Luciana Abait, Visual Fields, Glass Tile, Crandon Park Golf Course, Key Biscayne,2004

Posted in Key Biscayne, Murals on February 26, 2012 by artoutmiami

(Courtesy of Brandi Reddick)

The beauty of Crandon Park Golf Course is celebrated by Miami based artist Luciana Abait in her recently completed glass tile installation entitled Vistas. Vistas, which is located in the breezeway of the new Crandon Park Golf Course Clubhouse, captures the lush and exceptional natural landscape of Crandon Park. All of the eighty-four glass tiles are unique and portray specific references to the golf course area. Composed of a witty fusion of landscapes and structural grids, “Vistas” creates an illusion of windows along the breezeway of the Crandon Park Golf Course Clubhouse.

Abait, who works primarily with paint on canvas, was highly innovative with her choice of medium for this project and was very successful in adapting her work to appropriate the space. She began the project by painting each image on individual canvases. Once the canvases were painted, she then had each image transferred to glass tiles, which allowed the pieces to become much more durable and able to withstand the elements of the partially covered breezeway. This choice of medium creates a slightly luminescent surface and allows the installation to retain the painterly quality of Abait’s canvases.

Crandon Park Golf Course Clubhouse is located at 6700 Crandon Boulevard, Key Biscayne, Florida 33149. Crandon Park Golf Course is a championship 18-hole golf course located on the “island paradise” of Key Biscayne, just 10 minutes from downtown Miami. It is the only public course on the Bay. Crandon Park Golf Course has, in many ways, become Miami-Dade’s signature public golf course. For more information about Crandon Park Golf Course, call (305) 361-9129 or visit their website at


Luciana Abait, Artist

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


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.


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.

Tom Sachs, Codependent Fountain Tableau ( Hello Kitty and Miffy), 2007. My Melody, 2007, Collins Park, Miami Beach. On temporary loan for Art Basel from the Lever House Art Collection, NY

Posted in Art Basel 2011, Miami Beach, Sculpture on November 29, 2011 by artoutmiami

Kitty, Miffy, and Melody, Collins Park- Art Basel 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.