 Miracle Mile Miami, FL 33134 305-476-8444


7003 N Waterway Dr., Ste. 207 Miami, FL 33155 305-262-5917

3168 Commodore Plz. Miami, FL 33133 305-443-3399

3585 NE 207th St. Aventura, FL 33180 305-932-9930





2219 NW 2nd Ave. Miami, FL 33127 305-443-9700 / 305-573-2900

1648 SW 8th St. Miami, FL 33135 305-631-2772

Alex Katz, “Peter”, 2008. 48 x 66 inches. Oil on linen Courtesy of Richard Gray Gallery

250 NW 23rd St. Miami, FL 33127 305-438-0218

Featuring Latin American and contemporary Art 62 NE 27th St. Miami, FL 33137 305-576-0256



2294 NW 2nd Ave. Miami, FL 33127 305-573-1963

STEVE MARTIN Fine Art 66 NE 40th St. Miami, FL 33137 305-484-1491

SUNSET GALLERY & FRAMING 5864 Sunset Dr. South Miami, FL 33143 305-667-0925


UNZUETA GALLERY 1607 SW 8th St. Miami, FL 33135 305-541-0012

URIBE BROWN FINE ART 2600 NW 87th Ave. Suite 21 Doral, FL 33172 561-414-1575

VON MORGEN LC 1629 NE 1st Ave. Miami, FL 33132 305-533-1299

WENTWORTH GALLERIES 1118 NW 159TH Dr. Miami, FL 33169 305-624-0715

ZU GALERIA FINE ARTS 2248 SW 8th St. Miami, FL 33135 305-643-0059


835 NE 79th St. Miami, FL 33138 305-758-6939

4Art, Inc.


1932 S Halsted #100 Chicago, IL 60608 312-850-1816

5750 Sunset Dr. South Miami, FL 33143 305-662-5414

Bette Cerf Hill Gallery

1821 W Hubbard St. #210 Chicago, IL 60622 312-622-3003



Carrie Secrist Gallery

1331 SW 8th St. Miami, FL 33135 305-856-6789

19201 Collins Ave. Sunny Isles Beach, FL 33160 305-937-3751

835 W Washington Blvd. Chicago, IL 60607 312-491-0917



Donald Young Gallery

REED SAVAGE GALLERY 4217 Ponce De Leon Blvd. Coral Gables, FL 33146 305-446-1222

6909 W Flagler St. Miami, FL 33144 305-266-3789

550 Biltmore Way, Ste. 111 Coral Gables, FL 33134 305-648-3007



1117 NE 163rd St. North Miami, FL 33162 305-947-4322

2563 N Miami Ave. Miami, FL 33127 305-571-9574

933 W Washington Blvd. Chicago, IL 60607 312-455-0100

Douglas Dawson Gallery 400 N Morgan St. Chicago, IL 60642 312-226-7975


Mars Gallery

1139 W Fulton Market Chicago, IL 60607 312-226-7808

McCormick Gallery 835 W Washington Blvd. Chicago, IL 60607 312-226-6800

Navta Schulz Gallery 1039 W Lake St. Chicago, IL 60607 312-421-5506

Packer Schopf Gallery 942 W Lake St. Chicago, IL 60607 312-226-8984

Peter Miller Gallery

Function+Art > CHICAGO

Ruth Borgenicht “Squared Landscape: Storm Passed” stoneware, salt-fired 15.5 x 17 x 2.5” ) Courtesy of Function + Art - Chicago

Dubhe Carreno Gallery 1841 S Halsted St. Chicago, IL 60608 312-666-3150

Flatfile Galleries 217 N Carpenter St. Chicago, IL 60607 312-491-1190

Frederick Baker Inc. 1230 W Jackson Blvd. Chicago, IL 60607 312-243-2980

Function + Art

1046 W Fulton Market Chicago, IL 60607 312-243-2780


1039 W Lake St., 2nd FL Chicago, IL 60607 312-226-3500

118 N Peoria St. Chicago, IL 60607 312-951-1700

G.R. N’Namdi Gallery

Prism Contemporary Glass

110 N Peoria St. Chicago, IL 60607 312-563-9240

1048 W Fulton Market Chicago, IL 60607 312-243-4885

Kasia Kay Art Projects 1044 W. Fulton Market Chicago, IL 60607 312-492-8828


Doug Aitken, “start swimming”, 2008 Neon lit lightbox, 82 x 84 x 9 1/2 inches, DA 299 Courtesy of 303 Gallery 

Valerie Carberry Gallery


875 N Michigan Ave., 25th FL Chicago, IL 60611 312-397-9990

Walsh Gallery

Agora Gallery

118 N Peoria St., 2nd FL Chicago, IL 60607 312-829-3312

Kavi Gupta Gallery 835 W Washington Blvd. Chicago, IL 60607 312-432-0708


Linda Warren Gallery

17 Cornelia St., 1C New York, NY 10014 212-366-5449

1052 W Fulton Market Chicago, IL 60607 312-432-9500


Logsdon 1909 Gallery & Studio

525 West 22nd St. New York, NY 10011 212-255-1121

530 West 25th St. New York, NY 10001 212-226-4151

Akira Ikeda Gallery

1909 S Halsted St. Chicago, IL 60608 312-666-8966

24 East 71st St. New York, NY 10021 212-772-7509


Susan Longini Courtesy Prism Contemporary Glass


547 West 21st St. New York, NY 10011 212-255-1121

ACQUAVELLA GALLERIES Rhona Hoffman Gallery 118 N Peoria St. Chicago, IL 60607 312-455-1990

18 East 79th St. New York, NY 10075 212-734-6300

Richard Gray Gallery

Alexander Gray Associates > NEW YORK CITY

875 North Michigan Avenue Chicago, IL 60611 312.642.8877

Luis Camnitzer Last Words (detail 3), 2008 Archival digital print on paper 66” x 44”, 6 parts Courtesy Alexander Gray Associates, New York, NY

The Architrouve 1433 W Chicago Ave. Chicago, IL 60622 312-563-0977 Packer Schopf Gallery > Chicago Showing at Pulse Miami in Dec. Michael Dinges Homing Pigeons, Dead Laptop Series Engraved Plastic, Acrylic Paint, 9.25 x 11.25 x 9.75” (Variable) 2007 Courtesy of Packer Schopf Gallery


Thomas Robertello Gallery 939 West Randolph St. Chicago, IL 60607 312-421-1587

Acquavella Galleries > NEW YORK CITY

Lucian Freud, Sally Clarke, 2008 Oil on canvas, 18 x 16 in. (45.72 x 40.64 cm) Courtesy of Acquavella Galleries

132 10th Ave. New York, NY 10011 212-367-7474 526 West 26th St., #1019 New York, NY 10001 212-399-2636




is f or G A L L E R Y

ALLAN STONE GALLERY 113 East 90th St. New York, NY 10128 212-987-4997

AMERINGER & YOHE FINE ART 20 West St. New York, NY 10019 212-445-0051

ANDREA ROSEN GALLERY 525 West 24th St. New York, NY 10011 212-627-6000

ANDREW KREPS GALLERY 525 West 22nd St. New York, NY 10011 212-741-8849

Axelle Fine Arts 547 West 20th St. New York, NY 10011 212-226-2262

BARBARA MATHES GALLERY 22 East 80th St. New York, NY 10075 212-570-4190


82 Broadway, Ste. 1602 New York, NY 10001 212-481-0362


59 Wooster St. New York, NY 10012 212-925-4338


510 West 25th St. New York, NY 10001 212-645-2030

Brooke Alexander Editions

Calvin Morris Gallery 210 11th Ave., #201 New York, NY 10001 212-226-3768



532 West 20th St. New York, NY 10011 212-367-9663

534 West 22nd St. New York, NY 10011 212-645-2030

Ameringer & Yohe Fine Art

20 West St. New York, NY 10019 212-445-0051



537 Greenwich St., 2nd Fl. New York, NY 10013 212-463-0610

291 Church St. New York, NY 10013 212-431-5270

Art in General

79 Walker St. New York, NY 10013 212-219-0473

Martin Soto Climent, Good Intentions, 2008 Site-specific Installation, Art Positions / Art Basel Miami Beach Courtesy of Broadway 1602

59 Wooster St. New York, NY 10012 212-925-4338

Bonni Benrubi Gallery 41 E 57th St., 13th FL New York, NY 10022 212-888-6007

Broadway 1602 > NEW YORK CITY

Cheim & Read > NEW YORK CITY

Jack Pierson, “HADRIAN”, 2008 Type “C” Print, 20 x 16 inches 50.8 x 40.6 centimeters Edition of 5 Courtesy Cheim & Read, New York

Cheryl Pelavin Fine Arts 13 Jay St. New York, NY 10013 212-925-9424

Bortolami > NEW YORK CITY

D’Amelio Terras > NEW YORK CITY

Heather Rowe, “Persona” (blue, black and beige), 2007 wood, frame, mirrored glass, paint, 29 3/4 x 21 5/8 x 7 1/4 inches (75.6 x 54.9 x 18.4 cm) Image courtesy the Artist and D’Amelio Terras, NY

D’AMELIO TERRAS 525 West 22nd St. New York, NY 10011 212-352-9460

Aaron Young, “WeDon’tNeedNO . . .ED-U-Kat-I-On!” (no solutions), 2008 Steel fence, 24 karat gold, spray paint, Dimensions Variable- Site Specific Photo courtesy of the artist and Bortolami Gallery, NY

Carolina Nitsch Gallery > NEW YORK CITY

B r u c e n a uma n, “Double Poke in the Eye II”, 1985 Neon tubing with clear glass tubing suspension supports, mounted on aluminum monolith, power cord, 24 X 36 X 9 1/4 in. (60.96 X 91.44 X 23.5 cm) Edition of 40 Courtesy of Carolina Nitsch Gallery


472 Broome St. New York, NY 10013 212-334-0407


CRG GALLERY Barbara Mathes Gallery > NEW YORK CITY Yayoi Kusama, Red Shoe, 1991 Mixed media, 11 5/8 x 15 5/8 x 4 ¾ inches (29.5 x 39.7 x 12.1 cm) Signed and dated, bottom: Yayoi Kusama 1991 Courtesy of Barbara Mathes Gallery

Coda Gallery

525 West 21st St. New York, NY 10011 212-645-7335

547 West 25th St. New York, NY 10001 212-242-7727

535 West 22nd St. New York, NY 10011 212-229-2766


Jamie Perry “Seafront” acrylic on canvas, 30” x 30” Courtesy Coda Gallery



is f or G A L L E R Y GAGOSIAN GALLERY 555 West 24th St. New York, NY 10011 212-741-1111

GAGOSIAN GALLERY 980 Madison Ave. New York, NY 10075 212-744-2313

Galeria Ramis Barquet 41 East 57th St. New York, NY 10021 212-644-9090 532 West 24th St. New York, NY 10011 212-675-3421 Edwynn Houk Gallery > NEW YORK CITY

Robert Polidori Señora Faxas Residence, Miramar, No. 2, 1997 © Robert Polidori/Courtesy Edwynn Houk Gallery

DANIEL REICH GALLERY 537A West 23rd St. New York, NY 10011 212-924-4949

David Nolan Gallery 560 Broadway New York, NY 10012 212-925-6190


525 West 19th St. New York, NY 10011 212-727-2070

DC Moore Gallery

*DEITCH PROJECTS 18 Wooster St. New York, NY 10013 212-941-9475

EDWYNN HOUK GALLERY 745 Fifth Ave., Ste. 407 New York, NY 10151 212-750-7070

Eleanor Ettinger Gallery 119 Spring St. New York, NY 10012 212-925-7474

724 Fifth Ave. New York, NY 10019 212-247-2111

Eli Klein Fine Art


24 West 57th St., Ste 305 New York, NY 10019 212-582--3201

76 Grand St. New York, NY 10013 212-343-7300

462 W Broadway New York, NY 10012 212-255-4388

Greenberg Van Doren Gallery 730 Fifth Ave. New York, NY 10019 212-445-0444


420 West 14th St. New York, NY 10014 212-414-4014

GREENBERG VAN DOREN GALLERY 730 Fifth Ave., 7th Fl. New York, NY 10019 212-445--0444

Helly Nahmad Gallery > NEW YORK CITY

Jean Dubuffet (1901-1985) “La Route du Pas-de-Calais”, 3 September Oil on canvas, 45 x 57 ½ in., 114.3 x 146 cm. Executed in 1963 Courtesy of Helly Nahmad Gallery

550 West 21st St. New York, NY 10011 212-242-3611

GLADSTONE GALLERY 515 West 24th St. New York, NY 10011 212-206-9300


Katsura Funakoshi, “The Sphinx is Eating a Grasshopper above the Forest”, 2007-8 Painted camphor wood, marble, miscellaneous tree, leather and steel, 94 x 48 4/5 x 49 1/5 inches (239 x 124 x 125 cm) Courtesy Greenberg Van Doren Gallery

975 Madison Ave. New York, NY 10075 212-879-2075

HOWARD GREENBERG GALLERY 41 East 57th St. New York, NY 10022 212-334-0010

GREENE NAFTALI GALLERY 508 West 26th St., 8th Fl. New York, NY 10001 212-463-7770

Guild & Greyshkul


522 West 21st St. New York, NY 10011 212-741-1717




20 West 57th St. New York, NY 10019 212-246-5360

Sarah Morris, “Tree” [Origami], 2008 Household gloss paint on canvas 84 x 84 inches, 213.4 x 213.4 cm SM 08/038 Courtesy Friedrich Petzel Gallery

Heller Gallery

530 West 21st St. New York, NY 10011 212-206-7606

528 West 26th St. New York, NY 10001 212-315-0470

Franklin Parrasch Gallery



Friedrich Petzel Gallery > NEW YORK CITY

Odili Donald Odita, “Possibility”, 2008 Acrylic on Canvas, 84 x 109 inches Courtesy of Jack Shainman Gallery


535 West 22nd St. New York, NY 10011 212-680-9467

Jack Shainman Gallery > NEW YORK CITY

28 Wooster St. New York, NY 10013 212-625-9224 Francis M. Naumann Fine Art > NEW YORK CITY Luis Camnitzer, “Last Words” (detail 3), 2008 Archival digital print on paper 66” x 44”, 6 parts Courtesy Francis M. Naumann Fine Art

HARRIS LIEBERMAN 89 Vandam St. New York, NY 10013 212-206-1290

James Cohan Gallery > NEW YORK CITY

Robert Smithson, “Algae, algae”,sc.1961-1963 Paint and photo collage on masonite, 27 X 23 inches Copyright the Estate of Robert Smithson Courtesy James Cohan Gallery, New York


Mary Boone Gallery

513 West 20th St. New York, NY 10011 212-645-1701

745 Fifth Ave. New York, NY 10151 212-752-2929


523 West 24th St. New York, NY 10011 212-243-0200


533 West 26th St. New York, NY 10001 212-714-9500

Janet Borden

560 Broadway New York, NY 10012 212-431-0166


745 Fifth Ave. New York, NY 10151 212-688-5951

Jan Krugier Gallery 980 Madison Ave., 3rd FL New York, NY 10075 212-755-7288

JOHN CONNELLY PRESENTS 625 West 27th St. New York, NY 10001 212-337-9563

Jonathan LeVine Gallery 529 West 20th St., 9E New York, NY 10011 212-243-3822

KNOEDLER & COMPANY 19 East 70th St. New York, NY 10021 212-794-0550


45 East 78th St. New York, NY 10075 212-861-0020

Mary-Anne Martin/Fine Art > NEW YORK CITY


Francisco Toledo (b. 1940), “Comiendo Chapulines” (Eating Grasshoppers) Ink, wash and watercolor on Arches paper, 30 x 22 1/2 inches (76 x 56.5 cm), Signed in pencil; also inscribed with title, verso 1977 Courtesy Peter Freeman, Inc., New York.

519 West 24th St. New York, NY 10011 212-206-7100

MICHAEL ROSENFELD GALLERY 24 West 57th St. New York, NY 10019 212-247-0082

Lehmann Maupin 540 West 26th St. New York, NY 10001 212-255-2923 201 Chrystie St. New York, NY 10002 212-254-0054

Leo Koenig

545 W 23rd St. New York, NY 10011 212-334-9255 Mary Boone Gallery > NEW YORK CITY

Barbara Kruger, “Untitled” (I thought you were someone else), 2008 digital print/vinyl, 113” by 93” (287 cm by 236 cm) Photo courtesy: Mary Boone Gallery, New York.

Lisa Cooley

34 Orchard St. New York, NY 10002 212-680-0564

Louis K. Meisel Gallery 141 Prince St. New York, NY 10012 212-677-1340

Marlborough Gallery Chelsea 545 West 25th St. New York, NY 10001 212-463-8634 40 West 57th St. New York, NY 10019 212-541-4900

Michael Rosenfeld Gallery > NEW YORK CITY Alma Thomas (1891-1978), “Resurrection”, 1966 Arcrylic on canvas, 36” x 36”, signed Courtesy of Michael Rosenfeld Gallery, LLC, New York, NY

MIGUEL ABREU GALLERY 36 Orchard St. New York, NY 10002 212-995-1774

MITCHELL-INNES & NASH 1018 Madison Ave. New York, NY 10075 212-744-7400 Metro Pictures > NEW YORK CITY

Sterling Ruby, “SP43”, 2008 acrylic on canvas, 100 x 144 inches, 254 x 365.8 cm Courtesy of the Artist and Metro Pictures

LUHRING AUGUSTINE 531 West 24th St. New York, NY 10011 212-206-9100 L & M Arts > NEW YORK CITY

Claes Oldenburg, “Popsicle, Hamburger, Price”,1961-62 sailcloth, foam rubber and enamel, 41 x 16 x 11 inches (104.1 x 40.6 x 27.9 cm) signed with initials and dated C.O. 1961-62 (on the reverse of each element) Courtesy of L & M Arts

Marian Goodman Gallery 24 West 57th St. New York, NY 10019 212-977-7160

Martin Lawrence Gallery 457 West Broadway New York, NY 10012 212-995-8865

MARY-ANNE MARTIN/FINE ART 23 East 73rd St. New York, NY 10021 212-288-2213

MITCHELL-INNES & NASH 534 West 26th St. New York, NY 10001 212-744-7400

MOELLER FINE ART 36 East 64th St. New York, NY 10065 212-644-2133

NANCY MARGOLIS GALLERY 523 West 25th St. New York, NY 10001 212-242-3013


Peter Blum Gallery Chelsea 526 West 29th St. New York, NY 10001 212-244-6055 99 Wooster St. New York, NY 10012 212-343-0441


560 Broadway, Suite 602-603 New York, NY 10012 212-966-5154

Sean Kelly Gallery > NEW YORK CITY Los Carpinteros, “Sub Oficial Grill”, 2008 watercolor on paper, 55.51 x 80.12 inches (141 x 203.5 cm) © Los Carpinteros Courtesy: Sean Kelly Gallery, New York

Miguel Abreu Gallery > NEW YORK CITY

Pieter Schoolwerth, “The Rape of Venus and Adonis” (after Bloemaert), 2008 Oil on canvas, 62 x 82 inches (157.5 x 208.3 cm) Courtesy of Miguel Abreu Gallery

NATURE MORTE/BOSE PACIA 508 West 26th St., 11C New York, NY 10001 212-989-7074

NY Studio Gallery



32 East 57th St., 2nd Fl. New York, NY 10022 212-421-3292 534 West 25th St. New York, NY 10001 212-929-7000 545 West 22nd St. New York, NY 10011 212-989-4258


Pushpamala N, “Native Women of South India: Manners and Customs: The Ethnographic Types” Sepia toned silver gelatin print on fibre paper, edition 1/20 5 x 4 inches Courtesy Nature Morte/Bose Pacia

293 10th Ave. New York, NY 10001 212-563-4474

PAULA COOPER GALLERY 534 West 21st St. New York, NY 10011 212-255-1105

Sloan Fine Art

875 North Michigan Avenue Chicago, IL 60611 312.642.8877

154 Stanton St. New York, NY 10002 212-627-3276

115 Spring Street New York, NY 10012 212-966-6675

Richard Gray Gallery

Peter Freeman, Inc.> NEW YORK CITY

Charlotte Posenenske,”_Faltung_” (Fold) , 1966  RAL red, yellow, and blue spray paint on folded sheet aluminum  28 1/6 x 26 3/8 x 6 1/4 inches  Courtesy Peter Freeman, Inc., New York.

PHOENIX GALLERY 210 11th Ave. New York, NY 10001 212-226-8711



524 West 26th St. New York, NY 10001 212-366-4774

Salon 94

12 East 94th St. New York, NY 10128 646-672-9212 1 Freeman Alley New York, NY 10002 212-529-7400


528 West 29th St. New York, NY 10001 212-239-1181



165 E Broadway New York, NY 10002 212-477-5006

128 Rivington St. New York, NY 10002 212-477-1140

530 West 22nd St. New York, NY 10011 212-929-2262

536 West 22nd St. New York, NY 10011 212-627-1018

Spanierman Gallery 45 East 58th St. New York, NY 10022 212-832-0208

Spencer Brownstone Gallery 39 Wooster St. New York, NY 10013 212-334-3455

www.spencerbrownstonegallery. com

SPERONE WESTWATER 415 West 13th St. New York, NY 10014 212-999-7337

RENWICK GALLERY 45 Renwick St. New York, NY 10013 212-609-3535

Neuhoff Gallery

41 East 57th St., 4th FL New York, NY 10022 212-838-1122


Sikkema Jenkins & Co. > NEW YORK CITY

504 West 22nd St. New York, NY 10011 212-274-9166

Mark Bradford, “A Thousand Daddies”, 2008 Mixed media collage (60 parts), 142 x 289 inches, 360.7 x 734.1 cm Courtesy of Sikkema Jenkins & Co.

Number 35

39 Essex St. New York, NY 10002 212-388-9311


Staley-Wise Gallery

20 East 79th St. New York, NY 10075 212-737-2060 Newman Popiashvili Gallery > NEW YORK CITY

Raúl deNieves, “Beaded”, 2007 Mixed media beaded shoes on yellow pedestal, 15 x 15 x 45 inches Courtesy Newman Popiashvili Gallery

560 Broadway 3rd FL New York, NY 10012 212-966-6223




is f or G A L L E R Y



521 West 21st St. New York, NY 10011 212-414-4144

32 East 69th St. New York, NY 10021 212-517-8677

TAXTER & SPENGEMANN 504 West 22nd St. New York, NY 10011 212-924-0212




83 Grand St. New York, NY 10013 212-279-9219

THE PAINTING CENTER 52 Greene St., 2nd Fl. New York, NY 10013 212-343-1060

Yvon Lambert New York > NEW YORK CITY

Glenn Ligon, “No Room” (Gold) No. 47, 2007 Oil and acrylic on canvas 32 x 32 inches (81.3 x 81.3 cm) Courtesy Yvon Lambert New York

WASHBURN GALLERY 20 West 57th St., 8th Fl New York, NY 10019 212-397-6780

Westwood Gallery 568 Broadway New York, NY 10012 212-925-5700

Woodward Gallery

6150 Wilshire Blvd. Los Angeles, CA 90048 323-938-5822

Anderson Galleries 354 N Bedford Dr. Beverly Hills, CA 90210 310-858-1644


600 Moulton Ave., #303 Los Angeles, CA 90031 323-222-2225

Andrew Weiss Gallery 179 South Beverly Dr. Beverly Hills, CA 90212 310-246-9333

Carl Berg Gallery

World Fine Art Gallery

ZACH FEUER GALLERY 530 West 24th St. New York, NY 10011 212-989-7700


12611 Venice Blvd. Los Angeles, CA 90066 310-398-7404

166 N La Brea Ave. Los Angeles, CA 90036 323-933-5557

Anthony Meier Fine Arts

David Kordansky Gallery

3143 S La Cienga Blvd., Unit A Los Angeles, CA 90016 310-558-3030

1969 California St. San Francisco, CA 94109 415-351-1400


Cherry and Martin

8 East 76th St. New York, NY 10021 212-737-2221

521 West 23rd St. New York, NY 10011 212-929-6633

933 Chung King Rd. Los Angeles, CA 90012 213-613-0384

2766 S La Cienega Blvd. Los Angeles, CA 90034 310-202-2213



1257 N La Brea Ave. West Hollywood, CA 90038 323-969-0600

China Art Objects Galleries

Sam Durant, “End White Supremacy”, 2008 Electric sign with vinyl text 96 x 136 inches Courtesy of the Artist and Blum & Poe, Los Angeles

Anna Helwing Gallery Blum & Poe > LOS ANGELES

Carmichael Gallery of Contemporary Art

Couturier Gallery

37 West 57th St., 3rd Fl. New York, NY 10019 212-688-1585

476 Broadway, 3rd Fl. New York, NY 10013 212-965-8598

6018 Wilshire Blvd. Los Angeles, CA 90036 323-931-6060

511 West 25th St., Ste 803 New York, NY 10001 646-336-1677

Blum & Poe, LA

Glenn Kaino, “Graft” (ostrich), 2008 Taxidermy ostrich, python skin, wood, Plexiglas, and light 36 x 96 inches , 91.4 x 243.8 cm Courtesy of the artist and The Project, New York

Katy Grannan, Anonymous, 2008 © Katy Grannan, courtesy Fraenkel Gallery, San Francisco and Greenberg Van Doren Gallery, New York

2754 S La Cienega Blvd. Los Angeles, CA 90034 310-836-2062

133 Eldridge St. New York, NY 10002 212-966-3411

The Project > NEW YORK CITY

Fraenkel Gallery > LOS ANGELES

Zach Feuer Gallery > NEW YORK CITY

Nathalie Djurberg, “Still from Putting down the prey”, 2008 Clay animation, digital video 5:40 Edition of 4 Music by Hans Berg Courtesy of Zach Feuer Gallery

Art Slave Gallery 216 S Spring St. Los Angeles, CA 90012 213-598-3155

Bert Green Fine Art 102 West 5th St. Los Angeles, CA 90013 213-624-6212

Cherry and Martin > LOS ANGELES

Nathan Mabry 2008 The title of the work is also not confirmed, but for now could be called “Process Art (Full Title To Be Determined)” The sculpture will be entirely bronze and final dimensions are also unknown. Courtesy Herry and Martin

David Salow Gallery 977 N Hill St. Los Angeles, CA 90012 213-620-0240

Fahey/Klein Gallery 148 N La Brea Ave. Los Angeles, CA 90036 323-934-2250


Karen Lynne Gallery 216 N Canon Dr. Beverly Hills, CA 90210 310-858-8202

Tasende Gallery

Karyn Lovegrove Gallery

8808 Melrose Ave. West Hollywood, CA 90069 310 276 8686

The Hive Gallery

500 S Hudson Ave. Los Angeles, CA 90020 323-525-1755

729 S Spring St. Los Angeles, CA 90014 213-955-9051

Lawrence Asher Gallery

Thinkspace Gallery

5820 Wilshire Blvd., #100 Los Angeles, CA 90036 323-935-9100 David Kordansky Gallery > LOS ANGELES

Amy Bessone, “Metal Head No 1”, 2008 Oil on Alkyd on Canvas 68 x 52 x 1.5 inches, 172.7 x 132.1 x 3.8 cm Inv# AB 08/034 Image Courtesy David Kordansky Gallery, Los Angeles, CA

Fraenkel Gallery

49 Geary St. San Francisco, CA 94108 415-981-2661

Gagosian Gallery

La Luz de Jesus Gallery 4633 Hollywood Blvd. Los Angeles, CA 90027 323-666-7667

lurie gallery

9411 S Santa Monica Blvd. Beverly Hills, CA 90210 310-860-6960

Manny Silverman Gallery 619 N Almont Dr. Los Angeles, CA 90069 310-659-8256

456 N Camden Dr. Beverly Hills, CA 90210 310-271-9400

Marc Selwyn Fine Art

Gemini G.E.L

6222 Wilshire Blvd., #101 Los Angeles, CA 90048 323-933-9911

8365 Melrose Ave. Los Angeles, CA 90069 323-651-0513

Margo Leavin Gallery

Gagosian Gallery

812 N. Robertson Blvd. Los Angeles, CA 90069 310-273-0603

456 N Camden Dr. Beverly Hills, CA 90210 310-271-9400

Jonathan Novak Contemporary Art

1880 Century Park East, #100 Los Angeles, CA 90067 310-277-4997

8071 Beverly Blvd. Los Angeles, CA 90048 323-658-8088

Steve Turner Contemporary

6026 Wilshire Blvd. Los Angeles, CA 90036 323-931-3721

Timothy Yarger Fine Art 354 N Bedford Dr. Beverly Hills, CA 90210 310-278-4400

Tobey C. Moss Gallery 7321 Beverly Blvd. Los Angeles, CA 90036 323-933-5523

www.steveturnercontemporary. com

M. J. Higgins Fine Art & Furnishings 104 East 4th St. Los Angeles, CA 90013 213-617-1700

Morono Kiang Gallery Bradbury Building 218 West 3rd St. Los Angeles, CA 90013 213-628-8208

Redling Fine Art

Susanne Vielmetter Los Angeles Projects > LOS ANGELES Edgar Arceneaux, “Untitled”, 2007 Graphite, charcoal, carbon on drywall, Drywall dimension is 33’ 5» by 12’ Courtesy of Susanne Vielmetter Los Angeles Projects Photo Credit: Tim Lanterman

Susanne Vielmetter Los Angeles Projects 5795 W Washington Blvd. Culver City, CA 90232 323-933-2117

West of Rome

380 S Lake Ave., Suite 210 Pasadena, CA 91101 626-793-1504

990 N Hill St., #210 Los Angeles, CA 90012 323-230-7415

Infusion Gallery

Michael Kohn Gallery

228 Grant Ave. San Francisco, CA 94108 415-781-4629

969 Chung King Rd. Los Angeles, CA 90012 213-617-1100

8678 Melrose Ave. West Hollywood, CA 90069 310-657-1711

John Berggruen Gallery

932 Chung King Rd. Los Angeles, CA 90012 213-617-8217

Peres Projects

Hamilton-Selway Fine Art

Mary Goldman Gallery

357 N La Brea Ave. Los Angeles, CA 90036 323-938-5222

My Barbarian, “You Were Born Poor & Poor You Will Die”, performance, REDCAT, Los Angeles, 2006 Photo: Patterson Beckwith, Courtesy: The artist and Steve Turner Contemporary

462 N Robertson Blvd. West Hollywood, CA 90048 310-289-1887

8920 Melrose Ave. West Hollywood, CA 90069 310-276-2600

Jack Rutberg Fine Arts

Steve Turner Contemporary > LOS ANGELES

Papillon Gallery

George Stern Fine Arts

719 S Spring St. Los Angeles, CA 90014 213-683-8827

4210 Santa Monica Blvd. Los Angeles, CA 90029 323-913-3375

Red Dot Gallery Margo Leavin Gallery > LOS ANGELES

Brenna Youngblood, Not Yet Titled , 2008 Color photographs, acrylic paint/ medium, and collage on panel 72-1/8 x 48-3/16 x 1-11/16 inches Courtesy Margo Leavin Gallery

500 S Spring St. Los Angeles, CA 90013 213-817-6002

Regen Projects

633 N Almont Dr. Los Angeles, CA 90069 310-276-5424

Martin Lawrence Galleries

Universal CityWalk 1000 Universal Studios Dr. Universal City, CA 91608 818-508-7867

Roberts & Tilton

5801 Washington Blvd. Culver City, CA 90232 323-549-0223

Stephen Cohen Gallery 7358 Beverly Blvd. Los Angeles, CA 90036 323-937-5525

West of Rome > LOS ANGELES

Mike Kelley “Memory Ware Flat #45”, 2007 Mixed media on wood panel, 40x50x2 inches Courtesy of West of Rome


My name is Heidi Klum and I’m an American Red Cross volunteer. Will you join me?

We all have to look out for each other. When you help the American Red Cross, you help America. Through her involvement with the American Red Cross, Heidi Klum helps to save lives every day. To learn how Heidi Klum is helping, or to find out what you can do to help, visit

H20234 July 2006



is f or M U S E U M



MOCA (Miami)

The museum is a site for discovering new artists, contemplating the work of contemporary masters, and learning about our living cultural heritage, and is known for its provocative and innovative exhibitions. MoCA maintains an active exhibition schedule, presenting 8 to 10 exhibitions annually. Courtesy of MOCA

2650 Sistrunk Blvd. Fort Lauderdale, FL 33311 954-625-2800 htm


1700 Parker Ave. West Palm Beach, FL 33401 561-832-1776


The Bass Museum of Art was established by agreement in 1963 when the City of Miami Beach accepted the gift of the art collection of John and Johanna Bass upon condition that it would maintain the collection in perpetuity, provide for the exhibition of the collections, and keep it open and available to the public. 2121 Park Ave. Miami Beach, FL 33139 305-673-7530

BOCA RATON MUSEUM OF ART 501 Plaza Real Boca Raton, FL 33432 561-392-2500

BONNET HOUSE MUSEUM & GARDEN 900 North Birch Rd. Fort Lauderdale, FL 33304 954-563-5393


Preserving the history of the cultural contributions of Burt Reynolds and to provide educational opportunities to young actors and filmmakers. 100 N US Highway 1 Jupiter, FL 33477 561-743-9955


The Boca Raton Museum of Art presents changing exhibitions of national and international importance, and a wide range of educational programs, lectures, gallery tours, and studio art classes. The Museum’s permanent collection includes a superb assembly of modern masters including works by Degas, Matisse, Modigliani and Picasso; important American and European modern and comtermporary works by artists ranging from Louise Nevelson to Andy Warhol; an outstanding photography collection; and important collections of Pre-Columbian and African art. Courtesy B.R.M.O.A.


Provides a hands-on exploration and challenges children to enhance their understanding of how physical science impacts everyday living. 300 S Military Trail Boca Raton, FL 33486 561-347-3912


2855 Coral Springs Dr. Coral Springs, FL 33065 954-340-5000

CUBAN HISTORICAL MUSEUM 3131 Coral Way Coral Gables, FL 33145 305-567-3131


1 Whitehall Way Palm Beach, FL 33480 561-655-2833

Frost Art Museum

10975 S.W. 17th Street Miami, FL, 33199           Phone: 305.348.2890

CURRENT EXHIBIT: Until 06/09 • Color Me New York - Photographs by Benn Mitchell T: 561.392.2500 F: 561.391.6410 Hours: Sat, Sun 12pm-5pm Tues, Thur, Fri 10am-5pm Wed 10am-9pm Closed Holidays


The University of Miami’s Koubek Mansion and Gardens is situated in the soul of Miami, contributing to the rich cultural traditions found in “Little Havana.” A historic site, it has been home to numerous weddings and cultural events. 2705 SW 3rd St. Miami, FL 33135 305-284-5137


1301 Stanford Dr. Coral Gables, FL 33124 305-284-3535


591 NW 27th St. Miami, FL 33127 305-576-1051

HIBEL MUSEUM OF ART 5353 Parkside Dr. Jupiter, FL 33458 561-622-5560

HISTORICAL MUSEUM OF SOUTHERN FLORIDA 101 W Flagler St. Miami, FL 33130 305-375-1492


JEWISH MUSEUM OF FLORIDA 301 Washington Ave. Miami Beach, FL 33139 305-672-5044

Hours: Tue-Sat 11am-5pm Sun 12pm-5pm Last Friday of each month 7pm-10pm for Jazz at MOCA (Closed Mondays)

MIAMI ART MUSEUM 101 W Flagler St. Miami, FL 33130 305-375-3000


Come play, learn, imagine and create at hundreds of interactive and bilingual exhibits and daily programs for the whole family and so much more. 980 Macarthur Cswy. Miami, FL 33132 305-373-5437

MIAMI MUSEUM OF SCIENCE & PLANETARIUM 3280 S Miami Ave. Miami, FL 33129 305-646-4200-34

1933 Meridian Ave. Miami Beach, FL 33139 305-538-1663


Frost Art Museum in Miami

The New Frost Art Museum at Florida International University will open November 29, 2008 kicking off more than a week of events celebrating its debut. The Frost opens with the debut of Modern Masters from the Smithsonian American Art Museum and solo exhibitions by Luisa Basnuevo, Florencio Gelabert, John Henry, and Andrew Reach. Courtesy of Frost Art Museum

CURRENT EXHIBIT: • “Modern Masters from the Smithsonian American Art Museum” thru Mar 1 • “Simulacra and Essence: The Paintings of Luisa Basnuevo” thru April 4 • “Florencio Gelabert: Intersections” thru Feb. 28 • John Henry’s “Drawing in Space: The Peninsula Project Illustrated” thru Mar 9 • “Full Circle” by Andrew Reach thru April 4 • “Figurative Art Past and Present: Highlights from the Permanent Collection” thru 2010 Frost Art Museum 10975 S.W. 17th Street Miami, FL, 33199           Phone: 305.348.2890 Opening Week: 10-5, Nov 29-Dec 7 Regular Hours: Tues-Sat 10-5 Sun 12-5

8 SYMPOSIUM | 91 Old Fort Lauderdale Village & Museum 231 SW 2nd Ave Ft. Lauderdale, FL 33301 954-463-4431

PALM BEACH INSTITUTE OF CONTEMPORARY ART 601 Lake Ave. Lake Worth, FL 33460 561-582-0006


Photo Courtesy of MAM

MOCA AT GOLDMAN WAREHOUSE 404 NW 26th St. Miami, FL 33127 305-573-5441

MORIKAMI MUSEUM & JAPANESE GARDENS 4000 Morikami Park Rd. Delray Beach, FL 33446 561-495-0233


700 Park Ave. West Palm Beach, FL 33401 561-296-1806

MUSEUM OF ART/FORT LAUDERDALE Hours: Tue-Fri 10am-5pm Sat-Sun Noon-5pm (Closed Mondays)


85,000 square feet packed with interactive science exhibits, classrooms, café, store, and grand atrium. AutoNation IMAX Theater – 300 seats, featuring both 2D and 3D films. Voted best place to experience a 3D movie. 401 SW 2nd St. Fort Lauderdale, FL 33312 954-467-6637

MUSEUM OF THE AMERICAS 2500 NW 79th Ave., Suite 104 Doral, FL 33122 305-599-8088


1 East. Las Olas Blvd. Fort Lauderdale, FL 33301 954-525-5500

1451 S Olive Ave. West Palm Beach,FL 33401 561-832-5196



MOCA established its Permanent Collection in 1994. It reflects significant artistic developments in contemporary art. 770 NE 125th St. North Miami, FL 33161 305-893-6211

1009 NW 4th St. Fort Lauderdale, FL 33311 754-322-8828 olddillardmuseum

SCHACKNOW MUSEUM OF FINE ARTS SMOFA 7080 NW 4th St. Plantation, FL 33317 954-583-5551


The Robot Zoo – runs through September. Features a variety of interactive games for visitors to experience. Each mechanical creature comes with informative text panels along with multiple, interactive displays. 4801 Dreher Trail N West Palm Beach, FL 33405 561-832-1988

SPADY CULTURAL HERITAGE MUSEUM 170 NW 5th Ave. Delray Beach, FL 33444 561-279-8487


The Stranahan house, with its Florida vernacular style, has served as a trading post, town hall, post office, and bank. Restored to its 1913 configuration, it’s a “must see” in South Florida. 335 SE 6th Ave. Ft. Lauderdale, FL 33301 954-524-4736

THE SOCIETY OF FOUR ARTS 2 Four Arts Plaza Palm Beach, FL 33480 561-655-7227


With its phenomenal human-made and natural resources, Vizcaya was built in the 1910’s, a decade in which Gilded Age cultural standards were enlivened by the irreverent spirit of the dawning Jazz Age. It also introduces visitors to Miami’s place in this history—a time when America’s wealthiest industrialists created lavish homes inspired by the palaces of Europe. 3251 S Miami Ave. Miami, FL 33129 305-250-9133

WOLFSONIAN MUSEUM 1001 Washington Ave. Miami Beach FL 33139 305-531-1001


The collection includes art, sculptures, tapestries, and artifacts from many of the world’s most influential cultures. 1205 Washington Ave. Miami, FL 33139 305-532-9336

CHICAGO Adler Planetarium and Astronomy Museum

The first planetarium in the western hemisphere boasts two planetariums, a high-tech StarRider™ theatre, an interactive Astronomy Museum and a collection of historically significant scientific instruments. 1300 S Lakeshore Dr. Chicago, IL 60605 312-922-7827

Art Institute of Chicago Museum 111 S Michigan Ave. Chicago, IL 60603 312-443-3600

Chicago Children’s Museum

Fifteen permanent exhibits and programming spaces provide innovative learning experiences for children and their caregivers. The museum serves more than 500,000 visitors annually. CCM also reaches out beyond its walls by making a significant investment of resources in neighborhoods across Chicago, particularly to children who might not otherwise have access to the museum’s rich array of resources. 700 E Grand Ave. Chicago, IL 60611 312-527-1000

Chicago History Museum 1601 N Clark St. Chicago, IL 60614 312-642-4600

MUSEUM OF CONTEMPORARY ART > CHICAGO Courtesy Museum of Contemporary Art

DePaul University Museum of Art 2350 N Kenmore Ave. Chicago, IL 60614 773-325-7506 artwebsite

DuSable Museum of African American History 740 E 56th Place Chicago, IL 60637 773-947-0600

Elmhurst Art Museum 150 Cottage Hill Elmhurst, IL 60126 630-834-0202

Field Museum

1400 S Lake Shore Dr. Chicago, IL 60605 312-922-9410

Frank Lloyd Wright Home and Studio 951 Chicago Ave. Oak Park, IL 60302 708-848-1976


3251 South Miami Avenue Miami, Florida 33129 305-250-9133

Hours: OPEN DAILY EXCEPT CHRISTMAS 9:30 a.m. to 4:30 p.m


5301 S Dixie Highway West Palm Beach, FL 33405 561-588-1965 CHICAGO CHILDREN’S MUSEUM > CHICAGO Courtesy Chicago Children’s Museum


Hellenic Museum and Cultural Center 801 W Adams St. Chicago, IL 60607 312-655-1234

Illinois State Museum 100 W Randolph St. Chicago, IL 60601 312-814-5322

Lizzadro Museum of Lapidary Art 220 Cottage Hill Elmhurst, IL 60126 630-833-1616

Loyola Museum of Art 6418 Greenview Ave. Chicago, IL 60611 312-915-7600

McCormick Freedom Museum 445 N Michigan Ave. Chicago, IL 60611 312-222-4860

N.Y.C. American Folk Art Museum 45 West 53rd St. New York, NY 10019 212-265-1040

American Museum of Natural History

Central Park West at W 79th St. New York, NY 10024 212-769-5100

Asia Society and Museum 725 Park Avenue New York, NY 10021 212-288-6400

Bronx Museum of Art

1040 Grand Concourse #2, at Bronx, NY 10456 718-681-6000

The Frick Collection & Frick Art Library 1 East 70th St. New York, NY 10021 212-288-0700

Guggenheim Museum

1071 Fifth Avenue, at 89th St. New York, NY 10128 212-423-3500

International Center of Photography 1133 Avenue of the Americas New York, NY 10036 212-857-0000

Intrepid Air & Space Museum Pier 86 West 46th St. & 12th Ave New York, NY 212-245-0072

Photo by: D. Finnin


Central Park West at W 79th St. New York, NY 10024 212.769.5100 W:

Courtesy of AMNH

Museum of Contemporary Art 220 E Chicago Ave. Chicago, IL 60611 312-280-2660

Museum of Sex

Museum of Contemporary Photography

233 Fifth Avenue New York, NY 10016 212-689-6337

Museum of the City of New York

600 S Michigan Ave. Chicago, IL 60605 312-663-5554

1220 Fifth Avenue New York, NY 10029 212-534-1672

Museum of Science and Industry 5700 S Lake Shore Dr. Chicago, IL 60637 773-684-1414

National Museum of Mexican Art 1852 West 19th St. Chicago, IL 60608 312-738-1503

Peggy Notebaert Nature Museum

The Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, NY 11238 718-638-5000

Chelsea Art Museum

Smart Museum of Art

The Children’s Museum of Art

Spertus Museum 610 S Michigan Ave. Chicago, IL 60605 312-322-1700

1083 Fifth Avenue, at 89th St. New York, NY 10128 212-369-4880

National Design Museum

2 East 91st St, at Fifth Ave. New York, NY 10128 212-849-8400

Courtesy of National Design Museum

556 West 22nd St. New York, NY 10011 212-217-4560

5550 S Greenwood Ave. Chicago, IL 60637 773-702-0200

National Academy Museum


2430 N Cannon Dr. Chicago, IL 60614 773-755-5100

CURRENT EXHIBIT: • The Horse 5/17 - 1/4 • Lizards & Snakes Alive 5/24 – 1/5 • Saturn: Images from the Cassini-Huygens Mission 4/26 – 3/29 • On Feathered Wings: Birds in Flight 6/21 – 5/25

182 Lafayette St. New York, NY 10013 212-274-0986

Ellis Island Museum

Ellis Island Immigration Museum New York, NY 10004 212-344-0996

Fashion Institute of Technology Seventh Ave. at 27th St. New York, NY 10001 212-217-4560

Jewish Museum

1109 Fifth Avenue, at 92nd St. New York, NY 10128 212-423-3200

Madame Tussauds NY 234 West 42nd St. New York, NY 10036 800-246-8872

Merchant’s House Museum 29 East 4th St. New York, NY 10003 212-777-1089

Metropolitan Museum of Art

1000 Fifth Avenue, at 82nd St. New York, NY 10028 212-535-7710

Museum of Modern Art

11 West 53rd St. New York, NY 10019 212-708-9400


From an initial gift of eight prints and one drawing, The Museum of Modern Art’s collection has grown to include 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. MoMA also owns some 22,000 films, videos, and media works, as well as film stills, scripts, posters and historical documents. Photo Tim Hursley, Courtesy MOMA

212.708.9400 11 West 53 Street, between Fifth and Sixth avenues New York, NY 10019

8 SYMPOSIUM | 93 National Museum of the American Indian One Bowling Green New York, NY 10004 212-514-3700

California African American Museum 600 State Dr. Los Angeles, CA 90037 213-744-7432

Neue Galerie

California Science Center

1048 Fifth Avenue New York, NY 10028 212-628-6200

New Museum of Contemporary Art 235 Bowery New York, NY 10002 212-219-1222

PS1 Contemporary Art Center

22-25 Jackson Ave, at 46th Ave. Long Island City, NY 11101 718-784-2084

700 Exposition Park Dr. Los Angeles, CA 90037 213-485-8567

CHINESE AMERICAN MUSEUM 425 N. Los Angeles St. Los Angeles, CA 90012 323-724-3623


UCLA Los Angeles, CA 90095 310-206-7007


523 W. Sixth St., #826 Los Angeles, CA 90014

Los Angeles County Museum of Art 5905 Wilshire Blvd. Los Angeles, CA 90036 323-857-6000

Moca Pacific Design Center 8687 Melrose Ave. West Hollywood, CA 90069 310-289-5223


Flushing Meadows, Corona Park Queens, NY 11368 718-592-9700

411 W. Colorado Blvd. Passadena, CA 91105 626-449-6840

Rubin Museum of Art

Page Museum La Brea Tar Pits

150 West 17th St. New York, NY 10011 212-620--5000

5801 Wilshire Blvd. Los Angeles, CA 90036 323-934-7243

The Skyscraper Museum CALIFORNIA SCIENCE CENTER > LOS ANGELES Courtesy of California Science Center

Sports Museum of America 26 Browadway New York, NY 10004 212-747-0900

Studio Museum in Harlem 144 West 125th St. New York, NY 10027 212-864-4500

Whitney Museum of American Art 945 Madison Ave. New York, NY 10021 212-570-3600

L.A. Autry National Center

4700 Western Heritage Way Los Angeles, CA 90027 323-667-2000


10899 Wilshire Blvd. Los Angeles, CA 90024

“Vermeer’s A Lady Writing from the National Gallery of Art” through February 2, 2009 “The Art of War: American Posters from World War 1 and World War ll” through January 26, 2009 “Ruth Weisberg: Guido Cagnacci and the Resonant Image” through March 2, 2009

Norton Simon museum of art

Queen’s Museum of Art

39 Battery Place New York, NY 10280 212-968-1961


Getty Museum

1200 Getty Center Dr. Los Angeles, CA 90049 310-440-7300

Grier-Musser Museum 403 S Bonnie Brae St. Los Angeles, CA 90057 213-413-1814

Griffith Observatory

Museum of Contemporary Art 250 S Grand Ave. Los Angeles, CA 90012 213-626-6222

Museum of Jurassic Technology 9341 Venice Blvd. Culver City, CA 90232 310-836-6131


Heritage Square Museum

3800 Homer St. Los Angeles, CA 90031 323-225-2700

Hollywood Heritage Museum 2100 N Highland Ave. Hollywood, CA 90068 323-874-4005

Huntington Library, Art Collections and Botanical Gardens 1151 Oxford Rd. San Marino, CA 91108 626-405-2141

2525 Michigan Ave. Santa Monica, CA 90404 310-586-6488

The Geffen Contemporary at Moca 152 Central Ave. Los Angeles, CA 90013 213-621-1745

Courtesy Norton Simon Museum of Art


Hollywood’s crown jewels are on display at “The Universal Experience: Behind the Scenes of Universal Pictures,” a new attraction located inside Universal Studios Hollywood theme park designed to put the magic of Hollywood within arms reach of guests. 100 Universal City Plz. Universal City, CA 91608 818-622-3801

Velaslavasay Panorama

1122 West 24th St. Los Angeles, CA 90007 213-746-2166

William S. Hart Museum and Park 24151 San Fernando Rd. Newhall, CA 91321 661-259-0855

2800 E Observatory Rd. Los Angeles, CA 90027 213-473-0800


411 W. Colorado Blvd. Passadena, CA 91105 T: 626.449.6840 W:

628 Alamitos Ave. Long Beach, CA 90802

THE PALEY CENTER FOR MEDIA 464 N. Berverly Dr. Beverly Hills, CA 90210 310-786-1025

Museum of TOLERANCE 9786 W. Pico Blvd. Los Angeles, CA 90035 310-553-9036

Natural History Museum of Los Angeles

900 Exposition Blvd. Los Angeles, CA 90036 213-763-3466

GRIFFIN OBSERVATORY > LOS ANGELES Courtesy of Griffin Observatory

ART SPACE China’s Creative Revolution Comes to Coral Gables






Over the Ocean and into the Mountains

Nature Cultivates Creativity in an Underwater World

Terrie Temkin on Starting a

Buddha Green Roots

The Art of the Album Cover

Private Foundation

The art of Luis Valenzuela

Alex Steinweiss & Mati Klarwein





The Hub of the International Art World

Benazir Bhutto Finding Your Voice

Cuban Artists Unbroken Ties






SYMPOSIUM_4.indd 1

5/13/08 4:35:19 PM







# SYMPOSIUM_5.indd 1

“Blindfolded While

A Brief History of the

Artists Turn

Finger Painting�

American Palate

Pop Art Prankster

# 7/2/08 3:21:15 PM



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798 Art District Art in the New China

Art and Culture News From Around the World

A Delicate World of Intricately Layered Folklore

Surveying a Career in Comix

A Portrait of a Portrait Artist

The Lowe Art Museum’s New Permanent Collection

# 8/4/08 6:56:02 PM


9/17/08 6:39:43 PM




is f or T H E AT E R


ACTORS' PLAYHOUSE AT THE MIRACLE 280 Miracle Mile Coral Gables, FL 33134 305-444-9293


A full-season lineup that will include many more presentations, including jazz from around the world; theater works both intimate and spectacular; shows for children and their families; the latest in contemporary dance; experimental multimedia shows and beloved classics; popular entertainment spanning top-selling recording stars, acclaimed cabaret artists, favorite comedians, and much more. 1300 Biscayne Blvd. Miami, FL 33132 786-468-2000


6743 W Indiantown Rd. Jupiter, FL 33458 561-575-3271


Pompano Beach, FL 33062 954-764-0700 Miami: 1-800-939-8587 Palm Beach: 1-800-520-2324 www.broadwayacrossamerica. com


500 71st St. Miami Beach, FL 33141 305-867-4192



www.broadwayacrossamerica. com

P.O. Box 4603 Ft. Lauderdale, FL 33312 1800-764-0700

BROWARD CENTER FOR THE PERFORMING ARTS 201 SW 5th Ave. Ft. Lauderdale, FL 33312 954-522-5334 Box Office 954-462-0222


503 SE 6th St. Fort Lauderdale, FL 33301 954-525-3456

7901 N Federal Highway Boca Raton, FL 33487 561-241-7432 877-245-7432


854 Conniston Rd. West Palm Beach, FL 33405 561-833-7305


Event Info 222 Lakeview Ave West Palm Beach, FL 33401 561-366-1000


444 Brickell Ave. Miami, FL 33131 305-755-9401


BROWARD CENTER FOR THE PERFORMING ARTS 201 SW Fifth Ave Ft. Lauderdale, FL 33312 (954) 462-0222 877-311-7469(SHOW)

Courtesy B.C.P.A.

CURTAIN CALL PLAYHOUSE 2500 SE 3rd St. Pompano Beach, FL 33062 954-784-0768

DELRAY BEACH PLAYHOUSE 950 NW 9th Street Delray Beach, FL 33444 561-272-1281

FANTASY THEATRE FACTORY 7069 SW 47th St. Miami, FL 33155 305-284-8800

CAF serves tens of thousands of people per year by putting together a dazzling mix of the best of orchestral world music and ballet. 1470 Biscayne Blvd. Miami, FL 33132 1-877-433-3200


262 S Ocean Blvd. Lantana, FL 33462 561-585-3404

12343 W Dixie Highway North Miami, FL 33161 305-895-0335

12/5 - 12/6 Marc Salem’s Mind Games 12/10 Four Freshmen Holiday Show 12/19 - 12/20 Divine Performing Arts 12/30 - 12/11 Avenue Q

FLORIDA GRAND OPERA 221 SW 3rd Ave. Ft. Lauderdale, FL 33312 954-728-9700


FOLLIE'S ADULT THEATRE 2550 S Military Trail West Palm Beach, FL 33415 561-433-9272


520 N Andrews Ave. Fort Lauderdale, FL 33301 954-763-6882


1200 Anastasia Ave. Coral Gables, FL 33134 305-445-1119 or 305-446-1116

GOLD COAST THEATRE COMPANY 345 W 37th St. Miami Beach, FL 33140 305-538-5500

HOLLYWOOD PLAYHOUSE 2640 Washington St. Hollywood, FL 33020 954-922-0404 COURTESY OF CALDWELL THEATRE

CRUZAN AMPHITHEATRE 601-7 Sansbury Way West Palm Beach, FL 33411 Hotline: 561-793-0445


Courtesy A.A.C.P.A.

11/26 -01/18 The Complete Works of William Shakespeare (abridged) 12/2 - 12/7 Annnie 12/19 - 12/23 George Balanchine’s The Nutcracker 12/31 - 01/04 Cats

Our intimate, 377-thrust Mainstage theatre has been home to several new plays and musicals on their way either to or from Broadway. Our new 45 seat Second Story Theatre provides a perfect setting for private meetings and cabaret-style concerts. 201 Clematis St. West Palm Beach, FL 33401 561-835-9226

CALDWELL THEATRE COMPANY the count de hoernle theatre 7901 N Federal Highway Boca Raton, FL 33487 877-245-7432

Courtesy Caldwell Theatre

11/9 – 12/4 She Loves Me 01/4 - 02/8 Frost/Nixon 02/22 - 0329 Dangerous


IMAX BLOCKBUSTER 3D THEATER 401 Sw 2nd St. Fort Lauderdale, FL 33312 954-463-4629 954-467-6637


One East Los Olas Blvd. Ft. Lauderdale, FL 33301 954-385-3060

THE FILLMORE MIAMI BEACH AT THE JACKIE GLEASON THEATER 1700 Washington Ave. Miami Beach, FL 33139 305-673-7300

JAMES L KNIGHT INTERNATIONAL CENTER 400 SE 2nd Ave. Miami, FL 33131 305-416-5970

KRAVIS CENTER FOR THE PERFORMING ARTS 701 Okeechobee Blvd. West Palm Beach, FL 33401 561-832-7469


219 S Andrews Ave. Fort Lauderdale, FL 33301 954-763-5236

LAKE WORTH PLAYHOUSE 713 Lake Ave. Lake Worth, FL 33460 561-586-3549


MALTZ JUPITER THEATRE 1001 E Indiantown Rd. Jupiter, FL 33477 561-575-2223

MANUEL ARTIME THEATER 900 SW 1st St. Miami, FL 33130 305-575-5057

512 Espanola Way Miami Beach, FL 33139 305-673-4567

MIAMI CHILDREN'S THEATER 11155 SW 112th Ave. Miami, FL 33176 305-274-3596


2200 Liberty Ave. Miami Beach, FL 33139 305-929-7000

MIAMI WORLD THEATER Miami Beach, FL 33139 305-535-9930


12200 W Broward Blvd. #3121 Plaintation, FL 33325 954-577-8243


4120 Laguna St. Coral Gables, FL 33146 305-443-5909


The New World Symphony presents a full season of concerts from October to May at the Lincoln Theatre, located in the heart of Miami Beach’s Art Deco district. 541 Lincoln Rd. Miami Beach, FL 33139 305-673-3331


17011 NE 19th. Ave. North Miami Beach, FL 33162 Box Office: 305-787-6005 305-948-2957


322 Banyan Blvd. West Palm Beach, FL 33401 561-514-4042


One of Fort Lauderdale’s first venues, the neo-classical Playhouse, was built by Dr. Louis Parker and is managed now by the Broward Center for the Performing Arts. Parker Playhouse brings the community together with performances, activities and educational programming. 707 NE 8th St. Ft. Lauderdale, FL 33304 954-462-0222 954-763-2444 COURTESY OF NEW WORLD SYMPHONY AT LINCOLN ROAD


3000 Biscayne Blvd. Miami, FL 33137 305-576-4350

RISING ACTION THEATRE 840 E Oakland Park Blvd. Oakland Park, FL 33334 954-561-2225


12795 Forest Hill Blvd. Wellington, FL 33411 561-793-6657

SOL CHILDRENS THEATRE 3333 N Federal Highway Boca Raton, FL 33431 561-447-8829

STAGE DOOR 26TH STREET THEATRE 1444 NE 26th St. Ft. Lauderdale, FL 33305 954-344-7765

STAGE DOOR THEATRE 8036 W Sample Rd. Margate, FL 33065 954-344-7765

TAMARAC THEATRE OF PERFORMING ARTS 7143 NW 88th Ave. Tamarac, FL 33321 954-726-7898



744 SW 8th St., 2nd Floor Miami, FL 33130 305-858-2446

THE NEW VISTA THEATRE 12811 Glades Rd. Boca Raton, FL 33498 561-470-1266 Box Office: 1-888-284-4633

800 NE 8th St. Fort Lauderdale, FL 33304 954-828-5380

CHICAGO About Face Theatre 1222 W Wilson Ave. Chicago, IL 60640 773-784-8565

Apollo Theater 2540 N Lincoln Ave. Chicago, IL 60614 773-935-6100

Aragon Entertainment Center 1106 W Lawrence Ave. Chicago, IL 60640 773-561-9500

A Red Orchid Theatre 1531 N Wells St. Chicago, IL 60610 312-943-8722

Arie Crown Theater 2301 S Lake Shore Dr. Chicago, IL 60616 312-791-6190

Auditorium Theatre of Roosevelt University

Broadway in Chicago

9806 NE 2nd Ave. Miami Shores, FL 33138 305-751-9550

17 N State St. Chicago, IL60602 312-977-1701


Cadillac Palace Theatre

Marriott Lincolnshire Theatre 10 Marriott Dr. Lincolnshire, IL 60069 847-634-0200

Mary Arrchie Theatre CoMPANY 735 W Sheridan Rd. Chicago, IL 60613 773-871-0442

Music Box Theatre 3733 N Southport Ave. Chicago, IL 60613 773-871-6604

Pegasus Players THeatre 1145 W Wilson Ave. Chicago, IL 60640 7773-878-9761

Raven Theatre Company 6157 N Clark St. Chicago, IL 60660 773-338-2177

Redmoon Theater 1463 W Hubbard St. Chicago, Il 60622 312-850-8440

The Symphony of the Americas celebrates its 18th Season, bringing the best of classical music to South Florida. By presenting diverse orchestral repertoire at intimately scaled concerts by our resident orchestra and guest artists, the Symphony takes pride in the contribution it makes to the cultural environment in South Florida. 199 N Ocean Blvd., Suite 200 Pompano Beach, FL 33062 954-545-0088



3914 N Clark St. Chicago, IL 60613 773-871-1212

Riviera Theatre

2452 Lyons Rd. Coconut Creek, FL 33063 954-970-0606

Live Bait Theater

50 E Congress Pkwy. Chicago, IL 60605 312-922-2110

18 W Monroe St. Chicago, IL 60603 312-902-1400


New World Symphony at LINCOLN THEATRE 541 Lincoln Road Miami Beach, FL 33139 (305) 673-3331 (800) 597-3331


4746 N Racine Ave. Chicago, IL 60640 773-275-6800


4129 Laguna St. Coral Gables, FL 33146 305-461-1161


151 W Randolph Dr. Chicago, IL 60601 312-902-1400

Chopin Theatre 1542 W Division St. Chicago, IL 60622 773-278-1500

Ford Center for the Performing Arts Oriental Theatre 24 W Randolph Dr. Chicago, IL 60601 312-902-1400

Harris Theater for Music and Dance 205 E Randolph Dr. Chicago, Il 60601 312-629-8696


The Palace Theatre opened at the corner of Randolph and LaSalle Streets in Chicago on October 4, 1926. The theatre’s interior featured a splendor previously unseen in Chicago - a breathtaking vision inspired by the palaces of Fontainebleau and Versailles. The theatre’s distinctive characteristics included a lobby richly appointed in huge, decorative mirrors and breche violet and white marble, which swept majestically through a succession of lobbies and foyers; great wall surfaces enhanced with gold leaf and wood decorations; and 2,500 plush, roomy seats.




is f or T H E AT E R


Al Hirschfeld Theater


BANK OF AMERICA THEATRE > CHICAGO The theatre we now refer to as the Bank of America Theatre was opened on New Years Day in 1906 as the Majestic Theatre. Chicago’s first theatre since the Iroquois Theatre fire, it was the first venue in Chicago to cost over one-million dollars, and was noted for its fire safety precautions. The Majestic Building, the tallest building in Chicago when it was first built, became a landmark, seats

18 W Monroe St. Chicago, IL 60603 312-902-1400

Tony n’ Tina’s Wedding

A satirical performance of a wedding, in which the audience members are the wedding and reception guest. 230 W North Ave. Chicago, IL 60610 312-664-8844

Royal George Theatre Center

1650 N Halsted St. Chicago, IL 60614 312-335-1650

The Center for Performing Arts at Governors State University 1 University Pkwy. Chicago, IL 60466 708-235-2222

The Chicago Theatre 175 N State St. Chicago, IL 60601 312-462-6300

170 N Dearborn St. Chicago, IL 60601 312-443-3800

Tommy Gun’s Garage

An audience interactive “speakeasy” which offers a musical comedy revue wit da gangsters’ da flappers and you. 2114 S Wabash Ave. Chicago, IL 60616 312-225-0273

219 West 49th St. New York, NY 10019 212-239-6200 800-432-7250

Apollo Theater 253 West 125th St. New York, NY 10027 212-531-5300

B.B. King Blues Club 237 West 42nd St. New York, NY 10036 212-997-4144


Photo: Jeff Goldberg/Esto, Courtesy: Carnegie Hall

Beacon Theatre 2124 Broadway New York, NY 10023 212-465-6500

Carnegie Hall

For music lovers worldwide, Carnegie Hall is the ultimate musical destination, an international byword for excellence, and an institution whose rich history chronicles the defining moments of so many of the world’s most admired and beloved artists. For the leadership of this institution, this legacy provides an enjoyable yet formidable challenge, as we work each season to devise strategies that build upon the past in imaginative ways and create essential new pathways for growth. Quoted by: Chairman, Sanford I. Weill. 881 Seventh Ave. New York, NY 10019 212-903-9752

Biltmore Theater 261 West 47th St. New York, NY 10036 212-586-4307


As one of the first motion picture palaces whose decor was inspired by the Far East, Chicago’s Oriental Theatre opened to much fanfare on May 8, 1926. The theatre, a virtual museum of Asian art, presented popular first-run motion pictures, complemented by lavish stage shows. In 1996, Chicago Mayor Richard M. Daley announced that the Oriental would be restored to its original grandeur for the presentation of livestage musicals by Livent, Inc. Renamed Ford Center for the Performing Arts in 1997, the restoration of the theater. In April 2005, the first national tour of “WICKED” dropped in at the Oriental and was extended to a long-run productionin June. “WICKED” is entering its third year at the theatre.

127 East 23rd St. New York, NY 10010 212-777-6800

Booth Theater

222 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

Broadhurst Theater 235 West 44th St. New York, NY 10036 212-239-6200 800-432-7250

Broadway Theater 1681 Broadway New York, NY 10036 212-239-6200 800-432-7250

Cort Theater

138 West 48th St. New York, NY 10036 212-239-6200 800-432-7250

Ethel Barrymore Theater 243 West 47th St. New York, NY 10036 212-239-6200 800-432-7250



Steppenwolf Theatre Company

Ambassador Theater

227 West 42nd St. New York, NY 10036 212-719-1300

600 E Grand Ave. Chicago, IL 60611 312-595-7437

American Airlines Theater

Skyline Stage - Navy Pier

1641 N Halsted St. Chicago, IL 60614 312-988-9000

302 West 45th St. New York, NY 10036 212-239-6200 800-432-7250



Music Box Theater 239 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

5628 Vineland Ave. North Hollywood, CA 91601 818-506-8500

20 Lincoln Center Plz. New York, NY 10023 212-579-4176

236 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

Gershwin Theater 222 West 51st St. New York, NY 10019 212-307-4100

Hammerstein Ballroom 311 West 34th St. New York, NY 10001 212-279-7740

Hilton Theatre

214 West 43rd St. New York, NY 10019 212-556-4750

Imperial Theater 249 West 45th St. New York, NY 10036 212-239-6200 800-432-7250

4 Pennsylvania Plz. New York, NY 10001 212-465-6741

Majestic Theater 247 West 44th St. New York, NY 10036 212-239-6200 800-432-7250

Marquis Theater 1535 Broadway New York, NY 10036 212-398-1900

Metropolitan Opera House 30 Lincoln Center Plz. New York, NY 10023 212-362-6000

Nokia Theater Times Square 1515 Broadway New York, NY 10036 212-930-1940

Radio City Music Hall 1260 6th Ave. New York, NY 10020 212-307-7171

Rose Theater

70 Lincoln Center Plz. New York, NY 10023 212-721-6500

Shubert Theater 225 West 44th St. New York, NY 10036 212-239-6200 800-432-7250

Academy For New Musical Theatre

Acme Comedy Theatre 135 N La Brea Ave. Los Angeles, CA 90036 323-525-0202

Dorothy Chandler Pavillion 135 N Grand Ave. Los Angeles, CA 90012 213-972-7211

Geffen Playhouse 10886 Le Conte Ave. Los Angeles, CA 90024 310-208-5454

Henry Fonda Theater 6126 Hollywood Blvd. Los Angeles, CA 90028 323-464-0808

Hollywood Bowl

2301 N Highland Ave. Los Angeles, CA 90078 323-850-2000

Studio 54

6215 Sunset Blvd. Los Angeles, CA 90028 323-962-7600

The Fillmore at Irving Plaza

254 West 54th St. New York, NY 10019 212-719-1300

Hollywood Palladium

340 Royce Dr. Los Angeles, CA 90095 310-825-2101

We Tell Stories

Stages Theatre Center

5740 York Blvd. Los Angeles, CA 90042 323-256-2336

1540 N McCadden Pl. Hollywood, CA 90028 323-465-1010

Wadsworth Theater

The Wiltern

11301 Wilshire Blvd. Los Angeles, CA 90073 310-479-3636

175 Eighth Ave. New York, NY 10011 212-691-9740

6801 Hollywood Blvd. Los Angeles, CA 90028 323-308-6300

Vivian Beaumont Theater

Los Angeles Theatre

8440 Wilshire Blvd. Beverly Hills, CA 90211 323-655-0111

4344 Degnan Blvd. Los Angeles, CA 90008 323-293-2451

615 S Broadway Los Angeles, CA 90014 213-629-2939

Walter Kerr Theatre

Odyssey Theatre Ensemble

219 West 48th St. New York, NY 10036 212-239-2820

2055 S Sepulveda Blvd. Los Angeles. CA 90025 310-477-2055


Orpheum Theater

125 East 11th St. New York, NY 10003 212-353-1600

842 S Broadway Los Angeles, CA 90014 877-677-4386

Winter Garden Theater

Pantages Theater

Royce Hall

804 N El Centro Hollywood, CA 90038 323-906-2500

The World Stage

Kodak Theatre

1634 Broadway New York, NY 10019 212-239-6200 800-432-7250

West Coast Ensemble Theatre

Knightsbridge Theatre

The Joyce Theater

300 East Green St. Los Angeles, CA 91101 626-449-7360

Wilshire TheatRE

1944 Riverside Dr. Los Angeles, CA 90039 323-667-0955

Pasadena Civic Center

3790 Wilshire Blvd. Los Angeles, CA 90010 800-348-8499

17 Irving Place New York, NY 10003 212-777-6800

150 West 65th St. New York, NY 10023 212-239-6200 800-432-7250



Madison Square Garden Theater

1117 W 24th St. Los Angeles, CA 90007 213-745-6516

New York State Theater


24th Street Theatre

Neil Simon Theatre 250 West 52nd St. New York, NY 10019 212-757-8646

Photo by: Whitney Cox


6233 Hollywood Blvd. Los Angeles, CA 90028 800-927-2770


Now in its 12th season under Gilbert Cates(founder of the UCLA School of Theater, Film & Television) leadership, the organization has produced over 60 productions and received numerous dramatic and architectural awards across both the local and national spectrums.

T: 310-208-5454 10886 Le Conte Ave. Los Angeles, CA 90024


Symposium - 8  

art magazine

Symposium - 8  

art magazine