Blair Hess is South Florida’s Ambassador of Skateboarding. Ask anyone who is serious about skating, I’m sure they have either skated with him or heard of his legend. We go back to the early 90’s and Blair has always had this impact in the skate community. He’s the type of guy who creates and spreads positive vibes in everything he does, including his art. Blair’s love of skateboarding runs deep and he attributes this as his main artistic influence. Continue Reading …
Living in Miami we are blessed to have quality art and entertainment events occurring nightly; this past Saturday was one of those nights with multiple great options. Fortunately the three events that interested me were within a close proximity to each other, which enabled thorough enjoyment of them all.Continue Reading …
I saw it as soon as it opened in South Florida.
You don’t understand.
When I was in high school, Boca Raton got independent films – only at Shadowood – well after they’d been released in Los Angeles, New York, and other ‘major’ cities. Although every once in a while Miami was on the ‘major’ cities list, back then, for me to go to there to see indie movies was a logistical impossibility. So, I would read about a movie in Harper’s Bazaar or Spin and then I’d obsessively check for its openings and showtimes in XS, South Florida’s alternative weekly magazine.1 That’s how I found and saw My Own Private Idaho.
PJ Harvey is, to me, the Platonic Artist. There’s a discipline to her work that I respect; experimental and rigorous and meaningful, no two albums are alike, yet I hear her fascinations and compulsions spiral out over years and songs. While my favorite album of hers is White Chalk, her magnum opus (to date) is Let England Shake.1 In it, she’s perfected an earnest voice and a sound that echoes the past even as it is raw and unvarnished in the way that’s expected of a certain type of contemporary music. Listening to the song England in the car today unlocked for me Polly Jean‘s gift for songwriting.
I met Kevin Havelton, director of Aureus Contemporary, one year ago at Art Miami. He was manning the booth that contained my first major art purchase, fa.fn47 (Female with Dog) by Karim Hamid. Kevin manages Aureus from the north east coast with no physical space, which works out because the artists he represents live all over the US and Europe. An active artist and painter, he juggles creating his own work with running the gallery. With no brick and mortar location Kevin takes Aureus on the road and curates for the fairs based on experience and the atmosphere of each city. What work he chooses to bring to an event in Los Angeles could differ from another in Paris or Miami for example. Thanks to Kevin, Aureus is nowhere and everywhere at once including my dining room.
I spoke to Kevin Havelton over video chat recently to discuss his preparation for Art Wynwood, the dynamics of Aureus Contemporary, and his background as an artist. Be sure to make it out to Art Wynwood and say hello to Kevin. The images below are a sample of what he will be showing. Festivities begin February 16 with a VIP preview and run through to Monday February 20.
I became an instant fan of Elastic Bond after hearing their Excursion album years ago. The funky, multi-cultural instrumentation, positive message and polished delivery of the vocals are what drew me in. The same elements that attracted me to their music have evolved to the point of refinement and maintained my loyalty throughout the years. Elastic Bond’s core members have melded together into a fine tuned machine: Sofy Encanto, Andres Ponce, Buffalo Brown and David Burgos. From the beginning, the band gained local popularity and continued an upward trajectory to include the following accomplishments: their music has been featured on radio and TV stations like: KCRW, KEXP, & MTV; performing at the Latin American Music Conference (LAMC), and ultimately signing on to major label Nacional Records.
I’ve became obsessed with two music videos. Neither is particularly new; albums with both songs were released in 2014 and 2015 respectively. And, although I came across them this past summer, sometimes it takes a while for things to take root. So, it wasn’t until the fall, when culture revives, that these songs became my referents. Fall in South Florida is verdant, bright, humid.1 These songs are stark. Both videos deal with space, technology, and feature blank whiteness and voids of black. Both videos have a solitary man as protagonist. It was a strange fall, to say the least. It haunts me. Sometime around the autumnal equinox, something slipped/tripped/stumbled, changed course.
That’s why, I think, I gravitated toward Alabama Shakes‘ song Sound & Color and its corresponding video:
On Saturday, January 28, 2017 from 4:00PM to 9:00PM, Girls’ Club in Fort Lauderdale will host Lop-Off Sessions at Pink Noise. This fifth edition of “one-day, site-specific performances organized by Maitejosune Urrechaga & Tony Kapel of Pocket of Lollipops“, features an all-female lineup including Bison Twins @ 4:00PM; Tete-a-Tete @ 4:40PM; Lori Garrote @ 5:15PM; Bows & Ties @ 5:55PM; Haochi (Didi and Ana Farina) @ 6:35PM; Margaret McInroe @ 7:15PM; Soety and Honey Henny Lime @ 7:55PM; and Raffa Jo @ 8:35PM:
Invited musicians will record one song each on location at the Pink Noise: Flexing the Frequency exhibition in the galleries of Girls’ Club. These songs will then be made available as a compilation album titled Layers of Simple Machines (Lop-Off #5). Each band will have up to 30 minutes to knock out the song. The public is invited to watch on as an audience, respectful of the sound recordings taking place.
Girls’ Club might seem like an odd location for an experiment in pulling back the curtains on the process of recording an album. But, as I learned, experiments in art and artists’ processes is exactly what Girls’ Club was designed – or, perhaps, non-designed – to do…
Episode Three of Profiles finds two longtime friends in conversation about politics, what it takes to make art, and the power of… knitting circles?
I’ve known multi-disciplinary artist Autumn Kioti for the better part of my life which is, frankly, mind-blowing. We unexpectedly ran into each other on Saturday, December 10, 2016 at the Pérez Art Museum Miami; we were both there for Now Be Here #3, the South Florida edition of Los Angeles-based artist Kim Schoenstadt‘s “gathering and photograph of female and female identifying contemporary artists”.
The Roots played a monster of a set at the Knight Concert Hall on December 31. Barely taking breaks between songs they charged back and forth on the stage, at times jumping or dancing in sync. They performed hit songs spanning the lifetime of the band including: I Shall Proceed, The Fire and You Got Me. The highlight for me was Seed 2.0 fused together with my favorite Curtis Mayfield song Move On Up! During the one calm in the set, the touring DJ immediately broke into a Prince audio sample “Dearly beloved…” riffing on Let’s Go Crazy and flowing into Everything She Wants by Wham honoring the deceased artists in a funky mash up. Earlier on, another George Michael tribute was led by a sax solo of Careless Whisper. Damon “Tuba Gooding Jr.” Bryson played an outstanding solo which gave me a whole new appreciation for the Tuba. The full breadth of The Roots is lost in the TV transmission, where in comparison the energy of Questlove‘s drumming, Black Thought‘s lyrical mastery, and the intensity of the horn section is fully realized live and direct.