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UMBERTO ALLEMANDI & CO. PUBLISHING EVENTS, POLITICS AND ECONOMICS - SPECIAL EDITION THURSDAY 2 DECEMBER 2004

Tonight
Dishing the dirt on
NY’s women dealers
ABMB hosts film on nine
top gallerists
MIAMI BEACH. Tonight direc-
tor Joyce Zylberberg pre-
mieres her documentary film
“Off the Canvas” at Art
Basel’s Art Video Lounge.
The film traces the careers of
nine top gallerists: Andrea
Rosen, Holly Solomon,
Ileana Sonnabend, Paula
Cooper, Barbara Gladstone,
Virginia Zabrinskie, Mary
Boone, Marian Goodman
and Annina Nosei. The film
takes a hard look at the diffi-
culties these female dealers
faced, through interviews
with artists, curators, collec-
tors, museum directors, and
Art Basel/Miami Beach rocks
Garrels, Gerhard Richter, Jay
Fisher and Miami collectors,
Don and Mera Rubell are
just a few of the people who
offer personal stories about
the dealers. Some interesting
tales are Virginia
Zabrinskie’s account of how
she bought the Korman
gallery, including their stable
of artists, for $1 and Annina
Nosei explains that she gets a
thrill from discovering new
artists, but does not want to
support them. In response to
one dealer’s claim that she is
the “tragedy of the art
world,” she says, “Don’t feel

Photo Jeffery Salter

dialogue with each of the
gallerists concerned. Far
from being a pat on the back,
the film offers insight on
how these women have built
their businesses. Neal
Benezra. Eric Fischl, Jeff
Koons, Eli Broad, Ross
Bleckner, Agnes Gund, Gary
In deadly earnest
sorry for me. I have more
houses than all of them.”
Carolina Wonder
■ “Off The Canvas” is being screened
today at 10 pm in the Art Video Lounge
located in the Rotunda, next to the Miami
Beach Public Library between 21st and
22nd Streets.
It would be too boring–and envy-inspiring–to list all the
parties that took place last night, but we just had to
include a few highlights on page 2, among them, the
Scissor Sisters (above). On the right, a sexy scene from
“Puppet Rock”. Only at ABMB could a puppet show
become the most exclusive and painfully modish party in
town. Thanks to a delicious array of patrons from Trans
to Francesca Thyssen-Hapsburg, the Walker and Tim
Nye’s Foundation 20 21, the opening night of “Art Loves
Puppet Rock” was the ultimate insider event. Held at the
Botanical Garden, right opposite the Convention Center
and timed just for the ending of the ‘Vernissage’, the
jostling crowd included everyone from publisher Benedikt
Taschen to Marian Goodman. The cause of all this excite-
ment was a live rock opera featuring not only videos and
original songs but a cast of puppets animated by fabled
puppeteer Phillip Hubert and his ‘Hubert Marionettes.’
Suspicions that the potential, tingling ‘embarrassment-
effect’ must have been deliberate were confirmed by the
title, “Don’t trust anybody over 30” A.D.

Too shy to ask the price?

Photo: Patrick McMullan

The Art Newspaper has picked a few classics

Juan Miró, “Monsieur et This sculpture has been
Not “Carry On up the Kasbah”, but a serious gathering madame”, painted bronze, shown in many museum
of local Shriners. This truly worthy body has also been 1969. One of a cast of four exhibitions, most notably in
celebrating along with the rest of ABMB (see page 2). plus artist's copy. With the monographic show on
Juan Mirò at the Centre
Pompidou in Paris, 1974.
Why UBS co-sponsors ABMB Price: $800,000.
For two funny ink on paper base. Nauman turned to Castelli commissioned a
MIAMI BEACH. The profile of upwards of 1,000 UBS clients drawings of the 1930s by taxidermy forms for casting related work titled “Jasper's
scouring ABMB for art treasures is remarkably straightfor- Mirò of standing figures, go these creatures. The leg- Cat” as a gift to Jasper
ward. With a minimum of $10 million in liquid assets, these to Galerie Marwan Hoss, endary dealer, the late Leo Johns on his 60th birthday
clients fall into the UBS category of ultra-high-net worth. $85,000 each. in 1990. With Sperone
“We are expecting 1,500 such clients in Miami,” says Westwater Gallery, New
Anthony DeChellis, UBS Private Wealth Management co- Bruce Nauman York.
head. How does ABMB compare to its Swiss counterpart? “Bronze cat”, 1989 Price: $650,000.
“Miami is more of a global draw,” says Mr DeChellis. He (detail).
believes the contemporary fair held in Basel mostly attracts “The cat's twisted, tortured Jasper Johns
European buyers. The UBS client base at the Florida fair is head can be compared to “0-4” silk screens, 1969.
younger with more new wealth. “There's a greater cross sec- The Scream, says Angela From John's iconic number
tion of collectors but they are dominated by self-made Westwater. It is the only series. With C&M Gallery,
entrepreneurs. B.S.M. Leslie Waddington, London. animal work on a vertical New York. Price: $450,000.

BIENNALE IN VENICE. ART FAIR IN BASEL.

BE THERE. HASSLE-F
FREE. ®
2 • THE ART NEWSPAPER
Gossip
Art attack
In the early hours of yesterday morning
at the unmissable art world bash at Rosa
de la Cruz’s Key Biscayne home, the
local artist Jiae Hwang (represented by
Fred Snitzer) was standing just a bit too
close to a Pedro Reyes swing sphere,
which collapsed and fractured her ankle.
She was rushed to hospital, where she
was fitted out with crutches and cast.
Carlos and Rosa de la Cruz, who collect
Hwang’s work, picked up the bill.
Two supersizers size
each other up
This week, as both the great private art
collections of Miami’s Wynwood
District-the Margulies Collection (see
p.4-5) and the Rubell Family
Collection—unveil their newly expand-
ed premises, as coincidence (or perhaps
design) would have it, both respective
upsizings have resulted in their respec-
tive total exhibition space measuring in
at 45,000 square feet. However, the clear
winner on the supersize front has to be
the Rubells (it’s even the title of one of
their inaugural exhibitions) with not just
an extension to their premises but also a
full and impressive make-over, whereas
the Margulies, while still a collection of
awesome, quasi-institutional scope—
remains largely unaltered, except for an
additional warehouse space.
Especially noted is the Rubell’s new per-
sonal accommodation which abuts their
newly constructed sculpture court which
contains, as visitors are clearly able to
see, an extremely well-equipped first-
floor gym directly next door to the new
research library. It’s good to know that
this ever popular couple are nurturing
both mind and body. One question
amidst all the enthusiastic ooings and
aahings at the splendour of the Supersize
Rubell collection: if the new refurbish-
ment can still accommodate the original
floor markings indicating the previous
contents of this former contraband ware-
house for the US drug enforcement
Agency, where, pray are the Maurizio
Cattelan pigeons that were formerly
grouped to such disquietingly surreal
effect above the original entrance? The
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THE ART NEWSPAPER
ART BASEL/MIAMI BEACH DAILY EDITION
Group Editorial Director: Anna Somers Cocks
Editor: Cristina Ruiz
Art Market Editor: Georgina Adam
Correspondents: Marc Spiegler, Jason Edward Kaufman,
Louisa Buck, Adrian Dannatt, Brooke Mason, Mark
Clintberg, Carolina Wonder, Jose M. Diaz
Picture editor and editorial coordinator: Helen Stoilas
Production Manager: Eyal Lavi
Associate Publisher: Iain Aitken
Marketing Manager: Patrick Kelly
Marketing Officer: Neil Carty
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • THURSDAY 2 DECEMBER 2004
Art Newspaper is starting a petition to
request their immediate reinstatement…
Spiderman spins
into NADA
Such is the popularity of the hot, hip
NADA art fair that collectors were show-
ing up for sneaky pre-previews not just
one but two days before the official
vernissage. Heading one such posse was
well known collector Dean Valentine,
but while exhibitors were delighted at his
interest, their joy turned to ecstacy at the
sight of another early arrival at the Ice
Palace Studios: none other than Toby
McGuire, the actor who has recently
claimed the role of Spiderman for his
own. The girls were swooning. “Look at
his eyes” said one rather grumpy (male)
galleriest, adding that “I was more inter-
ested in the depth of his pockets” How
far these extended is as yet unknown, but
apparently Mr McGuire is an eager col-
lector, although drawing on the advice of
a considerable number of consultants,
many of whom were conspicuously in
evidence at his visit to NADA. Sadly,
though, witness reports confirm that he
left NADA with nada.
Ralph Lauren flys in
Another early arrival to Miami was
Ralph Lauren who made a whirlwind
stop, not to visit but to support his
nephew Greg, a young artist who opened
a show of his work in the Design District
on Tuesday. Perhaps Mr Lauren made his
lightening visit to the Sunshine State by
piloting his famous vintage aeroplane…
What Miami really
means
Spotted on a billboard over the street
from the Rubell Collection—a billboard
explaining once and for all what MIAMI
stands for: Money Is A Major Issue—
how true...
Head turners
Famous faces at the official opening
reception of ABMB last night included
sinewy local resident rocker Iggy Pop
who was seen lingering at the stand of
Victoria Miro with his voluptuous girl-
friend. Mr Pop, sporting a shirt open to
his navel and a slight limp, took a keen
interest in the work of Chris Ofili and
Grayson Perry. Other celebrities includ-
ed Eric Clapton lingering longingly at
the Lisson Gallery, British actor Gary
Oldman and his more mature thespian
fellow countryman Michael York, but the
true head turners were an extraordinarily
clad trio of Miami artists. Identical
Cuban twins Haydee and Sahara Scull,
diminuitive mature ladies clad in a strik-
ing ensemble of crushed pink velvet, vast
matching cartwheel hats and smart satin
shoes who were accompanied by
Haydee’s son (Sahara’s nephew)
Michael who was sporting a lofty quiff
and a pink bow tie in the same material
as his mother’s/aunt’s frock. “We make
paintings in three dimensions using our
six hands” they told bemused onlookers.
These joint family efforts can bee seen in
their full glory in a variety of
South Beach restaurants including:
Mango’s Tropical café on Ocean Drive
and 9th Street; Porto Sagua Cuban
restaurants on Collins and 7th Street;
Joe’s Stone Crab on Collins and 1st
Street.
Rauschenberg pad hit
by hurricanes
Robert Rauschenberg left his home and
studio on Captiva Island off the Florida
coast yesterday to visit the Vernissage of
ABMB yesterday. “We were washed out
by the hurricanes,” he reported, speaking
from a wheelchair in an impromptu
interview. “The main house has to be
rebuilt,” he said. “And the jungle—we
may never get the jungle rebuilt.” The
jungle? “It’s the only one on Captiva and
it’s on its knees,” he said wistfully.
Though in frail health, the influential
artist was lucid and engaging, and said he
hopes to be on his feet again soon.
Squeeze voodoo
at the Bass Museum
It’s not only the contemporary art world
that can shake a leg during ABMB week:
outside the Bass Museum, visitors to the
classic collection of historical art were
also treated to a performance by the
Voodoo Room Dancers, consisting of
naked women and men in war paint and
skimpy skirts, who gyrated to jungle
rhythm drum beats in and around the
moat of the museum, painting with
squirting squeeze bottles and throwing
suggestive shadows onto the museum
walls.
Self-broiling
at Netjets’ soirée
Net Jets invited 200 of their best clients,
assorted Florida businessmen and art
world celebs such as John Elderfield,
curator of painting at MoMA, and Sam
Keller to dinner last night. The high point
of the evening was the meal, a convivial
affair which included lobster crabs and
other crustaceans in foot-high martini
glasses (which proved quite daunting to
eat) followed by a seafood platter with a
flaming brazier set on the plate, on which
dinner guests could broil their own
shrimp and scallops.
Grand Orient
and Lisa Eisner
ABMB specialises in weird cultural
mixes, none weirder than the party for
Lisa Eisner’s book of photos of
“Shriners”, an ultra-middle-American
branch of the Masons known for their Fez
hats, secretive rituals and good works.
Shriners run their own HQ “Shrines”
around the US, but this party was held
instead at the ultra-modish Raleigh Hotel.
Here New York’s most elegant PR
Nadine Johnson had hired teams of beau-
tiful assistants to cope with the influx of
fun lovers. The likes of Glenn O’Brien
(who wrote the afterword), Leo Villareal
and Yvonne Force mingling with bevies
of Fezed Masons, including George
Mitch, “Potentate” for Miami or Mahi as
they call it, as well as one of the “Grand
Masters.” Suitably American fare such as
gourmet mini-burgers and fries were
served and if most guests wanted to know
about clandestine Masonic rituals, the
Shriners wanted everyone to know that
their main purpose is running 22 hospitals
for children entirely free of charge, paid
for by their $10 billion endowment.
Iggy Pop thrills
Leaving the Convention Center at the
end of the Vernissage, Iggy Pop , looking
lean and dangerous as ever, albeit with
one flip-flop dangling from a twisted
ankle. The feline rocker, accompanied by
his stunning female companion, eased
himself into his black Mercedes Coup, as
the crowd gasped at their first genuine
rock sighting. Meanwhile Sandro Chia,
no less a star in his day, was explaining
his latest property purchase, in Miami’s
Design District which, as he admitted, is
“a TERRIBLE name for a wonderful
area.”
Making yourself scarce
The less time you actually spend at the
fair the higher your power rating, and
Larry Gagosian scored high indeed
when he flew into Miami on Tuesday
for about four hours, checked out his
booth, ate stone crabs and swiftly flew
out again without anyone realising he’d
been through town. Equally elegant is to
be a dealer and not bother with an actu-
al booth. Thus Gordon Veneklasnen dis-
covered that even though he and
Michael Werner did not actually have a
booth this year, everyone was just as
appreciative. “I’ve had numerous peo-
ple, including regular clients, coming
up to me and saying: ‘We LOVED the
booth this year’ or saying they’re just
about to go and see it. It’s turned out to
be the cheapest fair we’ve ever been at.”
Deitch’s Scissor
Sisters
Last night, the Scissor Sisters’s perfor-
mance involved a stage show and cos-
tumes that would rival anything
dreamed up by Elton John, or Leigh
Bowery. Presented by Deitch Projects,
the event was a continuation of a devel-
oping legacy of annual ABMB perfor-
mances mounted by the gallery. Past
glitz shows include Vinyl Clad, Chicks
on Speed (attendees from last year will
recall gale-force winds) and
Fischerspooner. All three bands “cross
over from fashion, music and art”, says
Deitch-er Suzanne Geiss which is why
it seemed like a natural progression for
this year’s fair. In fact, Mr Deitch was
introduced to the Scissor Sisters’ dead-
gorgeous lead man Jake Spears by
Fischerspooner’s Casey Spooner.
Drawing on the tradition of New York’s
drag and burlesque communities, the
band has become a favourite of the art
world. The major fashion landmark of
the evening: aged gallerists in sequined
ties. The band invited audience mem-
bers to participate in a sacrifice/heart
removal “for the sake of art”. Music
glitterati and the uninitiated alike were
treated to a pleasurably ear-blistering
PA system, crystalline light show and
saucy dance manoeuvres. On the whole,
queer,
vamp, hot disco. Noteworthy attendees
included ciggie-seeking Ambassador of
Liberia, Bryon de Roschesort. Scissor
Sister Ana Matronic, dripping in bling
and furs, dubbed the evening a perfor-
mance piece called “World’s Most
Inappropriate Thing to Wear to the
Beach.”
Overheard
At the UBS dinner party: “If you’re
thin, you can’t look awful.”
At the fair: “I think this city is AWFUL,
so it fits perfectly with the art. This is a
no-man’s land; I can’t imagine having
an art fair in such an awful place. And
instead you could have it in Paris, with
its human scale, its beauty, so perfect
for art.”—Rodica Seward, new owner
of Paris auction house Tajan, on her
very first day in Miami. ■
 T H E A R T
OF BEING EVERYWHERE.

A r t B a s e l M i a m i , D e c e m b e r | T h e A r m o r y S h o w, M a r c h
T E F A F M a a s t r i c h t A r t Fa i r, M a r c h | T h e Ve n i c e B i e n n a l e , J u n e
A r t B a s e l , J u n e | Fr i e z e A r t Fa i r, O c t o b e r

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NetJets Europe +44 (0)20 7590 5120

4 • THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY NEWSPAPER • THURSDAY 2 DECEMBER 2004
Miami collectors: Marty Margulies
“If I were just
a real estate
developer, I
would be one
boring
person”
“E
nough already!” are the
last words one would
ever hear from property
developer Martin Z.
Margulies when it comes
to art, as he is incapable of stopping himself
from buying the stuff, or expanding the
premises for his collection.
The latest 10,000 square foot addition to his
building in the Wynwood Design District
creates a grand total of over 45,000 square
feet for the display of art and makes clear
that “The Margulies Collection at the
Warehouse” is a permanent fixture of
Miami’s cultural scene.
This extension, which was begun in
January 2004 and opens to the public today,
Today, the down-at-heel Wynwood
District sees the Margulies
Collection at the Warehouse open
a further 10,000 square foot
of exhibition space
is a brand new building, unlike the other
two warehouses, a former fabric-manufac-
turing facility and factory for airline spare
parts.
Though Mr Margulies does a lot of the
space planning himself, the extension was
designed by Stu Cohen, the same architect
he has used on all his real estate develop-
ments, creating residential luxury condo-
miniums in Coconut Grove, Key Biscayne
and Bal Harbour, north of South Beach.
If Mr Margulies’s philosophy is to keep his
business entirely separate from his art col-
lection, his ever expanding quasi-museum
has certainly not hurt property values in the
Wynwood district, previously a down-at-
heel, rag trade warehouse zone, comparable
to the old Canal Street in New York. He
opened his first space here in January 1999
with a benefit for a local museum, having
purchased the warehouse six months previ-
ously and built it out gallery style.
Martin Margulies apparently had no inter-
est in art at all until the famous Scull col-
lection sold at auction in 1973 for what
were then huge prices. Noting that the
Sculls had bought their Jasper Johns for
$10,200, and that it sold for $240,000, Mr
Margulies realised there was more to art
than mere pretty pictures. “I said to myself,
‘With all these people paying big money for
all these objects, there must be something
to it,’ and I started sniffing around. It came
to me that this could be something I would
be happy doing.” Having been through the
initial stages of collecting prints and visit-
ing local galleries in Miami, the very first
time Mr Margulies bid at auction he failed
to get a Noguchi sculpture. But he was
passed a note by Fort Worth private dealer
Shaindy Fenton (advisor also to Patsy
Nasher) saying, “If you’re interested in
Noguchi I can get you an even better
work.” Mr Fenton, who was a friend of
both Noguchi and Castelli, then took
Martin Margulies around the art world,
who, in 1979 made his first big commit-
ment by buying, yes, a Noguchi sculpture.
Since 1982 Mr Margulies has worked with
curator Katherine Hinds, initially putting
together a collection of open-air sculpture
on which she is an expert.
That first sculpture collection of some 55
major pieces, including LeWitt, Serra and
of course Noguchi, is on extended loan to
Miami’s Florida International University
(FIU), where it can be enjoyed by some
45,000 students.
As Ms Hinds explains “The collection is in
three locations, though a fourth location
would be all the loans we have out. At any
given time we have about 60 works out on
loan, for example in a travelling exhibition
curated from our photography collection in
different locations from Mexico to the
University of Florida at Gainsville.”
The primary location is Mr Margulies’s
home, a penthouse condominium he had
constructed on Key Biscayne. Here he has
his “private works” of sculpture and paint-
ing, from early Judds and Giacometti to
Rothko and Lichtenstein. There is a won-
derful work by Eliasson right in his bed-
room, and one of first photographs he ever
purchased, by Thomas Ruff. “Mr Margulies
bought that at the Chicago Art Fair in 1991
without knowing anything about the artist:
he saw it, liked it and bought it from
Ghislaine Hussenot” says Ms Hinds.
“After living with that photograph at home
he became curious and wanted to know
about this German contemporary photogra-
pher, what had influenced him, and so start-
ed reading about the Bechers, and the
Düsseldorf School.” Indeed Mr Margulies’s
collection of photography, one of the best
known areas of his omnivorous curiosity,
came about in the opposite manner to his
other art, which started with Noguchi,
moved on to Miró—a 1939 Constellation
piece—then worked forward. With photog-
raphy he started with contemporary work
and then started looking for the roots of
current photography.”
The Margulies photography collection now
numbers well over 2,000 works and
includes portfolios and suites of prints
counted as one. But Ms Hinds rightly dis-
misses vulgar issues of quantity. “It’s
impossible to give a firm number for the
size of the collection because, for example,
right now he’s in New York acquiring
things. Mr Margulies has another residence
in Manhattan and once a month he goes up
and looks at all the galleries. It’s a big task
to put together a collection so quickly. Most
of our networking and research and art
world conversations take place in New York
or at European art fairs. We’re almost better
known outside Miami than in the city.”
Indeed, when Mr Margulies came back
from this autumn’s Frieze fair in London
what really excited him were two new
videos he had just bought from Marianne
Boesky. The newly expanded warehouse in
Miami has several theatres or video-instal-
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • THURSDAY 2 DECEMBER 2004
“Most of our networking and research and art world conversations take
place in New York or at art fairs in Europe. We’re almost better
known outside Miami than in the city.”
lation rooms; there are some 35 videos in
the collection and three major works are
currently being screened. One by Beat
Streuli (also bought by the Hirshhorn)
“Amar Kanwar”: “It was a big hit at the last
Documenta and took us two years to pur-
chase; that was something we just went
after, kept after, and finally got”, says Ms
Hinds.
Ms Hinds resists the notion they might soon
expand yet again. “Right now we have a
pretty good facility here. We’ll be working
more closely with the many other museums
that want to do travelling shows from the
collection; for example, a future exhibition
of our ‘Farm Security’ photographs at the
newly named Robert Rauschenberg Gallery
at a Florida university.”
The last word should go to Marty Margulies
himself: “When you stop learning, you stop
growing. If I were just a real estate devel-
oper, I would be one boring person.”
Adrian Dannatt
Public institutions
Voters say yes to Miami Art Museum
While Mr Margulies continues to expand
his own collection of contemporary art, he
has been vigorously opposing plans by the
Miami Art Museum (MAM) to relocate its
collection to a new building by taking out
full-page advertisements—at a cost of
“about $20,000”—in various local papers.
Despite Mr Margulies’s campaign, on 2
November, Miami-Dade County voters
approved a $552.7 million bond issue to
fund cultural projects that includes an allo-
cation of $100 million towards the con-
struction of a new $175 million MAM
building in Bicentennial Park, an aban-
doned, city-owned tract on the shore of
Biscayne Bay. The plan is to turn the 29-
acre site into a “Museum Park” that will
also include a Science Museum and
Planetarium.
The bond issue is a crucial step in MAM’s
decade-long quest to move from its county-
owned building downtown to a free-stand-
ing, purpose-built home on the waterfront.
The city approved the move in 2002, but
public funding remained uncertain until the
recent pledge of support from voters.
Environmentalists are expected to chal-
lenge development of the parkland, but the
project now has a popular mandate that
should carry it to completion within the
next decade.
MAM director Suzanne Delehanty envi-
sions a 150,000 square-foot building with
galleries for temporary shows and the per-
manent collection. In addition to $100 mil-
lion in public funding, another $75 million
Opposite page, from left to right, Gilles
Barbier, L‘Hospice, 2002; Jörg Sasse,
7904, 1999, Thomas Ruff, H.E.K. 02, 2000,
Takashi Murakami, Mr Dob Usshisshi,
1995, Werner Mantz, vintage gelatin silver
prints, 1927-1935; Adolf Lazi, vintage
gelatin silver prints, 1935, Dennis Adams,
Patricia Hearst A-Z, 1979-1990; above,
from left to right, Vik Muniz, Jorge, 2003;
Jason Rhoades, One Half Thousand
Gallon Wall, 2001; Peter Shelton,
Broadbag, 1988-89; Justine Kurland, Otis
with Guitar; Marjetica Potrc, Aranya
Core Unit, 2002; above right, Ernesto
Neto, É Ô Bicho, 2001; right, Fred Wilson,
Untitled, 1992; Frank Stella, Taboehan,
2003; Andres Serrano, Klansmen (Grand
Dragon), 1990; Andres Serrano, The
Interpretation of Dreams (White Mans
Burden), 2000; Manabu Yamanaka,
Dohshi #1, #7, #8, #14 and #17, 2000;
Joseph Kosuth, No Number #8, 1988; Lars
Siltberg, Man on Ice, 1998; Lars Siltberg,
Man on Water, 1999
will be raised privately, mainly for endow-
ment, and another $26 million to cover
transition costs, she says.
Planning for the project began in the early
1990s, when the Center for the Fine Arts,
which opened as a Kunsthalle in 1984,
started to re-think itself: it chose a new
name and began to build a collection of
20th- and 21st-century art. Since then the
museum has acquired some 200 works,
which critics of the project say is not
enough to merit public funding.
The site of the new Miami Art Museum
“Spending $200 million on a museum is
folly”, says Mr Margulies. “They have no
collection. Why do they need 150,000
square-feet without a collection, and a
sculpture park when they don’t have any
sculpture?” he asks, pointing out that even
museums that have important collections
are usually financed by private patrons and
a board of directors. “Here they’re trying to
take public tax money that should be spent
on other, more urgent, projects for the city.”
There is no love lost between Mr
THE ART NEWSPAPER • 5
Photos: Malcolm Varon, New York
Margulies and the MAM leadership. He
notes that of the four top collectors living
in Dade County, not one is involved with
the museum. Ms Delehanty says that “the
goal is not to have an enormous collec-
tion”. She describes her 40-member board
as “more low-key” than Miami’s “more
maverick” superstar collectors. “Being part
of a community museum isn’t everybody’s
cup of tea”, she says, but “others do like to
work in a group”.
Mr Margulies also has reservations about the
museum board’s ability to fund the project,
noting that another public cultural project,
the Dade County Performing Arts Centre,
was long delayed and soared tens of millions
over budget. “Their attitude is, let the tax-
payers pay for it. How is the museum going
to guarantee cost overruns?” he asks. “If the
tax payers are going to pay, it’s their fault”,
he says, adding that there are environmental
concerns as well. “Miami is one of the worst
cities in the US for parks per capita”, he
says, “and to take a park on the water and
build a museum on it is outrageous”.
But it may now be too late for the critics to
halt the project. Voters have given it their
support and Ms Delehanty senses a new atti-
tude to culture among Miami’s diverse pop-
ulation of 2.2 million. “We are here to do
something for the public at large. People
think this is a city that is inventing itself”,
she says, “and the overall support of the
bond initiative amounts to an investment in
the city’s future”.
Jason Edward Kaufman
6 • THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY NEWSPAPER • THURSDAY 2 DECEMBER 2004

Focus on nations: Korea Opinion

“Our artists believe in technique”
For the first time, public money is being put into the art scene
by the Korean government
MIAMI BEACH. Minutes
before the
ArtBasel/Miami
doors of
Beach
opened yesterday, Jeffrey
Deitch had sold his only
sculpture by Korean artist
Yeondoo Jung, “Bewitched”, 2001. With Kukje Gallery from Seoul. This artist is play-
Lee Bul “to a dealer col-
league” for $25,000. Then,
as the crowds surged into the
fair, the Seoul-based Kukje
Gallery immediately placed
a red dot on a piece from the
same series, a delicate hang-
ing network of stainless steel
wire and crystal glass beads,
priced at $20,000. Nearby,
“Vanishment with passing
flow-purple”, by Rhee Ki
Bong was reserved, also at
around $20,000.
First-time exhibitor Cais
Gallery, also of Seoul, is fea-
turing work by Ham Youn
Joo, who weaves her own
hair into nets or spider’s
webs and sets it with
sparkling beads of resin. As
painstaking is the work of
the emerging star Choi So
Young, who fashions highly
detailed cityscapes of her
native Pusan out of vintage
jeans. “Artists from our
country are very labour ori-
entated, says Ryoung Lee,
assistant director of Cais.
“They do not think of art as
just fun; they think it is also
hard work, and their work is
beautifully made, following
the Oriental tradition of not
separating craft from art.”
Another star, Chun
Kwang-Young, creates
amazing, textured paintings
with folded newspapers.
“We have 200 collectors for
Chun in North America
alone, and we always sell out
his work at art fairs,” says
Kukje Gallery director
Unsoo Kim.
Despite this international
attention, Korean artists
have yet to achieve the
superstar status of other
Asian artists, such as Japan’s
Murakami or China’s Yan
Pei Ming.“It’s not that we
lack talented artists,” says
Ms Kim of Kukje. “We just
don’t have the right kind of
network to promote our
young artists”.
One reason for the lower
profile of Korean artists is
the structure of the country’s
art market. Unlike other
countries, it has been sus-
tained by private, rather than
corporate collecting. While a
major force has been the all-
powerful Lee family
(Saumsung) who support the
arts both as private collectors
and as public benefactors,
many other collections are
private and out of sight, so
there has been less of a pub-
lic platform for Korean
artists in the country. Add to
that the repressive political
regime of the 1980s and 90s,
the Asian currency meltdown
in 1997 and the International
Monetary Fund restructuring,
and there has been little to
encourage the market or
Korean artists for decades.
Suddenly however, all this
seems to be changing and a
whole host of projects is
starting up this year. Korea’s
National Museum of
Contemporary art has just Korean
announced it will be spend-
ing $4.5 million a year on
acquisitions, while the
Ministry of Culture has said
it plans to plough almost $2
artists
at the
Convention
Center
Jung Yeondoo
In an ongoing project
shown at the Liverpool
Biennale this year,
“Bewitched”, Jung asked
volunteers to tell him their
dreams, and then pho-
tographed them as they
were and as they wished
they were. Around
$10,000 for two pho-
tographs (edition of
three), Kukje
Lee Dong Wook
Tiny, realistic figures are
enclosed in bell jars or sit
close to the chocolate
wrappers they have
escaped from: Lee creates
an uncomfortable world
which bares man’s basic
million into buying works by instinct for survival.
young Korean artists. Prices from $1,800. Cais
Samsung has opened a new
museum, the “Leeum” in the Kim Sun You
heart of Seoul, bringing Using natural mother-of-
together the company’s rich pearl, Kim painstakingly
collection of traditional, creates colourful, flawless
modern and contemporary abstract works which both
art, while the Gwangju and express depth and the play
Pusan Biennales have devel- of light over the surface.
oped into major art events. Prices from $4,000. Cais
With this increased sup-
port at home and the sort of Lee Dong-gi
interest buyers are showing Lee combines from
at ArtBasel/Miami Beach, Japanese anime (car-
the betting now is that toons), which are highly
Korean artists are destined to popular in Korea with
make a bigger splash than Mickey Mouse, interpret-
they have for some decades. ing them as hybrid
Georgina Adam Buddhist sculptures.
Around $7,000, Kukje
Buyers took their chances on $50 postcards
MIAMI BEACH. Could you tell a Viñoly from a Welton? This was
the challenge posed to the crowd who attended the Masters‚
Mystery Art Show at the Ritz Carlton hotel on Tuesday night.
It featured the sale, for just $50 each, of over 1,000 postcard-
sized works of art donated by a wide range of local and inter-
national artists, including Peter Welton, the architect Rafael
Viñoly, the French painter Alexis Gorodine and the baseball
star Samy Sosa. The catch was that you didn’t know, until after
you had bought the work, the name of the artist who had cre-
ated it. Local opera singer Judith Byrne said: “I think it’s a
neat idea. It’s an opportunity to buy appealing art for very lit-
tle money, and the sums raised are for a good cause.” The pro-
ceeds from the sales go to the Fine Arts Department of Florida
International University (FIU). By last night, 500 works had
been sold. G.A.
ArtBasel/Miami Beach
is just the beginning
of globalisation
C hina is embracing contemporary art, both officially
and unofficially, yet it will most probably take at least
another five years before major collectors start to
emerge. While the art world likes to pride itself on its global
nature, it is important to recall just how parochial the “inter-
national” art world really is.
In the “real world”, multinationals build supply chains
spanning oceans and continents; Hollywood has to tailor its
message to its now mostly non-American audience; Nokia’s
largest market for handsets is in China. The contemporary art
market, by contrast, caters to an elite of 200 to 300 collectors,
half of whom come from the US and most of the rest from
Belgium, Germany and Switzerland. This is clearly a brake on
the development of the art market. It is, however, also becom-
ing more and more difficult for the coterie of galleries in New
York and London to discover enough new artists to satisfy col-
lectors’ desire for novelty, something which is putting specula-
tive upward pressure on established artists’ prices.
For most of its existence, ArtBasel has been a continental
European fair with an international following. In the 90s, it
managed to attract many Americans to Switzerland. Setting
up a beachhead in the world’s largest art market was a logi-
cal next step, especially when Art Chicago, then the key US
fair, was beginning to falter. Miami is also a bridge to the
important art market in Latin America, which is still the most
developed contemporary art scene outside Europe and the
US. But the potential of Latin America is dwarfed by that of
Asia. This region is home to half of the world’s population
and already produces the majority of its wealth, with lots of
room for growth. Until recently, Asia has seriously lagged in
contemporary art.
There are several reasons for this. Foremost is the frag-
mentation of any potential market. Asia is integrated econom-
ically, but not culturally. Then there are the authoritarian pol-
itics. In China and Indonesia, just a decade ago the produc-
tion of contemporary art was a persecuted activity. Last but
not least, there is a serious lack of collectors in Asia. Japan,
the world’s second-largest economy, still only has about a
dozen major ones, and Korea has about half that number.
However the situation has suddenly begun to shift. The key
is China, both in the emergence (or re-emergence) of China
itself, and the catalytic role it is playing in the region. Rather
than viewing themselves as post-colonial appendages to
Western countries, Asians are starting to see themselves as
part of an inter-linked area. The new interest in Japanese and
Korean galleries on the part of the Chinese is enriching the
mix in the region.
The potential for the art market in China might seem initial-
ly unpromising. There is not yet the infrastructure of museums,
galleries, and collectors that exists in many countries. But it is
fast emerging. The last four years has seen massive change in
the country. Most crucial has been the government’s new atti-
tude towards contemporary art. Censorship has been more or
less lifted, and there has even been official support for partici-
pation in the Venice Biennale and for the Shanghai Biennial.
The government has dramatically increased funding for the two
main art schools, in Beijing and Hangzhou. The Central
Academy in Beijing now has an art administration programme,
which is training earnest young would-be curators, gallerists
and museum directors. Collectors are beginning to emerge.
In the last few years, the wealthy class has not only expand-
ed but suddenly grown to include highly educated people with
real professions. Many are already willing to spend serious
money. A major piece by Huang Yongping, who lives in Paris
and shows with, among others, Barbara Gladstone, sold last
month for 1.2 million Yuan ($150,000) to a Shanghai real estate
developer. The emergence of major collectors of contemporary
art in China will take at least five years, but they will emerge.
ArtBasel/Miami Beach has begun a process that not only makes
the market richer, but will also make the art world larger and
more stable; there will be more choice and it will be less domi-
nated by one homogenous culture. Jonathan Napack

Miami Art Museum thanks the voters of Miami-Dade County

for approving by a 65 percent majority a community-wide bond program on November 2.
The $2.9 billion bond program, which supports projects of both neighborhood and regional
importance, provides MAM with $100 million for the creation of a new world-class building and sculpture
park. Miami Art Museum will match the county’s investment to establish a significant operating
endowment fund for the museum. Miami Art Museum thanks the City of Miami for designating
a waterfront site at Bicentennial Park in downtown Miami for MAM’s expansion in the years ahead.
The Miami Art Museum is at the very center of one of the world’s most vibrant cities, bringing
international art of the 20th and 21st centuries to life through exhibitions, programs and collecting.

miamiartmuseum.org
BULGARI.COM

A V A I L A B L E E X C L U S I V E LY F O R P R I V A T E V I E W I N G A T S E L E C T E D B U L G A R I S T O R E S W O R L D W I D E
8 • THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY NEWSPAPER • THURSDAY 2 DECEMBER 2004

The other fairs

NADA -scope
“We will not accept galleries that show “Punch the artist if you find
accepted artists” the explanation pretentious”

I P
t may only be in its sec-
ond year, but the general
consensus is that the art
fair organised by the
New Art Dealers Alliance
(NADA) has now established
itself as ABMB’s most suc-
cessful satellite event.
“NADA is about younger
galleries with a focus on
emerging artists—we will
not accept galleries that show
accepted artists” states
NADA co-founder Sheri
Pasquarella, (herself a direc-
ing example of the current
trend for glitter grunge can be
found in Aaron Johnson’s
“Cake”, a painted and col-
laged extravaganza on plexi-
glass for a mere $3,000, while
Vilma Gold is presenting text-
based painter Mark Tichner’s
first sortie into video for
$5,500. NADA member and
co-founder John Connolly
Presents provides those not
able to visit the home of lead-
ing local collector, Rosa de la
Cruz, with a mini-version of
should “promote collective
energy”. In keeping with this
spirit of friendly co-opera-
tion, Ms Pasquarella is reluc-
tant to pit NADA against
scope, Miami’s other alterna-
tive art fair (see right). “I
think that there is room for
everybody,” is her diplomat-
ic verdict, “the main differ-
ence between us and -scope
is organisational: our fair is a
collective of dealers, and that
gives us a different energy
and curatorial focus.”
Certainly such is the spirit of
camaraderie at NADA’s
events that the New York
Times has been prompted to
re-christen it the
“Networking and Drinking
Alliance”; but judging by the
early reports from this year’s
participants—who this year
are paying $3,000 a booth
for members ($4,000 for
non-members)—NADA can
be about substantial sales as
well. Louisa Buck
Fringe
Catch FRISBEE
iggy-backing on the
success of ArtBasel
Miami Beach is the
hotel fair –scope,
which opens today. This
brings younger galleries to
Miami Beach and aims at
“demystifing the process of
buying art”. This is the
place to find emerging art at
galleries not established
enough to make the major
fair, and at sometimes
startlingly low prices: it
must surely boast the cheap-
est work on sale in the
whole of Miami Beach this
week.
Scope participants have
set up in a hotel and this
year the 70 exhibitors are
taking over the whole build-
ing, filling not only the bed-
rooms, alcoves, hallways Maximo Gonzalez with a shirt made of discontinued
and lobby but even the pesos which is at Art&Idea, room 201
rooftop watertower. Dealers
must, in order to qualify, sense within the confines of a for a five-peso note voided to
devote 80% of the show to hotel room. The hotel itself make the word “FIVE”.
one artist, which makes (TownHouse, 150 20th Sandra Bermudez at cur-
Street) is minimalist, with lit- cioprojects (Room 108)
tle furniture and rooms like makes very attractive
mini white cubes, very archival digital prints of what
appropriate for displaying look like flowers but turn out
contemporary art (yesterday to be 50s glamour queens, all
most dealers were busily dis-
mantling the red-flowered
sequins and feathers, which
on closer inspection turn out
lampshades in the corner of not to have sexual attributes.

U nder the neon nights

Mark Titchner, “We are the solution.” At Vilma Gold
tor at Gorney, Bravin+Lee
with a stand over at the
Convention Center) and this
year the line-up of galleries
has expanded to include 61
of the hottest young spaces—
28 of which are NADA mem-
bers—but also with a definite
aim towards stretching
beyond the NADA homeland
of New York.
NADA non-member new-
comers include Angstrom
Gallery from Texas, Perugi
Gallery from Padua, Ratio 3
from San Francisco as well
as a five-strong contingent
from London—Kate
MacGarry, Hales Gallery,
Vilma Gold, Sutton Lane and
MW Projects—confirming
the enduring dynamism of
the UK art scene.
Throughout, galleries have
risen to NADA’s reputation
for showing the newest of the
new and there are bargains to
be had. KS ART from New
York is presenting Jeff
Davis’s delicately disquieting
works on paper ($900-
$1,800) and exquisite wax
“candle” sculptures cast from
Halloween masks ($2,500),
while at Hales Gallery an irre-
sistible painting by Bob and
Roberta Smith provides an apt
slogan for the entire ABMB
week by declaring “New is
the New Old” ($6,600). On
Priska Juschka’s stand a strik-
her newly acquired moveable,
wallbased feasts by one-man
collaboration machine
assume vivid astro focus.
Most of John Connolly’s
examples have already been
snapped up, but some very
beautiful newsprint editions
are still available in editions
of 10 for $2,000.
Back in the autumn,
NADA’s organisers were
most anxious when hurri-
canes battered the original
choice of venue, the ocean-
front of the Seville Beach
Hotel and the fair was made
homeless. But all has turned
out for the best as the new
location, on the sound stages
of the Ice Palace Film
Studios on W14th Street, is
considerably more welcom-
ing with its wood-beamed
ceiling, well-built booths and
an attractive Wild West style
saloon bar area. In any case,
in the two days before the
official opening, collectors
were not deterred by the
longer journey to the new
venue and turned up in
droves.
The generally convivial
atmosphere at the fair is
ideal for an organisation
which, in the words of its
founders, “believes that the
adversarial approach to col-
lecting and selling has run its
course”, and that their fair
of South Beach and
hidden among the Art
Deco hotels on Ocean Drive
lies another art fair waiting to
strike this week: FRISBEE
Art Fair. For its inaugural
year, independent curator and
co-founder of FRISBEE,
Anat Ebgi, has invited a
handful of emerging contem-
porary artists, curators and
galleries to take over the
Cavalier Hotel.
The charming 1936 hotel
will be occupied for four
days by New York’s Capsule
Gallery, ARENA, Monya
Alexandre Singh, who is at -scope this week, performed
his “Instructional lecture (on economix)” at P.S.1,
Queens, two weeks ago
Rowe, and Joymore.
Bucheon Gallery from San
Francisco, Byron Cohen
Gallery from Kansas City
and Chicago’s Gescheidle
will also join the pack.
Throughout the hotel lobby,
conference room and hall-
ways the week will be brim-
ming with special visual and
performance art by visiting
guests of FRISBEE.
Ms Ebgi’s role as curatori-
al chief began with a plan to
arrive in Miami and curate an
exhibition inside her hotel
room during December’s art
fair troika. Suddenly Ms
Ebgi’s own colleagues and
peers joined in the migration
to Miami. Byron Cohen
Gallery co-director Toma
Wolff said that the gallery’s
participation in FRISBEE
was serendipitous; last year
they took part in the Scope
Miami.
Anat Ebgi says that FRIS-
BEE differs from the other
contemporary art fairs in that
it does not restrict gallery
entries and the only cost to
the dealer comes from
reserving each hotel suite.
She is already considering
expanding the event to other
cities.
Saturday at 5pm catch
Alexandre Singh’s perfor-
mance of “An Instructional
Lecture on Economix,” (pre-
viously performed at P.S.1
Contemporary Art Center in
Long Island City). His work
interprets economic theory
with a twist, involving sub-
ject matter from multiple
sources including mythology,
anthropology, and even
celebrity illusionist David
Cooperfield. As a side note,
Mr Singh helped Ms Ebgi
find the fair’s title—from
Frisbees, the inexpensive
plastic disks used for playing
games.
Jose M. Diaz
■ FRISBEE Art fair runs from 2 to 5
December at the Cavalier Hotel, 1320
Ocean Drive. ☎ 646.281.1112.
each room). The cost to each
gallery of participating in
scope is $5,000 per room for
the five nights.
Doing the fair for the first
time is the Parisian Magda
Danysz (Room 208), showing
Nicolas Ledoux, who makes
tiled space invaders. “I’m
really excited by the idea of
participating. Everyone is
looking for new things, peo-
ple want to make discoveries.
And my European clients will
come for a week, instead of
just a day, as they did for
Frieze in London”. “Miami
Beach is wonderful for meet-
ing people. All the major col-
lectors are here,” says
Vanessa Suchar of Le Salon
for Art Collectors, showing
Carol K. Brown’s small
paintings of sun-drenched
figures (from $450).
Many of the artists have
come down to Miami Beach
for the occasion. Yesterday,
Dan Steinhilber was blowing
up balloons for an installa-
tion in the bathroom of
Numark Gallery (Room 314)
which is also showing por-
trait photographs of
unclothed women by Chan
Chao, (from $2,500 for edi-
tions of five). Maximo
Gonzalez of Argentina (Art
and Idea, room 201) was
arranging a lacy-looking shirt
made of discontinued peso
notes: he is probably offering
the cheapest art in Miami, $5
Jean Shin with her screen made from discarded glasses.
At Taylor Gallery, room 111
“This is based on turn-of-the-
century soft pornography,
and is a take on contempo-
rary advertising which also
air-brushes out things like
nipples,” she explains
($3,000-5,000 in an edition
of three).
Rare (Room 205) is show-
ing work by James Davis
using basic home improve-
ment materials such as elec-
tric tape or hot glue, with
remarkable results: the
brightly coloured, circular
glue paintings are a snip at
$900 each and the tape paint-
ings are $400-$700.
Downstairs in Room 111,
Jean Shin (who was shown at
MoMA while it was in
Queens) recycles discarded
objects and had made a
screen pierced with glasses.
Beyond the fair, the organ-
isers have laid on a range of
events. There are two panel
discussions on Saturday and
Sunday. This year features a
new Hi-performance pro-
gramme of public and perfor-
mance art in and around
Miami, from Bill Berry’s
Inflatable Bop Bags (punch
the artist if you find the
explanation pretentious, says
the artist) to Park your Art, a
party in the design district,
with file cabinet dancers, bal-
loon twisters, a staring con-
test and video projection
(Saturday at 39th Street).
Georgina Adam
 Welcome to the network...

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ART BASEL/MIAMI BEACH DAILY NEWSPAPER • THURSDAY 2 DECEMBER 2004
Around Miami
Museum of
Contemporary
Art
770 NE125th Street
at NE 8th Avenue
☎ +305 893 6211
www.mocanomi.org
CUT/Film as found object
Until 30 January 2005
A travelling exhibition of
large-scale video projections
by nine contemporary
artists, including Paul
Pfeiffer, Pierre Huyghe and
Douglas Gordon.
Bass Museum
of Art
2121 Park Avenue Miami
Beach ☎ +305 673 7530
www.bassmuseum.org
Paris Moderne
Until 23 January 2005
Art Deco works on loan
from the Musée d’Art
Moderne de la Ville de
Paris, including more than
40 paintings and 30 works
of decorative art.
The Rubell
Family
Collection
95 NW 29th Street,
Wynwood Art District,
Miami ☎ +305 573 6090
This newly expanded build-
ing housing one of the
country’s top collections of
contemporary art re-opens
with:
Aernout Mik
project room
Until 6 February 2005
Eberhard Havekost
project room
Until 27 February 2005
Northern light:
Leipzig in Miami
Until 27 February 2005
Memorials of identity,
new media from the
Rubell Family Collection
Until 6 March 2005
American dream,
collecting Richard Prince
for 27 years
Until 27 March 2005
Supersize
Until 31 July 2005
Wolfsonian-FIU
770 NE125th Street
at NE 8th Avenue
☎ +305 893 6211
www.mocanomi.org
Streets and faces:
Jazz Age Paris, London,
Berlin and New York
Until 20 March 2005
Illustrations by the French
artist Chas Laborde (1886-
1941), depicting life in Paris
during the “roaring 20s”.
Miami Art
Museum
101 West Flager Street
Miami ☎ +305 375 3000
www.miamiartmuseum.org
Fabian Marcaccio:
Miami-Paintant
Until 23 January 2005
For his first solo exhibition
in the US, Argentine artist
Fabian Marcaccio has
made a 100 foot-long, 13
foot-high, site-specific
installation that incorpo-
rates elements of painting,
digital photography, print-
making and sculpture.
Light and atmosphere
Until 30 January 2005
A show of recent acquisi-
tions examining the use of
light in art and including
artists like Sean Scully and
THE ART NEWSPAPER • 11
Teresita Fernandez. and Roger M. Buergel,
artistic director of
Norton The Margulies
Miami Art Documenta 12, this travel- Museum of Art Collection at
ling show brings together 1451 S Olive Avenue, West
Central some 20 international Palm Beach the Warehouse
5960 SW 57 Avenue Miami artists whose work ☎ 561 832 5196 591 NW 27th Street
☎ +305 455 3333 explores the relationship www.norton.org ☎ 305 576 1051
www.miamiartcentral.org between government and Continental Drift www.marguliesware
How do we want self. Mr Buergel describes Until 2 January 2005 house.com
to be governed? the exhibition as a “three- Installations by Joan Jonas, The inaugural exhibition
Until 30 January 2005 dimensional film” where the Kabakovs, Muñoz and in the newly-expanded
Curated by Ruth Noack art and its viewers interact. Yinka Shonibare. space.
Today’s events
Wynwood Art District tour Contemporary art fair organised A live, puppet rock-opera, directed
9:00-noon
☎ 305 573 6006
by the New Art Dealers Alliance
(NADA).
by Dan Graham, with videos by
Paul McCarthy and Tony Oursler
A tour through Miami’s main art and songs written by Rodney
district, with transportation avail- -scopeMiami Graham.
able to 30 galleries and exhibition 2:00-8:00 pm
venues, including contemporary Townhouse Hotel, 150 20th Street Happy Hour at Art Positions
sculpture at World Class Boxing; at Collins Avenue 7:00-9:00 pm
Eric Wesley and Edgar Arcenaux at ☎ 212 268 1522 Collins Park
Locust Projects; and Robert www.scope-art.com Cocktails and music, with DJs Mark
Chambers and Bert Rodriguez
at Frederic Snitzer Gallery.
courtesy fredric snitzer gallery , miami
“Do it” book launch
11:30 am
2000 Convention Center Drive,
Miami Beach Botanical Garden
☎ 212 619 3356
Curated by Hans Ulrich Obrist, the
“Do it” exhibition has toured 45
museums worldwide; the book Norberto Rodriguez, “All the love I have is yours”, 2004. At the Frederic
includes 180 works of
art in the form of DIY instructions.
Seventy exhibitors take over a hotel, Leventhal and Stephan Luke.
ArtBasel/Miami Beach with special performances, panel
noon-8:00 pm discussions and guided tours for Art Sound Lounge and Art Bar
Miami Beach Convention Center museum groups. noon-late
☎ 305 674 1292, www.artbasel.com Pool Bar at the Delano Hotel,
The international contemporary art Art Loves Puppet Rock 1685 Collins Avenue
fair. 5:00-6:00 pm ☎ 305 673 1242
2000 Convention Center Drive, Audio work by contemporary artists
NADA art fair, 1:00-9:00 pm Miami Beach Botanical Garden, installed around the pool of this
The Ice Palace Film Studios check Trans> booth in the landmark hotel.
59 NW 14th Street Convention Center for tickets
www.newartdealers.org ☎ 646 486 0252 Art Lounge, 10:00 pm-late