A

A

THE MIAMI REPORT: DAY 3

Jamie Felton; Aqua Art Miami; The Bass Museum

 Yesterday, I moved from North Miami to South Beach into an apartment I’m sharing with four other ladies. We got safely ensconced, and then Mercury in retrograde struck in the form of a malfunctioning front door lock, right before I was scheduled to interview LA-based artist Jamie Felton at Untitled. It made me a little late and a little flustered, but that’s alright—like a true Angeleno, I’ll blame the cosmos.

I spoke with Jamie about her paintings on view at the Horton Gallery booth, her scheduled performances choreographed by Alexsa Durrans, and a shoe design collaboration she’s participating in with The Nou Project. She and her crew will perform “Stork Phrase Lines Up with the Shoreline” again this evening and every evening at 4.30 p.m. until the 9th. Alexsa described it as the culmination of a conversation—physical movement inspired by Jamie’s paintings. It’s the kind of interdisciplinary work that I find exciting and inspiring as a barely-emerging artist. It’s just good to know that such collaborations are being realized—and successfully.

I tip my hat to them, and encourage you to view the performance if you’re in town.

Later, I took an Uber solo to the VIP/Press opening of Aqua Art Miami, and Lord Jesus Christ, it was crowded as all hell. There were a few highlights though. Finally meeting Badir McCleary, the director of LA-based Gallery 38.

LRM EXPORT 20171207 091416 600x450 THE MIAMI REPORT: DAY 3

Badir McCleary, director of Gallery 38, in his booth at Aqua Art Miami

These photographs by Monique Eller, on view in Amsterdam-based Rademakers Gallery’s booth.

LRM EXPORT 20171207 091345 600x450 THE MIAMI REPORT: DAY 3

Triptych by Monique Eller. L to R: “Taste Sweet”, “Birds I”, and “Birds II”

These primal, ceremonial-feeling porcelain mini wall sculptures by Robin Whiteman, on view in the Exhibit A booth.

LRM EXPORT 20171207 091403 1 600x450 THE MIAMI REPORT: DAY 3

Porcelain sculptures by Robin Whiteman. L to R: “Elegy”, “Quiet”, and “Messenger”

And a free cocktail, courtesy of Aperol, who seems to be sponsoring every party out here. But the crowding and noise started to get to me after a while, and I had to escape. I’ve come a long way in dealing with my social anxiety, but enough is enough sometimes. So after sitting on a stoop in a dark alley to obsess on my phone over the LA Weekly saga and tragic fires back home, I headed to the Bass Museum’s reopening celebration—an opportunity for Untitled’s VIP guests to tour their renovated space. I joined two of my friends, artist Liz Tran and collector Lorrie Cardoso.

After hitting up the bar (ginger ale for me, I’m not a total lush), we went upstairs to view artist Ugo Rondinone’s takeover of the museum’s second floor, a retrospective called “good evening beautiful blue.”

LRM EXPORT 20171207 091438 600x450 THE MIAMI REPORT: DAY 3

Installation: “clockwork for oracles II (2008)” by Ugo Rondinone. Bass Museum, Miami.

DO YA LIKE CLOWNS? WE’VE GOT CLOWNZ!

LRM EXPORT 20171207 091502 600x450 THE MIAMI REPORT: DAY 3

Installation: “vocabulary of solitude (2014 – 2016)” by Ugo Rondinone. Bass Museum, Miami

I’ve never understood clown-phobia, I love those guys and gals. This installation gave Liz and Lorrie the heebie-jeebies, but considering the title, I found it quite touching and heartfelt. There’s also a video installation by Rondinone that you can view.


That sums it up. We Ubered “home,” ate an ungodly amount of chips with several dips, lamented grown-ass male artists who insist on penises and vaginas as the main focus of their work, and passed out. It was a good day.