Archive for September, 2011

10 Questions for Bernice Steinbaum

Posted in Interviews P-T on September 27, 2011 by artoutmiami

Bernice Steinbaum

By Jose Fresco

AOM: It’s always fun to know someone’s roots- where did you grow up, what were your influences, where did you attend University and what was your major?

BS: At a very early age, I met Joseph Cornell. I was a “latch key” kid whose mother worked and therefore was not there after my day at school. I spent every afternoon in the library. I met Joseph Cornell who, after many months, invited me to his studio (I did not know what a studio meant). He asked me to talk about what I saw and that day was the day I became an art dealer. I majored in Art History and Art Education.

AOM: Tell me about the Steinbaum Gallery in NY. How did you fall into the business, fond memories, who you were representing back then?

BS: I got into business because I had resigned from my teaching position and I was driving my family crazy. They found me cleaning the shower stall with a toothbrush and I would wake them up at 6:00 o’clock AM to make their beds. My husband implored me to find a job. Art was the one thing I knew.
In NY, I represented, among others, Faith Ringgold, Miriam Schapiro, and Jaune-Quick-to-See-Smith. One of my fondest memories was the day that I found out that Ringgold and Schapiro has won Guggenheim awards. I asked both women to come to the gallery and as a surprise, I tied a huge pink ribbon around the building. I met them at the door with Dom Perignon. I also represented three McArthur Genius award winners- Pepon Osorio, Deborah Willis, and Amalia Mesa-Baines.

AOM: Can I put you on the spot and ask if you have any favorites?
BS: All 25.

AOM: Bernice Steinbaum Gallery is one of the cornerstones of the Wynwood district. That was a pretty risque move considering the neighborhood back then. How did you know?

BS: If you build it, they will come. We are now some 76 galleries.

AOM: You seem to have the Midas touch in picking your artist to showcase. How do you know when they have that “it” factor?

BS: Intellect and risk-taking on the artist’s part and gut reaction on my part. I believe that each of my artists will be part of the canon of Art History. I too will have my place because I represented them i.e. Peggy Guggenheim and Leo Castelli.

AOM: Speaking of Wynwood, Second Saturdays has become a social phenomenon that’s taken on a life of its own. What is the good and bad of it? Will it ever mellow out like the Gables Walk?

BS: The good part of Second Saturdays in Wynwood is that Wynwood becomes a destination. Some of our visitors have been fearful about the neighborhood. Others, who are dining in the “hood” see the numbers of people walking around and realize that there must be something to see. Now that most of us serve non-alcoholic drinks, we don’t get people who regard our gallery as an ersatz saloon.

AOM: What is your view on the state of public funding for art. Is there a crisis. Should public monies be used?

BS: What would you expect a dealer to say? (That’s why I’m the baddest)

AOM: Your current show with Karen Rifas and Aurora Molina, among others is spectacular. Tell us a bit about the show?

BS: I am very interested in artists who use detritus.

Karen Rifas, who is best known as the “leaf lady”, recycles southern oak leaves into geometric installations, that the rest of us throw away. In her current exhibition she uses various colored cord to create unique geometric patterns, forms and spaces. She uses color in order to question our sense of perspective, while her geometrically arranged cord installations invigorate space with movement and illusion. Straight lines appear to be curved, often the cords vibrate while the colors intensify. Rifas’ site specific installations of nylon cord, stainless steal, or stitched leaves enable her to create volume with a spare amount of material.

Molina also uses detritus. In the current exhibition title A Critique of Established Attitudes Towards Aging & Beauty, she recycles women’s pantyhose. Her soft sculpture figures, though, belligerent or ill-behaved, like children they demand our attention. These figures appeal to our social consciousness. Some figures have motion sensors while others have sound devices. Molina makes us know through movement and sound that elders are still alive and still have a lot to say.

AOM: What’s special for Art Basel? What’s next for Bernice?

BS: The gallery will feature Peter Sarkisian who has done small table top video sculptures. His work is featured in the Whitney and the SF MoMA to mention a few public institutions. Our booth will be a surprise. We are not at liberty to discuss it at this time. Come see us at Art Miami booth # 32. We are the host gallery and serve mimosas, coffee, and croissants every morning to other dealers, press, art schools and everyone that comes in. We also have the cleanest potties.

AOM: Bernice, what do you think, President Obama- boxers or briefs?

BS: In his effort to deal with divisive Republicans he wears briefs that are one size smaller than appropriate to unite both parties.


Bernice Steinbaum, Bernice Steinbaum Gallery

Posted in Bios P - T on September 27, 2011 by artoutmiami

Bernice Steinbaum

BORN: January 3, 1944, Flushing, NY
EDUCATION:Bachelor of Arts – Queens College, New York, 1961
Master of Arts – Hofstra University, New York, 1965
Ph.D. Art Education – Columbia University, New York, 1977
Iowa Public School System
Associate Professor – Drake University, Iowa
Professor – Hofstra University, New York
Educational Television – “Art Time with Mrs. Steinbaum”, KDPS, Iowa
27 years in SoHo, New York and 11 years in Miami, FL (Bernice Steinbaum Gallery)
CURATOR OF EXHIBITIONS AND TRAVELING MUSEUM SHOWS2009 The Art of Fashion and the Fashion of Art, Bernice Steinbaum Gallery, Miami, FL
2008 Progeny, Bernice Steinbaum Gallery, Miami, FL (travelling through 2011)
2007 In Your Face, Bernice Steinbaum Gallery, Miami, FL
2004 It’s for the Birds (traveling tour through 2007)
2003 Affordable Art: Save Your Pennies, Bernice Steinbaum Gallery, Miami, FL
39th Annual Art Faculty Exhibition, University of Florida, Miami, FL
2001 A Painting Over the Sofa (that’s not necessarily a painting); (traveling tour through 2004)
1999 There but for the Grace of…Temporary Shelters, Here Here. A Shelter for ideas in art, architecture & design Gallery, Cleveland, OH
1997 Crossing The Threshold (31 women artists ages 70 to 105), Steinbaum Krauss Gallery, NYC (traveling tour through 2001).
1994 Memories of we’re not the Cleavers or the Brady Bunch, Steinbaum Krauss Gallery, NYC (travel tour through US)
1993 93 Holiday Greetings & Wishes for 94, Steinbaum Krauss Gallery, NYC
1992 Floored Art, Bernice Steinbaum Gallery, NYC (travel tour through US)
The Rocker, Bernice Steinbaum Gallery, NYC
Obsessive Compulsive, Bernice Steinbaum Gallery, NYC
1991 Collage Unglued, North Miami Museum of Contemporary Art, North Miami, FL
The New West, Bernice Steinbaum Gallery, NYC
1990 The Definitive Contemporary American Art Quilt, Bernice Steinbaum Gallery, NYC (travel tour through US)
The Art of Fashion, Bernice Steinbaum Gallery, NYC (travel tour U.S.)
1989 Gardens Real & Imagined, Bernice Steinbaum Gallery, NYC (travel tour through US)
American Resources: Selected Works of African American Artists, Bernice Steinbaum Gallery, NYC (travel tour through US)
Beyond the Tradition of Rocking Chairs (On and Off Your Rocker), Bernice Steinbaum Gallery, NYC
1988 Alice and Look Who Else, Through the Looking Glass, Bernice Steinbaum Gallery, NYC (travel tour through US)
Pioneer & Pioneering 20th Century Women Furniture Designers & Furniture Designer/Makers, Curated by Nina Stritzler, Bernice Steinbaum Gallery, NYC
1986 Elders of the Tribe, Bernice Steinbaum Gallery, NYC (travel tour through US)
1985 Adornments, Bernice Steinbaum Gallery, NYC (travel tour U.S.)
Staged/Stages, Co-curated with Judy K. Collischan Van Wagner, Bernice Steinbaum Gallery, NYC (travel tour through U.S.)
1984 1 + 1 = 2, Co-curated with Paul Brach, Bernice Steinbaum Gallery, NYC
(travel tour U.S.)
Common Ground
Cowboys and Indians
Fiber Arts, guest curator for the gov of Monaco

Museum for African Art
Arts Alliance
College Art Association, NY
Cooper Union
Equity Life
Fashion Institute of Technology
Fine Arts Museum of Long Island
New York University
School of Visual Arts
Teacher’s College, Columbia University (panel) 1996
Whitney Extension

The Little Black Dress, Florida Institute of Technology, Melbourne, FL
Harvard University, International Fellows, Cambridge, MA
Looking at Contemporary Art from a Chinese Perspective, in conjunction with an exhibition of the work of Hung Liu, The Gallery of Contemporary Art, Sacred Heart University, Fairfield, CT, May 14, 1999, in conjunction with Crossing the Threshold, Spencer Museum of Art, University of Kansas, Lawrence, KS October 8, 1998
Thelma & Louise Ride through Crossing The Threshold, New Jersey State College, Ewing, NJ, March 4, 1998.
Museum for African Art, NYC – Textiles Study Group of NY, December 17, 1998
Muscarelle Museum of Art, College of William & Mary, Williamsburg, VA;
Main Line Art Center, Haverford, PA;
Peninsula Fine Arts Center, Newport News, VA;
Tampa Art Museum, Tampa, FL;
Abilene, TX;
Cheekwood Fine Arts Center, Nashville, TN;
Arizona State University;
High Museum of Art, Atlanta, GA;
Yellowstone Arts Center, MT;
Erie Arts Museum, Erie, PA;
Millpond House, Smithtown Township Arts Council,St.James, NY;
New Jersey State Museum, Trenton, NJ;
Albright-Knox Art Museum, Buffalo, NY;
Tate Gallery, London, England;
Fort Wayne Museum of Art, Fort Wayne, IN;

The Spindle, Henry Moore, 1981, Incontinental Hotel, 100 Chopin Plaza

Posted in Biscayne Cooridor, Sculpture on September 21, 2011 by artoutmiami

The Spindle, Henry Moore (Pic courtesy of Intercontinental Hotels)

( Courtesy of Intercontinental Hotels)
The InterContinental Miami was built in the early 1980s by Theodore Gould, a developer from Washington DC. At the time, the hotel was called the Pavilion Hotel and built together with the Miami Center office building. The hotel was designed by Pietro Belucci, the famous architect who designed the Pan American building in NYC.

The travertine marble was imported from Italy, the slabs were numbered when cut so when reassembled in Miami the slabs followed the same vein. An entire quarry was emptied to build the hotel and the adjacent Miami Center. They are the largest marble structures in Florida. Precious woods imported from Africa, including the rare Babinga were used throughout the entire hotel.

It is the only hotel lobby in the world to have been built around a work of art. In 1981, internationally renowned sculptor Sir Henry Moore (1898-1986) created the 18-ft, 70-ton Spindle sculpture. Made of travertine marble with a base of ooba tooba granite from Brazil, it was dropped into the lobby space by helicopter and from that point the hotel lobby was built. The Spindle is the largest of the artist’s sculptures in private ownership and is appraised at over $20 million.

Claire Breukel, Curator

Posted in Bios A - E on September 20, 2011 by artoutmiami

Claire Breukel

After graduating from the University of Cape Town, Claire Breukel began her career working for the South African Center for Photography and the Association for Visual Arts, both non-profit organizations. Invited to curate the 2002 Cape Town Month of Photography biennale, she went on to curate the Vision Photography Festival and Brett Kebble Art Awards, 2003 and 2004. Introduced to Miami through the Rubell Family Collection, she took the position of Executive Director at Locust Projects, a renowned alternative non-profit. Whilst in Miami she participated in a number of art-related boards including as Vice Chair of Miami Beach Art in Public Places. Following this she became nomadic in her role as Coordinator of PUMAVision and Curator of PUMA.Creative, focusing on developing the arts specifically within Africa and the Caribbean region. Here she collaborated on numerous creative projects, including the Arts in Marrakech festival, 8th Bamako Encounters biennale, Global Caribbean symposium, Caribbean Studies Association conference, Channel 4 BRITDOC Foundation, Yves Behar at the Design Museum, London, Isaac Julien at the Bass Museum, Miami as well as art social networking sites and Breukel is an independent curator and arts writer interested in contemporary art that falls outside of conventional modes of exhibition, and often affiliated with “developing” regions. She has written for Eikon, ArtPulse, Wynwood magazine, Arte Aldia and has a weekly column on She has curated exhibitions in Cape Town, New York, Miami, Vienna and San Salvador. 

Coosje (pro: Koh-shuh) Van Bruggen, Artist and Collaborator With Her Husband Claes Oldenburg, Dropped Bowl…

Posted in Bios U - Z on September 18, 2011 by artoutmiami

Coosje Van Bruggen and Claes Oldenburg

(Courtesy of Wilkipedia)

Coosje van Bruggen (June 6, 1942 – January 10, 2009) was a sculptor, art historian, and critic.[1] She collaborated extensively with her husband, Claes Oldenburg.
Van Bruggen studied history of art at the University of Groningen. From 1967 to 1971 she worked at the Stedelijk Museum in Amsterdam. Until 1976 Van Bruggen taught at the Academy for Art and Industries in Enschede. In 1978 Van Bruggen moved to New York, in 1993 she became a United States citizen.
She collaborated extensively with her husband, sculptor Claes Oldenburg, since 1976. They were married in 1977. Together, they designed several large scaled sculptures such as the Inverted Collar and Tie in Frankfurt am Main. Since the early 1980s Van Bruggen worked as an independent critic and curator. In 1982 she was member of the selection committee of the documenta 7 in Kassel. In 1988, her work along with Oldenburg Spoonbridge and Cherry was commissioned by the Walker Art Center, and became a permanent fixture of the Minneapolis Sculpture Garden as well as an iconic image of the city of Minneapolis. Van Bruggen published books about the early work of Oldenburg, the Guggenheim Museum Bilbao and the works of Bruce Nauman.

Together with Oldenburg, Van Bruggen received numerous awards including the Distinction in Sculpture, Sculpture Center, New York (1994); Nathaniel S. Saltonstall Award, Institute of Contemporary Art, Boston (1996); Partners in Education Award, Solomon R. Guggenheim Museum, New York (2002); the Medal Award, School of the Museum of Fine Arts, Boston (2004) and honorary degrees from the California College of the Arts, San Francisco, California (1996); University of Teesside, Middlesbrough, England (1999); Nova Scotia College of Art and Design, Halifax, Nova Scotia (2005); and the College for Creative Studies in Detroit, Michigan (2005).
The Estate of Coosje van Bruggen is represented by The Pace Gallery, New York
She died in 2009, aged 66, after a long battle with breast cancer.

Claes Oldenburg and Coosje van Bruggen, Dropped Bowl with Scattered Slices and Peels, Government Center , 1998

Posted in Official Art In Public Places designation, Sculpture on September 18, 2011 by artoutmiami

Dropped Bowl With Scattered Slices and Peels

Claes Oldenburg and Coosje van Bruggen
Dropped Bowl with Scattered Slices and Peels, 1990
Concrete, aluminum, cast resin, computerized fountain
Government Center at Open Space Park
This monumental outdoor sculpture with multi-dimensional sections, represents
an imaginary moment in time when a huge bowl of orange slices and peels
drops to the ground and shatters. The artwork includes eight bowl
fragments in cast concrete with an overall weight of 124,000 lbs., four peels
in steel plate with painted surfaces, and five orange sections executed in
reinforced cast resin. Oldenburg is best known for his gigantic food
constructions and his daily object soft sculptures.

Claes Oldenburg, Artist

Posted in Bios K - O on September 18, 2011 by artoutmiami

Claes Oldenburg

Claes Oldenburg was born in Stockholm, Sweden, the son of a Swedish diplomat stationed in New York. In 1936 his father was transferred to Chicago where Oldenburg grew up, attending the Latin School of Chicago. He studied at Yale University from 1946 to 1950, then returned to Chicago where he took classes at The School of the Art Institute of Chicago. While further developing his craft, he worked as a reporter at the City News Bureau of Chicago. He also opened his own studio and, in 1953, became a naturalized citizen of the United States. His first recorded sales of artworks were at the 57th Street Art Fair in Chicago, where he sold 5 items for a total price of $25.[1] He moved back to New York City in 1956. There he met a number of artists, including Jim Dine, Red Grooms, and Allan Kaprow, whose Happenings incorporated theatrical aspects and provided an alternative to the abstract expressionism that had come to dominate much of the art scene. During this time, artist Robert Beauchamp described Oldenburg as “brilliant,” due to the reaction that the pop artist brought to a “dull” abstract expressionist period.[2]
The most memorable aspects of Oldenburg’s works are perhaps, the colossal sculptures that he has made in partnership with his late wife, Coosje van Bruggen. Sculptures, though quite large, often have interactive capabilities. One such interactive early sculpture was a soft sculpture of a tube of lipstick which would deflate unless a participant re-pumped air into it. In 1974, this sculpture, Lipstick (Ascending) on Caterpillar Tracks, was redesigned in a sturdier aluminum form, the giant lipstick being placed vertically atop tank treads. Originally installed in Beinecke Plaza at Yale, it now resides in the Morse College courtyard.
Many of Oldenburg’s large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. In the 1960s he became associated with the Pop Art movement and created many so-called happenings, which were performance art related productions of that time. The name he gave to his own productions was “Ray Gun Theater”. His first wife (1960–1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with “profound” expressions or ideas. But Oldenburg’s spirited art found first a niche then a great popularity that endures to this day.
Between 1969 and 1977, Oldenburg was in a relationship with the feminist artist and sculptor, Hannah Wilke, who died in 1993.[3] They shared several studios and traveled together, and Wilke often photographed him.
Oldenburg’s collaboration with Dutch/American writer and art historian Coosje van Bruggen dates from 1976. They were married in 1977.[4] In 1988, he and van Bruggen created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city.
In addition to freestanding projects, they occasionally contribute to architectural projects, most notably the former Chiat/Day advertising agency headquarters designed by Frank O. Gehry in the Venice district of Los Angeles, California—the main entrance is a pair of giant binoculars. The advertising agency DDB is the current tenant.
Another well known construction is the Free Stamp in downtown Cleveland, Ohio. This Free Stamp has an energetic cult following.
In 2000, he was awarded the National Medal of Arts.[5]
In 2001, Oldenburg and van Bruggen created ‘Dropped Cone’, a huge inverted ice cream cone, on top of a shopping center in Cologne, Germany.[6]
His wife died on January 10, 2009, from the effects of breast cancer.
Claes Oldenburg supposedly has a work of art on the moon in the Moon Museum.
Paint Torch is slated for installation in Philadelphia at the Pennsylvania Academy of the Fine Arts in the fall of 2011. Paint Torch is a towering 53-foot-high pop sculpture of a paintbrush, capped with bristles that will be illuminated at night. The sculpture will be installed at a daring 60-degree angle, as if in the act of painting.[7]
Claes Oldenburg is represented by The Pace Gallery in New York.