The inaugural weekend will take place November 30 to December 2, 2018 just before Art Basel Miami Beach, one of the most significant destination art fairs in the world.

Founded by gallerist Sarah Gavlak, the weekend formalizes the fact that major collectors typically spend the week before the ABMB in Palm Beach and host lavishly during that time. Led by Gavlak and an Advisory Board that includes Beth Rudin DeWoody, Amy Phelan, Franklin Sirmans and other prominent leaders in the industry, New Wave Art Wknd’s mission is to foster a dialogue in the burgeoning contemporary art community in Palm Beach, while also addressing critical issues of our time that artists so eloquently address. Main topics for 2018 will include diversity and immigration.

The invited guests of seasoned collectors, numbering no more than a few dozen, will be feted with lunches, dinners and programming dedicated to lively and provocative dialogue about the future of culture.  

The itinerary includes private tours of prominent contemporary collectors’ homes in the area, including Jane Holzer and Lisa and Richard Perry. The weekend’s highlight will be the opening of The Bunker Artspace: Collection of Beth Rudin DeWoody. For the 2018 installation, viewers will have the opportunity to discover new curations, while revisiting others preserved from the past year. Artist E.V. Day and White Cube’s New York Artistic Director, Eric Shiner, will each co-curate a room with Beth Rudin DeWoody.

There will also be a public programming component featuring panel discussions, lectures and the opening of a public art project in West Palm Beach curated by Yvonne Force Villareal & Doreen Remen.

–  taken from website

– for more information on additional images from this event please contact EMS at [email protected]or Instagram at @ericminhswenson

(from website) Celebrating today’s most significant creatives and leading contributors to the worlds of design and visual arts, the fair assembles 45 leading international galleries; prominent 20th-century and contemporary design dealers; a weekend of exciting programs; and 21POP, a special installation created by Stanlee Gatti.

FOG has become a focal point for the design and arts communities on the West Coast and further afield. The fair is synonymous with a uniquely pioneering spirit due to its bold hybrid approach and intimate presentation of art and design, dynamic programming on-site and its community-led mission to champion art and design in its historic Fort Mason setting. Building on FOG’s longstanding commitment to cultural institutions, the fair’s Preview Gala is honored to continue its crucial support of SFMOMA’s exhibitions and education programs. FOG represents a key moment in which the local and global community congregate to engage in critical dialogue, artistic exchanges and a shared passion for creative pursuits.

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Beth Rudin DeWoody’s art collection in West Palm Beach is a new addition to the art community in South Florida. Here is preview to her extensive private modern to contemporary art collection.

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Design Miami/ is the global forum for design. Each fair brings together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. Occurring alongside the Art Basel fairs in Miami, USA each December and Basel, Switzerland each June, Design Miami/ has become the premier venue for collecting, exhibiting, discussing and creating collectible design.

Design Miami/ is more than a marketplace for design, where the world’s top galleries gather to present museum-quality exhibitions of twentieth and twenty-first century furniture, lighting and objets d’art. Each show balances exclusive commercial opportunities with progressive cultural programming, creating exciting collaborations with designers and design institutions, panels and lectures with luminaries from the worlds of design, architecture, art and fashion, and unique commissions from the world’s top emerging and established designers and architects.

By continuously expanding and enriching its program, Design Miami/ seeks to not only satisfy the demand for a high-end design fair, but also to broaden awareness of modern and contemporary design, fuel the market for collectible design, and provide an exciting yet accessible destination for collectors and enthusiasts alike. – taken from website

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Pop Minimalism 
Minimalist Pop

Opening reception: Tuesday, December 4, 5–8pm
December 5–9, 2018
Moore Building, Miami

On the occasion of Art Basel Miami Beach 2018, Gagosian and Jeffrey Deitch are pleased to present Pop Minimalism | Minimalist Pop, their fourth collaboration at the Moore Building in the Miami Design District. This group exhibition explores the intersections and legacies of two major American art movements of the 1960s—Pop art and Minimalism—and the ways in which features of Minimalism have been incorporated into a variety of contemporary art practices. While these two art movements are typically seen to represent opposing artistic responses to the legacy of Abstract Expressionism, the work in Pop Minimalism | Minimalist Pop highlights points of common conceptual approaches and mutual exchange. Work by Jeff Koons, Adam McEwen, Sarah Morris, and Richard Prince is included. – taken from website

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

NADA Miami

The 16th edition of the fair, to be held December 6–9, 2018 at Ice Palace Studios, is dedicated to showcasing new art and to celebrating the rising talents from around the globe.

NADA holds a renowned art fair to vigorously pursue our goals of exploring new or underexposed art that is not typical of the “art establishment.” NADA Miami is the one of the only major American art fairs to be produced by a non-profit organization, and is recognized as a much needed alternative assembly of the world’s youngest and strongest art galleries dealing with emerging contemporary art. – taken from website

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

“Ginny Casey’s new paintings feature decrepit interiors full of objects like chisels, woodcutters, pulleys and in-process sculptures. In Casey’s theatre of the absurd, these objects are distorted, engorged and disproportioned where the restrictions of logic and time are abandoned to the surreal.

For Casey, the concept of space is subjective, each painting challenges the notion of linear space as a way to provoke preconceived perceptions. Multiple trap doors, staircases that lead to nowhere, and ladders that extend to windows into the abyss all contribute to a spatial disorientation.

The paintings encourage open interpretation. For Casey, “It’s like trying to see in the dark… it’s all intuitive.” Starting from drawings of individual objects, Casey redraws and collages these together, building relationships, narratives, and tension into what becomes the finished composition. Her paintings do not begin with preconceived notions of a finished product; rather, a story develops, emerging from her subconscious. Casey draws upon psychoanalysis, free-association, dreams and the unconscious to make her paintings.

Casey, a new mother, has found imagery that evokes fertility and motherhood recurring in her work. Vessels of varying shapes and use recur often. In Stunted Developments one such vessel is stuck in a wooden table, half birthed, a cracked egg rests in a spoon atop an adjacent table, while a blue vessel and sculpting materials are additional actors in this drama. Allusions to motherhood are omnipresent.”

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Bellagio Gallery of Fine Art presents two installations by renowned artist Yayoi Kusama, Infinity Mirrored Room – Aftermath of Obliteration of Eternity and Narcissus Garden. An immersive experience for visitors, Yayoi Kusama offers a unique wonderland of lights and reflections where guests become part of the artworks and can experience Kusama’s exploration of infinite space. 

Aftermath of Obliteration of Eternity is a room of infinite, shimmering lights. Guests step into an enclosed room to become immersed, as an array of lights ignite a delicate mirage mirrored on every surface representing the eternal cycle of life over the span of just under a minute. The space represents Kusama’s lifelong obsession with the dissolution of the self into the infinite.

Narcissus Garden has been re-installed and commissioned in various settings since its creation more than 50 years ago. This iteration is comprised of 750 stainless steel silver globes that create an infinite lake that distorts images of reality reflected on the surface of the 12-inch orbs.

Recognized today for her robust career, Kusama is one of the most successful and well-known living artists. Time Magazine named her one of the most influential people in the world in 2016.

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Art is an after-reflection.
—Urs Fischer

Gagosian is pleased to present Images, an exhibition of new paintings and sculptures by Urs Fischer.

In Fischer’s work, images emerge from an odd liminal space between the real and the imagined, between what does, and could, exist. Over the past year, he has been creating paintings digitally, inventing things, rooms, and spaces using color and light. On a screen, as opposed to paper or canvas, Fischer is able to paint with light itself—moving illuminated pixels around, juxtaposing clean lines and gradients, and reflecting on the subtle atmospheric changes across day and night, summer and winter, Los Angeles and New York.

Silkscreened onto aluminum panels, the paintings in this exhibition—vertical compositions broken up into multiple rectangular passages—take on the scale of modern abstraction, yet they all describe imaginary interior and exterior worlds. Windows appear often: one glows behind a gauzy white curtain, looking onto swaying palm trees; another reflects a sunrise or sunset, with a still life on a table barely visible through fingerprints on the glass; and another frames a building across the street, where nine more windows reveal smeared and fragmented California views. In other paintings, Fischer imagines canvases hanging on walls, hit with swathes and squares of light pouring in from an unseen source. The fictional paintings and sculptures depict animals, food, city streets, or messy brushstrokes, but they—like the light—only exist within Fischer’s constructed environments; they need not adhere to any history, law, or logic.

Fischer presents characters and drawings that seem capable of disappearing at any moment. In one painting, a small orange bird sits on a branch, floating in a dark gray sky. Though its legs are in sharp focus, its body becomes a vaporous orb, glowing within the surrounding clouds. And in an uncanny sculptural ecosystem below, two motorized snails slowly wander through the gallery, leaving trails of slime in their wake. These gleaming lines, which evaporate over time, wind across the floor, uniting the other sculptures—a smoking volcano, a snowman, a palm tree—within a swirling, ephemeral landscape. Looming over the scene, the surrounding paintings form vivid, even cinematic, backdrops: a montage of disparate settings for a small, peculiar world.

– FROM GAGOSIAN WEBSITE

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AI WEIWEI: LIFE CYCLE

(from Marciano gallery) September 28, 2018 – March 3, 2019Marciano Art Foundation is pleased to announce the third MAF Project in the Theater Gallery, a solo exhibition of Chinese artist Ai Weiwei, on view from September 28, 2018 — March 3, 2019. This exhibition is Ai’s first major institutional exhibition in Los Angeles and will feature the new and unseen work Life Cycle (2018) – a sculptural response to the global refugee crisis. The exhibition will also present iconic installations Sunflower Seeds (2010) and Spouts (2015) within the Foundation’s Theater Gallery.

On view for the first time in the Black Box, Life Cycle (2018) references the artist’s 2017 monumental sculpture Law of the Journey, Ai’s response to the global refugee crisis, which used inflatable, black PVC rubber to depict the makeshift boats used to reach Europe. In this new iteration, Life Cycle depicts an inflatable boat through the technique used in traditional Chinese kite-making, exchanging the PVC rubber for bamboo.

Suspended around the boat installation are figures crafted from bamboo and silk. In 2015, Ai began creating these figures based on mythic creatures from the Shanhaijing, or Classic of Mountains and Seas. The classic Chinese text compiles mythic geography and myth; versions of the Shanhaijing have existed since the 4th century B.C. These works are crafted in Weifang, a Chinese city in Shandong province with a tradition of kite-making dating back to the Ming dynasty (1368–1644).

Windows (2015), which hangs along the perimeter of the Black Box, draws from Chinese mythology, the tales and illustrations of the Shanhaijing, the history of 20^th-century art, and the life and works of the artist. The vignettes feature a dense mix of biographical, mythological, and art historical references to craft a contemporary story. Similar to chapters in a book, or acts in a play, the various scenes include the mythological creatures of the Shanhaijing alongside bamboo versions of Ai’s earlier works, such as Template and Bang, and homages to Marcel Duchamp and Jasper Johns. A central theme running through the ten vignettes is freedom of speech and Ai’s efforts in defending it. Motifs recurring in Ai’s practice—the bicycle, the alpaca, symbols of state surveillance and control—are repeated and multiplied.

This multifaceted installation is a continuation of Ai’s ongoing engagement with politics and social justice. It follows the release of his feature-length documentary, Human Flow (2017), which depicts the refugee crisis on film. In the artist’s op-ed for the Guardian in February 2018, he writes, “I was a child refugee. I know how it feels to live in a camp, robbed of my humanity. Refugees must be seen as an essential part of our shared humanity.”

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson