Archive for the BIOGRAPHIES Category

Carlos Betancourt, Multi-Media Artist, Bio

Posted in Bios A - E on March 16, 2012 by artoutmiami

Artist Carlos Betancourt was born and raised in San Juan, Puerto Rico. In 1981 he moved to Miami Beach, Florida. Mr. Betancourt’s artwork is part of public collections such as the Metropolitan Museum of Art in New York, the Smithsonian National Portrait Gallery in Washington, DC, the Miami Art Museum, the San Antonio Museum of Art in Texas, the Bass Museum in Miami Beach, Museum of Art  Fort Lauderdale, Museo de Arte Ponce,  the Centro Atlantico de Arte Moderno in the Canary Islands, the Museum of Latin American Art in California, the Museo de Arte Moderno in Santo Domingo, and the Lowe Art Museum at the University of Miami. Mr. Betancourt’s artwork has been included in multiple solo and group exhibits as well as art fairs such as Art Basel and Arco.  He is the recipient of numerous awards and grants, including the Florida Department of State Millennium Cultural Recognition Award, a National Endowment for the Arts Grant, and the Miami Beach Arts Council Grant.  He has been awarded commissions to create artworks for various Art in Public Places programs. Betancourt is co-founder of 801 Projects, an arts studio center that provides studio space for visual artists based in Miami.  He currently keeps a studio in Miami while traveling consistently, producing artworks from different countries.

Luciana Abait, Artist

Posted in Bios A - E, Key Biscayne, Murals on February 26, 2012 by artoutmiami

Biography

Luciana Abait was born in Buenos Aires, Argentina in 1971. From 1993 to 1997 she attended the National School of Fine Arts “Prilidiano Pueyrredon” in Buenos Aires. She also studied Art History at the University of Massachusetts and “Literature and Painting” at the University of Cambridge, England. Luciana Abait moved to Miami in 1997 and became a resident artist of the ArtCenter South Florida in 1998. At the end of 2005 she relocated to Los Angeles where she now lives and works. She is currently a resident artist of 18th Street Arts Center in Santa Monica, California.

Some of her solo exhibitions include Flow, Blue at Rockford College Art Museum in Illinois, A Midmorning Garden Dream and Still Chambers, held in conjunction with “FotoFest” at Mackey Gallery in Houston, Silent Structures at Naomi Silva Gallery in Atlanta, New Works at Jean Albano Gallery in Chicago, Swimming Rooms at the Miami-Dade Department of Cultural Affairs in Miami, Into the Blue at 180 Grados de Arte Contemporaneo in Buenos Aires, Argentina and Visual Fields at TaiKoo Place, Hong Kong. She has participated in numerous group exhibits in the United States, the Caribbean and Europe such as Incognito at the Santa Monica Museum of Art in Los Angeles, The Paramilitary Show at the Fire Museum in Houston, the 54th Annual All Florida Juried Exhibition at the Boca Raton Museum of Art in Florida and Fresh at the National Gallery of the Cayman Islands. Her work has been reviewed in publications such as Art Nexus, Ming Pao Hong Kong, The Miami Herald, Arte al Dia, Chicago Reader, Chicago Sun-Times, ArtInvestor, Art in America and Art News.

Her work has been shown in numerous international art fairs such as Art Miami, Merryl Lynch ArteAmericas, Affordable Art Fair in New York, Art Palm Beach, Art Chicago and Arco in Spain.

Luciana Abait has completed various corporate and public commissions among them “Vistas”, a 24 feet mural commissioned by Miami- Dade Art in Public Places for Crandon Park Golf Course in Key Biscayne, Florida.

Abait’s works are held by private, public and corporate collectors from the United States, Europe, Latin America and East Asia. Some of these are: Florida State University, Permanent Art Collection of Neiman Marcus, Colonial Bank, Miami- Dade Public Library, Four Seasons, The Related Group, White and Case, Richard Shack Collection and University of Miami in Florida, King and Spalding in Houston, Lehigh University Museum and West Collection in Pennsylvania, Gerald and Barbara Levin in New York, Sprint Corporation in Missouri, Flint Art Institute in Michigan, the Federal Reserve in Washington D.C. and Freshfields and Swire Properties in Hong Kong.

Luciana Abait will be part of “Sur” Biennial, Los Angeles, in October 2011. Also, her projects “A Midmorning Garden Dream” and “Aquarium” have been selected by the Los Angeles Department of Cultural Affairs to be exhibited during 2011 and 2012 at LAX.

Contact: lucianaabait@hotmail.com http://www.lucianaabait.com

Tom Sachs- Bio

Posted in Bios P - T on November 29, 2011 by artoutmiami

Tom Sachs

(Courtesy of Wilkipedia)
Born in New York City on July 26, 1966, Sachs grew up in Westport, Connecticut and attended Greens Farms Academy for high school. He attended Bennington College in Vermont. Following graduation, he studied architecture at London’s Architectural Association before deciding to return to the States, where he spent two years working in Frank Gehry’s L.A. furniture shop. It is here that he began using the term knolling.
Sachs moved from L.A. to New York City around 1990 and found a studio in the disappearing machinery district downtown. His studio, Allied Cultural Prosthetics, took its name from the previous tenant—Allied Machine Exchange—implying that contemporary culture had become nothing but a prosthetic for real culture.[1]
For a few years Sachs worked odd jobs, including lighting displays at Barneys New York. In 1994, he was invited to create a scene for their Christmas displays and titled it Hello Kitty Nativity, in which the Virgin Mary was replaced by Hello Kitty with an open Chanel bra, the three Kings were Bart Simpsons, and the stable was marked by a McDonald’s logo. This contemporary revision of the nativity scene received great attention (not all of it positive[2]) and demonstrated Sachs’ interest in the phenomena of consumerism, branding, and the cultural fetishization of products.

In the mid and late 1990s, Sachs’ career began to take off. His first major solo show, “Cultural Prosthetics”[1], opened at New York’s Morris-Healy Gallery in 1995. Many works from the show conflated fashion and violence, as with HG (Hermés Hand Grenade) (1995) and Tiffany Glock (Model 19) (1995)[2], both of which were models made with Hermes or Tiffany packaging. Although these sculptures were non-functional, another piece – Hecho in Switzerland (1995) – was an actual working homemade gun. Sachs and his assistants would make similar guns and sell them back to the city as part of New York’s gun buyback program (for up to $300 each).[3]
His next major show, “Creativity is the Enemy”, opened in 1998 at New York’s Thomas Healy Gallery and Paris’ Galerie Thaddaeus Ropac. It built on the discourse established in “Cultural Prosthetics” with sculptures like Chanel Guillotine (1998)[3] and Prada Deathcamp (1998). Other pieces, like Hermés Value Meal (1998)[4], moved away from explicit references to violence and paired fashion with other successful brands, like McDonald’s. Also included in the show were gaffer’s tape versions of Piet Mondrian’s famous compositions [5][6]. Like the Hermes sculptures, the Mondrian paintings were things Sachs desired but could not have. So he made them instead. As Sachs puts it, “making it is a way of having it.[4]”
Similar shows opened the following year at Galerie Thaddaeus Ropac in Salzburg, Austria and Mary Boone Gallery in New York, where Boone was famously arrested after Sachs allowed visitors to take live ammunition from an Alvar Aalto vase.[5] Around the same time, Sachs’ SONY Outsider (1998) opened at SITE Santa Fe in New Mexico. The sculpture was outwardly a full-scale model of the atomic bomb that was dropped on Nagasaki, and was a leap from handmade art into expensive outsourced fabrication. Ultimately, it was not well received by critics or even the artist himself – he later published a zine titled “The Failure of SONY Outsider”[6]). For many, including Roberta Smith, the well-known New York Times art critic, the piece “bore no trace of Mr. Sachs’s hand” and “could have been the work of several other artists.[7]” As Sachs says about the piece: “At the time I didn’t fully grasp the value of my handcrafted things… I should leave it to Sony or Motorola to make those perfect things.[8]”
Learning from this experience, Sachs fully embraced the practice of “bricolage”. For Sachs, a bricoleur is one “who hobbles together functional contraptions out of already given or collected materials, which he re-tools and re-signifies info new objects with novel uses, but more importantly, which he regenerates into a new, oscillating syntax: one of loss, gain, and more than anything, one of play.” After the failure of Sony Outsider, Sachs began to focus on leaving visible traces of his work, saying this a few years later:
“We have our system of making things out of certain materials… and of showing the scars of our labor and the history of our efforts… We have the ‘your way’, ‘my way’, and ‘the right way,’ and I must insist everything is done my way, even if it takes longer.[9]”
On a related note, Sachs organized an exhibition at Sperone Westwater in 2000 entitled “American Bricolage” that featured the work of 12 artists including Alexander Calder, Greg Colson, and Tom Friedman.
After several solo exhibitions in New York and abroad, “Nutsy’s” opened at the Bohen Foundation (New York City) in 2002 and Deutsche Guggenheim (Berlin) in 2003. The large-scale installation covered a whole floor, and invited viewers to interact by driving remote-controlled vehicles on asphalt tracks throughout the installation. Several of Sachs’ most famous works debuted at this exhibition, including Unité, Nutsy’s McDonald’s, and Barcelona Pavilion. Unité, in particular, is one of Sachs’ masterpieces—a 1:25 recreation of Le Corbusier’s Unité d’Habitation made completely out of foamcore. The Neistat Brothers, who began their careers working for Sachs, were instrumental in the operation of “Nutsy’s”.
In 2006, the artist had two major survey exhibitions mounted in Europe, first at the Astrup Fearnley Museet for Moderne Kunst and next at the Fondazione Prada, Milan. His work can be found in major museum collections worldwide, including the Metropolitan Museum of Art, New York, The Solomon R. Guggenheim Museum, New York, the Whitney Museum of American Art and the Centre Georges Pompidou, Paris.
As Germano Celant writes in his monograph on the artist published by the Fondazione Prada, Milan, “The images and objects that make up the militarized space of consumption and fashion are at the very heart of Tom Sachs’s visual passion.”
The Des Moines Art Center and Rose Art Museum hosted a solo exhibition titled Logjam featuring the artist in 2007.

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
TEACHING EXPERIENCE: 19 YEARS
Iowa Public School System
Associate Professor – Drake University, Iowa
Professor – Hofstra University, New York
Educational Television – “Art Time with Mrs. Steinbaum”, KDPS, Iowa
GALLERY DIRECTOR:
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 Childhood..so 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

SELECTED LECTURES
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;

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 creativeafricanetwork.com and creativecaribbeannetwork.com. 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 Hyperallergic.com. 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, 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.