On exhibit at:

THE DELANO HOTEL LOBBYMiami Beach December 2–8

ART MIAMIRosenbaum Contemporary Booth #A43December 3-8

RAPHAEL MAZZUCCO

www.rosenbaumcontemporary.com

ART BASEL IN Miami Beach offers more art than a collector can hope to absorb in a few days. The good news? There’s something for everybody. Here, Blouin Artinfo’s EILEEN KINSELLA offers a short guide for collectors who know what they want.

Blum & Poe, Los Angeles, CA, USABEST FOR: Collectors of contemporary blue chip artistsThe gallery is showing Carroll Dunham’s colorful and arresting mixed media on canvas “Hers/Dirt/Three,” 2009, and Yoshitomo Nara’s “Blood, Sweat, Tears,” 2008. British artist Linder’s collage “An Unidentified Species,” 2007, are also on view, as is Zhu Jinshi’s painting “I am Here Inviting Bach I,” 2013.

White Cube, London, UKBEST FOR: The not easily shockedThe London gallery is toting a 2013 gouache-and-embroidery-on-calico, “Floating,” by Tracey Emin (see the interview on page 8). Also in the booth is brothers Jake and Dinos Chapman’s installation “In Our Dreams We Have Seen Another World,” 2013 — a rare treat, since the Chapmans seldom show in the U.S.

Pace, New York, NY, USA BEST FOR: Collectors of modern mastersPace presents a new mirror sculp-ture by Fred Wilson, a bronze relief by Kiki Smith entitled “Mine,”

2012, and the rare “Rinzen núm. 2,” 1993, by Antoni Tàpies. Also sprung from the crates: multiple works by Kenneth Noland and Richard Pousette-Dart, both of whose estates Pace now represents.

Eigen + Art, Berlin and Leipzig, GermanyBEST FOR: Painting aficionadosGallery founder Gerd Harry Lybke chose to bring works by Uwe Kowski, a longtime exhibiting German artist. The gallery is also showing work by Melora Kuhn, “our discovery in the U.S.A.,” Lybke says. “We are happy to show the Americans what we discovered in America.”

Fortes Vilaça, São Paulo, BrazilBEST FOR: Collectors of Latin American up-and-comers Brazilian artist Erika Verzutti, who is currently participating in the

Carnegie International in Pittsburgh, Pennsylvania, and the Bienal do Mercosul in Porto Alegre, Brazil, is highlighted here. The gal-lery also brings work by Janaina Tschäpe, Los Carpinteros, Iran do Espírito Santo, and the graffiti and street art duo Os Gêmeos.

McCaffrey Fine Art, New York, NY, USABEST FOR: Collectors of artists’ artistsDealer Fergus McCaffrey offers works by the Scots-Irish painter William Scott. These include “Green Beans on a White Plate,” 1977/78, and “Forms Domestic,” 1976. McCaffrey is also showing an untitled 1966 work by Sigmar Polke (MOMA will have a retro-spective of his work in April), and Birgit Jurgenssen’s “Eiserne Jungfrau/Iron Maden,” 1976, a work on paper.

THE ARGENTINE ARTIST Leandro Erlich may not be as well known in the U.S. as his country-man Guillermo Kuitca, but his following is expanding. In Miami, his works are included in the Margulies Collection at the Warehouse (591 NW 27th Street) among such prominent names as Sol LeWitt and Isamu Noguchi, and two weeks ago the director of the Collection report-edly decided to install Erlich’s “Rain III,” 1999–2000, previously in storage and then on loan. “Rain III” takes the form of a window, in which special effects create wind, thunder, and light-

ning; a water pump system sprays the glass. “Archaeological Storm,” 2013, one of Erlich’s newest stormy windows, can be purchased at Art Basel in Miami Beach at the Sean Kelly Gallery. — ELIZABETH MANUS

Erlich’s “Archaeological Storm,” 2013

LEANDRO ERLICH’S TAKE-HOME STORM

WORKS TO WATCH FORWhat Will the Collectors Be Fighting Over?

FOR LIVE UPDATES AND VIDEO VISIT BLOUINARTINFO.COM

M I A M I FA I RS EDI T ION | DECEM BER 3, 2013

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THIS MONTH, IN his first exhibi-tion with Fredric Snitzer Gallery, Miami-based artist Enrique Martínez Celaya has created an immersive installation, titled “Burning as It Were a Lamp.”

In line with his expansive multi-media show at SITE Santa Fe this past summer, Martínez Celaya pres-ents a room with mirrors on three

walls, at the center of which stands a bronze statue of a young man. Behind him hangs a new large-scale painting of a burnt angel; a similar large-scale painting also hangs in Snitzer’s Art Basel booth.

“Art fairs are a challenge for an artist like myself who works in a total work of art,” Martínez Celaya says. “That’s why I try to subvert it. For this I am doing a painting that is very big and connected in dialogue with the other things. As an artist you have to find ways to sabotage it [the fair] while still participating.” — ASHTON COOPER

BURNING ANGELS

Yoshitomo Nara’s “Blood, Sweat, Tears,” 2008, at Blum & Poe

Enrique Martínez Celaya’s “The Forgotten,” 2013, at Fredric Snitzer Gallery

AMONG THE FRESH faces at Art Basel in Miami Beach this year are Elizabeth Dee, cofounder and pres-ident of the Independent fair in New York, as well as several mem-bers of the New Art Dealers Alliance (NADA), who are graduat-ing from the organization’s event

at the Deauville Beach Resort to the convention center. “The vacan-cies are enabling us to bring on some great new galleries,” says NADA Art Fair director Heather Hubbs, who also notes that due to economic recovery, she has seen “a surprising number of quality gal-leries open in places you wouldn’t necessarily expect” over the past couple of years. This year the NADA show attracts a strong crowd of young art world insiders, with a range of exhibitors from places likes Romania and Estonia to Milwaukee and Kansas City.

There is no shortage of compe-tition for the attention of curious young collectors, and fairs continu-

ally must reinvent the wheel. Scope is moving over the causeway from midtown Miami to a series of tents near the ocean in South Beach. The 24-year-old Art Miami, a more established scene (based in the Wynwood neighborhood) that’s heavier on work by modern

or midcareer contemporary artists, will reprise its edgier sister, Context, launched last year. And Pulse returns to the Ice Palace Studios downtown with an inter-national lens, with half of its galleries hailing from outside the United States.

All eyes will be on the second edition of UNTITLED, which last year felt like an oasis in an airy, spacious tent on the beach (designed by architects John Keenen and Terence Riley of K/R). More than doubling its num-ber of exhibitors, with 97 on board this year, UNTITLED is changing the traditional art fair model. It’s not a “come here and

..hang your wares” fair, says founder Jeff Lawson. Rather,

curator Omar Lopez-Chahoud and a team of advisers carefully

consider what to show — and this year that means more Latin American galleries and a “contrast between older and

midcareer artists with a younger generation,” says

Lopez-Chahoud of a strategy pitched to add historical con- text. A similar approach is

apparent at Design Miami, the sister fair to Art Basel that attracts a well-heeled

crowd of collectors and style mavens. Cutting-edge creations

by the world’s top designers are de rigueur at Carpenters Workshop Gallery, Demisch Danant, and Didier Ltd.,

among others; but it’s the historical material that lends gravitas, courtesy of

Moderne Gallery and Magen H. Gallery. With all the

flurry, it’s easy to see why in Miami there’s no time for fatigue. — MEREDITH MENDELSOHN

ART CITY Miami Fairs Curated for the Cutting Edge

BY APPOINTMENT

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Clockwise from left: Beat Zoderer’s “Specimen Tondo 4-Gruppe, Nr. 1, 2, 3, 6,” 2013, at PULSE Miami; J.T. Kirkland’s “Subspace 099,” 2012, at SCOPE; Daido Moriyama’s “How to Create a Beautiful Picture 6: Tights in Shimotakaido,” 1987, at Miami Project; Ara Peterson’s “Tower,” 2013, at UNTITLED; Olympia Scarry’s “Saliva,” 2012, at SCOPE

It’s not a “come here and hang your wares” fair, says UNTITLED founder Jeff Lawson.

2 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3

April 10-13, 2014 | San Jose Convention Center | www.siliconvalleycontemporary.com

The Region’s FiRsT inTeRnaTional Fine aRT FaiR

deFining sTaTe-oF-The-aRT

ART-CADE GAMES Among the many quirky installa-tions in Miami is one by Patrick McNeil and Patrick Miller, known as the artistic duo FAILE. Along with fellow Brooklyn artist BAST, they are taking their third “Deluxx Fluxx Arcade” to a vacant storefront on Washington Avenue near 16th Street. Featuring programmed video games, pinball machines and psychedelic foos-ball, the interactive exhibition brings contemporary punk rock and New York City graffiti culture into a custom-made arcade. FAILE gave ARTINFO a tour during the last-minute preps.

— KRISTEN BOATRIGHT

SEE THE VIDEO AT:

blouinartinfo.com/failemiami

WATCH IT ONLINE

AMONG THE FRESH faces at Art Basel in Miami Beach this year are Elizabeth Dee, cofounder and pres-ident of the Independent fair in New York, as well as several mem-bers of the New Art Dealers Alliance (NADA), who are graduat-ing from the organization’s event

at the Deauville Beach Resort to the convention center. “The vacan-cies are enabling us to bring on some great new galleries,” says NADA Art Fair director Heather Hubbs, who also notes that due to economic recovery, she has seen “a surprising number of quality gal-leries open in places you wouldn’t necessarily expect” over the past couple of years. This year the NADA show attracts a strong crowd of young art world insiders, with a range of exhibitors from places likes Romania and Estonia to Milwaukee and Kansas City.

There is no shortage of compe-tition for the attention of curious young collectors, and fairs continu-

ally must reinvent the wheel. Scope is moving over the causeway from midtown Miami to a series of tents near the ocean in South Beach. The 24-year-old Art Miami, a more established scene (based in the Wynwood neighborhood) that’s heavier on work by modern

or midcareer contemporary artists, will reprise its edgier sister, Context, launched last year. And Pulse returns to the Ice Palace Studios downtown with an inter-national lens, with half of its galleries hailing from outside the United States.

All eyes will be on the second edition of UNTITLED, which last year felt like an oasis in an airy, spacious tent on the beach (designed by architects John Keenen and Terence Riley of K/R). More than doubling its num-ber of exhibitors, with 97 on board this year, UNTITLED is changing the traditional art fair model. It’s not a “come here and

..hang your wares” fair, says founder Jeff Lawson. Rather,

curator Omar Lopez-Chahoud and a team of advisers carefully

consider what to show — and this year that means more Latin American galleries and a “contrast between older and

midcareer artists with a younger generation,” says

Lopez-Chahoud of a strategy pitched to add historical con- text. A similar approach is

apparent at Design Miami, the sister fair to Art Basel that attracts a well-heeled

crowd of collectors and style mavens. Cutting-edge creations

by the world’s top designers are de rigueur at Carpenters Workshop Gallery, Demisch Danant, and Didier Ltd.,

among others; but it’s the historical material that lends gravitas, courtesy of

Moderne Gallery and Magen H. Gallery. With all the

flurry, it’s easy to see why in Miami there’s no time for fatigue. — MEREDITH MENDELSOHN

ART CITY Miami Fairs Curated for the Cutting Edge

BY APPOINTMENT

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Clockwise from left: Beat Zoderer’s “Specimen Tondo 4-Gruppe, Nr. 1, 2, 3, 6,” 2013, at PULSE Miami; J.T. Kirkland’s “Subspace 099,” 2012, at SCOPE; Daido Moriyama’s “How to Create a Beautiful Picture 6: Tights in Shimotakaido,” 1987, at Miami Project; Ara Peterson’s “Tower,” 2013, at UNTITLED; Olympia Scarry’s “Saliva,” 2012, at SCOPE

It’s not a “come here and hang your wares” fair, says UNTITLED founder Jeff Lawson.

2 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3

April 10-13, 2014 | San Jose Convention Center | www.siliconvalleycontemporary.com

The Region’s FiRsT inTeRnaTional Fine aRT FaiR

deFining sTaTe-oF-The-aRT

ART-CADE GAMES Among the many quirky installa-tions in Miami is one by Patrick McNeil and Patrick Miller, known as the artistic duo FAILE. Along with fellow Brooklyn artist BAST, they are taking their third “Deluxx Fluxx Arcade” to a vacant storefront on Washington Avenue near 16th Street. Featuring programmed video games, pinball machines and psychedelic foos-ball, the interactive exhibition brings contemporary punk rock and New York City graffiti culture into a custom-made arcade. FAILE gave ARTINFO a tour during the last-minute preps.

— KRISTEN BOATRIGHT

SEE THE VIDEO AT:

blouinartinfo.com/failemiami

WATCH IT ONLINE

Visit the Hasselblad VIP Lounge at the Bass Museum of Art to see the most luxurious cameras in the world!

Find out what’s trending! Follow these offi cial Hasselblad Ambassadors during Art Basel for the latest in art, style, and design.

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Patrick McMullanNYC Celebrity/Society Photographer

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expochicago.comPresenting Sponsor

THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART

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3-D ABRAMOVIC Matthu Placek’s Portrait of the Artist

MOVING PICTURES

IT’S EASY TO get from New York to Miami. Just take a look at New York photographer Matthu Placek’s “A Portrait of Marina Abramovic.” A short 3-D film paced to the haunting sounds of a Serbian-translated Greek folk song, it was shot in the abandoned Hudson, New York, theater-turned–tennis club that will be home to the future OMA-designed Marina Abramovic Institute.

And the film is as much about the architecture as it is about Abramovic herself. “The space

is her future, her body is her pres-ent and past, and the music is her heritage,” Placek says of his Belgrade-born subject.

During Art Basel in Miami Beach, Placek’s six-minute “por-trait” will be screened at, appropri-ately enough, another vacant site: the Ignacio Carrera-Justiz–designed “Jewel Box,” a stained-glass–walled pavilion cantilevered on a red rectangular plinth. Placek describes the building as “architecture ripe for renewal.” In Wynwood, as the Jewel Box’s gutted interior awaits

renovation by the National YoungArts Foundation (which pro-duced Placek’s film in collaboration with art and fashion publishers Visionaire), visitors will ascend a set of stairs accompanied by music and travel the perimeter of the building’s interior before being confronted with Abramovic’s gaze head-on. The film has also arrived in Miami at an opportune time for Abramovic to drum up publicity for her soon-to-be-real-ized $20 million institute.

In a single take, Placek’s

camera descends (and descends, and descends) through a cavernous industrial shell in which the distort-ed color temperature renders the soft lighting orange and the con-crete surfaces a pallid green. It lands on Abramovic standing in a Madonna-like posture of for-ward-facing palms and downcast gaze. Her body appears to float — partly because her body has been painted a cold white, partly because the film’s audience mem-bers are wearing 3-D glasses.

“I asked her to be nude in the film because this is really a portrait of her body of work, which is her body,” says Placek. “I wanted to do that in 3-D so that her body is tangible.”

In contrast to her previous work, Abramovic’s performance here is far less strenuous, thanks to the simplicity of Placek’s direction: “I said, ‘I want you to just react

to the movement of the music.Address the camera when you feel the room has come to a stop, and I’m just going to follow you.’”

Spare and focused, the film has a monastic, meditative quality that gives away nothing about its hectic production process, which involved no fewer than 45 crew members, a 50-foot-tall crane, some 80 light fixtures, and a 3-D rig. What Placek presents is a nearly unblinking portrait of the utmost intensity.

“She blinked once, and we said we could take care of it in post [production],” he recalls. “She said, ‘I get paid not to blink — no, we’re doing it again! That’s my job.’” — JANELLE ZARA

“A Portrait of Marina Abramovic” is on view December 4–7 at the Jewel Box every 15 minutes from 6 p.m.–3 a.m.

Left to right: Matthu Placek; still from “A Portrait of Marina Abramovic ,” 2013; the Jewel Box

4 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3

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expochicago.comPresenting Sponsor

THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART

SAVE THE DATE18–21 SEPTEMBER 2014NAVY PIER

THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART

SAVE THE DATE18–21 SEPTEMBER 2014NAVY PIER

3-D ABRAMOVIC Matthu Placek’s Portrait of the Artist

MOVING PICTURES

IT’S EASY TO get from New York to Miami. Just take a look at New York photographer Matthu Placek’s “A Portrait of Marina Abramovic.” A short 3-D film paced to the haunting sounds of a Serbian-translated Greek folk song, it was shot in the abandoned Hudson, New York, theater-turned–tennis club that will be home to the future OMA-designed Marina Abramovic Institute.

And the film is as much about the architecture as it is about Abramovic herself. “The space

is her future, her body is her pres-ent and past, and the music is her heritage,” Placek says of his Belgrade-born subject.

During Art Basel in Miami Beach, Placek’s six-minute “por-trait” will be screened at, appropri-ately enough, another vacant site: the Ignacio Carrera-Justiz–designed “Jewel Box,” a stained-glass–walled pavilion cantilevered on a red rectangular plinth. Placek describes the building as “architecture ripe for renewal.” In Wynwood, as the Jewel Box’s gutted interior awaits

renovation by the National YoungArts Foundation (which pro-duced Placek’s film in collaboration with art and fashion publishers Visionaire), visitors will ascend a set of stairs accompanied by music and travel the perimeter of the building’s interior before being confronted with Abramovic’s gaze head-on. The film has also arrived in Miami at an opportune time for Abramovic to drum up publicity for her soon-to-be-real-ized $20 million institute.

In a single take, Placek’s

camera descends (and descends, and descends) through a cavernous industrial shell in which the distort-ed color temperature renders the soft lighting orange and the con-crete surfaces a pallid green. It lands on Abramovic standing in a Madonna-like posture of for-ward-facing palms and downcast gaze. Her body appears to float — partly because her body has been painted a cold white, partly because the film’s audience mem-bers are wearing 3-D glasses.

“I asked her to be nude in the film because this is really a portrait of her body of work, which is her body,” says Placek. “I wanted to do that in 3-D so that her body is tangible.”

In contrast to her previous work, Abramovic’s performance here is far less strenuous, thanks to the simplicity of Placek’s direction: “I said, ‘I want you to just react

to the movement of the music.Address the camera when you feel the room has come to a stop, and I’m just going to follow you.’”

Spare and focused, the film has a monastic, meditative quality that gives away nothing about its hectic production process, which involved no fewer than 45 crew members, a 50-foot-tall crane, some 80 light fixtures, and a 3-D rig. What Placek presents is a nearly unblinking portrait of the utmost intensity.

“She blinked once, and we said we could take care of it in post [production],” he recalls. “She said, ‘I get paid not to blink — no, we’re doing it again! That’s my job.’” — JANELLE ZARA

“A Portrait of Marina Abramovic” is on view December 4–7 at the Jewel Box every 15 minutes from 6 p.m.–3 a.m.

Left to right: Matthu Placek; still from “A Portrait of Marina Abramovic ,” 2013; the Jewel Box

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DEBARKING IN MIAMITwo Museum Shows Document the Immigrant Experience

ON VIEW

ON DECEMBER 4, the Pérez Art Museum Miami (PAMM) moves to its new Herzog & de Meuron–designed home. In the spirit of migration, one of its many opening exhibitions features the work of the French-Moroccan video artist Bouchra Khalili, whose art deals explicitly with the immigrant expe-rience. Khalili’s work explores issues of transnationalism and transience, resonating also with Miami’s history as a port city.

“We wanted artists who could dynamically engage the spaces of the new building and the diverse cultural contexts of Miami,” PAMM curator Diana Nawi wrote in an e-mail. “We are a city that embodies the movements and migrations that global capital and economies and political situations have engendered; these are the sto-ries and experiences that Bouchra engages with across her practice.”

In 2012, for example, Khalili, who is based in Paris, produced a photo series called “Wet Feet,” in reference to Florida’s infamous “wet foot / dry foot” policy allow-

ing Cuban immigrants who make it to shore to stay in the U.S. while those apprehended at sea are deported. The pictures show rem-

nants of these refugees’ often pre-carious voyages — overturned hulls, sheets of corrugated metal.

In the PAMM show, Khalili pres-

ents the concluding chapter of her video trilogy “The Speeches Series,” 2012–13, in which she documents the experiences of individuals from a range of backgrounds. Commissioned by the museum, this final piece focuses on immigrants who have settled in New York City. “While she didn’t produce the work here, nor is it about ‘Miami,’ it’s incredibly relevant to the pro-cesses, politics, and economies that shape the city,” Nawi wrote.

Meanwhile, across Biscayne Bay, the works of Polish-born artist Piotr Uklanski come to Miami Beach’s Bass Museum of Art start-ing on December 5. The show is titled “ESL,” the acronym for “English as a second language,” which speaks not only to Uklanski’s status as an immigrant in America but also to the “dialect” of his artistic practice.

“Here the notion of ‘ESL’ becomes an interpretative meta-phor,” Uklanski wrote in an e-mail. “I see equivalence between my use of specific artistic vernaculars and my particular use of grammar

or awkward pronunciation in English.”

The artist has produced work in a wide range of media, from fiber arts and sculpture to performance and film — notably the literally ESL feature film “Summer Love,” 2006, an English-language Western set in Poland. Though the show at the Bass Museum presents neither film nor performance, Uklanski sees the “deliberate mise-en-scene” of the exhibition as an assertion that “my studio practice, itself, is a performative project.”

One of the themes explored in his work, according to the Bass, is the American Dream. “I love a good cliché — particularly when it’s true,” the artist wrote. “There is nothing more hackneyed than the aspirational implications of the American Dream. It is simultane-ously a hollow myth pandered to by demagogues and a tangible par-adigm of class mobility that per-sists in our collective conscious-ness. All of my works embrace this dual quality of aspiration and cliché.” — ANNELIESE COOPER

Piotr Uklanski’s “Untitled (Priceless),” 2012, at the Bass Museum of Art

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DEBARKING IN MIAMITwo Museum Shows Document the Immigrant Experience

ON VIEW

ON DECEMBER 4, the Pérez Art Museum Miami (PAMM) moves to its new Herzog & de Meuron–designed home. In the spirit of migration, one of its many opening exhibitions features the work of the French-Moroccan video artist Bouchra Khalili, whose art deals explicitly with the immigrant expe-rience. Khalili’s work explores issues of transnationalism and transience, resonating also with Miami’s history as a port city.

“We wanted artists who could dynamically engage the spaces of the new building and the diverse cultural contexts of Miami,” PAMM curator Diana Nawi wrote in an e-mail. “We are a city that embodies the movements and migrations that global capital and economies and political situations have engendered; these are the sto-ries and experiences that Bouchra engages with across her practice.”

In 2012, for example, Khalili, who is based in Paris, produced a photo series called “Wet Feet,” in reference to Florida’s infamous “wet foot / dry foot” policy allow-

ing Cuban immigrants who make it to shore to stay in the U.S. while those apprehended at sea are deported. The pictures show rem-

nants of these refugees’ often pre-carious voyages — overturned hulls, sheets of corrugated metal.

In the PAMM show, Khalili pres-

ents the concluding chapter of her video trilogy “The Speeches Series,” 2012–13, in which she documents the experiences of individuals from a range of backgrounds. Commissioned by the museum, this final piece focuses on immigrants who have settled in New York City. “While she didn’t produce the work here, nor is it about ‘Miami,’ it’s incredibly relevant to the pro-cesses, politics, and economies that shape the city,” Nawi wrote.

Meanwhile, across Biscayne Bay, the works of Polish-born artist Piotr Uklanski come to Miami Beach’s Bass Museum of Art start-ing on December 5. The show is titled “ESL,” the acronym for “English as a second language,” which speaks not only to Uklanski’s status as an immigrant in America but also to the “dialect” of his artistic practice.

“Here the notion of ‘ESL’ becomes an interpretative meta-phor,” Uklanski wrote in an e-mail. “I see equivalence between my use of specific artistic vernaculars and my particular use of grammar

or awkward pronunciation in English.”

The artist has produced work in a wide range of media, from fiber arts and sculpture to performance and film — notably the literally ESL feature film “Summer Love,” 2006, an English-language Western set in Poland. Though the show at the Bass Museum presents neither film nor performance, Uklanski sees the “deliberate mise-en-scene” of the exhibition as an assertion that “my studio practice, itself, is a performative project.”

One of the themes explored in his work, according to the Bass, is the American Dream. “I love a good cliché — particularly when it’s true,” the artist wrote. “There is nothing more hackneyed than the aspirational implications of the American Dream. It is simultane-ously a hollow myth pandered to by demagogues and a tangible par-adigm of class mobility that per-sists in our collective conscious-ness. All of my works embrace this dual quality of aspiration and cliché.” — ANNELIESE COOPER

Piotr Uklanski’s “Untitled (Priceless),” 2012, at the Bass Museum of Art

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I saw her a few other times, and then the idea of the collaboration came up. I could either send her stuff or she could send me stuff, but we didn’t decide. Then one day I just got this roll of prints through the post. I could do whatever I wanted with them. It took me two and half years, because I was nervous. I wanted it to be me and Louise, and I also desperately wanted it to look as if one person had made it. I just loved her watercolors; to me they were finished, I didn’t have to do anything. I had to work out how I could make my mark on them without overriding what she did. And I did it. Louise came up with the title for the whole thing, “Do Not Abandon Me,” and I titled each print, so everything was balanced.

Are there other women who have played a similar role in your life?No. But it’s her age as well. She might have known a lot of people who influenced me. Edvard Munch died in 1945. She was con-nected to a part of history that I really respond to. I don’t think it’s the fact that

she’s a woman, I think it’s about the kind of artist she was, and where her influences were coming from. It’s amazing how much one can recognize your drawings in your clay figures [like your swan on a plinth].Have you read “The Black Swan” by Thomas Mann? You’ve got to read it. I had this intellectual crush on someone. But he didn’t feel the same way about me. For a present he bought me “Black Swan.” It’s basically about a woman who falls in love with this young guy. She thinks that her periods have started again, and it’s like the elixir of love, but in truth she’s got cancer of the womb, and within a couple of weeks, she’s dead. The complexity of the book is really interesting, especially from the point of view of a woman who is 50 and has an intellectual crush on someone much younger than herself. This is why I made this piece.

Did you feel humiliated?Yes, totally! But it’s quite good, because the swan looks quite clitoral — without being over the top. One of the biggest derogatory remarks made about my neons was “pithy, overindulgent sentimentality.”

Have they never fallen in love before? Obviously they haven’t. Obviously they’ve never had the courage to express any kind of emotional feelings, because people who have can relate. It’s like the lyrics of a song like “One Day I’ll Fly Away.” In the right situation, it doesn’t mat-ter how drossy that song is, it can affect you, because everybody can relate to the sentiment — especially at a funeral, actually. Put that song in a funeral context and, wow, everyone is in tears, aren’t they? If you go around judging on a supremacy level, you are never going to experience anything, are you?

Do you feel that people are scared of their own feelings?Yes. It’s a bit like karaoke. The people who are best at it are the people who can’t sing — they try their hardest. It’s endearing, it’s heartfelt, and you really feel it. If you are a professional artist and you have been doing what you are doing for 20 years and you have conviction behind what you do, then you should do it.

Your own story has featured prominently in your work. But with these sculptures you seem to be coming at your story some-what tangentially.I do need to escape, because there’s stuff I want to say about love and about people but I can’t. At the age of 50, you can’t keep banging on about the same kinds of things. Grow up! You are getting better, get on with it. You may have the same issues as when you were 20, but you address them in a very different way. When you are hun-gry as an adult, you tend not to scream about it — you go and get something to eat. I don’t do therapy: I just want to do it all through my work. When I work something out, it’s such a good feeling: “Oh yes, of course, love didn’t exist, I just thought that it did.” Once I realized that, I felt so much better, because I realized that a lot of the agony or hurt that I went through wasn’t real. It’s just what I thought was happening.

For more information about Emin’s exhibi-tion “Angel Without You,” see page 15.

ALTHOUGH LONG PART of Britain’s art establishment, Tracey Emin remains for many the navel-gazing enfant terrible of the 1990s. Despite representing the U.K. at the 2007 Venice Biennale, being appointed professor at the Royal Academy in 2011 (one of only two women ever to win this post), and even being named a Comander of the British Empire in March, she hasn’t managed to shake off this image. So much has been written about Emin — by herself and others — since she first came to prominence alongside fellow YBAs Damien Hirst and Sarah Lucas more than 20 years ago that her story has congealed into a series of quasi-mythical episodes: the childhood in the seaside town of Margate; the promiscuity; the abortions; the shop with Lucas; the first show with White Cube’s Jay Jopling, cheekily entitled “My Major Retrospective 1963–1993”; the tent in 1995 (“Everyone I Have Ever Slept With 1963–1995”); 1998’s “My Bed”; the drunkenness; the heartbreaks. Emin’s life story is so ingrained in every one of her drawings, sculptures, paintings, neons, and embroideries that at times it has obscured the striking coherence of her artistic project. Yet things have begun to change. Emin’s 2011 exhibition at London’s Hayward Gallery allowed the emergence of affinities with the likes of Ida Applebroog and Louise Bourgeois, demon-strating that Emin does belong in their league. In May, at the New York foundry Bourgeois once frequented, Emin prepared a series of bronze sculptures for a solo show at Lehmann Maupin in Manhattan. In advance of her first museum show in the U.S., at the Museum of Contemporary Art, North Miami — timed to coincide with the December 4 opening of Art Basel in Miami Beach — the artist talked with Blouin Artinfo U.K. bureau chief COLINE

MILLIARD at her studio, a 17th-century former weaving works in Spitalfields, London. This feels a bit like your American year.I’ve never shown in a museum in America. I’m 50 this year, so I think it’s quite late. But then I was a late developer. I didn’t have an exhibition anywhere until I was 30. My first exhibition was at 30, and then for my first show in America, I’m 50. It’s kind of all right: I’m just a slow burner. And this is a very ambitious exhibition. It’s during Art Basel [in] Miami Beach, and it’s a neon show. I don’t know anyone else who has done that. I don’t know any women who have done it, that’s for sure. Do you think there is still a discrepancy between male and female artists?Yes, a massive discrepancy. If Louise [Bourgeois] had been a man, her work would now be selling for 30, 40 million —but it’s not, because she’s a woman.

Not long before her death you collaborated with Bourgeois, adding texts and drawings to one of her series of watercolors. And for your forthcoming gallery show, you are working with the foundry she used to use to produce new bronzes.Yes, I’m working with Jerry Gorovoy and Scott Lyon-Wall. Jerry was Louise’s assistant for 30 years, and Scott was involved with the [Bourgeois] foundation. When I did the collaboration with her, I didn’t quite under-stand what Louise was giving me. I didn’t expect to have this amazing friendship with

these people: really warm, close, cozy, bril-liant, intellectual, and stimulating. I thought I was doing a collaboration. It’s amazing how it all turned out. I spend a lot of time in America now because of them. I’ve just bought a place in Miami, so you are right, it is my American year. How did you first meet Bourgeois?Through my gallery, Lehmann Maupin, that I love and that I’ve worked with now for, like, 16 years. I was upset about something to do with a show that I had. They asked, “Is there anything we can do to make it up to you?” I thought of lots of things, and then I said, “Yes, I’d like to meet Louise Bourgeois.” They said, “She isn’t really meeting anyone anymore, she’s not doing the salon.” And I said, “Yes, but this is what I would really like.” Anyway, they called up the studio and Louise said yes. So I went around to have tea with her and ended up having some wine and stuff. I thought she didn’t like me, because she really shouted at me quite a lot! What did she say?She asked me if it was my first time in New York. I said no, so she asked, “How long have you been coming to New York?” I said, “I don’t know, about 11 years.” And then she just went ballistic in French. Basically, she was saying “Why is it the first time you’ve come to see me then?”

TRACEY EMINRipe for Her American Year

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“One of the biggest derogatory remarks made about my neons was ‘pithy, overindulgent sentimetality.’ Have they never fallen in love before? Obviously they haven’t. Obviously they’ve never had the courage to express any kind of emotional feelings.”

Left to right: “Just Love Me,” 2001; “Outside Myself (Monument Valley),” 1994; “Reaching for you,” 2009–10, made in collaboration with Louise Bourgeois; “Everyone I Have Ever Slept With 1963–1995,” 1995

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Tracey Emin photographed in Miami by Ed Tempelton, October 2012

NOW IN ITS 24TH edition, Art Miami, one of the biggest contemporary art fairs of the Miami season, has been getting even bigger. Along with the second-year run of Context, its sister fair for emerging and midcareer artists, Art Miami’s acquisition last year of Aqua — a fair for emerging talent, run out of a hotel — has expanded its footprint onto the beach, as well as adding a wider variety of young and emerging contemporary international talent to its roster, which initially focused on galleries that traded on the sec-ondary market. Blouin Artinfo’s ROZALIA JOVANOVIC caught up with Art Miami director Nick Korniloff to hear more about the expansion and why he thinks the mood going into the Miami fair season this year is generally more upbeat.

Art Miami has expanded in the past year. With the second year of Context and with the newer acquisition of Aqua, how has that affected Art Miami?It’s connected us more to younger emerging talent. We’re fully integrated into the contemporary market, from very young talent through midcareer, through career artists, through classical modern. I don’t think there is another fair that has that breadth in the city of Miami, and then extends with a footprint on the beach.

What changes will we see at Aqua now that it’s under the aegis of Art Miami?The hotel has been renovated since last year, so the ambience is improved, and we’ve added a lot to the infra-structure of the galleries in the rooms. The VIP card for Art Miami and Context also provides access for Aqua, and the same for Aqua’s VIP card. We’ll be running shuttle buses from Aqua back and forth from Art Miami and Context, and from Miami Beach Convention Center to and from Art Miami and Context, which will be convenient for collectors.

We kick off December 3 with an Opening Night VIP benefit for the new Pérez Art Museum Miami (PAMM). And on Wednesday, after Basel closes, we’re in the middle of our Aqua VIP preview, which opens from 4 p.m. to 11 p.m. There’s always been a great crossover between the audience that goes to Art Basel for the opening and then heads on over to Aqua.

Art Miami is the oldest fair during Miami Art Week. What are some of the changes you’ve had to make during the newer seasons?I came in as the director in 2008 and purchased the fair with two partners in 2009. Then, there was the globalization of the art fair market, and Miami and Art Week had clearly become the most important destination and event in the U.S. for collecting contemporary art. I think there were a lot of

fair models that were barely surviving, and a lot of fair models that were copying one another. This was also at the beginning of the economic crash, and a lot of fairs were working strictly with primary artists and galleries with newly created works. I felt that there wasn’t a fair that offered both high-quality secondary market programs alongside solid contemporary programs. We’ve worked very hard to put a list of galleries together that are strong, seasoned veter-ans, well-connected with collectors, with solid secondary market material that would also help fund the business side through tough economic times. And that proved to be a very successful model.

We also diversified, and introduced disciplines such as high-quality ceramics, glass, and design. Objects were very important to collectors who were coming. Their wall space may have been full, and being true connoisseurs, they were starting to buy more objects in design at the high-est level. So that formula really created our own identity.

Why did you decide to launch Context and acquire Aqua?Coming out of 2011, we realized that things were starting to cure here on the economic side. The art market was still very strong here in America, but the economy was con-tinuing to weaken in Europe, and I talked to collectors who knew that for European galleries, especially younger ones, there really wasn’t a great fair in Miami that was very international and very affordable. So we decided to launch Context.

Aqua was a further commitment to embrace younger talent and make sure that there was a good incubator down the line for Context and Art Miami.

What about Context? Is it less expensive for galleries to show there than at Art Miami?We offer a stand of 200 square feet for $8,400, which is an unbelievable opportunity to come to a market like Miami and be attached to a 24-year-old fair. We had a couple of galleries move over from Context to Art Miami this year, like Praxis Gallery. We also have galleries that are doing both, like Eli Klein Gallery, Magnan Metz, Connersmith, Lyons Wier Gallery: They see the value of being able to be close to both programs. One gallery, Lyons Wier, is doing all three.

Anything notable in terms of new galleries this year?We have 22 new galleries in Art Miami this year. We’re see-ing more blue chip applicants from other international art fairs bringing serious secondary market material to the fair, along with new contemporary programs. For example, David Castillo will do the show with us for the first time,

who was with Art Basel last year. We have Galerie Ernst Hilger, Galerie Anita Beckers, Galerie Ludorff, Die Galerie, Pascal Lansberg from Paris.

What is the range of the works for sale?At Aqua, it’s $500 up through $15,000 to $20,000, with maybe a couple of bigger surprises. At Context, you could start with a few thousand dollars and work your way up to a couple of hundred thousand, depending on how prominent the emerging artist is. At Art Miami, it’s every-thing from a few thousand dollars all the way up to tens of millions of dollars.

What’s been the biggest day for you?Opening night, Tuesday, is the can’t-miss event — the kickoff of art week. The VIP private preview starts at 5:30 p.m. at the Art Miami pavilion. Last year, we had 11,000 people from 5:30 until 10, and it took a good hour and a half to clear everyone out. Sales were very productive.

Wednesday is one of our strongest days. The pace slows down a bit, because of the opening of Art Basel. And then Wednesday night, the VIP preview from 4 to 11 p.m. for Aqua, and then Thursday it really picks up again.

We reported in sales by Saturday morning of $50 million. So it’s pretty substantial when you consider that’s just on reported sales, and ultimately that is a very small percentage of the fair reporting sales.

Do you expect sales to be as strong this year?I do. Our applications were up this year for Art Miami, with over 700 applications for a fair that has 125 positions. Context, a fair that has 70 positions, had over 175 applications. I think there’s no doubt that a lot of dealers who disappeared after the economic crash have either restructured or are coming back to the market for the first time, so there seems to be a lot more energy this year going in than I can remember in the past couple of years.

NICK KORNILOFFArt Miami’s Director on His Fair’s Big Plans

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“I think there’s no doubt that a lot of dealers who disap-peared after the economic crash have either restructured or are coming back to the market for the first time.”

Nick Korniloff

BIACI

For locations and times of the many fairs happening in Miami, see the map and listings on pages 22–23.

GALLERIES

ALMA FINE ART2242 NW 1st Place“Sceneries”Through February 23, 2014Works in this solo exhibition by Esteban Pastorino Díaz fall into two categories: “Aerial,” photographs of colorful landscapes, and “Panoramics,” long exposure photographs.

ART FUSION GALLERIES3550 North Miami Avenue“Fusion X – Art Ascension”Through December 16In honor of Miami’s Art Basel season and the gallery’s 12th anniversary, more than 60 contemporary artists present about 500 pieces in a wide range of media.

KAVACHNINA CONTEMPORARY46 NW 36th Street“Armando Romero: The Sinners”Through January 8, 2014A series of “neo-eclectic composi-tions,” from line drawings to collage-like works, by Mexican painter Armando Romero.

EMERSON DORSCH GALLERY151 NW 24th Street, Suite A “Ideas Are Executions: Dave Hardy & Siebren Versteeg”Through December 21After nearly 10 years of collabora-tors Versteeg and Hardy present-ing joint works, the artists’ individual pieces are now present-ed side by side for the first time, revealing the commonalities between the two artists’ works and their creative processes.

CAROL JAZZAR CONTEMPORARY ART158 NW 91st Street“Present Tense Future Perfect”Opening on December 4This group show, curated by Teka

Selman, explores contemporary sociopolitical issues, using common materials to reexamine familiar cultural tropes.

HAROLD GOLEN GALLERY2294 NW Second Avenue“Geode”Through December 5Motion lenticulars by artist Chris Dean challenge viewers’ percep-tions with their distorted and ever-shifting images.

WILLIAMS MCCALL GALLERY110 Washington Avenue, CU-3“Manuel Pardo 1952–2012 ”Through December 29 This special Art Basel exhibition features late paintings and drawings by artist Manuel Pardo, who passed away in 2012.

YEELEN GALLERY294 NW 54th Street“Genesis”Through December 21This exhibition presents new oil and acrylic works by French-

born Miami-based artist Jerome Soimaud, inspired in part by the symbolism of Haitian Vodou.

MUSEUM EXHIBITIONS

ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY1300 Biscayne Boulevard“The Art of Fashion Show”Through December 7The connections between art and fashion are explored in this exhibition, which features creations by well-known design-ers, including Alexander Mc-Queen and Coco Chanel.

FROST ART MUSEUM10975 SW 17th Street“Eternal Cuba”Through December 8A collection of 22 19th- and 20th-century Cuban paintings from the Darlene M. and Jorge M. Pérez Collection.

“Crisis and Commerce: World’s Fairs of the 1930s”Through January 5, 2014This exhibition features texts, documents, photographs, and models from the World’s Fairs of the 1930s.

“Things That Cannot Be Seen Any Other Way: The Art of Manuel Mendive”Through January 26, 2014This exhibition features paintings, sculptures, and objects by Cuban artist Manuel Mendive Hoyo that are inspired by orishas, ances-tral African spirits. Mendive aims to convey the mythology of Africa to new audiences.

NORTON MUSEUM OF ART1451 South Olive Avenue, West Palm Beach“New Work/New Directions: Recent Acquisitions of Photography”Through January 12, 2014This exhibition celebrates the significant amount of photogra-

AROUND TOWNWhat’s On in Miami

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phy acquired by the museum over the past two years. The collection includes 19th-century motion studies by Eadweard Muybridge, large-scale narrative works by the Sanchez Brothers, and works by artists including Ansel Adams, Holly Roberts, and Eileen Cowin.

“L.A. Stories: Videos from the West Coast”Through January 12, 2014Four artists come together in this exhibition to push the boundaries of video through projections and installations.

“Phyllida Barlow: HOARD”Through February 23, 2014For the third Recognition of Art by Women (RAW) exhibition, sculptor Phyllida Barlow presents a combination of new and old works — “anti-monumental” pieces created with everyday urban materials, such as plywood and polystyrene.

MOCA NORTH MIAMI770 NE 125th Street“Tracey Emin: Angel Without You”Opening December 4In Emin’s first solo exhibition in America, more than 60 works from the past 20 years are presented, with a focus on her neon works.

PEREZ ART MUSEUM MIAMI1103 Biscayne Boulevard “In the Sculpture Garden: Jedd Novatt”Opening December 4Geometric metal sculptures by Paris-based American artist Novatt are featured in the museum’s new sculpture garden.

“Ai Weiwei: According to What?”Opening December 4Ai’s first major international survey, this exhibition presents works from the artist’s varied output over the past 20 years, from photography to large-scale sculptures.

“Project Gallery: Hew Locke”Opening December 4This installation, “For Those in Peril on the Sea,” 2011, recalls Miami’s storied history of seafaring immigration with its dozens of ship replicas, from fishing skiffs to cruise liners, suspended from the ceiling.

“Project Gallery: Bouchra Khalili”Opening December 4French-Moroccan video artist Bouchra Khalili explores issues of transience and transnationalism her trilogy “The Speeches Series,” the final chapter of which was commissioned by PAMM.

LOWE ART MUSEUM1301 Stanford Drive“?#@*$%! the Mainstream: The Art of DIY Self Expression”Through January 5, 2014These 123 fanzines from Special Collections at the University of Miami Libraries cover a variety of topics, from punk rock to identity politics to conspiracy theories — from 1965’s “Communism, Hypnotism and the Beatles” to 2010’s “Are You a Boy or a Girl?”

“ArtLab @ the Lowe – From Ancient Art to Modern Molas: Recurring Themes in Indigenous Panamá”Through April 27, 2014The fifth installment of the “ArtLab @ the Lowe” series, which gives University of Miami students hands-on museum experience, this exhibition

displays a variety of Panamanian works, from ancient ceramics to contemporary paintings.

WOLFSONIAN-FIU1001 Washington Avenue“The Birth of Rome”Through May 18, 2014Part of “Rebirth of Rome,” an exhibition series that showcases interbellum Italian art and design, “The Birth of Rome” focuses on five major architectural projects built during the Fascist regime, including the study for Ferruccio Ferrazzi’s mosaic “The Myth of Rome,” shown here for the first time.

“Rendering War: The Murals of A.G. Santagata”Through May 18, 2014Also part of “Rebirth of Rome,” this exhibition features artist

Antonio Giuseppe Santagata’s studies for mural paintings from the 1920s and 1930s.

THE RINGLING MUSEUM5401 Bay Shore Road, Sarasota“Icons of Style”Through January 5, 2014A collection of costumes, illustra-tions, and photographs that explore the creation of style icons, including runway pieces by designers John Galliano for Dior and Karl Lagerfeld for Chanel.

“Unfamiliar Realities”Through March 9, 2014Photographers including Minor White, Wynn Bullock, and Michael Kenna use the particular-ities of their medium to distort and reimagine reality, turning everyday scenes into compelling visual paradoxes.O

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Opposite page, clockwise from left: “File” magazine, Vol. 3, No. 4, Fall 1977, at the Lowe Art Museum; Burk Uzzle’s “Red Hamburgers, California,” 2006, at the Norton Museum of Art; Phyllida Barlow’s “untitled: brokenupturnedhouse2013,” 2013 (detail), at the Norton Museum of Art. This page, clockwise from top left: installation view of Ai Weiwei’s “Colored Vases,” 2007–2010, at the Pérez Art Museum Miami; Manuel Mendive’s “Yemayá,” 1970, at the Frost Art Museum; Jesús Fuenmayor, director and curator of the Cisneros Fontanals Art Foundation; George Hoyningen-Huene’s “Foro Mussolini, Roma,” 1937, at Wolfsonian-FIU

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PANEL DISCUSSION: BRAZIL IN LATIN AMERICA

On Saturday, December 7, from 11 a.m.–12:30 p.m., the Cisneros Fontanals Art Foundation (CIFO) hosts a panel discussion on the status of Brazilian contemporary art, chaired by CIFO curator and director Jesús Fuenmayor. Speakers include curator Luiz Camillo Osorio from the Museum of Modern Art Rio de Janeiro, and curators Jen Mergel and Liz Munsell from the Museum of Fine Arts, Boston (MFA). Mergel and Munsell recently collaborated with CIFO on the exhibition “Permission To Be Global/Prácticas Globales: Latin American Art from the Ella Fontanals-Cisneros Collection.” The show, which includes pieces by 61 contemporary Latin American artists, opens at CIFO on Wednesday, December 4, and lasts through February 2014, before moving to the MFA in March.

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A C O L L E C T I O N O F M A D E TO O R D E R F U R N I T U R E , A N T I Q U E S A N D D E C O R AT I V E O B J E C T S F O R T H E C U R AT E D I N T E R I O R .

BRAMPTONCOLLECTION – WINTER 2013

The Global Forum for DesignDecember �– �, ����Preview Day / December �, ����

Design Galleries/Antonella Villanova / Florence, Carpenters Workshop Gallery / London & Paris, Casati Gallery / Chicago, Cristina Grajales Gallery / New York, Demisch Danant / New York, Didier Ltd / London, Erastudio Apartment-Gallery / Milan, Fine Art Silver / Brussels, Gabrielle Ammann // Gallery / Cologne, Galerie BSL – Béatrice Saint Laurent / Paris, Galerie Downtown – François Laffanour / Paris, Galerie Jacques Lacoste / Paris, Galerie kreo / Paris, Galerie Maria Wettergren / Paris, Galerie Patrick Seguin / Paris, Gallery SEOMI / Seoul & Los Angeles, Hostler Burrows / New York, Jason Jacques Inc / New York, Jousse Entreprise / Paris, Louisa Guinness Gallery / London, Magen H Gallery / New York, Mark McDonald / Hudson, Moderne Gallery / Philadelphia, Ornamentum / Hudson, Pierre Marie Giraud / Brussels, Priveekollektie Contemporary Art + Design / Heusden aan de Maas, R 20th Century / New York, Sebastian + Barquet / New York, Victor Hunt Designart Dealer / Brussels

Design On/Site Galleries/ArtFactum Gallery / Beirut presenting Marc Baroud & Marc Dibeh, Caroline Van Hoek / Brussels presenting Gijs Bakker, Elisabetta Cipriani / London presenting Carlos Cruz-Diez, Industry Gallery / Washington DC & Los Angeles presenting Benjamin Rollins Caldwell, Volume Gallery / Chicago presenting Jonathan Muecke, Wonderglass / London presenting Nao Tamura

Meridian Avenue & 19th Street / Miami Beach / USA

designmiami.com

AT ART BASEL in Miami Beach, there’s no shortage of things to see and places to be seen. Take a break from the convention center to sample Miami’s flourishing restaurants and nightlife, or just soak up a beachside view.

EATThe Cypress RoomThis Design District restaurant is the latest offering from award-winning chef Michael Schwartz. The wood-paneled dining room includes mint banquettes, crystal chandeliers, and an abundance of deer heads. Expect gussied-up American dishes and a sweet finish from dessert genius Hedy Goldsmith.3620 NE Second Avenue

(305) 520-5197

thecypressroom.com

PB SteakThe latest addition to the Pubbelly’s Sunset Harbour mini-empire applies its signature communal energy and vibrant Japanese-infused flavors to the steakhouse. There are chalkboard walls, a raw bar, yellowtail ceviche in gyoza shells, and steak tartare sliders, plus buffalo sweetbreads and French onion soup dumplings — not to mention the option to add a Valdeon blue cheese crust or foie gras mousse to your shiso béarnaise–drizzled aged porterhouse.1787 Purdy Avenue

(305) 695-9577

pbsteak.com

Khong River HouseSoBe’s Khong River House serves authentic cuisine from Northern Thailand (try the boat noodles with braised beef and meatballs). The rustic interior has bamboo fish trap lampshades and walls lined with Thai wooden crates. Adding to the appeal, the bar Patpong Road recently opened upstairs, serving street food and cocktails in plastic Sippi bags, like the Laid-ee (rum, fresh juices, and lime).1661 Meridian Avenue

(305) 763-8147

khongriver.com

DRINKRec RoomChalk it up to the wood paneling, tropical chinoiserie wallpaper, and groovy ban-quettes (plus an iconic Christmas Story leg lamp), but the ’70s-inspired basement Rec Room somehow manages the delicate mix of unpretentiousness and exclusivity — think Bungalow 8 back in its heyday. DJs spin throwback jams (new wave, ’90s hip-hop, disco) on vinyl.Gale South Beach

1690 Collins Avenue

(305) 673-0199

recroomies.com

The Broken ShakerCocktails in Miami often imply rail-liquor swill, so when the Broken Shaker set down roots at the über-cool Freehand hos-tel, it was like manna from mixology heav-en. Expect fresh-pressed juices, offbeat ingredients (Cocoa Puffs–infused bourbon, mushroom bitters, jerk-spice reduction), plus elixirs made from herbs grown on-site.Freehand Miami

2727 Indian Creek Drive

(305) 531-2727

thebrokenshaker.com

Do Not Sit on the FurnitureIt’s in South Beach but not of South Beach. In fact, this lounge, opened in early September by the guys who founded Wynwood venue Electric Pickle, could be from another era altogether. We’re talking disco ball, gold-paneled ceilings, cassette-lined walls, and black leather booths (which you actually can sit in).423 16th Street

(305) 924-1898

facebook.com/DoNotSit

SEEOccupant: Jonah Bokaer X Daniel ArshamTwo sweethearts of the contemporary art scene — NYC artist and Miami native Daniel Arsham and choreographer Jonah Bokaer — are at it again for another genre-defying world premiere. This three-day, four-performance exploration at the Adrienne Arsht Center tests the bounds of movement by incorporating built spaces and chalk plaster casts of technological objects that degrade on the stage during the performance.1300 Biscayne Boulevard

(877) 949-6722

arshtcenter.org

Fairchild Tropical Botanic GardenEscape from the crowds in 85 acres of palms, orchids, and tropical fruit trees. This year’s design exhibition features Brazilian artist Hugo França’s functional pieces created from felled, burned, or dead trees, opening December 1. On December 8 Fairchild hosts a brunch and art tour in the garden for Art Basel VIP cardholders.10901 Old Cutler Road, Coral Gables

(305) 667-1651

fairchildgarden.org

SHOPBooks & Books Miami BeachThis independent bookstore specializes in art, design, fashion, and architecture, and stocks a healthy array of local and international magazines. For lunch, check out the café with outdoor tables.Bal Harbour Shops

927 Lincoln Road

(305) 532-3222

booksandbooks.com/miamibeach

AlchemistFor Basel this year, Alchemist hosts French retailer Colette in a retro fast food–inspired pop-up on Level 5 of Herzog & de Meuron’s parking garage. From December 2 through 8, drive up to the DRIVE-THRU window for a menu stocked with exclusive items by the likes of Kehinde Wiley and Zaha Hadid — even “Happy Meals” featuring a limited edition Keith Haring coloring book in place of a burger and fries — brought to your car by employ-ees on roller skates. 1111 Lincoln Road

(305) 531-4653

shopalchemist.com

— JUSTIN OCEAN AND NICOLA MCCORMACK

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EXPLORING

WHEN IN MIAMIWhere to Eat, Drink, See, and Shop

Clockwise from top: A refreshing cocktail at the Broken Shaker; Alchemist; Books & Books; Fairchild Tropical Botanic Garden

D E C E M B E R 3 - 8 | 2 0 1 3VIP PREVIEW | DECEMBER 3

Abby M. Taylor Fine Art | New York Aldo de Sousa Gallery | Buenos Aires Alfredo Ginocchio Gallery | Mexico Allan Stone Gallery | New York Antoine Helwaser Gallery | New York Arcature Fine Art | Palm Beach ARCHEUS / POST-MODERN | London Armand Bartos Fine Art | New York Art Nouveau | Miami Arthur Roger Gallery | New Orleans Ascaso Gallery | Miami Birnam Wood Galleries | New York Blue Leaf Gallery/J. Cacciola Gallery | New York Bolsa De Arte | Porto Alegre Bonni Benrubi Gallery | New York Bridgette Mayer Gallery | Philadelphia C. Grimaldis Gallery | Baltimore Catherine Edelman Gallery | Chicago Cernuda Arte | Coral Gables Christopher Cutts Gallery | Toronto Claire Oliver Gallery | New York CONNERSMITH. | Washington DC Contessa Gallery | Cleveland Cynthia Corbett Gallery | London Cynthia-Reeves | New York David Castillo Gallery | Miami David Klein Gallery | Detroit David Lusk Gallery | Memphis David Richard Gallery | Santa Fe De Buck Gallery | New York Dean Project | New York DIE Galerie | Frankfurt Dillon Gallery | New York Douglas Dawson | Chicago Durban Segnini Gallery | Miami Durham Press | Durham Eli Klein Gallery | New York Espace Meyer Zafra | Paris Ethan Cohen New York | New York FaMa Gallery | Verona Flowers | New York Galerie Anita Beckers | Frankfurt Galerie Ernst Hilger | Vienna Galerie Forsblom | Helsinki Galerie Ludorff | Dusseldorf Galerie Olivier Waltman | Paris Galerie Pascal Lansberg | Paris Galerie Renate Bender | München Galerie Terminus | Munich Galerie von Braunbehrens | Munich Galerie von Vertes | Zürich GALLERI ANDERSSON/SANDSTRÖM | Umea GALLERIA FUMAGALLI | Milano Gallery Delaive | Amsterdam Gallery Kleindienst | Leipzig gallery nine5 | New York Gerald Peters Gallery | New York Goya Contemporary | Baltimore Guijarro de Pablo | Mexico City Hackelbury Fine Art | London Heller Gallery | New York Hollis Taggart Galleries | New York Jackson Fine Art | Atlanta James Barron Art | South Kent James Goodman Gallery | New York Jenkins Johnson Gallery | New York Jerald Melberg Gallery | Charlotte Jonathan Novak Contemporary Art | Los Angeles Juan Ruiz Gallery | Miami Keszler Gallery | Southampton KM Fine Arts | Chicago Laurence Miller Gallery | New York Lausberg Contemporary | Düsseldorf Leon Tovar Gallery | New York Leslie Sacks Contemporary | Santa Monica LESLIE SMITH GALLERY | Amsterdam Lisa Sette Gallery | Scottsdale Lyons Wier Gallery | New York Magnan Metz Gallery | New York Mark Borghi Fine Art Inc. | New York Matteo Lampertico | Milano Mayoral | Barcelona McCormick Gallery | Chicago Michael Goedhuis | London Michael Schultz Gallery | Berlin Mike Weiss Gallery | New York Mindy Solomon Gallery | St. Petersburg Mixografia | Los Angeles Modernbook Gallery | San Francisco Modernism Inc. | San Francisco Nancy Hoffman Gallery | New York Nicholas Metivier Gallery | Toronto NIKOLA RUKAJ GALLERY | Toronto Nohra Haime Gallery | New York N.O.M.A.D. | Brussels Now Contemporary | Miami Osborne Samuel | London Other Criteria | London Pan American Art Projects | Miami Paul Thiebaud Gallery | San Francisco Peter Marcelle Gallery | Bridgehampton Piece Unique | Paris Praxis International Art | New York Rosenbaum Contemporary | Boca Raton Rudolf Budja Gallery LLC | Miami Beach Schantz Galleries | Stockbridge Scott White Contemporary Art | La Jolla Simon Capstick-Dale Fine Art | New York Sims Reed Gallery | London Sundaram Tagore Gallery | New York Todd Merrill 20th Century+Studio Contemporary | New York TORBANDENA | Trieste TORCH | Amsterdam Tresart | Coral Gables Unix Gallery | New York Vincent Vallarino Fine Art | New York Waterhouse & Dodd | London Westwood Gallery | New York Wetterling Gallery | Stockholm William Shearburn Gallery | Saint Louis Woolff Gallery | London Yares Art Projects | Santa Fe Zadok Gallery | Miami Zolla/Lieberman Gallery Inc. | Chicago

ART MIAMI GALLERIES:

ART VIDEO LOUNGESponsored by For the 2013 Art Video Lounge, La Rete Art Projects has invited the Video-Forum of Neuer Berliner Kunstverein (n.b.k.), the oldest collection of video art in Germany now in its 42nd year, to present works from its archive of more than 1,600 videos spanning the history of the medium. A special program the Video-Forum has curated exclusively for CONTEXT features Hartmut Bitomsky, Anetta Mona Chişa & Lucia Tkáčová, Hito Steyerl and Amir Yatziv. Recognizing the origins of video technology within the military, this exhibition stimulates a timely dialogue with a critical examination of the complex military technology, ideology and politics of imagery.

ZOOM IN ZOOM IN provides three galleries with a platform to screen video works by artists that LaRete Art Projects believes to be of notable significance. In a new format, the videos in this exhibition will play continuously inside viewing booths along the covered walkway that connects the CONTEXT and Art Miami pavilions in the courtyard closed to traffic and transformed into a gathering space with a café, lounge and additional curated projects.

THINK BIGTHINK BIG gives artists participating in Art Miami space to stretch out in the passageways linking the fair’s three main pavilions. These solo installations have been selected by the discerning curators of LaRete Art Projects from proposals by galleries participating in the fair. “Thinking big” is not only a question of the artworks’ size and scale: expect to see daring ideas, innovative approaches to everyday life, and courageous concepts for major changes proposed by visionary artists.

CHECK OUT CHECK OUT positions provocative installations and remarkable projects by individual artists participating in Art Miami and CONTEXT at the areas of highest exposure, inside and outside the fair entrances and in the Maserati VIP Lounge at Art Miami. Check these pieces out – LaRete Art Projects considers them exceptional works of cutting-edge art or gems among modern classics.

ONE ART NATIONCONTEXT has partnered with One Art Nation to feature daily symposia presented by leading art experts. Seminars focus on various art specialties including art history, market trends, advisory services, appraisals, insurance, shipping, storage, design, lighting and security. These educational programs are all free for VIP cardholders in the CONTEXT VIP Lounge.

Celebrate Aqua Art Miami’s first year as a part of the Art Miami family of fairs. A top fair for emerging art held at a classic South Beach hotel since 2005, Aqua’s 2013 edition presents 47 vibrant and noteworthy exhibitors: young and established galleries

showcasing emerging and mid-career artists, as well as innovative multimedia programs, immersive installations and solo artist projects. Highlights include AQUA VIDEO LOUNGE curated by Montgomery Knott of NYC’s Monkey Town; SOUND VISION, a daily program of curated visual art and music by Lyons Wier Music & Audiophile Plus, educational programs, and solo projects by Gary Baseman (Shulamit Gallery, Los Angeles), Kevin Berlin (Mark Miller Gallery, New York), Mari Kim (EJMQ, Seoul) and Steve Lambert (Charlie James Gallery, Los Angeles). For hours and complete show information visit www.aquaartmiami.com

ART MIAMI + CONTEXT 2013 | SPECIAL PROGRAMS & EVENTSCURATED BY LARETE ART PROJECTS: Julia Draganović, Elena Forin and Claudia LöffelholzTUESDAY, DECEMBER 3 - SUNDAY, DECEMBER 8, 2013 - DURING FAIR HOURS

For complete show information visit:www.art-miami.com | www.contextartmiami.com

LOCATION: Midtown Miami I Wynwood, 3101 & 3201 NE 1st Avenue, Miami, FL 33137VIP PREVIEW: Tuesday Dec 3, 5:30pm - 10pm | Access for Art Miami | CONTEXT Aqua VIP Cardholders & PressPARKING: Valet and general parking directly across the street from the fairDAILY SHUTTLE SERVICE:• JW Marriott Marquis to/from Art Miami Pavilion; shuttle departs every 30 minutes• Art Miami Pavilion to Aqua Art Miami & Miami Convention Center (17th & Washington); continuous loop every 30 minutesGENERAL ADMISSION:Wednesday, December 4 11 am – 7 pm Thursday, December 5 11 am – 7 pmFriday, December 6 11 am – 8 pm

Saturday, December 7 11 am – 7 pmSunday, December 8 11 am – 6 pm

OFFICIAL SPONSORS:

532 Gallery Thomas Jaeckel | New York Accola Griefen Gallery | New York Alicia David Contemporary Art | London Alida Anderson Art Projects | Potomac Amstel Gallery | Amsterdam Andrea Schwartz Gallery | San Francisco Anna Kustera Gallery | New York Arch Gallery | Miami Art Lexing | Miami ASYMMETRIK | New York Athena Contemporânea | Rio de Janeiro Aureus Contemporary | Wakefield Baang + Burne Contemporary | New York blunt | Toronto camara oscura galeria de arte | Madrid Casa de Costa | New York Cheryl Hazan Contemporary Art | New York CONNERSMITH. | Washington DC Cube Gallery | London Da Xiang Art Space | Taichung Denise Bibro Fine Art | New York Eduardo Secci Contemporary | Florence Eli Klein Gallery | New York Fabien Castanier Gallery | Studio City FitzRoy Knox Gallery | New York Galeria Enrique Guerrero | Mexico City Galeria Sicart | Barcelona Galerie Berlin | Berlin GALERIE KORNFELD | Berlin Galerie Obrist | Essen Galerie Richard | New York Galleri Urbane Marfa + Dallas | Dallas Galleria Ca’ D’Oro | Miami Gallery Henoch | New York Heitsch Gallery | Munich JanKossen Contemporary | Basel JJ Joong Jung Gallery | Seoul Julian Navarro Projects | Long Island City Kathryn Markel Fine Arts | New York Kavachnina Contemporary | Miami Kim Foster Gallery | New York Kuhn & Partner | Berlin Library Street Collective | Detroit LICHT FELD | Basel Lyle O. Reitzel Arte Contemporaneo | Santo Domingo Lyons Wier Gallery | New York Magnan Metz Gallery | New York Mark Wolfe Contemporary Art | San Francisco metroquadro | Rivoli N2 Galería | Barcelona Officine dell’Immagine | Milan P.S.H. project | Miami Packer Schopf Gallery | Chicago Patricia Conde Galería | Mexico City Pentimenti Gallery | Philadelphia Porter Contemporary | New York SCHMALFUSS BERLIN | Berlin Seager Gray Gallery | Mill Valley Shulamit Gallery | Venice Sous Les Etoiles Gallery | New York Stephan Stoyanov Gallery | New York Susan Eley Fine Art | New York Swedish Photography | Berlin TAMMEN & Partner | Berlin The McLoughlin Gallery | San Francisco The Proposition | New York VIMM GALLERY | Czech Republic White Room Art System | Capri Whitestone Gallery | Tokyo

CONTEXT GALLERIES:

D E C E M B E R 4 - 8 | 2 0 1 3VIP PREVIEW | DECEMBER 4

WITH SPACES IN Lucerne and Beijing, gal-lerist Urs Meile takes cultural ambassador-ship seriously. Opened in 1992, the gallery hit its stride in ’95 when it began to open up the international market to contempo-rary Chinese art with artists such as Qiu Shihua, Wang Xingwei, and Xie Nanxing.

Since moving to its new Ai Weiwei–designed Cao Changdi, Beijing, outpost in 2006, artists from the West such as Rémy

Markowitsch, Julia Steiner, Christian Schoeler, and Brendan Earley have been similarly afforded a platform to present their work in China through a series of artist-in-residence programs within the gallery complex.

Meile’s Miami booth features a quiver of works by top-notch Chinese talent, such as Ai Weiwei’s “Forever 6 (Stainless Steel Bicycles),” 2013. A continuation of Ai’s “Forever Bicycles” series, which was shown in October to great acclaim during Toronto’s all-night Nuit Blanche arts festi-val, the gold-hued example on offer at Art Basel features six frames fashioned together such that the outline of their wheels (no tires) forms a vertical hexagon.

Other highlights iinclude Hu Qingyan’s “Edition of 8,” 2013, which sees a single rock from North China’s Hebei province replicated eight times in marble, Cheng Ran’s video work “The Last Sentence,” 2013, and paintings by Wang and Schoeler.

— ALEXANDER FORBES

See Galerie Urs Meile at Art Basel in Miami Beach, Booth A17.

Urs Meile; Wang Xingwei’s “Untitled (in spring),” 2013

GALERIE URS MEILELucerne, Switzerland / Beijing, China

DEALER SPOTLIGHT

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YOU MIGHT BE hard pressed to find a fig-ure more hip to the Miami art scene than Fredric Snitzer. Not only does he run a lead-ing gallery, he is an exhibiting artist with an MFA in sculpture and a professor at the New World School of the Arts in Miami. He says when he arrived in the city in 1977, he “basically came to Miami trying to figure out how to make a living and be an artist.” Within the same year, he had opened “a space to have a studio and sell posters — it evolved into the gallery.”

This year at Art Basel in Miami Beach, Snitzer brings works by sculptor Alice Aycock, multimedia artist Enrique Martínez Celaya (see page 1), and painter Ridley Howard. Also on view are Hernan Bas’s fig-

urative painting “Untitled,” 2013, Michael John Kelly’s abstract painting “Broad View,” 2013, and Alexander Kroll’s “Ikat Creature,” 2013, another abstract work.

After the fair ends, Snitzer will continue working with Aycock on her project “Paper Chase,” a series of large-scale alumi-num and fiberglass sculptures that will be situated along the Park Avenue median in Midtown Manhattan beginning in May.

— CHRIS RETSINA

See Fredric Snitzer Gallery at Art Basel in Miami Beach, Booth B26.

Fredric Snitzer; Alexander Kroll’s “Ikat Creature,” 2013

FREDRIC SNITZER Miami, Florida

DEALER SPOTLIGHT

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MIAMI FAIRS EDITION

BENJAMIN GENOCCHIOEDITOR IN CHIEF

Elizabeth ManusDEPUTY EDITOR, NEW YORK

Frank GargiuloART DIRECTOR, NEW YORK

Nicole LaCoursierePHOTO EDITOR &

PRODUCTION MANAGER

Anneliese CooperASSISTANT EDITOR

Emily Blake INTERN

David GurskyPRESIDENT, GLOBAL DEVELOPMENT

Ben Hartley PRESIDENT

Bruce W. Ferguson VICE CHAIRMAN

B. William Fine PRESIDENT, GLOBAL SALES

Dawn Fasano GENERAL COUNSEL

SALES

NORTH AMERICAWendy BuckleyKathleen CullenJudy HolmCandy LightKathy MurphyJulia NihonCarmela ReaAndrea RenaudKate ShanleyBrian SouserSuzonne Taylor

LATIN AMERICASarali CotaAna PessoaFernando Hugo Pinheiro

EUROPEValerie GentyMarie-Kathrin KrimphoffCatherine LoeweRobert LoganPeter NeerinckxRomina ProvenziJean Ruffin Lindsay RussellKaterina SarkisovaAnne-Laure SchulerMia Stock

ASIAJanice FebbraioInna KanounikovaSuhyun LeeFaith Yanai

INDIASandesh Jayant Gupte

BlouinARTINFO.com Daily Edition is published by Louise Blouin Media

Group Inc.,601 West 26th Street, Suite 410, New York, NY 10001 © 2013.

All material is compiled from sources believed to be reliable, but published

without responsibility for errors or omissions. Blouinartinfo.com

accepts advertisements from advertisers believed to be of good repute, but

cannot guarantee the authenticity or quality of objects or services adver-

tised in its pages. All rights, including translation into other languages,

reserved by the publisher. Nothing in this publication may be reproduced

without the permission of the publisher. The name Blouinartinfo.com ® is

a pending trademark in the USPTO by Louise Blouin Media Group, Inc., and

cannot be used without its express written consent.

FAIRS, MUSEUMS, COLLECTIONS, ANDOTHER ART SPACES

ON THE MAP1. AQUA ART MIAMI1530 Collins AvenueVIP preview: Wednesday, December 4, 4–11 p.m.Thursday, December 5, 12–9 p.m.Friday, December 6, 11 a.m.–9 p.m.Saturday, December 7, 11 a.m.–9 p.m.Sunday, December 8, 11 a.m.–6 p.m.

2. ART BASEL IN MIAMI BEACHMiami Beach Convention Center, 1901 Convention Center DriveInvite-only preview: Wednesday, December 4, 11 a.m.–6 p.m.VIP vernissage: Wednesday, December 4, 6–9 p.m.Thursday, December 5, 12–8 p.m.Friday, December 6, 12–8 p.m.Saturday, December 7, 12–8 p.m.Sunday, December 8, 12–6 p.m.

3. ART MIAMI3101 NE First AvenueVIP preview: Tuesday, December 3, 5:30–10 p.m.Wednesday, December 4, 11 a.m.–7 p.m.Thursday, December 5, 11 a.m.–7 p.m.Friday, December 6, 11 a.m.–8 p.m.Saturday, December 7, 11 a.m.–7 p.m.Sunday, December 8, 11 a.m.–6 p.m.

4. BRAZIL ARTFAIR190 NE 36th StreetVIP preview: Tuesday, December 3, 5–10 p.m.Wednesday, December 4, 11 a.m.–7 p.m.Thursday, December 5, 11 a.m.–7 p.m.Friday, December 6, 11 a.m.–8 p.m.Saturday, December 7, 11 a.m.–7 p.m.Sunday, December 8, 11 a.m.–7 p.m.

5. CONTEXT3201 NE First AvenueVIP preview: Tuesday, December 3, 5:30–10 p.m.Wednesday, December 4, 11 a.m.–7 p.m.Thursday, December 5, 11 a.m.–7 p.m.Friday, December 6, 11 a.m.–8 p.m.Saturday, December 7, 11 a.m.–7 p.m.Sunday, December 8, 11 a.m.–6 p.m.

6. DESIGN MIAMICorner of Meridian Avenue & 19th StreetVIP preview: Tuesday, December 3, 12–6 p.m.VIP vernissage: Tuesday, December 3, 6–9 p.m.

Wednesday, December 4, 11 a.m.–9 p.m.Thursday, December 5, 12–8 p.m.Friday, December 6, 12–8 p.m.Saturday, December 7, 12–8 p.m.Sunday, December 8, 12–6 p.m.

7. INK MIAMI ART FAIRSuites of Dorchester, 1850 Collins AvenueVIP preview: Wednesday, December 4, 10 a.m.Wednesday, December 4, 12–5 p.m.Thursday, December 5, 10 a.m.–7 p.m.Friday, December 6, 10 a.m.–7 p.m.Saturday, December 7, 10 a.m.–7 p.m.Sunday, December 8, 10 a.m.–3 p.m.

8. MIAMI PROJECTCorner of NE First Avenue & NE 30th StreetVIP preview: Tuesday, December 3, 4:30–10 p.m.Wednesday, December 4, 11 a.m.–5:30 p.m.Thursday, December 5, 11 a.m.–7 p.m.Friday, December 6, 11 a.m.–8 p.m.Saturday, December 7, 11 a.m.–7 p.m.Sunday, December 8, 11 a.m.–6 p.m.

9. NEW MATERIAL ART FAIR855 Collins AvenueOpening reception: Thursday, December 5, 6–10 p.m.Friday, December 6, 12–8 p.m.Saturday, December 7, 12–8 p.m.Sunday, December 8, 12–6 p.m.

10. RED DOT MIAMI3011 NE First AvenueVIP reception: Tuesday, December 3, 6–10 p.m.Wednesday, December 4, 11 a.m.–6 p.m.Thursday, December 5, 11 a.m.–8 p.m.Friday, December 6, 11 a.m.–8 p.m.Saturday, December 7, 11 a.m.–8 p.m.Sunday, December 8, 11 a.m.–6 p.m.

11. SCOPE MIAMI1000 Ocean DrivePlatinum preview gala: Monday, December 2, 5–8 p.m.VIP preview: Tuesday, December 3, 1–9 p.m.Wednesday, December 4, 11 a.m.–8 p.m.Thursday, December 5, 11 a.m.–8 p.m.Friday, December 6, 11 a.m.–8 p.m.Saturday, December 7, 11 a.m.–8 p.m.Sunday, December 8, 11 a.m.–8 p.m.

12. SELECT FAIR1732 Collins AvenueVIP vernissage: Wednesday, December 4, 7–11 p.m.Thursday, December 5, 10 a.m.–7 p.m.Friday, December 6, 10 a.m.–7 p.m.Saturday, December 7, 10 a.m.–7 p.m.Sunday, December 8, 10 a.m.–7 p.m.

13. SPECTRUM MIAMICorner of NE First Avenue & NE 30th StreetVIP preview: Wednesday, December 4, 6–10 p.m.Thursday, December 5, 12–8 p.m.Friday, December 6, 12–9 p.m.Saturday, December 7, 12–9 p.m.Sunday, December 8, 11 a.m.–5 p.m.

14. UNTITLED.Corner of Ocean Drive & 12th StreetInvite-only preview: Monday, December 2, 6–9 p.m.VIP preview: Tuesday, December 3, 3–7 p.m.Wednesday, December 4, 11 a.m.–7 p.m.Thursday, December 5, 11 a.m.–7 p.m.Friday, December 6, 11 a.m.–7 p.m.Saturday, December 7, 11 a.m.–7 p.m.Sunday, December 8, 11 a.m.–6 p.m.

15. BASS MUSEUM OF ART2100 Collins Avenue(305) 673-7530Wednesday–Sunday, 12–5 p.m.

16. WOLFSONIAN–FIU1001 Washington Avenue (305) 531-100112–6 p.m. Friday, until 9 p.m.Closed Wednesday

17. BAKEHOUSE ART COMPLEX561 NW 32nd Street(305) 576-282812–5 p.m.

18. CENTER FOR VISUAL COMMUNICATION541 NW 27th Street(305) 571-1415Tuesday–Friday, 10 a.m.–5 p.m.Saturday, 12–5 p.m.Closed Sunday and Monday

19. DE LA CRUZ COLLECTION23 NE 41st Street(305) 576-6112Tuesday–Saturday, 10 a.m.–4 p.m. Closed Sunday and Monday

20. LOCUST PROJECTS3852 North Miami Avenue(305) 576-8570Tuesday–Saturday, 12–5 p.m.

21. RUBELL FAMILY COLLECTION95 NW 29th Street(305) 573-6090Wednesday, December 4, 9 a.m.–6 p.m.Thursday, December 5, 9 a.m.–6 p.m.Friday, December 6, 9 a.m.–6 p.m.Saturday, December 7, 9 a.m.–6 p.m.Sunday, December 8, 9 a.m.–6 p.m.

JUST OFF THE MAPLOWE ART MUSEUM1301 Stanford Drive(305) 284-3535Tuesday–Saturday, 10 a.m.–4 p.m.Sunday, 12–4 p.m.Closed Monday

MOCA NORTH MIAMI770 NE 125th Street(305) 893-6211Tuesday, Thursday, Friday, Saturday, 11 a.m.–5 p.m.Wednesday, 1–9 p.m.Sunday, 12–5 p.m.Closed Monday

NADA ART FAIRThe Deauville Beach Resort, 6701 Collins AvenueVIP preview: Thursday, December 5, 10 a.m.–2 p.m.Thursday, December 5, 2–8 p.m.Friday, December 6, 11 a.m.–8 p.m.Saturday, December 7, 11 a.m.–8 p.m.Sunday, December 8, 11 a.m.–5 p.m.

PEREZ ART MUSEUM MIAMI (PAMM)1103 Biscayne Boulevard(305) 375-3000Tuesday–Sunday, 10 a.m.–6 p.m.Thursday, until 9 p.m.Closed Monday

PULSE MIAMI59 NW 14th StreetVIP brunch: 9 a.m.–1 p.m.Thursday, December 5, 1–7 p.m.Friday, December 6, 10 a.m.–7 p.m.Saturday, December 7, 10 a.m.–7 p.m.Sunday, December 8, 10 a.m.–5 p.m.

VIZCAYA MUSEUM & GARDENS3251 South Miami Avenue(305) 250-91339:30 a.m.–4:30 p.m.Closed Tuesday

A LITTLE FARTHERNORTON MUSEUM OF ART1451 South Olive Avenue,West Palm Beach(561) 832-5196Tuesday, Wednesday, Friday, Saturday, 10 a.m.–5 p.m. Thursday, 10 a.m.–9 p.m.Sunday, 11 a.m.–5 p.m.Closed Monday

THE RINGLING MUSEUM5401 Bay Shore Road, Sarasota(941) 359-570010 a.m.–5 p.m.Thursday, until 8 p.m.

2 2 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3

ART GUIDEWHERE TO GO

D E C E M B E R 3 , 2 0 1 3 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | 2 3

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20

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