For my final full day here in Miami, I headed across Biscayne Bay to Downtown Miami, an area home to several arts institutions, including the Pérez Art Museum Miami. After experiencing the traffic of last year’s Art Week, I was determined to minimize bridge crossings and decided to pack in as many Downtown, Wynwood, and Design District events as possible. This was a great decision, as it took over an hour to drive what would normally take 20 minutes. The first stop of the day was to the New Art Dealers Alliance (NADA) fair, a fan favorite for the art on view, as well as for the overall airy atmosphere complete with hammocks for visitors to lounge outside in the sun. 

 

Charles Moffett’s booth with Turbulence (2022) Maggie Ellis. All photos by Annabel Keenan unless otherwise noted

 

A highlight of the fair was Charles Moffett’s solo presentation of new narrative paintings by Maggie Ellis. Known for her observational–almost voyeuristic–imagery, Ellis creates captivating scenes of daily life from people walking down the street to groups of strangers dancing at a party. Her works exude a frenetic energy that capture raw emotions including euphoria and fear. Particularly intriguing is Turbulence (2022), in which dozens of passengers sit with facial expressions revealing various reactions to a tumultuous flight. Each expression is drastically different, capturing seemingly every human emotion. The faces themselves vary widely with skin ranging from natural human tones to purples, blues, and greens reminiscent of science fiction characters. Ellis’ imagination and creativity are on full display. 

 

Parrasch Heijnen’s booth with Alteronce Gumby

 

Nearby, Parrasch Heijnen exhibited a selection of works by several artists, including kaleidoscopic, mixed media paintings by Alteronce Gumby. Using a range of eye-catching materials including glass, gemstones, and acrylic, Gumby creates works whose surfaces are like looking through a telescope. The interstellar compositions are full of glimmering, reflective, and colorful details that highlight his interest in color theory and his fascination with the cosmos. With thick, weighty surfaces, Gumby’s works blur the line between painting and wall sculpture. 

 

Mrs. at NADA with Rose Nestler

 

Bringing a theatrical element to the fair was Mrs., which presented a solo booth of new installations, sculptures, and wall reliefs by Rose Nestler. In See her LIVE (Lucia) (2022), Nestler created a stage-like display of legs clad in fishnet stockings that appear from behind pink velvet curtains. Bent at the knees, the legs dance in the fair, detached from any visible body. The works further Nestler’s interest in obscenity, theatricality, and sensuality associated with female performers. The artist adds a further layer of complexity with the use of velvet and the overall shrine-like shape of the piece, both of which have associations with the pomp and pageantry of the church. 

 

JUPITER Contemporary’s booth in the Curated Spotlight section featuring Monsieur Zohore

 

NADA also features a Curated Spotlight sector, a selection of artists from NADA member galleries that is chosen by a leading curator. In its third edition, this year’s selection was made by Joeonna Bellorado-Samuels (Found of We Buy Gold gallery and Director of Jack Shainman Gallery). A highlight of the Curated Spotlight was a presentation of new paintings and sculptures by Monsieur Zohore from JUPITER Contemporary, the same JUPITER that impressed yesterday with a group booth at Untitled. 

Titled Bon Voyage, the selection of works at NADA continue Zohore’s interest and critique of cultural industries and focus on resort culture to underscore the darker side of the luxuries of life and the labor involved in supporting it. Common household items like fans from the brand Hurricane often appear in Zohore’s work and are recontextualized in ironic and humorous ways with the addition of braided, beaded wigs to point to larger global issues. 

 

 

While across the bay, I took the opportunity to stop by Anthem X, a pop-up group exhibition by Malin Gallery curated by Jared Owens. The show featured 42 intergenerational artists and was sponsored by the artist residency Silver Art Projects (of which Owens is a resident) and the Art for Justice Fund. Owens selected artists with practices grounded in social commentary and activism. The works in the show featured a range of media and sought to amplify voices that were erased or omitted in the formation of US history and identity. A portion of proceeds from the week-long exhibition will benefit the Right of Return, the only artistic fellowship that exclusively supports formerly incarcerated artists that was founded by two artists from the show, Jesse Krimes and Russell Craig. 

From there, I headed to MOCA North Miami to see Nou Kite Tout Sa Dèyè, the largest retrospective of works by Didier William. Again celebrating Caribbean culture, the show presents an in-depth look at the Haitain-born, North Miami-raised artist’s life and career, in particular his experience of being a migrant in a Haitian area of South Florida. Nou Kite Tout Sa Dèyè, “We’ve Left That All Behind” translated from Creole, is both a homecoming for the artist, as he grew up not far from the museum, and a moment for William to reflect on his own memory of life and immigration. 

 

Leandro Erlich Swimming Pool installation at the Pérez Art Museum Miami 

 

To finish off the day, I went to the Pérez Art Museum Miami (PAMM) for an after-hours viewing of the museum’s current exhibitions and to attend its signature Art Week party: PAMM Presents. A highlight of the current roster that has been the talk of the town is Leandro Erlich: Liminal (through September 4, 2023), the artist’s first solo show in North America that spans more than two decades of the conceptual Argentinian artist’s career. Included in the exhibition is one of Erlich’s most famous pieces, Swimming Pool (1999), which relies on optical illusions to create the impression that visitors are submerged underwater. While the installation is open for visitors during normal hours, partygoers had the chance to watch professional dancers perform underwater throughout the night.

 

Miami at night at the Pérez Art Museum Miami

 

Tonight, to cap off my week in Miami before heading back to the freezing cold weather in New York, I’m stopping by the EDITION hotel for a special vinyl signing event hosted by advisor and all around supporter of the arts Nazy Nazhand to celebrate the recent release of Carl Craig’s LP box set Party/After-Party. The two LPs feature the Detroit-based techno DJ and producer’s large-scale installation and sound work premiered in 2020 at Dia Beacon. They include studio versions and live recordings from Dia. Los Angeles readers should be excited to know that the show will travel to MOCA in April 2023. 

With that, my Miami Art Week will come to an end. I didn’t see a single NFT, nor did I hear about any, a clear departure from last year’s obsession with all things digital. That’s not to say blockchain technology wasn’t present. Companies like Fairchain are taking the benefits of blockchain and smart contracts to support artists’ careers and financial interests. Collectors, galleries, and artists are taking note–Fairchain hosted a series of informative panels and supported  several artists on view throughout the fairs. This year left me with a lot to consider, in particular the immense talent of Caribbean artists on view. Every single fair showcased memorable art and introduced me to new artists, which in my books makes the week a success.