News & Exhibitions / Miami
NEWS BY LOCATION
Announcing the 2017 NADA Miami Artadia Awardee
MIAMI, FL – Artadia and the New Art Dealers Alliance (NADA) are pleased to announce Carolin Eidner as the recipient of the 2017 NADA Miami Artadia Award, a $5,000 unrestricted, merit-based Award granted to one artist exhibiting at the fair. Eidner’s work is exhibited at Natalia Hug, booth 7.15 at NADA Miami. A jury comprising two renowned curators, Jose Carlos Diaz, Chief Curator, the Andy Warhol Museum, and Andria Hickey, Senior Curator, MOCA Cleveland, selected Eidner. This is the tenth time NADA and Artadia have partnered to present the Award and the first Artadia Award presented to a European artist.
“It is always exciting to see the work of artists who are little known in the United States. Carolin Eidner’s concrete paintings shown as a solo booth at Nathalie Hug are fantastic and represent only a fraction of her multifacted practice which has primarily been shown in Europe.” Hickey stated. Diaz continued, “Carolin’s methods are not only impressive but something I have never seen before. This is exactly the type of prize that will introduce her work to new audiences.”
The NADA Artadia Award acknowledges innovative voices working in contemporary art today. This unique collaboration highlights the ways in which nonprofit organizations and art fairs can come together to celebrate artistic excellence. Through its partnership with NADA, Artadia is able to extend the reach of its Awards program internationally. The curator-driven selection process, integral to all Artadia Awards, provides exhibiting artists exposure to influential professionals in the field. Eidner will have access to the lifetime benefits of the Artadia Awards program, including participation in Art & Dialogue, exhibition opportunities, studio visits with curators and collectors, and a profile page on the Artadia Artist Registry.
Eidner’s conceptual practice is distinguished by a broad spectrum of media, techniques, materials and her deep interest in the concept of singularity. Examining materials and resulting work processes serve Eidner as means to create enigmas from symbols, to code materials anew, and to refer to potentials that open up beyond established regimes. Eidner looks at relationships between the on-going processes of digitization and dematerialization that results from it and the explicit use of materials from ancient to modern.
Artadia is a national nonprofit organization that supports visual artists with unrestricted, curator-driven Awards and a lifetime of professional opportunities. Since 1999, Artadia has provided over $3 million to more than 300 artists in Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco.
The New Art Dealers Alliance (NADA) is the definitive non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art.
Announcing the 2016 Miami Beach NADA Artadia Awardee
Artadia and the New Art Dealers Alliance (NADA) are pleased to announce Philip Smith as the recipient of the 2016 Miami Beach NADA Artadia Award, a $5,000 unrestricted, merit–based Award granted to one artist exhibiting at the fair. Smith’s work is exhibited at Locust Projects, booth 5.06 at NADA Miami Beach. A jury comprising two renowned curators, Jen Mergel, Robert L. Beal, Enid L. Beal and Bruce A. Beal Senior Curator of Contemporary Art and Interim Chair, Linde Family Wing for Contemporary Art, Museum of Fine Arts Boston, and Jacob Proctor, Curator, the Neubauer Collegium for Culture and Society, University of Chicago, selected Smith. This is the eighth time NADA and Artadia have partnered to present the Award.
Jurors Mergel and Proctor stated: “Smith is perhaps the least known of the five artists included in Douglas Crimp’s 1977 Artists Space exhibition Pictures. His 2016 photographic edition entitled Night grows out of a large personal archive. A digital scan of his damaged, decades old 35mm slide of an African sculpture he collected both continues and updates the artist’s longstanding investigation into the generative capacity of photographic imagery. In Smith’s hands, the subject, the medium, and even the practice itself are revealed in the production of a new artifact.”
The NADA Artadia Award acknowledges innovative voices working in contemporary art today. This unique collaboration highlights the ways in which nonprofit organizations and art fairs can come together to celebrate artistic excellence. Through its partnership with NADA, Artadia is able to extend the reach of its Awards program internationally. The curator–driven selection process, integral to all Artadia Awards, provides exhibiting artists exposure to influential professionals in the field. Smith will have access to the lifetime benefits of the Artadia Awards program, including participation in Art & Dialogue, exhibition opportunities, studio visits with curators and collectors, and a profile page on the Artadia Artist Registry.
Smith is part of the Pictures Generation. His work has been included in the Whitney Biennial and Beijing Biennial, and is in the permanent collection of the Whitney Museum of American Art, Museum of Fine Arts Boston, Dallas Museum of Art, Pérez Art Museum Miami, and Detroit Institute of Art, among others. Smith has served as a writer for Interview Magazine and as a managing editor at GQ. The artist lives and works in Miami, FL.
The New Art Dealers Alliance (NADA) is the definitive non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art.
Image: Philip Smith, Night, 2016, 35mm film negative printed on watercolor paper, 24 x 34 inches, edition of 10
NADA Miami Beach
Artadia is thrilled to be exhibiting again this year at NADA Miami Beach. This will be the ninth time Artadia has participated at the fair. The booth (#1.01) will feature paintings by Houston-based artist and Artadia Awardee El Franco Lee II (2008 and 2015 Houston). View a preview of the artwork here.
El Franco Lee II is a resident and native son of Houston, Texas. During his formative years in the public and parochial schools of Houston, El Franco’s artistic abilities were duly acknowledged by Houston Independent School District, the Archdiocese of Galveston Houston, Houston Livestock and Rodeo, and Glassell School of Art.
El Franco’s solo and juried exhibitions have included Gift of the Spirit (A partnership of JPMorgan Chase and Art League Houston); Project Row Houses – Houston, Texas; Angstrom Gallery – Dallas, Texas; Siebert Brandford Shank & Co., LLC Public Finance Summit – Napa Valley, California; Contemporary Arts Museum – Houston, Texas; Romo Gallery, Atlanta, Georgia; G Gallery – Houston, Texas; University of Houston Project Gallery; Blaffer Gallery – Houston, Texas; Yale University – Annual Art Barn Exhibit – Norfolk, Connecticut; Diverse Works Gallery Art Space – Houston, Texas.
The future for El Franco will certainly encompass more of his “Urban Mannerist Pop Art” on a larger scale. You can also expect a recommence for his love of sculpting and comic book characters.
Learn more about El Franco Lee II on the Artadia Artist Registry.
NADA Artadia Award
NADA and Artadia are pleased to be presenting the NADA Artadia Award at NADA Miami Beach. This will be the eighth time NADA and Artadia have partnered to give unrestricted funds to an artist exhibiting at the fair.
Two nationally renowned curators will select one artist exhibiting at the fair to receive an unrestricted, merit based Award of $5,000. The chosen artist will have access to the lifetime of benefits of the Artadia Awards program, including participation in the innovative Art & Dialogue series, exhibition opportunities, studio visits with curators and collectors, and a profile page on the Artadia Artist Registry.
The NADA Artadia Award acknowledges innovative voices working in contemporary art today. This unique collaboration highlights the ways in which grant giving organizations and art fairs can come together to celebrate artistic excellence. Through its partnership with NADA, Artadia is able to extend the reach of its Awards program nationally, and the curator driven selection process, integral to all Artadia Awards, provides exhibiting artists exposure to influential professionals in the field.
The 2016 Miami Beach NADA Artadia Awardee will join a distinguished group of artists that includes Margaret Lee (2012 Miami), Meg Cranston (2013 New York), Ryan Foerster (2013 Miami), What Pipeline (2014 New York), Sergei Tcherepnin (2014 Miami), Jackie Saccoccio (2015 New York), and Summer Wheat (2016 New York). Read more about the NADA Artadia Awardees.
For more information about NADA Miami Beach, visit the NADA website.
Curators Reflect on Awardees Featured at NADA Miami Beach
12/10/15Artadia was pleased to present work at NADA Miami Beach 2015 by four Awardees, paired with reflections from the curators that selected them as Awardees.
MEQUITTA AHUJA / Christopher Eamon
Lupa II, 2014
colored pencil on paper
22 inches x 17 inches
Many visitors to artistic hubs of the Italian Renaissance, such as Rome, Florence and Sienna, are taken immediately with the great sweep of Western cultural heritage laid out before them. Accumulations of architectural foundations reach far beneath the level of modern streetscapes. At times they peak well above them, as seemingly immovable ancient foundations are built upon and incorporated into Gothic and Renaissance era structures. These later buildings, integrating randomly scavenged antique sculptural fragments may be, in turn, capped by modern dwellings, adding a distinct contemporaneity to this layering effect. Over time, while the jumbled results of decay, salvage and re-incorporation are temporarily confounding, a sense of an historical lineage remains.
In many ways, a recent body of works on paper by Mequitta Ahuja operates analogously to the capping effect of later generations of builders. These drawings figure the artist in formalized poses not unfamiliar to those of us interested in art history. At times, her self-representation channels Gauguin, at others, ancient goddesses. Drawings from this series take on distinct characteristics of 14th century Italian Gothic painting. Flat planes of color, hierarchies of importance distinguished through scale, and a similarly nascent use of single-point perspective are her main devices. But an unconventional representation inhabits each of them, which is that of the artist herself. Ahuja’s adept incorporation of history in both her drawings and large-scale paintings reminds us of tacit assumptions about formulaic representations in Western iconography, just as it does about stylistic appropriations of non-Western aesthetics in key movements of Western art. Like the artisans and architects of past millennia, who scavenged, reused and reordered fragments of past civilizations at hand to them, Ahuja’s insertion of a new iconography into the historical plane can be seen to complicate, build on, and augment this history in contemporary terms, as a founder, builder and creator. -Christopher Eamon
LARISSA BATES / Bartholomew Ryan
Yalies in Golfito, 2012
Gouache and gold leaf on panel
10 inches x 8 inches
Larissa Bates’ paintings contain multitudes, playing the biographical off the social, the decorative off the symbolic, the history of art off the contemporary. Allowing for personal narrative and social and political subtexts, they are intensely beautiful objects. There is a specificity, a haptic exuberance and sophistication that can only be experienced by way of an encounter with the paintings themselves. Generally they are delicate and precise gouaches on linen or board, small in scale and influenced in form most readily by Persian miniatures, but also Dutch still lives, French
Baroque, and Italian Rococo. With all of these influences, even the most serene such as Dutch flower drawings, the initiate will understand that there are codes to be deciphered and ideological positions being described, and Bates mines this sensibility in her own narrative and allegorically inflected works. On the level of content, Bates has taken the surprising capaciousness of the miniature to heart, and allows herself to incorporate influences as diverse as the gender questioning in the work of contemporary artists such as Wu Tsang, Collier Shorr, Nicole Eisenman; or the narrative complexity and playful creation of deeply subjective worlds of artists such as Layla Ali and Trenton Doyle Hancock. Non-perspectival, the paintings are narrative tableaus, and exist in accumulating series, related to each other though evolving thematically with the artist’s concerns.
Bates’ mother was Costa Rican and died when the artist was young, creating a twin sense of loss — of her mother, but also the cultural world that she was a conduit to. Largely raised by her father, the artist was for some time concerned to explore the limits of masculine representation: the connections between an assertive masculinity and the violence of colonialism. She created series with MotherMen (idealized wrestlers, with the capacity to cry and lactate) or Little Napoleans (multiplying characters dedicated to the destruction of the MotherMen and the taking over of land). More recently, she has explored her own family’s history as collaborators with colonial expansion; her great-great-grandfather was vice president of United Fruit, the company whose exploitative labor and land policies underwrote the concept of the Banana Republic. She is able to reflect on and gently mock the role that gender formations have played in preserving and justifying the social psychological violence of such exploitation. Encountering Bates’ paintings, one senses an artist who is developing a unique and valuable vision that will one day accumulate to a world. -Bartholomew Ryan
ANGELINA GUALDONI / René de Guzman
acrylic on canvas
28 inches x 24 inches
Since 2009, Angelina Gualdoni has made works that have moved away from representational painting. Early series for instance depicted utopian architecture and urban ruins. Gualdoni then shifted to non-objective paintings and explored pattern. Over time, Gualdoni has become more assertive in allowing the paint to guide the painting. I take this as a sign of confidence that the artist has comfort in managing the unpredictable consequences of paint acting on its own.
Gualdoni’s paintings now offer the expressive qualities of paint in combination with the artist’s skill to collaborate with process. This give and take rewards within compelling, complex images. In this, Gualdoni’s recent work reminds me of artists such as Sam Francis, who also poured paint regularly. The other connection I make is to Bay Area Figurative painters such as Joan Brown who revolted against the formalist New York Abstract Expressionism of her time. In my mind, bringing the figure back into the conversation indicated a kind of west coast populism that respected the need for an average viewer to find something recognizable in the work before them.
Gualdoni’s recent paintings are elegant and self-assured. They show interior scenes and still lifes. As I write, I look to the side of my computer at the various orchids on my desk. All are in a dormant stage but one readying to reveal its flowers to the world. Gualdoni’s paintings evoke this feeling that I am having. It’s a moment when the everyday opens to reverie. -René de Guzman
EAMON ORE-GIRON / Rita Gonzalez
Infinite Regress II, 2015
Flashe on linen
17 inches x 12 inches
Eamon Ore-Giron’s new sequence of paintings is titled Infinite Regress, as if to relay how contingency, deferral, and ultimately a return — or even synthesis — may be the choreography of abstract composition. Ore-Giron has been honing his abstract paintings while simultaneously embarking on a multi-year research project centered in (and about) Morococha, Peru, where an entire village has been displaced through transnational corporate encroachment of copper in the region and a place with personal connections for the artist. With that in mind, Ore-Giron’s connection to abstraction cannot be divorced from the various multidisciplinary and hybrid modes at work in his practice.
In 2012, for his residency and exhibition at 18th Street Art Center, the abstract forms first emerged in response to various histories of modernism, both elevated versions drawn from the Latin American artistic canon and more vernacular renditions as seen in public monumental sculptures found in plazas and municipal buildings. Ore-Giron’s residency and resulting exhibition E-D-G-B-D-G mixed the lexicons of geometric abstraction with his own “tracing (of) an alternative map of the global South.”
Although the role of noise and mixed compositional components has been worked out through his various DJ and conceptual projects related to music, Ore-Giron’s paintings are sharp and controlled compositions. The Flashe on linen canvases often involve repeating circular forms painted in vivid hues. The rays and triangular extensions that emerge from the dotted forms in this new body of work are golden streaks that bring to mind the luster of Baroque art. The various neologisms that Ore-Giron has used to describe his influences and his output, including “Tropical Punk Morphology” and “Andean Maoist Folkology,” are the ultimate idiosyncratic yet succinct terms to describe how the paintings distill yet retain the chaos of cultural shock. -Rita Gonzalez
Read the full PDF of the NADA booklet here. There are a limited number of these available. Please reach out to us at firstname.lastname@example.org if you would like to receive a hard copy.
Artadia at NADA Miami Beach 2015
This December at NADA Miami Beach, Artadia will feature work by four Awardees paired with reflections from the notable curators that selected them.
Mequitta Ahuja / Christopher Eamon
Mequitta Ahuja is a 2008 Houston Artadia Awardee. She holds an M.F.A. from the University of Illinois. Her work has been featured in many museum shows, among them: Portraiture Now, Smithsonian National Portrait Gallery; Global Feminisms, Brooklyn Museum; Dancing on the Hide of Shere Khan, Museum of Contemporary Art Chicago; and The Bearden Project, Studio Museum in Harlem. Mequitta has participated in artist-in-residence programs at the Core Program, the Maryland Institute College of Art, the Studio Museum in Harlem, and the Siena Art Institute in Siena, Italy.
Larissa Bates / Bartholomew Ryan
Larissa Bates is a 2014 Boston Artadia Awardee. She received her B.F.A in Studio Art from Hampshire College and has been represented by Monya Rowe Gallery in New York since 2004. Her work has been shown in solo exhibitions in New York, Miami, Los Angeles, Copenhagen, and Madrid. Larissa has participated in group shows in the United States and abroad. Her art has been reviewed by The New York Times, The New Yorker, and The Los Angeles Times.
Angelina Gualdoni / René de Guzman
Angelina Gualdoni is a 2001 Chicago Artadia Awardee. She holds a B.F.A. in Painting and Installation from Maryland Institute, College of Art, and an M.F.A. in Painting from the University of Illinois at Chicago, School of Art and Design. Her work is in the permanent collections of the Museum of Contemporary Art, Chicago and the Saatchi Collection, London, UK. Angelina is the recipient of an NYFA 2015 Fellowship in Painting. Her work has been featured in The New York Times and The Huffington Post.
Eamon Ore-Giron / Rita Gonzalez
Eamon Ore-Giron is a 2001 San Francisco Artadia Awardee. He received his B.F.A. from San Francisco Art Institute and his M.F.A. from the University of California, Los Angeles. He has exhibited at Deitch Projects, NY; MUCA ROMA, Mexico City; Museo Rufino Tamayo, Mexico City; Pennsylvania Academy of the Fine Arts, Philadelphia; and the Los Angeles County Museum of Art, Los Angeles. His work has been featured in The New York Times and The Los Angeles Times.