Miami artist Hernan Bas’s 17-foot x 8-foot painting, “The Road Ahead Is … Golden … Silver … Bronze” is gorgeous and g’damn pricey. When we stopped by his Art Basel Miami Beach booth on Wednesday, Fredric Snitzer, one of only three local gallerists with space at ABMB, told us the painting was going for $350,000 and had already attracted much interest from potential buyers. As we only had $315,000 on us at the moment, we had to let the painting go. Before we left (to track down a $17,000 glass of Kate-Moss-air-kissed champagne), we asked Snitzer a few questions about the painting.
You can see a still of Bas’s painting after the jump.
In the late ’60s, Andy Warhol famously prophesied that, in the future, everyone would be world-famous for 15 minutes. With reality television making, breaking, and forsaking “everyone”s with brutal speed, YouTube giving hope to anyone with the dream of landing a mention on Tosh.0, and Twitter putting celebrity/infamy a mere 140 characters away, Warhol’s prediction was dead on (though 15 minutes may have been an overestimate).
It is no surprise, then, that Warhol’s face and work are everywhere at Art Basel Miami Beach this year, which opens its doors to the public today and hosted its exclusive Vernissage Tuesday evening. In this video, L & M Arts dealer Dominique Lévy discusses Warhol’s enduring relevance nearly 25 years after his death in a setting the artist would have appreciated: A booth literally plastered with his face.
One of the coolest things about the Bakehouse Art Complex, a former industrial bakery in Wynwood where we are throwing a Sketchy Party Friday night (RSVP on Facebook), is that each of its studios is a self-contained universe. Step into studio 37, for example, and you will encounter walls hung thick with fabric, embroidery-layered photographs, and, on your left, fiber artist Carrie Sieh sitting at her desk behind a decades-old loom. A few doors down, in studio 34, Deborah Mitchell, a mixed-media artist whose work practically smells of the Florida swamps, smiles in front of a wall of pieces layered with newspaper print, plant matter, and dry animal bones. (Both Sieh and Mitchell have original work in the raffle we will be holding Friday night. Learn more about it and pre-order tickets HERE.)
Then there’s studio 43, the workplace of artist Mike Rivamonte. Rivamonte is a sculptor, but there are no dunes of marble dust in his studio. Instead, the small space is crowded with robots constructed of antiques, everything from Zenith radios and trolley-car fare boxes to Word War II binoculars and drive-in speakers from as far back as the ’40s and as far away as Australia.
Last night at Sweat Records, zinester extraordinaire and Miami punk historian Erick Lyle guided a good-sized crowd (for a reading … in Miami) from the dumpsters of 79th street to the punk dens of the 90s to the police-barricaded avenues of the 2003 FTAA protests to the halls and walls of the Art Basel power structure and even into the chink in Shepard Fairey’s ego armor, all in the casually funny and punkishly poetic voice that characterizes his influential zine, Scam. We interviewed Lyle on Monday, so you can read more about his background there. The videos here are full clips from his reading last night, and each one is well-worth a listen. If you like what you hear, you can buy Lyle’s work from Microcosm Publishing, including his latest, an anthology of Scam’s first four editions. If you ask me, nothing says “stocking stuffer” like a document of career criminalism, art vandalism, hotel squatting, and generally punking around Miami in the 90s. Ho ho ho.
In this clip, Lyle pursues an “up-from-the-streets art career” by tearing up the ninth hole of the Miami Shores Golf Course and Country Club with a shovel and attempting to grace a blank I-95 billboard with “the perfect penis”, which he ingeniously portrays as a metaphor for Miami itself.