INDULGE December 2015/January 2016

IND LGE DECEMBER 2015 / JANUARY 2016 DE

MICHELE OKA DONER COMES HOME TO MIAMI

The A-Rod Aesthetic Newlyweds Jackie Soffer and Craig Robins The Margulies-Kiefer connection Directing Miami’s art museums

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BOTANIKOWESTON.COM T 954.372.8466 SALES GALLERY 200 BONAVENTURE BLVD WESTON, FLORIDA 33326 This project is being developed by Terra Weston Residential, LLC (“Developer�), which has a limited right to use the trademarked names and logos of Terra Group. Any and all statements, disclosures and/or representations shall be deemed made by Developer and not by Terra Group, and you agree to look solely to Developer (and not to Terra Group and/or any of its affiliates) with respect to any and all matters relating to the marketing and/or development of the project and with respect to the sales of residences within the project. Oral representations cannot be relied upon as correctly

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EXCLUSIVE SALES & MARKETING BY TERRA REALTY, LLC stating the representations of the developer. This is not intended to be an offer to sell nor a solicitation of offers to buy real estate to residents of NY, or in any other jurisdiction where prohibited by law, and your eligibility for purchase wil depend upon your state of residency. All images and designs depicted herein are artist’s conceptual renderings, which are based upon preliminary development plans and are subject to change without notice in the manner provided in the offering documents. All such materials are not to scale and are shown solely for ilustrative purposes.

beyond extraordinary EXCLUSIVE MARKETING AND SALES AGENT DOUGLAS ELLIMAN DEVELOPMENT MARKETING This condominium is being developed by 2701 Bayshore One Park Grove, LLC, a Florida limited liability company (“Developer�), which has a limited right to use the trademarked names and logos of Terra and Related. Any and all statements, disclosures and/or representations shall be deemed made by

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ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. These materials are not intended to be an offer to sell, or solicitation to buy a unit in the condominium. Such an offering shall only be made pursuant to the prospectus (offering circular) for the condominium and no statements should be relied upon unless made in the prospectus or in the applicable purchase agreement. In no event shall any solicitation, offer or sale of a unit in the condominium be made in, or to residents of, any state or country in which such activity would be unlawful.

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Oral representations cannot be relied upon as correctly stating the representations of the developer. For correct representations, make reference to the documents required by section 718.503, Florida Statute, to be furnished by a developer to a buyer or lessee. Your eligibility for purchase depends upon your state of residency. This offer is void where prohibited. Gran Paraiso is developed by PRH Paraiso Two, LLC (“Developer”), which, pursuant to license agreements, uses the trademarked names and logos of The Related Group, which is not Developer. This offer is made pursuant to the Prospectus for Gran Paraiso and no statement should be relied upon if not made in the Prospectus provided to you by the Developer. Square footage is approximate and may vary depending on how measured and actual construction. Locations and layouts of windows, doors, closets, plumbing fixtures, and structural and architectural design elements may vary from concept to actual construction. All depictions of appliances, plumbing fixtures, counters, countertops, cabinets, soffits, floor coverings and other matters of design and décor detail

Soaring high above Biscayne Bay, Paraiso’s final and most magnificent luxury condominium tower will soon emerge…

Art by Pablo Atchugarry, Frank Stella, David Hayes, and Vik Muniz

Photographed on location at Paraiso Bay

Sales by RELATED REALTY in collaboration with FORTUNE DEVELOPMENT SALES are conceptual and are not necessarily included with Unit purchase. Developer expressly reserves the right to make modifications, revisions, and changes it deems desirable or necessary as a matter of code compliance or otherwise. There is no guarantee that any, or all off-site attractions, shopping venues, restaurants, and activities referenced will exist or be fully developed, as depicted, or that these would not change. The managing entities, hotels, artwork, designers, contributing artists, interior designers, fitness facilities, amenities, services, and restaurants proposed within the Condominium and referred to herein are accurate as of this publication date; however, Developer does not guarantee that these will not change prior to, or following, completion of the Condominium. Any art depicted or described may be exchanged for comparable art at the Developer’s discretion. Art may be loaned to, rather than owned by, the Association.

Consult the Prospectus for all terms, conditions, and specifications. Reproduction for private or commercial use is not authorized. 2015© PRH Paraiso Two, LLC with all rights reserved.

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ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING THE REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. This offering is made only by the prospectus for the condominium and no statement should be relied upon if not made in the prospectus. These materials are not intended to be an offer to sell, or solicitation to buy a unit in the condominium. Such an offering shall only be made pursuant to the prospectus (offering circular) for the condominium and no statements should be relied upon unless made in the prospectus or in the applicable purchase agreement. In no event shall any solicitation, offer or sale of a unit in the condominium be made in, or to residents of, any state or country in which such activity would be unlawful. All plans, features and amenities depicted herein are based upon preliminary development plans, and are subject to change without notice in the manner provided in the offering documents. No guarantees or representations whatsoever are made that any plans, features, amenities or facilities will be provided or, if provided, will be of the same type, size, location or nature as depicted or described herein. This project is being developed by 700 Miami Partners LLC, aDelaware limited liability company, which was formed solely for such purpose. Two Roads Development LLC, a Florida limited liability company (“Two Roads”), is affiliated with this entity, but is not the developer of this project.

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Oral representations cannot be relied upon as correctly stating representations of the developer. For correct representations, make reference to the documents required by Section 718.503, Florida Statutes, to be furnished by the developer to a buyer or lessee. Obtain the property report required by federal law and read it before signing anything. No federal agency has judged the merits or value, if any, of this property. We are pledged to the letter and spirit of U.S. policy for the achievement of equal housing throughout the nation. We encourage and support an affirmative advertising and marketing program in which there are no barriers to obtaining housing because of race, color, sex, religion, handicap, familial status or national origin. This ad does not constitute an offer to sell or a solicitation of an offer to buy a unit in the condominium. No solicitation, offer or sale of a unit in the condominium will be made in any jurisdiction in which such activity would be unlawful prior to any required registration therein. Artist conceptual renderings.

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HLT CONRAD IP, LLC, AN AFFILIATE OF HILTON WORLDWIDE INC. (“HILTON”). THE RESIDENCES ARE NOT OWNED, DEVELOPED, OR SOLD BY HILTON AND HILTON DOES NOT MAKE ANY REPRESENTATIONS, WARRANTIES OR GUARANTIES WHATSOEVER WITH RESPECT TO THE RESIDENCES. THE DEVELOPER USES THE CONRAD®

THE PROPERTY HAS BEEN REGISTERED OR EXEMPTIONS ARE AVAILABLE. PLANS, FEATURES AND AMENITIES SUBJECT TO CHANGE WITHOUT NOTICE. ALL ILLUSTRATIONS AND PLANS ARE ARTIST CONCEPTUAL RENDERINGS AND ARE SUBJECT TO CHANGE WITHOUT NOTICE. CONRAD® IS A REGISTERED TRADEMARK OF

LESSEE. THE PROPERTIES OR INTEREST DESCRIBED HEREIN ARE NOT REGISTERED WITH THE GOVERNMENTS OF ANY STATE OUTSIDE OF THE STATE OF FLORIDA. THIS ADVERTISEMENT DOES NOT CONSTITUTE AN OFFER TO ANY RESIDENTS OF NJ, CT. HI, ID, IL, OR ANY OTHER JURISDICTION WHERE PROHIBITED, UNLESS

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATION OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THIS BROCHURE AND TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY DEVELOPER TO A BUYER OR

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FOR THE FULL STORY, PLEASE GO TO www.estatesatacqualina.com ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. All artist’s or architecturalrenderings, sketches, graphic materials and photos depicted or otherwise described herein are proposed and conceptual only, and are based upon preliminary development plans, which are subject to change. This is not an offering in any state in which registration is required but in which registration requirements have not yet been met. THIS IS NOT AN OFFER FOR CONTRACT OR SALE IN THE STATES OF NY, NJ OR MASS.

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128 SHARING THE WEALTH Marty Margulies is led by passion for art – and compassion for others.

156 THE A-ROD AESTHETIC Alex Rodriguez’s flair for art and design goes well beyond baseball.

134 THE NEWLYWEDS Craig Robins and Jackie Soffer are linked by real estate, family and art.

160 ‘FLOATING REFUGE’ Jacob and Melissa Brillhart’s Miami home offers a refreshing counterpoint to generic modernism.

142 NEW DIRECTIONS With new leadership at most of the region’s art museums, a wave of creative change is sweeping South Florida.

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166 CONFRONTING CONVENTION At 70, Miami-born artist Michele Oka Doner is in her prime.

INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

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The A-Rod Aesthetic

Newlyweds Jackie Soffer and Craig Robins The Margulies-Kiefer connection Directing Miami’s art museums

LGE DECEMBER 2015 / JANUARY 2016 D

MICHELE OKA DONER COMES HOME TO MIAMI

Photography by Moris Moreno Shot in Miami Beach

Miami’s Largest Luxury Showroom

2 0 6 0 B I S C AY N E B LV D . M I A M I , F L O R I D A • B R A M A N M I A M I . C O M • 3 0 5 . 5 7 1 . 1 2 0 0

52 PARTY The culturally inclined reveal their go-to sources for the latest on the art world.

45 HAUTE HUB High-style boutiques for Hermès, Tom Ford and other top designers have opened in Miami’s Design District.

48 MUSEUM QUALITY For artful bags and baubles, check out museum shops.

50 MY 305 STYLE Tara Sokolow-Benmeleh’s sense of style permeates her work and life.

46 SOLE OF THE MATTER The key to Art Basel Week is happy feet. These shoes will help you look and feel terrific.

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INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

54 BEAUTY These women behind the canvas are as alluring as their work. Here’s how they do it.

56 ART SCENE Artists and galleries move north as new museums move forward.

58 TRIBUTE Ruth Sackner loved words, culture and Miami.

Drawings of Mario Carreño

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106 THE DISH South Beach Food and Wine Festival director Lee Brian Schrager shares his favorite tables for Art Week dining.

109 THE ESCAPE Havana’s artists are painting pictures in time of a country in transition.

114 THE SPREAD Urban settings provide the backdrop for au courant fetes.

178 ART BASEL’S 14TH EDITION What’s new for 2015.

180 ART BY THE HOUR A well-honed strategy for getting the best from Art Week.

182 DESIGN MIAMI\ Designers to watch.

184 SATELLITE FAIRS Familiar fairs in new places, plus new faces.

188 ART IN PUBLIC PLACES Sculpture and film, and all for free.

71 THE ADVOCATE Victoria Rogers, the Knight Foundation’s new arts vice president, sings, draws, plays the oboe – and helps craft cultural communities.

82 THE FILMMAKER For Jason Fitzroy Jeffers, Miami’s ‘crazy carnival’ inspires storytelling.

84 THE VIRTUOSO Miami Grand Opera director Susan Danis wants everyone to love opera as much as she does.

72 THE INSTIGATORS For two decades, Alan Fein and Susi Westfall have helped pen the script for Miami theater.

88 THE DANCER For choreographer and dancer Hattie Mae Williams, life is a project in motion.

76 THE GALLERIST Jumaane N’Namdi is one of the few Wynwood art dealers who openly applauds gallery night visits.

90 THE ADVISOR Patricia Hanna, art director for the Related Group, helps integrate museum-quality works into Miami’s luxury condo towers.

78 THE PIONEERS Like mother, like daughter: Toby Lerner Ansin and Stephanie Ansin are the driving forces behind two of Miami’s most vibrant cultural organizations.

96 THE DEVELOPER Little River developer Matthew Vander Werff is ‘curating’ a creative neighborhood on the tracks.

94 THE ENTREPRENEUR Miami banker Alan Randolph is making a personal investment in Miami’s cultural renaissance as co-owner of the UNTITLED. art fair.

36 INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

190 AT THE MUSEUMS Local arts institutions pull out all the stops.

194 DATEBOOK Your day-by-day guide to what opens when.

101 THE POUR Old vines make new wines that are hitting all the right notes.

198 ART WEEK ESSENTIALS Where to park, sip and see.

102 THE NEIGHBORHOOD Downtown Miami’s hottest waterfront is on the river.

210 INDULGENCES Lalique’s limited-edition globe puts a new spin on the blue planet.

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ccasionally I bump into locals who have never been to an art fair during our annual Art Basel Miami Beach week. They’re intimated by unfamiliarity with contemporary art, by the sheer volume of fairs, by the traffic.

Those shouldn’t stop anyone. Art Week Miami is one of the most vibrant weeks on the calendar. Art adventurers — and just plain adventurers — from around the world jet into town to take in the fairs, films, sculpture in the park and performances, while you need only to Uber down the street or venture across the causeway.

If you’re a first-timer, start with Art Basel Miami Beach, in the Miami Beach Convention Center. The art quality often matches that of top-ranked museums.

(In fact, many national and international museums come here to shop.) But even if you don’t have a multimillion-dollar acquisitions budget, you can look and enjoy.

When you’re ready to branch out, hit one of nearly two dozen parallel fairs dotted across Miami Beach, Midtown and the Performing Arts District (I love Art Miami and NADA), plus museum exhibits, gallery shows and other events.

Even old art hands will find plenty this year they’ve never seen before. The Art Basel Guest Editor downtown campus of Miami Dade College will be home to Holoscenes, a waterJane Wooldridge filled glass tower with performers inside – a reference to rising seas. In the Design District, New York megadealers Jeffrey Deitch and Larry Gagosian are collaborating on a show of contemporary figurative artwork in the Moore Building, while just down the street rocker Lenny Kravitz stages an exhibition of his photography. Collector Marty Margulies has arranged an extraordinary exhibit of massive sculptures by Anselm Kiefer, one of the world’s most influential living artists. All of these are free.

Still feeling hesitant? We're here to help. The stories in this issue will get you in the spirit. Our Art Week Guide will help you plot your week. And our mobile events site (miamiherald.com/artbasel) will come to your rescue when you can’t remember exactly where that opening or exhibit is located.

My personal tips: Hit the fairs early. Park your car once and take taxis. Wear comfy shoes. Keep an open mind.

And don’t be nervous about asking questions. (“What was the artist’s motivation?” works in most cases.)

I’ve got my phone charger handy, so I can share those Instagram photos all week long. Join the fun. #artbasel

KEEP IN TOUCH! Follow INDULGE on Twitter @MiamiIndulge, and follow me on Twitter and Instagram @janewooldridge Friend us! facebook.com/MiamiIndulge | Visit our online edition at www.miamiindulge.com

INDULGE A S P E C I A L P U B L I C AT I O N P R O D U C E D B Y

PRESIDENT AND PUBLISHER ALEXANDRA VILLOCH EDITORIAL Art Basel Guest Editor Jane Wooldridge Editor-in-Chief Betty Cortina-Weiss Contributing Design Director John Michael Coto Miami Herald Special Publications Manager Roberto Hernández-Alende Contributing writers Andrea Carneiro, Lauren Comander, Lyn Farmer, Rebecca Kleinman, Christiana Lilly, Lydia Martin, Nicole Martinez, Claudia Miyar,

ADVERTISING Vice President of Advertising Samuel Brown Sales Director Ric Banciella Advertising Manager Kristina Schulz-Corrales National Accounts Jaclyn Kaplan Local Accounts Liana Guilarte and Norman Posada Events and Partnerships Manager Adele Lorenzo Marketing Manager Lourdes M. Alvarez Magazine Coordinator Yvonne Cloud

Rene Rodriguez, Stephanie Sayfie Aagaard, Jennifer Scruby Contributing photographers Felipe Cuevas, Manny Hernandez Color correction Wilbert Mooyoung For editorial information: editor@miamiindulge.com

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Advertising, sales and distribution information: kcorrales@MiamiHerald.com 305-376-2801

NO MATTER HOW MANY PHOTO SHOOTS YOU’VE ARRANGED, NO MANY HOW MANY STORIES YOU’VE WRITTEN, THERE ARE ALWAYS SURPRISES. A crucial cord has mysteriously disappeared from the gear bag; a sudden thunderstorm erupts; a paving crew blocks the street most convenient to your shoot location; the humidity is high enough to make the most committed artist melt. Along with the Miami Herald staffers and freelance contributors mentioned throughout this magazine, our special thanks to these unsung heroes: Carlos J. Armas; Daniel Block; David Fiske; Alex Sanchez; Alfredo Gugig; Harry Broerjtes; the staffs at MC Kitchen, ICA-Miami and Miami Design District. Special kudos to Mayda Horstmann, scheduler extraordinaire.

Shining the light on Michele Oka Doner amid the banyans on Miami Beach, above; in the library at Craig Robins’ Miami Beach home, left; reporter Hannah Sampson with Marty Margulies, center; Oka Doner with photographer Moris Moreno, right.

Miami Herald photographer Patrick Farrell photographs Alex Rodriguez at his office desk, above, while Andrew Meade captures a light moment with chef Dena Marino, below.

Matthew Vander Werff’s Rhodesian ridgeback, Kato Vander Woof, loves to play — until the camera comes out. The minute the shoot begins, he settles down for a snooze in the back seat.

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Knight Foundation supports transformational ideas that promote quality journalism, advance media innovation, engage communities and foster the arts.

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PHOTO Š SAM GOLDBERG USED WITH PERMISSION

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December 27

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December 29 - January 3

January 2

TORONTO SYMPHONY ORCHESTRA OCEAN DRIVE IN VIENNA

Beethoven Piano Concerto No. 4

THARP’S IN THE UPPER ROOM January 7

January 8 - 10

SALSA SUMMIT: EDDIE PALMIERI SALSA ORCHESTRA

GIL SHAHAM PLAYS TCHAIKOVSKY January 9

January 10

ANDSNES PLAYS SCHUMANN

January 14 - 31

Beethoven’s 9th

January 25

January 15

January 29 & 30

PATTI LABELLE special guest Ashleigh Smith

February 5

January 23 - 30

THE TENORS

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CELEBRATING THE GOOD LIFE WITH THE LEGENDARY

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N E W. N O W. AND RIGHT HERE. Compiled by Claudia Miyar

HAUTE HORN TIME TO SPARE Men’s steel watch with alligator band combines classic formality with clean, modern styling.

Dior Homme Chiffe rouge A03 Watch, $3,200, Dior Homme, 161 NE 40th St., #102; 305-557-3576, diorhomme.com.

WATERY WONDER

This lacquered wood-and-buffalo-horn necklace goes with everything from jeans to a cocktail dress.

Karamba, $405, Hermes, 175 NE 40th St.; 305-868-0118, hermes.com.

EYE ON

This year’s Tiffany Blue Book catalog of couture jewelry was inspired by the sea, with swirling blues and turquoise hues adorning jaw-dropping designs.

Ring, $55,000, Tiffany, 114 NE 39th St.; 305-428-1390, tiffany.com

New boutiques are opening weekly in Miami’s Design District. Here’s a glimpse of what’s in store.

MODERN MUSE Tom Ford is a master at meshing cutting-edge fashion and sex appeal, as seen on this runway look from the 2015 fall/winter collection. Price upon request, Tom Ford, 103 NE 39th St.; 786-749-2600, tomford.com.

‘IT’ BAG Celine bags have a cult-like following due to their sumptuous materials and compelling lines. Luggage Phantom in navy blue stamped crocodile nubuck, $3,250, Celine, 191 NE 40th St., #101; 305-866-1888, celine.com.

NEW MIAMI CLASSIC In honor of its new flagship store, Hermes has designed a flamingothemed scarf in silk twill, available in turquoise or Miami pink. Flamingo Party scarf, $395, Hermes, 175 NE 40th St.; 305-868-0118, hermes.com.

www.miamiindulge.com | DECEMBER / JANUARY 2016 | INDULGE 45

Compiled by Claudia dia Miyar

GLITTER GIRL Because your inner child said so! The jaunty pointed toe keeps these from being too sweet.

Miu Miu pumps. $790, Saks Fifth Avenue, Bal Harbour Shops, 9700 Collins Ave.; 305-865-1100, saksfifthavenue.com.

TWEEDY TOES The classic Birkenstock gets an irreverent makeover in preppy tweed and warm gold. $325, Battaglia Shoes, Dadeland Mall, 7239 North Kendall Dr.; 305-666-8342, battagliashoe.com.

SURE Comfort is critical to Art Basel Week success. These shoes will help you look and feel great.

WOW WEDGE Christian Louboutin’s wedges, $795, have grommets, chain trim and crisscross lacing for tons of visual interest. Christian Louboutin, 155 NE 40th St., Design District; 305-576-6820, christianlouboutin.com.

BORROWED FROM THE BOYS The French have perfected the look of androgynous cool.

Here, buckles and contrasting red straps add flair to boyish goatskin suede boots. $1,350, Hermes, 175 NE 40th St., Design District; 305-868-0118, hermes.com

FOR THE GUYS WORTH IT Admittedly high, but the stacked heel and ankle strap add stability to these sumptuous stunners from Tom Ford. $1,490, Tom Ford, 103 NE 39th St., Design District; 786-749-2600, tomford.com

PRINTED MATTER Pierre Hardy’s graphic flowers over geometric cubes recall the prints of Pop artists Warhol and Lichtenstein. Slip-on sneakers, $455, The Webster, 1220 Collins Ave., Miami Beach; 305-674-7899, thewebster.com.

MADE IN THE SUEDE WALK AND TALK Sophia Webster’s patent flats, $395, tell everyone exactly who you are.

Neiman Marcus, Bal Harbour Shops, 9700 Collins Ave.; 305-865-6161, neimanmarcus.com.

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INDULGE | DECEMBER / JANUARY 2015 | www.miamiindulge.com

Jimmy Choo’s bestselling men’s high top, $725, looks fresh in pastel pistachio suede. Jimmy Choo, Merrick Park, 360 San Lorenzo Ave., Coral Gables; 305-443-6124, jimmychoo.com.

LEGENDARY BRAND, UNPARALLELED LIFESTYLE Introducing The Club Level on the 33rd floor Garden Bar, Private Dining, Media Room, Business Center, Guest Suites, Library and an Exquisite Oceanfront Terrace Oceanfront Residences from $2.5 million

ON-SITE SALES LOUNGE | 15701 Collins Avenue, Sunny Isles Beach, FL 33160 | (305) 521-1391 | TheResidencesSunnyIslesBeach.com The Ritz-Carlton Residences, Sunny Isles Beach are not owned, developed or sold by The Ritz-Carlton Hotel Company, L.L.C. or its affiliates (“Ritz-Carlton”). Sunny Isles Property Venture L.L.C. uses The Ritz-Carlton marks under license from Ritz-Carlton, which has not confirmed the accuracy of any of the statements or representations made herein.

ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A SELLER TO A BUYER OR LESSEE. The Developer is Sunny Isles Property Venture, LLC which has a right to use the trademark names and logos of Fortune International Group and Chateau Group. This is not an offer to sell, or solicitation of offers to buy, in states where such offer or solicitation cannot be made.

The rendering contained herein is an artist impression, conceptual interpretation, proposed only and merely intended as illustration. No guarantee is made that the described features, services, amenities or facilities will be available or built. Developer reserves the right to make any modifications, revisions or withdrawals in its sole discretion and without prior notice. All improvements, design and construction are subject to first obtaining permits and approvals for same by the relevant authorities.

Compiled by Jane Wooldridge

GET IN GEAR You can literally see time move with this open-face geared clock. $129, Norton Museum of Art, 1451 S. Olive Ave., West Palm Beach; norton.org

IN THE BAG Simplicity and smart design are the hallmarks of Finell, as seen in this angular leather bag, available in black and bone. $895, Pérez Art Museum Miami, 1103 Biscayne Blvd., Miami; pamm.org

QUALITY ART + DESIGN The eternal dance of form and function strikes a graceful step in the Miami Collection of decorative shelves from the design project Chiaozza, created by Adam Frezz and Terri Chiao. $425, Miami Dade College Museum of Art + Design, Freedom Tower, 600 Biscaynee Blvd., Miami; mdcmoad.oorg

STACKED Areaware’s Blockitecture Brutalism set is designed for the builder with flair, whatever the age. $25, WolfsonianFIU Museum, 1001 Washington Ave., Miami Beach; wolfsonian.org

The works in museum gift shops can be as intriguing as those in the galleries. And these, you can take home.

GOLDEN KISS Surrealist Man Ray’s 1933 gold sculpture of artist, collaborator — and lover — Lee Miller’s lips served as the inspiration for this pin, shown here in pewter with gold finish. $28, NSU Art Museum, 1 E. Las Olas Blvd., Fort Lauderdale; nsuartmuseum.org

STAPLE WITH STYLE Who says utilitarian has to be boring? This Tom Dixon stapler is anything but. $72, WolfsonianFIU Museum, 1001 Washington Ave., Miami Beach; wolfsonian.org

48 INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

Š20155 California Š201 Ca rnia Clo Closet set Comp Company, any, Inc Inc.. All All rights rights res reserve erved. erve d. Each Each fran franchis chisee indepe chis indepe dependen ndently nden tly owne ownedd and and operat operat erated. ed.

Every California Closets system is custom designed specifically for you and the way you live.

Visit one of our showrooms or call today to arrange for a complimentary in-home design consultation.

MIAMI

900 Park Centre Blvd.

305.623.8282

californiaclosets.com

STYLE Compiled by Christiana Lilly

THE JEWELRY “Every piece is kind of like a landmark of the journey, something I’m thinking about.

Everything is spiritually charged based on what I’m working on.” $345 sandalwood and handmade brass dreamcatcher necklace, espiritutara.com

THE SCENT “I love the tobacco scent — it’s musky, and I love unisex scents. This perfume reminds me of a tobacco factory in the Dominican Republic. And when on, it just has this bohemian vibe that reminds me of the beach in Tulum, Mexico.” $62 Coqui Coqui Tabaco, The Griffin, 3112 Commodore Plaza, Coconut Grove; 786-631-3522, facebook.com/shopthegriffin

THE RESTAURANT “The owner always chooses the wines, and he has an excellent palate.

I always love their vegetarian options. Every night the fish and vegetables are different. It’s a great place, and it’s adorable.” Fooq’s Miami, 1035 N. Miami Ave., downtown; 786-536-2749, fooqsmiami.com

305 TARA SOKOLOW-BENMELEH Art collector; director and head designer of Espiritutara.

THE HANGOUT

It was during her honeymoon trip to Machu Picchu that she discovered pieces of inspiration that would turn her into a business owner. “I found these beautiful bracelets with indigenous fabric beads, and I took them home and I redid them,” she said, mixing in onyx stones for protection, and gave them out as gifts.

The demand grew and she launched Espiritutara in 2011.

Now with her little one, Max Aero, in tow, she’s a working mom who knows how to balance both a good look and a hectic life.

“Chrome Hearts took over this two-story building in the Design District. It’s gorgeous. It has a little David’s Cafe inside, and they serve coffee. They make these gluten-free lentils, paninis, sandwiches. They’re predominantly jewelry, so it’s interesting as a lifestyle brand to hang out there and be inspired.” Chrome Hearts, 4025 NE Second Ave., Design District, 786-953-7384, chromehearts.com

THE RIDE “I drive a black, 2016 Porsche Cayenne.

I’m pretty minimal, but now with the baby, the stroller is so huge. It’s nice to have a big car to accommodate that.” The Collection, 200 Bird Rd., Coral Gables, 305-444-555, thecollectionporschemiami.com

THE BREAKFAST SPOT THE STORE

THE SHOES “I’m addicted to shoes from Margiela. I’m always in sneakers during the day since I’m walking to work downtown, going to Pilates with my trainer Karen Schachter or chasing after a very active baby.

I have a lot of Margiela black, androgynous, edgy shoes.” $895, Maison Margiela, 3930 NE Second Ave. #101, Design District; 786-718-1931, maisonmargiela.com

50 INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

“The latest damage was done at Curve Soleil, where my friend is a buyer and another friend is a manager. I buy Isabel Marant, Alexander Wang and Acne pieces there.”

Curve Soleil, 2000 Collins Ave., Miami Beach, 305-532-6722, shopcurve.com

TARA & MAX PORTRAIT (AL DIAZ)

“We go to the Wynwood jugofresh location a lot. The acai bowl has a lot of energy and greens, and it has great chocolate crumbles in it.” jugofresh, 222 NW 26th St., Miami, 786-472-2552, jugofresh.com

Italian Masterpieces ARCHIBALD ARMCHAIR. DESIGNED BY J.M. MASSAUD. SALA DEL THE, PALAZZO COLONNA, ROME.

poltronafrau.com

Miami 3800 NE Miami Ct. Miami Design District, FL 33137 Poltrona Frau Express: select products delivered in 10 days

305 576 3636

poltronafraumiami.net

PARTY Compiled by Galena Mosovich

“Artists provide me the best leads and I travel to see for myself.”

Bonnie Clearwater

“Surface Magazine, Art Newspaper, Art Nexus, Art in America, Artforum, and ArtNews, E-flux, ArtNews, Art in America online, Hyperallergenic, and Blouin Artinfo.”

Jorge Perez

“My partner, Jorge Perez.”

Stephen Ross

“Calendar from county Cultural Affairs and Greater Miami Convention & Visitors Bureau.”

Carlos Gimenez

Jorge Perez, Pitbull, Stephen Ross and Miami-Dade Mayor Carlos Gimenez at the Perez Art Museum Miami gala

Bonnie Clearwater and Julian Schnabel at the opening of “Café Dolly” at the NSU Museum of Art

“The New York Times.”

Adrienne Arsht Barry Manilow and Adrienne Arsht at the Adrienne Arsht Center gala

“New Times, Biscayne Times and the Miami Herald for art events.”

Robbie Bell Robbie Bell and Marilyn Holifield at the PAMM Ambassadors reception

“Art News, the Miami Herald for events.”

Jennifer Sazant Miami Beach Mayor Philip Levine, Jennifer and Neil Sazant at Breakthrough Miami fundraiser at the Sagamore “Instagram.”

Daniel Arsham

“Gary Nader and his galleries …and The Art Newspaper.”

Emilio Estefan Emilio and Gloria Estefan at the New World Symphony Gala

52

“Museums – PAMM, MoMA, Studio Museum of Harlem” Carole Hall Ira and Carole Hall at the PAMM gala

INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

“Artforum, Art in America, Art News, Art + Auction.”

Marvin Ross Friedman Marvin Ross Friedman and Adrienne bon Haes at the New World Symphony gala

Daniel Arsham at the opening of his installation, New Work, at YoungArts

BEAUTY

By Jennifer Scruby

Doing great work on the canvas doesn't mean you have to be anything less than glamorous in front of the lens. These five artists spark imagination with their style, too — proof that the most inspiring beauty looks are wholly personal.

THE ARTIST: Rachel Feinstein

THE ARTIST: Millie Brown

THE ARTIST: Kara Walker

THE ARTIST: Cecily Brown

THE ARTIST: Agustina Woodgate

SIGNATURE LOOK: Romantic. With her Pre-Raphaelite curls, flushed cheeks and glowing red lips, Feinstein always seems sophisticated and regal, like a John Everett Millais model grew up and moved to New York.

SIGNATURE LOOK: Bad-ass awesomeness.

As if her bold cherry-red lips and winged-out eyeliner aren’t fierce enough, Brown pairs them with painted-on arches worthy of a ceremonial Chinese dragon.

SIGNATURE LOOK: Elegant simplicity.

Walker projects an innate cool, something that her highlighted corkscrew curls, amazing cheekbones and clean, glowing skin back up.

SIGNATURE LOOK: British rock star.

Brown’s tousled Chrissie Hynde shag is sexy and edgy — a rare combination — while her berry-stained lips look striking against her pale skin.

SIGNATURE LOOK: Fun and youthful.

From this Miami painter’s Bettie Page hairstyle to her orange-red lips, every element reads as cheeky and feminine — testament to the fact that style is all in the mix.

OPTIONS WE LOVE:

OPTIONS WE LOVE:

OPTIONS WE LOVE:

OPTIONS WE LOVE:

NARS FIRE DOWN BELOW SEMI MATTE LIPSTICK

OPTIONS WE LOVE:

EYEKO BROW LINER $20 eyeko.com

$27, narscosmetics.com

KLORANE LEAVE IN SPRAY WITH FLAX FIBER FOR FINE HAIR

DOLCE & GABBANA DOLCE MATTE LIPSTICK IN FIRE

$16, kloraneusa.com

$37.50, sephora.com

MOROCCAN OIL INTENSE CURL CREAM

KIEHL’S CREME WITH SILK GROOM

$34, moroccanoil.com

DAVINES MEDIUMHOLD PLIABLE PASTE

$24, kiehls.com

$28, us.davines.com

LANCÔME SOURCILS TINT LONGWEAR EYEBROW PEN $26, sephora.com

54

INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

TATA HARPER BE TRUE LIP BALM $28, tataharperskincare.com

SERGE NORMANT INSTANT VOLUMIZING SPRAY from $15, nordstrom.com

EXPERIENCE THE MAGIC OF AMERICA’S #1 HOLIDAY TRADITION! Arsht Center, Miami Dec. 17 - 24

Shimon Ito in George Balanchine’s The Nutcracker™, Choreography by George Balanchine © The George Balanchine Trust. © Alberto Oviedo.

Tickets available from $25 305.929.7010 877.929.7010 toll free

miamicityballet.org Lourdes Lopez, Artistic Director

ART SCENE

Gallery Diet Bass Museum of Art A $7.5 million renovation that will add about 30 percent more space to the museum is slated for completion in 2016. This year, the museum is staging exhibitions at BassX, at the nearby Miami Beach Regional Library, 227 22nd St. On Dec. 3, the museum opens an installation by Swiss artist Sylvie Fleury, running through Jan. 10.

Institute of Contemporary Art – Miami The recent groundbreaking puts the permanent 37,500-square-foot ICA Miami building on track for a February 2017 opening. Designed by the Spanish firm Aranguren & Gallegos Arquitectos, the new museum will be located near the de la Cruz Collection, not far from its temporary quarters in the Design District’s Moore Building.

(4040 NE Second Ave., Design District; icamiami.org).

Fairholme Foundation A new home designed specifically for James Turrell’s Aten Reign and Richard Serra’s Passage of Time has received zoning approval from the city of Miami. Fairholme Fund manager Bruce Berkowitz says he plans to open the museum, at Biscayne Boulevard and 26th Street, in 2017.

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INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

GESI SCHILLING

NORTHWARD HO

Nader Latin America Art Museum Nader hopes to partner with Miami Dade College in a project that would include space for the 120,000-squarefoot museum designed by Fernando Romero, plus a sculpture garden and performing arts theater, as part of a mixed-use residential-hotel project in downtown Miami.

Meanwhile, Nader is exhibiting sculptures by Fernando Botero in downtown Miamiâ&#x20AC;&#x2122;s Bayfront Park. He will open a temporary museum Dec. 2 atop his Wynwood Gallery (62 NE 27th St.; garynader.com).

â&#x20AC;&#x153;A Sight to Beholdâ&#x20AC;?

by Almudena Lobera, 2011.

some of the highest prices in Miami-Dade history, started closing on their purchases in early September. The artistic core of the area, Faena Forum, is scheduled to open in April 2016.

Designed by Pritzker Prize-winning architect Rem Koolhaas and his Office for Metropolitan Architecture, the 50,000-square-foot building will host projects, installations, performances and discussions. Still to open: additional high-end residential buildings and retail spaces.

Art is woven throughout the district, with major works including pieces from Jeff Koons and Damien Hirst. Antwerp-based collective Studio Job has created a site-specific outdoor sculpture, while the hotel will be filled with works by artists from Miami and Argentina.

Among the most striking: Storms, two chandeliers created by Alberto Garutti that flicker every time lightning strikes the Pampas in Argentina.

During Art Basel Miami Beach, the district will go disco â&#x20AC;&#x201D; on wheels â&#x20AC;&#x201D; with an interactive roller-skating rink featuring appearances by international and local DJs. The artist duo â&#x20AC;&#x153;assume vivid astro focus,â&#x20AC;? or avaf, created the installation for the Faena Art Center in Buenos Aires. A site-specific work called A Site to Behold by Spanish artist Almudena Lobera â&#x20AC;&#x201D; known for encouraging observers to â&#x20AC;&#x153;meditate on the performance of the everyday and the spectacle of the natural worldâ&#x20AC;? â&#x20AC;&#x201D; will also be open on the beach.

TEXT BY HANNAH SAMPSON

TRIBUTE

AL DIAZ

Years in the making, the ambitious Faena District is coming to life in the center of Miami Beach.

A vision of Argentine developer, art collector and â&#x20AC;&#x153;urban alchemistâ&#x20AC;? Alan Faena, the district stretches from the ocean to Indian Creek between 32nd and 36th streets. Pockets of the area started opening in late 2015, and will continue to open for the next couple of years. The Faena Hotel Miami Beach opened at the former Saxony Hotel in mid-November, with 169 rooms and starstudded credentials: interiors and public spaces were created by film director Baz Luhrmann and Academy Award-winning production and costume designer Catherine Martin.

New owners at the sold-out Faena House, an 18-story residential tower that has fetched

ALMUDENA LOBERA

ART SCENE

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Breakfast in the Park Celebrate Art Basel Miami Beach at the Patricia & Phillip Frost Art Museum

Alice Aycock Presented in partnership with West Kendall Baptist Hospital Sunday, December 6 | 9:30 a.m. - noon • • •

Complimentary outdoor breakfast Informal talk by renowned artist Alice Aycock Guided tours of The Sculpture Park at FIU

For more information, call 305.348.2890 or visit

Alice Aycock, Timescape #3, 2015 Edition 1/3, Aluminum, 54 x 68 x 24 inches Courtesy of the Artist and Fredric Snitzer Gallery Photo credit: Dave Rittinger

The Frost Art Museum receives ongoing support from the Steven and Dorothea Green Endowment; the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture; the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor and the Miami-Dade Board of County Commissioners; Agustin Venero and the Venero Family; The Miami Herald; and the Members & Friends of The Frost Art Museum.

AT D O R A L M I A M I

SOURCE

FINGER R Vanity Projects takes manicures to a new level, transforming keratin into canvas. f you hear someone say, “nails on fleek,” it’s almost certainly a discussion about contemporary nail art. The hand-painted phenomenon has made its way to Miami from the runways of New York’s hautest fashion shows and the hippest circles of pop culture in the world.

At Vanity Projects, 7338 NW Miami Court in the up-and-coming warehouse-turned-art mecca of Little River, inventive designs, colors, textures and shapes elevate the basic manicure to a sophisticated artistic expression.

I

Founder and curator Rita de Alencar Pinto opened her first high-end nail art atelier in 2013 on New York’s Lower East Side after successful pop-ups at venues such as MoMa PS1, the Brooklyn Museum, the Los Angeles Contemporary Art Fair and NADA Miami Beach (during Art Basel).

Her chic studios mimic the look and feel of art galleries. Video art installations are projected onto the walls; Pinto directs the short films in collaboration with artists like Hans Op de Beeck, Jeremy Blake, Eve Sussman, Tala Maldani,

Nathalie Djurberg, Tejal Shah, Neha Choksi, Rochelle Feinstein, Alterazioni Video, Ofri Cnaani, Claire Hooper, Marisa Olson, and curators including Carolyn H. Drake, Darrin Martin, Tim Goossens, Diana Campbell Betancourt, Nate Hitchcock and Grela Orihuela. Each video runs on a loop for about eight weeks at a time, and guests often draw inspiration for their nails from the images dancing on the walls.

The salon’s highly sought-after nail artists can paint “just about anything” on nails of all sizes — from intricate lettering to the Greek evil eye or even something irreverent like a slice of pizza oozing with cheese. For one customer, intricate Wiener Werkstätte designs from the Wolfsonian collection were recreated on her fingertips by “nail-ists” whose work has appeared on the hands of Jennifer Lopez, Katy Perry and Snoop Lion (once known as Snoop Dogg).

Designs are executed in nail lacquers from Dior, Smith & Cult, Floss Gloss and RGB, as well as hard-to-find Japanese gel

polish. These products and the intricate designs mean patrons pay more than they would at their neighborhood salons — from $30 to $100. A worthy splurge.

TEXT BY GALENA MOSOVICH PHOTOGRAPHY BY PATRICK FARRELL

Monochromatic Textured Ombre Art Deco 3-D embellishments French twists Oval-shaped nails Shorter nails

EWM REALTY AL INTERNATIONA NAL L IS SO SOUT UTH H FL FLOR ORID IDA’ A’SS

Selling A Million-Dollar+ Residence Every r 13 Hours In South Florida

Alhambra | Aventura | Brickell | Coconut Grove | Coral Gables-South Miami | Key Biscayne Las Olas | Miami Beach | Pinecrest-Palmetto Bay | Weston Town Center

ewm.com EWM Re EWM Realty International’s #1 ranking is based on total sales by dollar volum lume. Data was supplied by th the Mi Miam amii Ass Assoc ociat iation ion of Rea Realt ltor ors, s, Th The e Gr Grea eate ea terr Fo te Forrt Lau Lauder derdal der dale dal e As Ass soc ociat iation ion of Realtors, and the Southea heas st Florida Reg Region ional al ML MLS S fo forr sin ingle gle--fa fami mily ly hom homes es and co condo ndos s so sold ld in ex exce cess ss of one mi million dollllars and located ed within Miami-Dade and Broward counties ies for th the e per period iod begi eginni nning 1/1/2015 and ending 9/30/2015. nni 5.

art week miami 2015

Lifestyles OF SOUTH FLORIDA

ISLE OF BISCAYA SURFSIDE

Isle Of Biscaya Striking bayfront smart home ideally positioned on an exquisite island boasting panoramic city and bay views.

6,611 SF of light filled living, soaring glass walls, 7 bedrooms, 7.5 baths, voluminous space. Pristine & move-in ready. This visually enjoyable environment speaks of true luxury living.

MIAMI BEACH

Park Bay House – New Masterpiece – Completion Early 2016 Fascinating modern smart home with 12,000 SF of intricately designed living space. 7BR, 8BA + 2 half BA. Situated on 23,258 SF of exotic grounds with 100' of wide waterfront. Rooftop terrace, pool, summer kitchen, elevator, home theatre & more.

ADDRESS 6466 North Bay Road

Esther Percal 305.674.4022 EstherPercal.com

OFFERED AT $25,500,000

MIAMI BEACH

ADDRESS 1292 Biscaya Drive OFFERED AT $6,950,000

Esther Percal 305.674.4022 EstherPercal.com

MIAMI BEACH

Casablanca – Glamorous Waterfront Estate

MIMO Extraordinaire – Waterfront With Landscaped Rooftop Terrace

Grand interiors, 100' wide bay views, lush 19,000+ grounds, pool, summer kit, 6BR, 7.5BA. Formal living & dining rm, vast kitchen, fam & breakfast rm with garden & water views.

Elegant smart home in Florida’s MIMO architectural style, a testament to everlasting classic design. Seamless interior-exterior spaces maximize downtown & wide bay views, 5BR, 6BA.

ADDRESS 4330 North Bay Road

ADDRESS 610 W Dilido Drive

OFFERED AT $19,450,000

Esther Percal 305.674.4022 EstherPercal.com

OFFERED AT $15,500,000

Esther Percal 305.674.4022 EstherPercal.com

ewm.com Alhambra . Aventura . Brickell . Coconut Grove . Coral Gables - South Miami . Key Biscayne Las Olas . Miami Beach . Pinecrest - Palmetto Bay . Weston Town Center

DEERING BAY CORAL GABLES Serenity & lux breezes, gorgeous 3/3.5, 10' ceilings in Milano Building. Open spaces, balconies, views of lake & golf course.

ADDRESS 13621 Deering Bay Drive, Unit 203 OFFERED AT $1,349,000

Audrey Ross 305.960.2575 miamirealestate.com

VILLA REGINA BRICKELL Elegant & refined 4,000 SF PH. Amazing bay & city views, 12' ceilings, gorgeous formal rooms, custom designer finishes.

KEY BISCAYNE

Yachtsman’s Paradise – Astounding Direct Bay Views

ADDRESS 1581 Brickell Avenue, T203/4 Penthouse

Located on the point on one of Key Biscayne’s most private streets, this 6BR, 8.5BA residence boasts 11,500 SF interiors, expansive indoor and outdoor entertaining spaces, 114' dock, indoor racquet ball court and 60KW generator.

OFFERED AT $2,850,000

ADDRESS 28 Harbor Point Drive

Audrey Ross 305.960.2575 miamirealestate.com

Audrey Ross 305.960.2575 miamirealestate.com

OFFERED AT $19,750,000

CORAL GABLES

PINECREST

Sunrise Harbour In Coral Gables – Contemporary Luxury

Gorgeous Contemporary Home – Beautifully Renovated

Stunning 6,150 SF waterfront home, minutes from Bay. Spacious open floor plan, gorgeous kit, lrg outdoor entertainment areas, marble & wd flrs, generator, private dock.

Designed by Barry Sugerman on lush & private acre+/- lot. Expansive entertaining spaces.

Superb Euro finishes, soaring living areas, gourmet eat-in kit, wd & limestone flrs, media rm.

ADDRESS 6920 Sunrise Drive

ADDRESS 9205 SW 58 Avenue

OFFERED AT $3,750,000

Audrey Ross 305.960.2575 Janet Tralins 305.215.6105

OFFERED AT $3,300,000

Audrey Ross 305.960.2575 miamirealestate.com

art week miami 2015

Lifestyles OF SOUTH FLORIDA

SOUTH BEACH PH 400AltonRoadPH06.com South of Fifth PH – stunning ocean & downtown skyline views!

Custom designer decorated 2/2, 2,183 SF int. 5-Star amen bldg.

ADDRESS 400 Alton Road, Penthouse 6, Murano Grande OFFERED AT $4,100,000

Fully Furnished

VENETIAN ISLANDS, MIAMI BEACH GrandVenetianPH04.com

Nancy Batchelor 305.903.2850 Simone Weissman 305.439.5525

BRICKELL PH TheMoroccanPalace.com

Sophisticated Ultra-Modern Corner Loft Penthouse In South Beach

Unique & lavish Moroccan styled 6/4.5 PH, 5,801 SF + 3,000 SF terr, ocean & city views. 5 Prkng spaces, private elevator.

Over $2 million in renovations, 3BR, 3.5BA, 20' ceilings, fireplace, chef’s kitchen, wine vault, Crestron & Lutron systems.

4,750 SF + wrap around terrace, 360° views of ocean, bay & skyline. Walk to Lincoln Road, dining, marina & golf.

ADDRESS 1541 Brickell, Penthouse A4000

ADDRESS 10 Venetian Way, Penthouse 4

OFFERED AT $2,499,000

Nancy Batchelor 305.903.2850 NancyBatchelor.com

OFFERED AT $8,900,000

AVENTURA BellaMare2704.com

Nancy Batchelor 305.903.2850 NancyBatchelor.com

MIAMI BEACH

Bella Mare Professionally Designed Double-Unit Residence

Chic Loft-Style Living In Heart Of Miami Beach

Private foyer entry, panoramic ocean, Intracoastal, city & bay views. East/West terraces, custom chef’s kit, wine cooler. 4BR, 3.5BA, office, wet bar, Crestron & Lutron home systems.

Stunning 2BR, 2BA in classic Mediterranean bldg on tree-lined street. Pickled pine flrs, vaulted ceilings, 1,200+ SF. Chef’s kit, open floor plan. Quiet setting but close to everything!

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PEOPLE WHO M OV E M I A M I .

{THE ADVOCATE}

Knight’s new arts vice president sings, draws and plays the oboe.

But instead of bringing down the house, she’s building foundations.

W

hen Victoria Rogers began taking piano lessons in Louisville, her feet barely reached the pedals. Her father was a jazz and classical trombonist, and dance and music were central to her undergraduate studies at Jacksonville University in Florida. She still sings and plays oboe. “And I honestly can't remember a time when I didn't draw.”

But instead of painting or performing professionally, Rogers used her master’s degree in business communications from Georgia State University to forge a career promoting art, science and education through nonprofit groups that shared her ideals.

In May, Rogers became the Miami-based Knight Foundation’s vice president for arts, taking over from entrepreneur, filmmaker and arts advocate Dennis Scholl, who launched the program. Expanding community access to the arts is the mission of Rogers and the foundation. It’s called “making art general,” and its focus is community engagement and democratizing the arts experience.

Rogers came to the Knight Foundation from the New World Symphony in Miami Beach, where she had been executive vice president. The symphony dramatically expanded its audience by developing the Knight-funded Wallcast program that simulcasts performances in adjacent SoundScape park. “Now you can have 675 people sitting inside the concert hall and 5,000 outside ... all experiencing classical music in a different way,” said Rogers. “This was an example of the calculated risk that the Knight Foundation is willing to take."

Before that, Rogers held management and development positions at Georgia State in Atlanta and the Science and Technology Museum, then at the University of Miami.

The Knight Foundation is active primarily in eight cities where its founders, brothers John S. and James L. Knight, owned newspapers. Rogers is meeting with arts groups in those cities, examining their cultural ecosystems and evaluating the impact of their programs. “The arts are what helps make these cities places where we want to live,” she says. Since 2005, Knight has fueled Miami’s cultural evolution by distributing more than $122 million to grantees.

The foundation receives over 1,000 grant applications annually.

Rogers is bringing Inside|Out, a program that began in Detroit, to Pérez Art Museum Miami and institutions in six other cities. Participating museums produce life-size reproductions of pieces in their collections and place them in diverse neighborhoods. “It really is a tailored experience for the community,” said Rogers.

But the foundation’s arts funding stretches beyond contemporary art, as Knight-supported programs at HistoryMiami and of classical music at the New World Symphony illustrate. Other beneficiaries include National Public Radio’s StoryCorps oral history project; the O, Miami poetry festival and Arts Challenge Grants to preserve artisan printmaking, analog music recording and the carving of Haitian musical instruments.

Evenings and weekends when she’s not playing piano or oboe, you’ll probably find Rogers at one of Miami’s art film houses or at a live performance. “Having a thriving arts community is vital to the city, and it is certainly vital to me.”

TEXT BY GEORGE FISHMAN / PHOTOGRAPHY BY PATRICK FARRELL

{THE INSTIGATORS}

For two decades, the patron and the playwright have helped to pen the script for Miami’s theater community.

A

lan Fein stood in front of a crowd of kids this summer at the Adrienne Arsht Center for the Performing Arts and asked how many had been there before. Not many raised their hands, recalled Fein’s wife, the playwright Susi Westfall. They were there to see Shorts 4 Kids, an offshoot of the Summer Shorts festival she co-founded more than 20 years ago.

“He said, ‘Well, you know what? This is your home.

Anytime you come here, you should be able to feel comfortable walking in these doors because you’re coming home,’ ” said Westfall.

PATRICK FARRELL

Fein is chairman of the Performing Art Center Trust, which supports the Adrienne Arsht Center for the Performing Arts, bottom. It is home stage for City Theatre, below, and the Miami City Ballet, right.

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INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

Stearns Weaver Miller law firm, built his career as a litigator and sports attorney, she helped found City Theatre and the Theatre League of South Florida, and more recently created the CityWrights conference for playwrights. Fein twice served as City Theatre’s chair.

City Theatre, where she is literary director, puts on Summer Shorts every year; in 2014, the Arsht Center Carnival Studio Theater stage that hosts the festival was named the Susan Westfall Playwrights Stage in her honor.

Their older son, Jake, studied creative writing at the University of Delaware; he’s working both on a novel and at Books & Books, his father said. Younger son Pete is a high school senior.

JOHN VANBEEKUM

For Fein, who on Oct. 1 became the Performing Arts Center Trust’s chairman of the board of directors, that message doubles as his mission as he takes the helm of the group that operates the nonprofit venue.

“Part of my goal over the next two or four years is for kids, especially, to feel as comfortable and as at home going to the Arsht Center as they do going to the Triple-A or Marlins Park or Dolphins Stadium,” said Fein, a well-known attorney who represents the Miami Heat.

His wife of more than 35 years, a Miami native, said the opportunities available to today’s youths are far different from those when she was growing up. “I remember, being born here, not having a lot of theater to go see as a kid, but going to the [Coconut Grove] Playhouse and seeing road shows that came through at the Jackie Gleason.”

Much has changed since the Key Biscayne couple, who met in 1973 as college students working summer jobs at the Dadeland Burdines store, moved back to Miami after Fein’s graduation from Georgetown University Law Center. “It was sparse,” said Westfall, who worked in the marketing department at the Coconut Grove Playhouse. As her husband, a shareholder at the

City Theatre and family aren’t their only joint pursuits. Together they worked on a campaign to renovate and reopen the Colony Theatre in Miami Beach. Together they watched the Heat during the lean years, before the team began to win. And in the years when Summer Shorts was staged at the University of Miami’s Ring Theatre, they stepped in as servers for meals offered between theater programs.

“The worlds are so different, because in one world, in big-time law and sports, the money’s flowing,” Fein said. “And in the nonprofit cultural world, it’s not. And you’ve got to roll up your sleeves and serve the chicken sometimes.”

After all those years, what’s evident is the pride that Fein and Westfall, both 61, take in the work that they have done, and in each other.

“In the early- and mid-’80s, Miami was kind of a cultural wasteland. And now it’s a worldclass city,” Fein said. “I feel like we’re between the first and second generation of pioneers.

It’s kind of like all of us together have been, when it comes to culture, the Henry Flaglers and the Julia Tuttles of Miami, 100 years later.”

TEXT BY HANNAH SAMPSON

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{THE GALLERIST}

This Miami newcomer – an early supporter of photographer Rashid Johnson – is one of the few Wynwood art dealers who openly applauds gallery night visits.

A

lthough he has made Miami his home only since 2012, Jumaane N’Namdi is a committed stakeholder. “Everyone here who’s involved in the arts has a mission to promote the arts in South Florida,” says the director of N’Namdi Contemporary Miami, a gallery in Wynwood.

Although the neighborhood is increasingly dominated by retail stores, he insists art cannot be just a commodity. Instead, he finds himself allied with the Pérez Art Museum Miami and other venues “to put the city on the map … for people to come to see art.”

This won’t surprise visitors familiar with his family’s decades-long presence in Detroit promoting the work of blue-chip African-American artists who became family friends and provided the young N’Namdi with a non-academic but immersive art education. He likened it to being the son of Berry Gordy, the founder of Motown Records. "You heard music every single day, so you know a note if it’s off or if it’s on.”

He proved his eye by recognizing the nascent talent of conceptual photographer Rashid Johnson and helping to cultivate Johnson’s emergence as an international star. That said, N’Namdi cautions that today’s young artists aren’t given sufficient time to mature. There is a tendency, he said, to treat artists like tech entrepreneurs and art like IPOs. “Back in the day, they [artists] had no choice but to get that experience,” he said, “because no one was buying work from a 20-year-old.”

N’Namdi, 40, believes artists generally don’t produce their best work until they’re 60 or so. By then, they have developed their skills and maturity. “Even at 50,” he said, “they’re still worrying about where they fit into the art world. … By 60, that’s when you’re comfortable with what you’re doing, and that’s when you’re ready to share.”

N’Namdi himself is always ready to share — both in curating clients’ collections and as an informal mentor.

Most of the paintings and sculptures in the gallery are nonrepresentational, but because the gallery is associated with black art, “People think I should have pictures of people holding babies.” So N’Namdi is quick to highlight the long tradition of abstraction both in Africa and the Diaspora. In catalogs he has produced and in his own extensive collection, he lists Ed Clark, Al Loving, Sam Gilliam, Chakaia Booker, Nanette Carter and a host of other top-tier artists, some of whose work appeared in major museums but who didn’t have gallery representation until his family took them on.

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INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

While many galleries dismiss Wynwood’s monthly Second Saturday Art Walk as a bothersome event with young people stumbling from gallery to gallery scoring free wine, N’Namdi welcomes them as opportunities for serious conversation.

“If I get a young collector coming here, and they want to pay me anything a month, I'm like, fine, because I just love for them to get the idea that collecting art is important,” he said. “They become a collector even though they only have one piece — and they don't even have it yet.

They're just paying a little bit at a time, but now they're starting to feel like an art collector.” TEXT BY GEORGE FISHMAN / PHOTOGRAPHY BY CHARLES TRAINOR JR. Listen: bitly.com/JumaaneN-Namdi

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{THE PIONEERS}

When Stephanie Ansin decided she wanted to bring her lifelong love of innovative, groundbreaking theater to her hometown, she knew the project would come with its share of headaches and improbable hurdles. So she did what any sensible young woman would do. She asked her mom for advice.

I

At Miami Theater Company in Miami Shores

told her to follow her heart,” says Toby Lerner Ansin. “That’s my advice to all young people.

Because I did.”

This was not just well-meaning motherly counsel: Ansin mère helped found the Miami City Ballet three decades ago, at a time when this town was known more for its cocaine cowboys and polyester-clad retirees than as a destination for arts and culture.

Now celebrating its 30th season, the Miami City Ballet is a fixture in Miami’s ever-evolving cultural scene and an influential player on the national stage. And the company co-founded by Stephanie Ansin — originally known as the PlayGround Theatre but rebranded in 2012 as the Miami Theater Company — marks its 10th anniversary this year as well.

“Talking to my mom has always been an experience that makes me feel anything is possible,” says Stephanie Ansin. “A lot of people can see the things they want to achieve. But she can see the steps you need to take to get there.”

The story of the ballet company’s founding is the stuff of local legend: Legendary dancer Edward Villella — who was in town to give a talk on Balanchine — visited Toby Lerner Ansin at her Coral Gables home in 1985 to discuss the possibility of a Miami dance troupe. Inspired, she called six friends and asked each for $1,000, which would be the seed money for this unlikely but ultimately historic venture. “They thought I was nuts.” By the time the curtain raised on opening night 17 months later, the ballet company had more than 4,500 subscribers, more than $1 million in private and corporate sponsors, and it performed to a sold-out crowd at the Olympia Theater.

Miami City Ballet is marking its 30th anniversary with an ambitious season that includes touring engagements in New York, Chicago and Minneapolis and a program that includes a production of Justin Peck’s Year of the Rabbit — underwritten by the Ansin Foundation as a 75th birthday present for the ballet’s founder.

It’s a fitting tribute for Ansin, says Lourdes Lopez, the ballet’s artistic director. “It’s amazing that there is

someone of her ilk and stature behind this organization for so many years. She is someone who is in touch with what’s going on in Miami, and understands that we are really there for the community — not the other way around.”

The Boston-born Ansin lists a passionate work ethic among her family’s values. Her mother worked as a drama teacher to help put her father, a radiologist, through medical school (and later went back to school herself to become a speech pathologist). She moved to Miami after marrying real estate and television mogul Ed Ansin, co-founder of Sunbeam Television.

The couple, now divorced, also has two sons: Andrew, who works at Sunbeam Properties; and James, who works at Sunbeam Television Corp.

“Stephanie’s dad has a tremendous work ethic, and all three children have a work ethic,” says Toby Lerner Ansin. “I think life is more rewarding when you have something that you like to do when you get up in the morning.”

For Stephanie Ansin, that has meant pushing her theater company into new and novel territory, in addition to family-friendly fare. Along with collaborator Fernando Calzadilla, she has co-authored original works and launched adaptations of plays aimed at adult audiences, such as a spring 2016 production of Tennessee Williams’ Provocative Interpretations, which Ansin will direct. The Miami Theater space is also home to a summer camp for youngsters; independent screen O Cinema Miami Shores; and the SandBox theater, used by visiting artists.

The theater has been rented out for events ranging from political debates to a funeral — a nod to the realities of keeping the theater financially sustainable while remaining culturally relevant. It’s an approach very much applauded by Stephanie’s mother, who prides herself on the practical philosophy she applies to supporting the arts.

Asked what her legacy would be, she paused for a moment. “ ’She died selling tickets,’ ” Toby Ansin says with a laugh. “You can put that on my tombstone.”

TEXT BY TERE FIGUERAS NEGRETE / PHOTOGRAPHY BY PATRICK FARRELL

www.miamiindulge.com | DECEMBER / JANUARY 2016 | INDULGE 79

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T

he Excalibur of the Caribbean” is how Jason Fitzroy Jeffers describes the machete, the large, handheld blade widely used as an agricultural tool — or, as in the case of Cuba, Haiti, Rwanda and other countries, as a weapon during uprisings and battles.

Jeffers, 35, was born in Ottawa but grew up in the Saint James parish of Barbados around the iconic knives (“My grandmother has three of them at home”). He posed with one on the cover of his first (and, to date, only) record album, Paradise Low, which he describes as “electronic Caribbean soul music.” When he came across an online post by an organization called the Haitian Machete Fencing Project, which included videos of people engaged in artful balletic duels, he briefly considered enrolling to study the form.

Instead, he wrote and produced a movie about it, Papa Machete. The short documentary, directed by Jonathan David Kane, focuses on Alfred Avril, a Haitian farmer who is the last remaining master of a martial art known as Tire Machét, invented by the slaves who fought Napoleon’s armies during the Haitian Revolution in 1791. The short film, made in conjunction with the Borscht Film Festival and financed in part by a $10,000 Kickstarter campaign, premiered at the 2014 Toronto International Film Festival. It has since played more than 30 festivals around the world, including Sundance, Sheffield, Zanzibar and Trinidad and Tobago.

Movies are the latest enterprise for Jeffers, who moved to Miami at the age of 18 to study journalism at Florida International University. He graduated in 2001, and began writing for local publications, including the Miami Herald, but quit in 2004 to pursue a career in music. He started his own record label, Third Horizon, and self-published his first album. When a tentative deal for a second album with an established company fell through, Jeffers freelanced articles and became a ghostwriter. One of his projects was a nonfiction book, he says, that landed on the New York Times bestsellers list. (He is contractually bound not to reveal its title).

“Journalism was what made sense at that time,” Jeffers says of his initial career choice. “I knew I needed to get out and see the world, and my pen was my compass. It was the sensible path that allowed me to branch out into all these other things. Everything that I do is anchored in storytelling, whether it’s writing songs or scripts. It was a good discipline. Being a ghostwriter allows me to hunker down and pay the bills. It is steady, stable work that allows me to branch out and do all the other crazy stuff I want to do.”

Jeffers still dabbles in music — he sings on two tracks, credited under his stage name of Fitzroy, on Mr. Pauer’s latest album, Orange — but he has a more-ambitious project cooking. Buoyed by the success of Papa Machete and the $50,000 he won from the John S. and James L. Knight Foundation’s Arts Challenge in 2014, he has resurrected the Third Label banner, this time as a collective for cutting-edge Caribbean creatives — writers, musicians, artists — and is preparing a Miami film and music festival scheduled to take place in the summer of 2016.

“Miami is a crazy carnival of all these different cultures,” he says. “There’s a lot of beautiful desperation. You have all these people coming from the Caribbean and Latin America hoping to take their first shot at the American dream. You have a lot of people from the North moving here who are already established or are making one last desperate attempt. There’s all this wide-eyed energy. It makes sense that we’re part of the Bermuda Triangle, because it’s crazy. There’s stuff happening here that doesn’t happen anywhere else.

That’s what keeps me here.”

TEXT BY RENE RODRIGUEZ / PHOTOGRAPHY BY AL DIAZ

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{THE FILMMAKER}

Whether he’s ghostwriting a book, recording an album or making a highly lauded film, this storyteller finds Miami’s ‘crazy carnival’ an inspiration.

At the Coral Gables Art Cinema

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{THE VIRTUOSO}

The Florida Grand Opera’s director really, really loves opera.

So much that she wants everyone else to love it, too — schoolchildren and their abuelos in Hialeah, millennial club-goers, and pretty much all of South Florida.

S

usan Danis’ passion is an art form that many see as elitist and oldfashioned. Determined to remedy that impression, the Florida Grand Opera’s general director has launched a community outreach program that brings performances to high schools and shopping malls, and workshops to MiamiDade Public Schools on how to integrate opera into classroom studies.

“I feel it’s my duty to serve the entire community,” says Danis, 54. “Many people cannot afford or don’t care to go to opera . . . I’m challenged to appeal to all those people, to those who could benefit from the music and those who want the grandeur of opera.”

FGO, which turns 75 this year, is Miami’s oldest arts institution. But Danis knows it faces major challenges in a multimedia age amid trendy Miami’s expanding cultural landscape.

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Last season FGO cut back to a bare-bones $8.5 million budget — and ended the year in the black for the first time in five years. An outreach and fundraising campaign brought the budget to almost $10 million this year. And while Danis continues to stage traditional favorites like Rossini’s The Barber of Seville and Bellini’s Norma, she is determined to prove that opera is not just for the cultural elite.

Danis fell in love with the power of the human voice as a third-grader in Hartford, Connecticut, when she was transfixed by visits from the Connecticut Opera to her school. The spark grew to a flame after she attended a performance of Bizet’s Carmen. Before coming to Miami in 2012, she led the Sarasota Opera for 12 years.

But connecting, not fundraising, is what excites her. Thanks to a partnership with the city of Hialeah and a $35,000 grant from Opera America, FGO has performed at libraries, high

schools and senior citizens’ centers. This season, the opera will provide free buses and $20 tickets to performances at the Adrienne Arsht Center.

FGO has partnered with the Jewish Museum of Florida, Florida International University and the University of Miami on community forums, theater and music inspired by The Passenger, about an Auschwitz survivor and her former guard; the program won a $20,000 grant from the National Endowment for the Arts. Like a similar effort for last season’s The Consul, about a woman trying to escape a totalitarian regime, The Passenger is part of Danis’ campaign to bring opera into Miami’s heart.

“I believe opera relates to people on a human level,” she says. “The arts nation is looking at us because everything says big cities will start to look more like Miami. People are looking at what we do, what works and what doesn’t work.”

TEXT BY JORDAN LEVIN / PHOTOGRAPHY BY AL DIAZ

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C {THE DANCER}

For this choreographer and dancer, life is a project in motion.

At the Little Haiti Cultural Center

horeographer and dancer Hattie Mae Williams has felt out of place for much of her life.

“In dance and in life, this thing of having to assimilate happens,” says Williams, 34. “I was always the odd duck.”

Born and raised in Miami with a white activist mother and an African-American father at a time when biracial couples were rare here, Williams started dancing as a young girl and studied at the New World School of the Arts. In the dance world she was seen as black, yet at home she felt strung between two racial identities. She escaped to New York, where in 2003 she was accepted into the Bachelor of Fine Arts degree program run by Alvin Ailey American Dance Theater with Fordham University, and auditioned successfully for several companies. But she rejected the easy role of sleek black virtuoso.

“Being a woman of color in the dance scene . . . you have to look a certain way, move a certain way,” Williams says. “To me it felt a little too traditional. I’m trying to create [new] traditions.”

She got a day job as a dance model for Nickelodeon animated shows, and started Hattie Mae Williams and the Tattooed Ballerinas, a troupe of unconventional performers who staged guerrilla performances in subways, supermarkets and parks.

“Audiences are very well behaved and obedient in the theater, and I’m not interested in engaging with people that way,” Williams says.

“I really wanted to activate people.”

Now Williams’ provocative ideas and methods of engaging people have made her a leader in a wave of site-specific and socially themed performance in Miami, the city where she once felt so out of place. A 2013 Knight Arts Challenge grant brought her back to make Culture Concrete, a dance film set at the Miami Marine Stadium.

She received a 2015 choreography fellowship from the Miami-Dade Cultural Affairs Council and a spot in Miami Light Project’s Here & Now festival last spring for Snatched, which confronted prejudice about race and gender. She’ll be part of Pioneer Winter’s Grass Stains site-specific performance series in 2016, and has formed a new version of the Tattooed Ballerinas, who were featured performing in abandoned churches and hotels on Ovation TV. “It was important for me to leave at 18,” Williams says. “But I knew I had to come back.

If I’m going to be giving my vital life force to a city, it needs to be Miami. It’s a young city, with a lot of issues I’m passionate about and that I think need to be addressed. Not every artist has to be an activist. But I am naturally an activist.

New York raised me as an artist. But I am who I am because of Miami.”

TEXT BY JORDAN LEVIN / PHOTOGRAPHY BY CARL JUSTE

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{THE ADVISOR}

The art director for the Related Group helps integrate museum-quality works into Miami’s luxury condo towers and public spaces. atricia Hanna is in her “secret garden.”

That’s what she calls the penthouse floor of a Brickell office building where the Related Group, the local real estate mega-developer, stores its collection of fine art.

Surrounded by large-scale canvases from Latin American and Caribbean artists including José Bedia and Edouard Duval-Carrié, Hanna says the space is a refuge.

As Related’s art director since 2013, Hanna acquires new pieces for the company’s collection and then places them in the common areas of its luxury condominium projects. She also buys works for the personal collection of Related chief Jorge Pérez, whose name adorns the Pérez Art Museum Miami.

The art storage space is in a building across the Miami River from Related’s downtown headquarters.

“Coming here, it’s like I wrap myself in the art,” Hanna said. “In the office, I’m constantly coming and going and the art is there and I see it all the time and I enjoy it, but when I come here, I look. And I see. It helps me build relationships with each and every piece. And that helps me know where they’re going to go.”

Under her watch, Related’s collection has grown to roughly 800 works of art. In the past year, Hanna has spent about $10 million buying new pieces.

P

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“We want people to have museum-quality pieces in their lives,” Hanna said. “If a work could be in a museum, it could perfectly well be in a Related project.”

She has placed a muscular, 10-foot-high bronze sculpture of a male torso by Fernando Botero outside the 58-story SLS Lux condo tower in Brickell, arranged for Venezuelan artist Jaime Gili to paint an abstract mural on the massive garage wall of Baltus House in the Design District, and commissioned a YoungArts sculpture competition to decorate the gardens at IconBay in Edgewater.

Before joining Related, Hanna received a master’s degree in art history from the University of Miami and worked in curation at the school’s Lowe Art Museum. She then managed exhibitions at the nonprofit Miami Art Central before becoming the director of the Cisneros Fontanals Art Foundation (CIFO), which specializes in Latin American contemporary art.

Hanna, a Miami native, brings a different vibe to Related’s corporate culture, said Carlos Rosso, head of the developer’s condo division.

“I think curators in general are a little edgier than we are,” Rosso said. “They’re a little more avant-garde than we are. They’re looking at things three or four years from now. They’re looking at young kids that we’ve never heard of.”

Rosso said the art helps brand Related’s projects. Condo associations ultimately own the artworks.

“We want these buildings to be known as the Botero building or the Plensa building,” said Rosso, referring to an installation by Spanish artist Jaume Plensa that consists of three illuminated resin sculptures planted on 35-foot poles. The piece, called The Poets in Bordeaux (Body Soul God, Country, Water Fire), stands outside Park Grove, a Rem Koolhaas-designed ultra-luxury condo project under construction in Coconut Grove, developed in partnership with Terra.

Pérez, Related head’s honcho, said the company is especially dedicated to acquiring outdoor pieces. “[Hanna’s] role offers her the opportunity to bring art into people’s everyday lives and gives every Miami resident the chance to view works of art that would otherwise be unavailable to them,” he says. “A great piece of art gives someone a reason to stop for a moment in his or her day, or even strike up a conversation.”

His and Hanna’s tastes sometimes differ quite a bit, making their work, as he calls it, “a challenge and a pleasure.”

Says Hanna, “I love working with Jorge because he’s someone who sees a work of art that he loves and he has to have it,” she said. “It’s almost like this gut reaction to a piece. It’s so satisfying to see because it’s so immediate.”

TEXT BY NICHOLAS NEHAMAS / PHOTOGRAPHY BY CARL JUSTE

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{THE ENTREPRENEUR}

This Miami banker is making a personal investment in Miami’s cultural renaissance as co-owner of the 3-year-old UNTITLED. art fair.

S

ome would contend that art and commerce are mutually exclusive. They haven’t met Alan G. Randolph, a banker and arts entrepreneur who masterfully maneuvers through both worlds — and more than occasionally gets them to converge.

A finance graduate of the University of Tampa, Randolph has spent his professional career in banking and wealth management. Since 2013, he has been executive vice president of C1 Bank, a Florida-based community bank whose branches exude more flair than flannel. He has called Miami home since 1990, witnessing the benefits of cultural renaissance to the community, his industry and, now, to his artistic venture.

“The whole world comes to Miami now . . . For me as a banker, it’s been the perfect place for building business and establishing relationships.”

Randolph has been involved in the arts almost as long as he has been in banking, both as a collector and as a patron. During the early 1990s, Randolph was the treasurer of Art Center/South Florida, an early visual arts institution. He bought his first work as a collector from a local artist, Pablo Contrisciani, whose studio at time was at Art Center.

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Today, his private art collection includes works by Purvis Young, Isaac Julien, Wendy White and James Sterling Pitt. He also volunteers as treasurer of the Bass Museum of Art. Less known is his partnership in UNTITLED., a satellite art fair for emerging and mid-career artists that has staked a place literally on the sand. In 2011, he and business partner Jeffrey Lawson launched the fair, in a tent on the beach, with a curated program of galleries selected by Melanie Scarciglia, Christophe Boutin and Omar Lopez-Chahoud.

The venture had its risks. Satellite fairs during Art Basel Miami Beach have saturated the Art Week calendar, and many have gone as quickly as they came. But UNTITLED. has grown swiftly in size and stature, fast becoming a favorite among collectors and curators who often shun side fairs.

Though the fair’s trajectory has surprised many, Randolph says it has grown just as its founders had planned. “We’re not surprised because it was very much orchestrated to focus on a [small number] of things — the collector, the art community and the local art market.”

TEXT BY RICARDO MOR / PHOTOGRAPHY BY CHARLES TRAINOR JR.

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{THE DEVELOPER}

Little River developer is ‘curating’ a creative neighborhood on the tracks.

M

atthew Vander Werff doesn’t like to say that he is “building” a neighborhood. The word he prefers is “curate,” like a gallerist choosing paintings that will work together in a show.

In Miami’s roughneck Little River, to the north of Little Haiti and just east of Interstate 95, Vander Werff hopes that a creative artsand-entertainment district will blossom. He is partnering with developer Avra Jain, who helped spur the resurgence of the MiMo District on Biscayne Boulevard with her renovation of the Vagabond Motel.

“We have a unique opportunity to define what I like to call a ‘tropical industrial’ style,” said Vander Werff, who handles day-to-day operations for the partnership. The pair have scooped up and renovated buildings in the working-class area, renting out studio space to artists and assembling an eclectic, funky collection of tenants in commercial properties fronting the still-in-use Florida East Coast Railway tracks. They include a New York-based nail salon opening its first South Florida location,

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an elite gym sponsored by athletic wear company Under Armour, a classic-car restoration company, a dog-training and boarding house and the media company New Tropic.

A trendy eatery called Hot Satellite (owned by a team of New York and Los Angeles restaurateurs) is set to open this winter. Local artists, including Nicolas Lobo, Agustina Woodgate and Carlos Betancourt, have set up studios there, near the Fountainhead Studios co-working space.

Vander Werff said local politicians, business leaders, clergy members and police are on board with his plans. “We’re buying up properties that used to be used by drug dealers and prostitutes,” said Vander Werff, who holds degrees from Boston College and Columbia University, and worked for several local real estate companies before striking out on his own last year.

Little River is essentially the last commercial district in Miami before the city limits of residential El Portal and Miami Shores. A business improvement district created in 2009 has helped to spruce up the streets and sidewalks and to create a safer, more community-centered vibe

along North Miami Avenue. It’s the perfect spot for adaptive reuse, Jain said. “It’s all about renovation. The buildings remain the same — you just embellish them . . . Matthew was the perfect partner because we have very similar sensibilities about creative development.”

As Wynwood and the Design District grow more expensive, artists and other creative types have found refuge in Little River. Gallerists Bill Brady and Anthony Spinello have taken space in Vander Werff’s project. Nearby are Michael Jon, Mindy Solomon and GUCCIVUITTON, and to the south, Gallery Diet, the Little Haiti Cultural Center and Yeelen Gallery.

“I met an artist who was renting studio space from Matthew, and he brought me into the neighborhood,” said Brady, who will open his gallery with a show by Japanese artist Tomoo Gokita in late November. “It’s a little rough around the edges, but I loved the train going through.

That’s very romantic to me. If they can get the restaurants and everything up and running, I think it’s going to happen here. It has a really good feeling to me.”

TEXT BY NICHOLAS NEHAMAS / PHOTOGRAPHY BY PATRICK FARRELL

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D I N I N G. E N T E R TA I N I N G. A N D H AV I N G F U N I N T H E 3 0 5 .

{THE POUR}

OLD NEW These less-known vintages blend the best of the old and new worlds — like Miami itself.

N

SHUTTERSTOCK

ot to go all Miles from the movie Sideways, who defiantly declared his unwillingness to drink merlot, but the character played by Paul Giamatti was on to something. There are too many interesting grape varietals out there to limit ourselves to the same old chardonnays and pinots (grigio and noir) of the world.

Here are six New and Old World wines made from grapes that perhaps you’ve never heard of, never savored or never properly noted on a list full of cabernet sauvignons and merlots. All are available in Miami, including at restaurants you should be visiting during Art Basel, like La Mar in Brickell (for Spanish prensal), Estiatorio Milos in South Beach (for unpronounceable Greek grapes) and Scarpetta at the Fontainebleau (for Italian Soave).

SPAIN The Grape: Prensal. This ancient white grape, native to Mallorca, balances citrus acidity and floral sweetness similar to the moretrendy albariño. It’s a perfect suitor for snappy, tangy ceviche. Look for

young bottles, no more than three or four years old.

The Bottle: 2013 Miquel Oliver Vinyes i Bodegues “Son Caló Blanc,” Plà i Llevant. 100 percent prensal.

Crisp, light and lively, with notes of peaches and summer herbs.

The Price: $17.

Chora releases small batches of the estate-grown wine.

The Bottle: 2009 Biblia Chora Biblinos Oenos. The drinker can detect raspberry, pomegranate, rosebuds, chocolate powder and dried oregano.

The Price: $35.

ARGENTINA The Grape: Torrontés. Americans have wised up to the value and quality that malbecs from Argentina offer. It’s now time to turn to its best white-wine grape. Torrontés have a fresh aroma, like honeysuckle and orange blossom, and flavor notes of fresh apricot and hibiscus.

The Bottle: 2013 Trivento Reserve Torrontés, Mendoza. 100 percent torrontés. Yellow-green appearance, with lavender bouquets and ripe orange.

The Price: $11.

ITALY The Grape: Garganega. This white grape produces Soave wines that are as light and dry as pinot grigio, but with less of an acidic bite.

To be considered Soave, which are made in the Veneto region of northeast Italy, a wine must contain at least 70 percent garganega, with chardonnay and trebbiano di soave also permitted.

The Bottle: 2013 Fattori Soave DOC Danieli. 100 percent garganega. It pours a straw color, with lemony, herbal and grassy notes continuing from nose to palate.

The Price: $15.

GREECE The Grape: Unknown. Located on the southern slopes of Greece’s Mount Pangeon, a winery called Ktima Biblia Chora discovered an unknown, unnamed local red grape growing among its vines of merlot and cabernet sauvignon. Biblia

FRANCE The Grape: Gewürztraminer. This rosy-red Alsatian grape that’s used to make delightful white wines is often passed over by American wine drinkers who think it will be sweet.

The best gewürztraminers, however, are tart on the finish, with an almost passion fruit-like quality.

The Bottle: 2012 Helfrich Grand Cru Steinklotz, Alsace Grand Cru AOP. From one of only 51 vineyards in the region designated as grand cru, this gewürztraminer has a delicate honey aroma and a minerally, acidic finish, ideal for shellfish with citrus or roasted poultry.

The Price: $25.

PORTUGAL The Grape: Touriga Nacional. One of about 250 indigenous grape varieties found throughout Portugal’s 14 growing regions, touriga nacional is a powerful grape that provides body and tannins to wine blends.

It has been used for centuries as one of the main grapes to make port, but in recent years Portuguese winemakers have been using touriga nacional in red table wines.

The Bottle: 2011 Quinta das Carvalhas Touriga Nacional, Douro.

100 percent touriga nacional. It is full of tannins yet soft and creamy, with notes of chocolate, plums and blackberries.

The Price: $20.

TEXT BY EVAN S. BENN

www.miamiindulge.com | DECEMBER / JANUARY 2016 | INDULGE 101

Once the city’s industrial back door, the Miami River has emerged as downtown’s hottest waterfront.

Restaurateur Luis Garcia shares his picks for views, sleeps and the catch of the day. kWWE

Luis Garcia, at Garcia's Seafood Grille & Fish Market.

TDRXW

After helping Louisiana State clinch its 1991 baseball national championship as an infielder and a stint in the pros, Luis Garcia returned to Garcia’s, the riverside restaurant his parents started in the 1970s when his father was still a fisherman.

After his father died a decade ago, Garcia expanded the eatery; his brother Esteban took charge of the fishing operation. Though “now it’s become sexy to be on the river,” says Garcia, the restaurant is still run the old-fashioned way, with Luis in the upstairs dining room, Esteban bringing in the lobster, sister Luisa helping with the bookkeeping and mom Maria Luisa keeping tabs on the boys.

dRCWGFRXW dLLNF The river’s most celeb-studded digs are in Kimpton’s Epic Hotel (270 Biscayne Boulevard Way, epichotel.com; 305-424-5226), atop restaurants Area 31 and Zuma, with killer views of megayachts along the waterfront and the urban lights down Brickell Avenue.

On the south side of the Brickell Avenue Bridge, the Kelly Wearstlerdesigned Viceroy (485 Brickell Ave., viceroyhotelsandresorts.com; 305-503-4400) sits on Brickell Point, where Biscayne Bay meets the river and Brickell Key. Downtown stalwart Hyatt Regency (400 SE

SeaSpice

Viceroy

Second Ave., hyatt.com; 305-3581234) offers covered access to Metromover and an enviable location with easy access to Interstate 95. For a historic vibe, check back in 2016, when new owner Avra Jain, of Vagabond Hotel fame, plans to reopen the 1900s Miami River Inn after a renovation.

uRMRMT It’s natural that Garcia claims the freshest local fish in town are at his own restaurant, Garcia’s (398 NW North River Dr., garciasmiami. com; 305-375-0765), but it’s true that the catch is often fresh off the boat. Diners craving breezy riverside seating will find it here. Or they can follow the lead of incognito supermodels — and during Basel week, European collectors tired of the Beach scene — and head upstairs to the dining room and bar that feel surprisingly like Cuba itself.

Next door, Casablanca (400 NW North River Dr., casablancaseafood. com; 305-371-4107) also features riverside porch seating along with indoor options; prices at both restaurants are moderate. For those looking for a glittery, yachtborn crowd and gourmet menu, SeaSpice (422 NW North River Dr., seaspicemiami.com; 305-440-4200) is where you’ll find celebs happy to Continued

EMILY MICHOT

{THE NEIGHBORHOOD}

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be spotted both at the bar and in the dining area. All three offer access by car and water, though docking space is limited and Sunday afternoons can be downright hazardous to the hull. American Social Sports Bar’s Brickell outpost (690 SW First Ct., americansocialbar.com; 305-2237004) is Garcia’s pick on game days, as it offers views of both the water and plenty of screens inside and out, so patrons have plenty to watch while they knock back craft brews. For toney and decidedly pricier cuisine and crowd, Zuma (zumarestaurant. com; 305-577-0277) in the lobby and along the riverwalk of the Epic Hotel (270 Biscayne Boulevard Way) offers what are arguably the most artful Japanese tastes on the planet; Garcia is a big fan of the weekend brunch. Upstairs, Area 31 (area31restaurant.com; 305-4245234) offers a seafood-centered menu featuring a half-dozen varieties of crudo. And at the confluence of the river and bay, Il Gabbiano (335 S. Biscayne Blvd., ilgabbianomia.com; 305-373-0063) serves up basalmico and reggiano that rival the old country — and that’s before the meal even begins. Says Garcia: “It’s very good if you’ve got five hours to spare.”

Zuma some of Miami’s oldest structures, including the historic plantation slave quarters from the mid1800s that later became the Army’s Fort Dallas, the 1857 William Wagner House and the fantastical modernist Scottish Rite Temple dating from the 1920s. Says Garcia: “People need to know what’s there. It informs you where you came from.” Lummus Park is open daily. For a fuller sense of river history, sign up for one of HistoryMiami’s occasional river cruises hosted by historian Paul George aboard the Island Queen (islandqueencruises.com; 305-379-5119).

Sliced yellowtail with green chilli relish, ponzu and pickled garlic.

wWTRMMRMT

From its earliest days, Miami grew up along the river, as evidenced by the Miami Circle, an archeological site on the south bank of the river’s mouth that may be 2,000 years old; it was probably in the Tequesta capital.

Farther west, on the north side of the river between Northwest Second and Fourth streets, the Lummus Park Historic District is now home to

_[EWG `RWBF

Epic Hotel

William Wagner House

CHARLES TRAINOR JR.

Miami River

Someday, if Garcia and other riverfront business owners get their way, a riverwalk will allow jogging and strolling from Biscayne Bay to the boatyards, sprouting condos and the Riverside Wharf restaurantand-seafood market proposed on land adjacent to Garcia’s. For now, some of the river’s best views are from the occasional green spaces on both the north and south banks: The Miami Circle, Jose Marti Park, Lummus Park, Spring Gardens Point Park and Sewell and Curtis parks (miamigov.com/parks). Or you could get the grand effect from the yawning window behind Marlins Park’s outfield. Better yet, hop a boat; if you don’t have your own, says Garcia, you can rent one at Bayside (boatrentalmiami.com).

TEXT BY JANE WOOLDRIDGE

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Fooq’s A downtown Miami newcomer taking the city by storm. My personal favorites are the bucatini and Persian chicken. 1035 N. Miami Ave., Miami; 786-536-2749, fooqsmiami.com Mandolin A romantic respite in the continuously growing Design District. I love the lamb burger.

4312 NE Second Ave., Miami; 305-576-6066, mandolinmiami.com

Macchialina

{THE DISH}

THE FAMISHED After your art forays, refuel at these culinary hot spots.

W

hen Art Basel comes to town, the cellphone of Lee Brian Schrager, founder and director of the Food Network South Beach Wine & Food Festival (Feb. 25-28), blows up with texts, emails and calls from art-world friends looking for Miami’s hottest tables. Schrager sends them here, a baker’s dozen |of his current favorite haunts: MIAMI BEACH & NEARBY 27 Restaurant & Bar A casual, communal atmosphere that serves as a retreat amid the hustle and bustle of the beach.

Don’t miss Elad’s Shakshuka for brunch, perfectly paired with a refreshing Pimm’s Cup. 2727 Indian Creek Dr., Miami Beach; 305-531-2727, thefreehand.com Bourbon Steak

Bourbon Steak You can’t go wrong with anything on the menu here; perfectly executed dishes, every time.

19999 W. Country Club Dr., Aventura; 786-279-6600, turnberryislemiami.com

Macchialina Intimate, rustic Italian; try the creamy polenta and mushroom ragu. 820 Alton Rd., Miami Beach; 305-534-2124, macchialina.com The Forge Shareef Malnik’s steakhouse and wine bar is always the right mix of classic and trendy. 432 W. 41st St., Miami Beach; 305-538-8533, theforge.com MIAMI & MAINLAND Bombay Darbar Authentic, fresh and satisfying Indian cuisine in the heart of Coconut Grove. 2901 Florida Ave., Coconut Grove; 305-444-7272, bombaydarbarrestaurant.com

Zak the Baker Traymore at COMO A light, breezy, invigorating environment with an emphasis on seasonal seafood. 2445 Collins Ave., Miami Beach; 305-695-3600, comohotels.com

Cena by Michy If you were pining for Michy’s during Basel last year, you’ll be delighted at chef Michelle Bernstein’s new contemporary setting at Cena. 6927 Biscayne Blvd., Miami; 305-759-2001, cenabymichy.com

Proof Pizza & Pasta Chef-owner Justin Flit’s midtown pizzeria and more is where artists and art lovers can converge for fresh pasta, craft beers and killer macaron ice cream sandwiches.

3328 N. Miami Ave., Miami; 786-536-9562, proofpizza.com The Seven Dials Charming gastropub in the middle of Coral Gables. Be sure to get the broccoli salad.

2030 S. Douglas Rd., Coral Gables; 786-542-1603, sevendialsmiami.com Zak the Baker A good pit stop while you navigate buzzing Wynwood during its busiest time of year. The avocado toast gives you the burst of energy you need to keep going.

405 NW 26th St., Miami; zakthebaker.com Zuma Always a hot scene, especially during Basel, and the exquisite food is a major draw — especially the rice hotpot with wild mushrooms.

270 Biscayne Boulevard Way, Miami; 305-577-0277, zumarestaurant.com AS TOLD TO EVAN S. BENN, MIAMI HERALD FOOD EDITOR.

Mandolin

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{THE ESCAPE}

FRONTIER

Havana’s art scene – and the historic changes shaping it – is drawing the attention of connoisseurs.

This winter, Cisneros’ downtown Miami art space, CIFO, will host the first U.S. solo exhibition of the influential Gustavo Pérez Monzón, showcasing almost 70 important works from his prolific 1970s-1980s period, including drawings, his Tarot series and site-specific installations.

Much of the work previously was shown at Havana’s National Museum of Fine Arts.

When it comes to artists who have stayed in Cuba during the Castro years, Cisneros divides them into three groups: established artists like

Professor René Francisco Rodriguez; mid-career artists like Wilfredo Prieto, Felipe Dulzaides and Ivan Capote; and the younger generation of emerging artists like film artist Javier Castro, who received a CIFO grant.

“In general I like all their work,” says Cisneros.

“The emerging or younger artists are clever enough to have evolved mentally, and they are shortening the gap with artists worldwide.

The mid-career artists are strong enough to go back because they saw that Cuba is giving them an opportunity. Finally, in the case of René’s generation, we get a lesson in resilience.

Even though they had many difficulties finding materials and such, they might not have been able to produce all the works they dreamed off, but they were still able to produce great pieces.”

Among the emerging group, she is keeping an eye on Inti Hernandez, Adriana Arronte, Diana Fonseca, performance artist Carlos Martiel (another CIFO grantee) and Victor Piperno.

These are, of course, only a handful of Havana artists garnering attention. On any given day, you may find yourself wandering through Old Havana past an alley of small paladares — private CARL JUSTE

F

or art aficionados, there’s no more tempting frontier than Havana.

Between this year’s Havana Biennel and warming relations between the United States and Cuba, the island’s artists are at the front of collectors’ minds. While work by Ana Mendieta, Zilia Sanchez and Teresita Fernández will be on view at Art Basel Miami Beach — and others, at Miami galleries — the best way to get a real sense of Cuba’s art scene is to visit artists in their homes.

That’s the way visitors to Cuba will most likely see their work. Commercial galleries are rare, and many artists welcome guests on art-centered tours at their home galleries, tucked behind the centuries-old stone walls of Old Havana and in mid-century homes in Vedado. Individual visitors are welcomed as well; many artists open their homes in late afternoons by appointment.

Miami-based collector Ella Fontanals-Cisneros, who has been living part-time in Cuba for the past several years, calls the Havana art scene “an effervescent force that is now creating new opportunities for all the great artists in Cuba.

I would say that the opportunity of interacting with an American audience, and the softening of the embargo, is bringing both new opportunities and challenges for the artists who are constantly improving and strengthening their works.”

Ella Cisneros, shown here in her Miami apartment, also spends time in Havana, above, where she closely tracks the art scene.

restaurants — to the Taller Experimental de Grafica cooperative, where master members create the engravings from which they will print; by the ornate building where Bacardi once had its offices; past the Ricky Ricardo-esque Floridita where Papa Hemingway slugged grapefruit daiquiri; to the Cuban art wing of the national art museum.

Come late afternoon, you may hop into a taxi — vintage or modern — and zip through the crumbling city center toward Vedado. Call ahead for an appointment, and you’ll be welcomed at the home galleries of artists such as sculptor Damian Aguiar or magic realist Alicia Leal or photographer René Peña to chat about their work and the ideas that shape it.

Though visiting Cuba is far easier for Americans now than just a year ago, not everyone will feel comfortable going to Cuba. Despite the reopening of embassies on both shores, many exiles and their supporters are opposed to visiting until conditions for political dissidents improve and legal issues regarding rights to pre-Castro property holdings are resolved.

Those who do visit will, perhaps, begin to understand the forces that have torn family from friends across the Florida Straits, and get a glimpse of historic shifts through their own eyes — and those of the artists who live there.

ART ON YOUR OWN Some guidebooks — including Christopher Baker’s Moon Guide to Cuba — list artist contact information; the director of your favorite museum may also have contacts. The government-run tourist office San Cristobal Agency (cubaheritage.com) can arrange half-day art tours. Cisneros recommends Galera Habana, Galería La Acacia, Fabrica de Arte Cubano and the collective studio at Seventh Avenue and 60th in Havana’s Miramar neighborhood. If you buy art, be sure to get official documentation from the seller that allows you to take the work out of Cuba.

WHERE TO STAY Old Havana is the top draw for most tourists, and the most convenient lodgings are in the former palaces around Plaza Vieja and Plaza de Armas; all can be booked online at www.habaguanexhotels.com, the government site that takes U.S. credit cards. The famed Hotel Nacionel, modeled after The Breakers in Palm Beach, is on the Malecón in the Vedado area; it, too, is surrounded by restaurants and tourism facilities. Hotel rooms may be one of Cuba’s scarcest commodities, and most cost $150 to $300 per night. Far more plentiful are spaces in private homes, priced from $30 to $50, many with private bath; these also offer an opportunity to see how regular people live. Find them through casaincuba.com and AirBnb.com.

JANE WOOLDRIDGE

TEXT BY JANE WOOLDRIDGE

110

PRACTICALITIES Though U.S. citizens are not allowed to go Cuba purely for tourism — no hanging out on the beach — they are allowed by the U.S. government to visit for cultural and people-to-people purposes (http://1.usa.gov/1NddEro). The Cuban government must also approve entry. Companies that offer art-oriented trips include Authentic Cuba Tours (authenticcubatours.com) and Cuba Educational Travel (cubaeducationaltravel.com). There is no regularly scheduled air service from the United States to Cuba, but the many experienced charter companies can arrange air from Miami and Tampa, set up group trips and handle permits for both governments. They include Airline Brokers (airlinebrokers.net), ABC Charters (abc-charters. com), Marazul (marazul.com) and Havana Air (havanaair. com). You can also book flights via CheapAir.com.

INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

DINING Paladars generally have more innovative cuisine and more attentive service than government restaurants. One exception is El Templete, behind the Plaza de Armas, where the service, presentation and the lobster proved as

remarkable as anything in Miami. In Vedado, the rooftop paladar Cafe Laurent surprises with smart cocktails, chic ambiance and an outstanding ginger fish; Atelier, also in Vedado, wins raves for its old-school ambiance and French-inspired dishes. In Old Havana, the snug paladar Doña Eutimia stands out for Cuban standards with a culinary twist, such as lamb ropa vieja. Cisneros’ favorites include La Guarida in El Centro for its high-quality food and terrace, La Corte del Principe in Miramar for Italian food and Estar Bien in Vedado. Most meals are priced around $15 to $20 per person, plus drinks. Cocktails are a bargain by U.S. standards; only at the priciest tourist traps will you pay more than $4 for a daiquiri or mojito.

MONEY American credit and debit cards don’t work. You will need to take cash. The government charges an additional fee for U.S. dollars, which translates into a rate of 87 cents per 1 CUC, the convertible currency used by foreigners.

Canadian dollars and Euros trade at a more-favorable rate, but changing U.S. dollars first to one of those currencies can cost as much as simply using U.S. dollars.

COMMUNICATIONS Don’t count on staying in touch. The communications picture is changing rapidly; just this summer, the Cuban government added 35 public WiFi spots, and most hotels have WiFi service. Still, the service is expensive and spotty.

Whether your smartphone works depends on your carrier.

INFORMATION More on traveling to Cuba: http://hrld.us/1Qy2nRZ More on the changing face of Cuba: miamiherald.com/cuba.

JANE WOOLDRIDGE

JANE WOOLDRIDGE

ASSOCIATED PRESS

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THE URBAN

Miami artists gather for the ultimate creative conversation atop Miamiâ&#x20AC;&#x2122;s Institute of Contemporary Art at the Moore Building in Miami Design District. From left, seated, Edouard Duval CarriĂŠ and Leyden Rodriguez Casanova, with Frances Trombly, standing. Right, Gary Monroe with Agustina Woodgate. Rear, Jillian Mayer, left, and Emmett Moore, right, with Mikhael Orosz of Hollywood and Vine wines, center.

Chef Dena Marino of MC Kitchen

Roasted porcetta with rosemary

M

iami’s postcards have always depicted some version of sparkling sea and sunny skies, bikini beach babes or poolside fun. When looking for a room with a view, that’s what most Miami diners picture as well. But as this city by the sea grows up, that image is being edged out by an artsier, urban backdrop.

With so many people visiting and relocating to the Magic CIty, we have started to think up instead of out. Sprouting versus sprawling, if you will. With all the vertical growth, Miami’s new views often include rooftops, orange cones on the street, construction cranes and graffiti.

And while the nexus of nightlife is still the Beach, some very serious chefs have migrated to the mainland.

Michael Schwartz pioneered the westward move to the then-buttoned-up Design District almost a decade ago with his eponymous Michael’s Genuine Food & Drink. Since then, Daniel Boulud’s DB Bistro, Zuma, Area 31, Il Gabbiano and Fooq’s have planted their stakes downtown, while Jean-Georges Vongerichten and Joël Robuchon have announced designer eateries in the Design District.

Among Design District stars is the talented Dena Marino of MC Kitchen. “I’m fortunate to have all my locals right in my own little city. It’s a sort of city-in-a-city,” she says of the district. “We have this amazing family, this little group that lives here and works. They are coming to shop or to eat great food. Some come three or four times a week. It’s not about celebrity-spotting or sunscreen.”

Marino, a New Jersey native, prepared our festive spread for a party of local artists. The results were entertaining magic.

For the rooftop fete above the historic 1921 Moore Building, a former furniture showroom, she chose dishes that transport easily, can be prepared in advance and served at room temperature — crucial elements given Miamians’ varying senses of punctuality — and look as inviting as lights on the front porch after dark.

Besides the hearty porchetta, all the dishes are vegetarian and gluten-free. But with mushrooms this meaty and exotic, most guests wouldn’t even notice. The table is set with a dramatic display of two varietals of golden squash glistening beneath the sage butter and poppy-red pomegranate seeds. Alongside is a mountain of tri-color Romano beans harvested from a farm in Homestead. The massive salad is likewise sourced locally and bedecked with quinoa and figs, and dressed with a vinaigrette made subtly sweet and crunchy with maple syrup and toasted pecans. Ricotta cheesecake is crowned with in-season Cara Cara oranges caramelized in a tangy glaze.

You can hire Marino to do the same. Or, consider any of the other spots listed here for a holiday gettogether that would be as easy as dropping your keys with the valet.

Just add guests.

PHOTOGRAPHY BY ANDREW MEADE / TEXT BY VICTORIA PESCE ELLIOTT / FOOD AND RECIPES BY DENA MARINO, MC KITCHEN, MCKITCHENMIAMI.COM

Continued 116

INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

BUFFET DINNER MENU MC Kitchen salad of petite greens, almonds, red quinoa, cranberries, maple binaigrette, shaved ricotta Whole roasted porchetta with rosemary Roasted wild mushrooms, (chantrelles, bluefoots, lobsters) with marble potatoes* Sauteed Homestead romano beans (tri color) Steamed spaghetti squash and acorn squash, with sage butter and pomegranate seeds* Ricotta cheesecake with caramelized Cara Cara oranges* *Recipe included WINES 2480 Cabernet Sauvignon 2480 Chardonnay Short Ends (cabernet blend) from Napa’s Hollywood and Vine (www.hollywoodandvinewine.com) Courtesy of Bruce and Kathryn Orosz

***

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AREA 31 AT THE EPIC HOTEL: On the 16th floor of this downtown gem is a bar and restaurant that any big city would be proud to call its own. The sweeping views include high rises, bay and river, and the menu some of the best Mediterranean seafood expertly handled by Chef Wolfgang Birk. area31restaurant.com DOLORES BUT YOU CAN CALL ME LOLITA: On a terrace overlooking South Miami Avenue is one of the sexiest and most humorously named spots in town. The space in the century-old Firehouse Four building is festive and fun. doloreslolita.com FOOQ’S: David Foulquier has created a homey little eatery in the middle of the scrappy area half a mile due west of Perez Art Museum in the shadow of 395. With 40 seats, it is a perfect venue for an intimate get together – especially if you buy out the place for the evening. fooqsmiami.com JUVIA: Named for the indigenous Brazilian nut tree, Juvia is a marvel of natural elements fused with massive concrete structures. The awardwinning purple-hued indoor/outdoor penthouse of the Lincoln Road’s 1111 building designed by Herzog & de Meuron offers 360-degree views of Miami Beach and beyond. A party there (or in the 34-foot high ceilinged car park on the 7th floor, where 700 can be seated for dinner) will wow any guest. 1111lincolnroad.com MIAMI FARM HOUSE: One of Miami’s best and little-known party spaces, this one-square-acre already hosts families of ducks, birds and iguanas as well as manatees. Cottages for overnight guests as well as a garden that can double as an outdoor dining room make it popular for funky weddings or big get-togethers. miamifarmhouse.com SEASPICE: On the gritty shores of the Miami River, this European hotspot offers a glimpse into the industrial zone with riverboats plying wares from here to Haiti. The juxtaposition of elegance amidst the rough trade makes for an edgy scene. seaspicemiami.com TOEJAM BACKLOT: When it comes to trashy chic, there’s no cooler spot than Toejam in what looks like a Hollywood movie set artfully crammed with vintage neon signs, cool cars, colorful picnic tables, grass huts, pinball machines, shields, mannequins, trophies, a stripper pole and thousands of colorful knick-knacks. toejambacklot.com TOUCHÉ: Italian food never looked so good as it does on the rooftop of the E11even building and club. Chef Carla Pellegrino makes this glass-enclosed box stand out in the gritty Arts & Entertainment section of downtown. touchemiami.com TUYO: On the eighth floor of Miami Dade College’s Miami Culinary Institute is a breathtaking view that includes the iconic Freedom Tower and The American Airlines Arena. Food by Brazilian born chef Victor Santos is pretty stunning, too. tuyomiami.com WYNWOOD YARD: A wide-open grassy lot in the middle of artsy Wynwood with pop-ups, food trucks, art spaces and farming classes beckons big parties. thewynwoodyard.com MIAMI DESIGN DISTRICT: The garden atop ICA, the interior of the Moore Building and variety of other entertaining-friendly spaces throughout the Design District are available. miamidesigndistrict.net

OVEN-ROASTED SPAGHETTI AND ACORN SQUASH WITH POMEGRANATE SAGE BUTTER Serves 10-12 INGREDIENTS 3 spaghetti squash 2 acorn squash ½ cup extra virgin olive oil (divided) 1 tablespoon chopped sage leaves 1 tablespoon unsalted butter 1 teaspoon sea salt ½ teaspoon black pepper

3. Cut each acorn squash into slices about ½-inch thick. Place each slice onto a cookie sheet.

Lightly coat each slice with olive oil.

Lightly season with salt and pepper.

Roast for approximately 25 minutes.

1. Preheat oven to 350 degrees.

INGREDIENTS 4 tablespoons unsalted butter 2 tablespoons sage leaves (chopped) 6 ounces pomegranate seeds

2. Cut each spaghetti squash in half. Scrape the seeds away and dispose. Place each half squash into a casserole dish, cut side up. Lightly coat with olive oil and butter. Lightly season with the salt and pepper. Fill each casserole dish half way with room-temperature water. Cover with aluminum foil and bake for approximately 35 minutes.

Remove from the oven and scrape the now-stringy squash off the skins. Cover and set aside.

Pomegranate Sage Butter:

1. Melt the butter in a large sauté pan. Add sage and pomegranate seeds.

To serve: Place the spaghetti squash in the center of a platter. Arrange the acorn squash around the sides.

Pour the pomegranate sage butter over the squash.

Continued

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SAUTÉED WILD MUSHROOMS AND ROASTED MARBLE POTATOES INGREDIENTS 1 pound marble potatoes 2 tablespoons garlic (chopped and separated) 1 tablespoon thyme leaves (divided) ½ cup extra virgin olive oil 1 pound of mixed wild mushrooms (chanterelles, crimini, lobster, oyster) ¼ cup blended oil (canola / olive oil) 1 tablespoon parsley (chopped) 1. Preheat oven to 350 degrees.

2. Combine the potatoes with one tablespoon of garlic, one-half tablespoon thyme and one-half cup olive oil in bowl; gently toss until the potatoes are thoroughly coated with all ingredients.

Place mixture onto a half sheet tray to roast for approximately 25 minutes until tender and the skin is crispy.

3. Heat the blended oil in a large sauté pan to its smoking point.

Place the mushrooms in the sauté pan and cook until crisp and golden brown. Add one tablespoon garlic and caramelize.

4. A minute or so before ending the cooking process, add one tablespoon thyme. Set aside.

5. Toss the cooked mushrooms and cooked potatoes together with parsley and serve.

Chef’s notes: You can use your favorite potatoes and favorite mixed mushrooms.

Continued

RICOTTA ORANGE CHEESECAKE INGREDIENTS 6 eggs, separated 1½ cups granulated sugar 2 teaspoons vanilla extract 1 tablespoon orange flower water 1 pound ricotta cheese 1 pound mascarpone cheese 2 tablespoons orange zest 1. Preheat oven to 325 degrees.

2. Coat a spring-form baking pan with nonstick spray. Set aside.

3. Separate the egg yolks and whites. Set the egg whites aside.

4. Add the sugar, vanilla extract and orange flower water to the egg yolks in a large mixing bowl. Whip until thick and light yellow, approximately one minute. Fold in ricotta cheese, mascarpone and orange zest until smooth. Set aside.

5. Take the egg whites and whip until they form stiff peaks. Fold into the egg yolk mixture. Scrape mixture into the prepared pan.

Smooth the top with a spatula.

6. Bake until the cake is deep golden brown and the sides begin to pull away from the pan, approximately one hour and 20 minutes. Transfer to a rack and let cool completely.

7. Remove cake from the springform pan and cover with orange topping.

Orange topping: INGREDIENTS 8 oranges, Cara Cara or blood oranges 6 tablespoons sugar 2 tablespoons water 1 tablespoon honey ½ teaspoon vanilla extract 3 teaspoons Cointreau 1. Peel and segment oranges so they stay in whole pieces without skin, membrane or seeds. Bring everything to a simmer except the oranges. After the mixture is reduced to a syrup-like consistency, add orange segments and take off fire and cool.

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COLLECTOR AND REAL ESTATE DEVELOPER MARTY MARGULIES IS LED BY PASSION FOR ART – AND COMPASSION FOR OTHERS.

he developer and art collector Martin Z. Margulies took a trip to the Royal Academy in London last year to view an exhibition of large-scale works by German artist Anselm Kiefer. That led to a jaunt to the influential artist’s studio outside Paris.

And that, nearly a year later, led to major renovations at one of the buildings that houses the Margulies Collection at the Warehouse in Wynwood. They were done to accommodate a major installation from the London show and other works by Kiefer for an exhibition this fall and winter.

Multi-ton stones comprising a Michael Heizer sculpture have been shifted outside to the front of the Warehouse to make way for the monumental, 10,000-square-foot Kiefer exhibition of sculptures, installations and paintings from 1986 to 2014. Visitors will be in for a raw and powerful experience as Kiefer unflinchingly confronts modern Germany’s history through painting and sculpture incorporating charcoal, ash, straw, dried branches, sackcloth and photographs. The works reflect key Kiefer motifs, including books, Kabbalah and poetry by Paul Celan.

The Kiefers and Heizer may seem a universe apart from paintings

by Mark Rothko and Yves Klein, sculpture by George Siegel and John Chamberlain, photographs by Thomas Ruff, Ed Ruscha and Justine Kurland.

Yet all have caught Margulies’ finely tuned eye and his collecting zeal.

Said Margulies: “There’s no plan with me. It just kind of happens.”

Martin Z. Margulies at the Margulies Collection at the Warehouse in Wynwood, with the sculpture, Depression Bread Line, 1991, by George Segal.

JEANIE AMBROSIO / COLLECTION MARTIN Z. MARGULIES JEANIE AMBROSIO / COLLECTION MARTIN Z. MARGULIES JEANIE AMBROSIO / COLLECTION MARTIN Z. MARGULIES

At the Margulies Warehouse, artist Anselm Kiefer installs Die Erzeitalter (Ages of the World), 2014, shown top left. Geheimnis der Farne (Mystery of Ferns), 2007, above, includes 48 images and two concrete sculptures.

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Although today Margulies is regarded as being among the world’s top collectors, his entry into the art world also just kind of happened.

“A woman at the time I was going with, she said, ‘You should get involved in art instead of sports and chasing women,’ ” said the Key Biscayne resident, who does not give his age. He went to an auction and was impressed: “These are pretty smart people buying these princely objects for $7,000, $8,000, and they must know what they’re doing.”

Over the years, Margulies figured it out for himself, amassing a collection renowned for its paintings, sculpture, photography and, more recently, video. For decades, he has landed on ARTnews magazine’s annual list of the world’s 200 top collectors, though he said that accolade was a byproduct of what he really sought. “I don’t aspire to it,” he said. “I know who I am as a collector, so the ratings don’t matter to me.”

What matters, he said, is learning about the works. “That’s very important to me; I do a lot of reading and studying of why a work is important in helping me see the work better. It became a very strong identity of my life and also a passion of collecting and learning. And eventually it led to educating people, which is what we do.” In “we” he includes Katherine Hinds, his longtime curator and a crucial partner in the development of his collection.

Fran Allegra, president of the urban public charter boarding school called SEED School of Miami, has seen that commitment to education firsthand. After Margulies visited the school for at-risk kids, he suggested that some students take a field trip to the Warehouse.

Allegra brought six sixth-graders last year for what she described as “such an exciting, informative, enthusiastic, personal tour” by Margulies.

“For many of them, of course, it was their first time in a private art gallery; for some of them, it might have been their first time in any kind of space that was museum quality,” Allegra said. “They reacted as if they had been doing it all their lives. He made everybody feel very comfortable. He made everybody feel that art was very approachable. He made it feel like there were no wrong answers.”

Judd Tully, a journalist who covers the art market and is editor-at-large at Art+Auction magazine, said he has been bumping into Margulies at auctions and fairs for at least 20 years as well as attending open houses at Margulies’ Key Biscayne home.

While the 20th and 21st century works exhibited in the Margulies’ Wynwood space include large-scale installations, sculpture, photography and video, the art in Margulies’ apartment “definitely had a more classical, blue-chip edge to it,” Tully said. “I would say it’s quite different from what

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COLLECTION MARTIN Z. MARGULIES

you see at the Warehouse. It’s still his interest, but it’s kind of another offshoot of that. But it’s obviously chosen by someone who really knows the territory and does research.”

Margulies seeks out less-traveled paths in his collecting rather than zeroing in on a set of young painters whose prices have soared at auction.

“It’s not just a pleasure, but I think it’s an intellectual pursuit for him,” Tully said. “With that other side being he’s quite the philanthropist, very low-key, easygoing.”

Not to mention funny, says Bonnie Clearwater, chief curator and executive director of the NSU Art Museum Fort Lauderdale, part of Nova Southeastern University. “People might not always get it, but he’s got a great sense of humor,” she said. “He has no trouble speaking his mind, and I think that’s good.” Indeed, he has been outspoken in his opposition to public funding for Marlins Park and the Pérez Art Museum Miami; government money should go to people who need social services, Margulies believes.

Clearwater has known him since 1985, when she was director of art programs for the Lannan Foundation. By then, Grove Isle, the Marguliesdeveloped condominium and resort in Coconut Grove was finished, and its sculpture garden — including works by Noguchi, Dubuffet, de Kooning and Borofsky — was considered a “must-see” in Miami. (Margulies has since sold his interests on the island and the sculptures have been gifted to a variety of Florida educational institutions.)

Margulies was “already clearly collecting at a very high level and big way at that time,” said Clearwater — and he has not stopped traveling, reading and educating himself about the art market. He has established relationships, she said, with specific artists, including George Segal and Frank Stella, and “has stayed loyal to them as opinion in the art world shifts . . . He stayed the course, and of course the art world caught up to him.”

Of late, she said, Margulies has been focusing on the best way to refine his core personal collection of early modernist and mid-century American and European artists. “It truly is one of the finest collections of that period of work that I’ve ever seen,” said Clearwater, former executive director of the Museum of Contemporary Art in North Miami. “And thoughtful — he’s very thoughtful in what he’s selecting, and whatever he’s adding at this stage in his life is really elevating the entire level of the collection.”

Clearwater organized a collection of another of Margulies’ interests, photography, at the NSU Art Museum that ran from late 2014 through

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COLLECTION MARTIN Z. MARGULIES

Margulies with his long-time curator, Katherine Hinds, in an installation by Franz West, right. Above, Kiefer's Sprache der Vogel (Language of the Birds), 1989, and Töchter Liliths (Lilith's Daughter), 1986, bottom.

Bottom, Michael Heizer's massive earth sculpture, Elevated, Surface, Depressed, 1981, was moved to the front of the Warehouse to make way for the Kiefer show. In 2012, Margulies showcased Ernesto Neto's O Bicho!, originally shown at the Venice Biennale.

JEANIE AMBROSIO / COLLECTION MARTIN Z. MARGULIES

JEANIE AMBROSIO / COLLECTION MARTIN Z. MARGULIES

PATRICK FARRELL

this spring. Dorothea Lange’s Depression-era photos and images of child laborers by Lewis Hine were among those included. “What I found was there’s so many things he could have been collecting, but what clearly was interesting about that process of going through that particular collection was how his socially progressive perspective about America, about the world, shaped the collection,” she said. Press material about the show mentions Margulies’ background growing up in New York City in the 1940s and working at his parents’ grocery store in Harlem.

That background is crucial to Margulies, said Constance Collins, a friend for more than a decade who runs the nonprofit Lotus House in Overtown.

“I think he’s understood firsthand, seeing it himself as a child, the inequities that are generated by poverty and why it is so important to provide resources and education and opportunities to those with the least,” Collins said.

“He has never lost touch with his roots.”

The two met when Collins was beginning to develop Lotus House, a shelter for women and children. Margulies helped with the initial renovation of the building and then, after two hurricanes sent rain pouring into the nearly finished building in the fall of 2005, made sure Collins had the extra help she needed to open by the following spring.

Admission fees at the Warehouse go to the shelter, as do proceeds from an annual fundraiser during Art Basel Miami Beach, private events at the collection and occasional benefits at Margulies’ home. He pledged in 2012 to bequeath a $20 million donation to Lotus House and, Collins said, visits about once a week if he isn’t traveling.

Collins and Margulies were married from 2008 to 2012 and remain close and committed to the cause of the nonprofit. “As the years have gone by, he has really been my right hand in everything that we’ve undertaken,” Collins said. They are working together now on the next chapter of Lotus House.

“We are in the planning stages of creating facilities for Lotus House that are worthy of generations to come and that will provide enriched services to our Overtown neighborhood,” Collins said.

Margulies, who refers to Collins as his best friend, called the plan “a very worthwhile and humane project.”

“I’ve done a lot of projects in this town, and I don’t need any more,” he said. ☐

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Jackie Soffer and Craig Robins are linked by family, career and appreciation for art.

BY JANE WOOLDRIDGE PHOTOGRAPHY BY CHARLES TRAINOR JR.

A chandelier by Deborah Thomas hangs over the dining room table designed by Zaha Hadid.

Many furnishings come from the couple’s design collection, including this Martin Szekely table with lighting

by Christian Wassmann.

e met the old-fashioned way,” says newlywed Craig Robins.

“She sued me.” By “she” he means Jackie Soffer — mother, businesswoman and, since early September, wife.

To outsiders, their meeting — and marriage — might look like something out of Blood and Money. Robins and Soffer are both art collectors and real-estate powerhouses.

Robins, who helped redevelop South Beach, then turned a former Allison Island hospital site into a stylish residential enclave, is leading the transformation of Miami’s Design District as president and CEO of Dacra.

Soffer, scion of the family that developed Aventura, oversees the retail, hospitality and office divisions of Turnberry Associates, the family firm she runs with partner-brother, Jeffrey Soffer.

Their story — told in a measured way by Soffer, a less-cautious version by Robins — goes essentially like this: Jeffrey Soffer sued Robins in a dispute over a private jet. Neither mentions the names of the parties or the specific suit, but it’s no secret that Robins and developer Ugo Colombo co-owned a private plane managed by Turnberry. The Colombo-Robins partnership turned rancid; Turnberry sued over an outstanding bill. As the situation heated up, Jackie Soffer took a closer look at the case. She and her brother decided they didn’t belong in the wrangle. Jackie Soffer and Robins met at the Soffer-owned Fontainebleau Miami Beach hotel to discuss a resolution.

Though they were contemporaries with mutual friends, the two had never met.

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The play space features a curved ping-pong table designed by Ron Arad.

Says Robins: “She had a great reputation as a good person, so I was kind of curious. . . . I immediately thought she was very interesting.”

And Soffer: “After a certain amount of time, I got to know him, and I was charmed by him. I had a totally different expectation of who he was. I found him to be much more down-to-earth than I expected, much more of a family person and much more concerned about the community than I expected.

More of a good person rather than somebody who was a public figure with this South Beach life.”

Six years later, they sit cozily on a white sofa in the 1930s Miami Beach house they renovated together, each fielding emails from their respective offices and phone calls from their six children, ages 12 to 24, from previous marriages. The six-bedroom, six-bath house reflects the compromises crucial to any successful relationship. Some of the artwork came from her collection, some from his. On one side of the yard sits a basketball court — her choice; on the other, a wooden, hollow-bellied pavilion designed by David Adjaye for the 2011 edition of Design Miami/, the fair co-founded by Robins. One of their toughest negotiations comes each summer when they decide the length of their annual off-the-grid river-rafting and camping trip; they typically meet midway between her ideal five days and his perfect two weeks. Says Robins: “We both have strong opinions, but we never have a problem coming up with a solution.”

Originally, Robins wanted to tear down the house and start over. Soffer loved its vintage character, which new construction couldn’t replicate.

“Jackie was right,” says Robins. They gutted the house and spent the next two years creating a stylish yet family-friendly home. The distinct furnishings are from their individual and joint design collections (Robins can’t quite remember without consulting their collection list which are his, hers and theirs), with interior design input from New York-based Julie Hillman.

The breakfast table by Martin Szekely sits in a round nook, with banquet seating. A gleaming and curved ping-pong table by Ron Arad is set up for the impromptu game near the media room, home to a Campana Brothers chair made from stuffed animals. The “real” animal — Laz, a boxer — stays mostly in the back of the house.

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The curved dining table is by friend and star architect Zaha Hadid, as is the sweeping master bath. One night at dinner, Soffer showed Hadid the bathtubs they were considering for the renovation. Hadid found them all wanting, and a week later she called and offered to design the entire bathroom. Who would say no to that?

The couple is equally attuned to the importance of family. While they have help at home (“I’ve never even seen him boil pasta, though he does juice oranges,” she says of her husband) and with ferrying the kids, Soffer takes her children to school in the mornings. Most nights the couple eats dinner at home, and most dinners involve the children. “Even when we have friends over, they have to eat dinner with our kids,” says Soffer.

Adds Robins: “It’s nice for our friends, and it’s also nice for our kids.” The marriage has been good for the next generation, they agree. “I think our children look at each other more as siblings,” Soffer says.

To stay on track, Soffer and Robins try to spend every other week in the same city — no simple feat with complex business lives strewn out across half the globe. Soffer’s current projects include a 240,000-squarefoot expansion of Aventura Mall, one of the country’s top-grossing malls; a new JW Marriott in Nashville (where they already have a Hilton); expansion of Turnberry Isle Resort and new suites at the Fontainebleau. “We’re constantly doing work at all our properties.” Last summer, the Soffer and LeFrak families launched development of the 183-acre SoLeMia multiuse community in North Miami.

Says Robins, “Jackie, to me, is incredible. She runs this huge company, but she’s as good a mother as anyone I know. And I never feel like she’s not here for me. I don’t know how she does it.”

For his part, Robins is focused on the ongoing transformation of the onceshabby Design District into a luxury retail-and-dining center, now in its second phase. Though the architecture-centric project is close to home, he has partners in France, New York and Chicago; currently he’s working with chefs Jean-Georges Vongerichten and Joël Robuchon on restaurants due to open next year. Art and design also involve a peripatetic life; along with the Miami event each December, Design Miami/ holds a Swiss fair in June, with Art Basel.

Robins is leading development of the Design District, top, while Soffer is expanding the Aventura Mall, above. She also works with brother Jeffrey on other family projects, including the Fontainebleau Resort, below.

With so much real estate and retail at play, it wouldn’t be surprising if the two were occasionally competitors. But their businesses don’t overlap; the Design District caters to city-core diners and ultra-high net worth shoppers, while Aventura’s market is North Miami-Dade and South Broward, with both luxury brands and mainstream retail. Instead, each is the other’s advisor. “We act as sounding boards,” he says. “We always talk through things. A lot of times we can help each other.”

That extends to art and design. In art, their tastes diverge. “He likes art that’s controversial. I don’t. I don’t want to see violence or nudity.

He’s good with that,” she says. Some works have been banished, transferred to his office or storage. Her own collection includes Louise Bourgeois, Richard Prince and Tracey Emin; at Aventura she showcases Laurence Weiner, Daniel Arsham and Jaime Plensa; and at the Fontainebleau, Enoch Perez and John Baldessari. For Robins, “art is like a conceptual frontier from which mankind advances. I like to experience that, to live with it. It stimulates me.” His own collection includes works by Richard Tuttle, Marlene Dumas, Kai Althoff, Paul McCarthy — and Baldessari.

Though their sensibilities differ — Baldessari is one of the few artists each owns independently — both are engaged in bringing art and design to a broad audience, both at their projects and through supporting museums. The Design District’s name reverberates through the area with sculptural elements including a Buckminster Fuller-designed dome and hammock-like swings by Konstantin Grcic; the district is also home to the de la Cruz Collection and both the current temporary space and future permanent home of the Institute for Contemporary Art. Robins has gifted works to the Pérez Art Museum Miami, and is a member of its board.

Soffer is on the board of the ICA. “It’s nice that Jackie has her own art interest, and I have mine, and we meet together.

“It’s a wonderful partnership. Our businesses are complementary.

It’s nice, a combination of our families and of course, business lives . . . a partnership in a spiritual sense.” ☐

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Pritzker Prize-winning architect Zaha Hadid designed the bathroom, top. Above, a Campana Brothers chair of plush animals.

Robins and Soffer compromised on the back yard, installing both the wooden pavillon designed by David Adjaye and a basketball court.

WITH NEW LEADERSHIP AT MOST OF THE REGION'S ART MUSEUMS, A WAVE OF CREATIVE CHANGE IS SWEEPING SOUTH FLORIDA.

BY SIOBHAN MORRISSEY

FRANKLIN SIRMANS In a way, Franklin Sirmans can be likened to John Adams. The second person who oversees operations often contends with greater expectations while having to deal with mundane duties like keeping the lights on. Adams, the second president of the United States, had to contend with the budget shortfalls of a new nation. Sirmans, as the new director of the Pérez Art Museum Miami, will have to work with a $20 million endowment — less than one-third of its expected goal of $70 million.

As the second director of PAMM, which opened just two years ago during Art Basel, Sirmans says he is up to the task. Although this marks his debut as a museum director, Sirmans is well-acquainted with fundraising. In his most recent role as department head and curator of contemporary art at the Los Angeles County Museum of Art, Sirmans worked with Viveca Paulin-Ferrell, a museum trustee and wife of actor Will Ferrell, to create a core of donors called Contemporary Friends. Over the past two years, the group reportedly raised roughly $400,000 annually to acquire 26 works.

Sirmans is a man of arts and letters. After obtaining his undergraduate degree from Wesleyan University, where he studied art history and English, Sirmans worked as an editor at Flash Art magazine and editor-in-chief of ArtAsiaPacific before taking on curatorial roles at Houston’s Menil Collection and MOMA’s P.S. 1 Contemporary Art Center in Queens. In addition to writing and curating, Sirmans is also a family man.

He and his wife, Jessica, have a 5-year-old daughter named Stella.

“In a way, I couldn’t think of a better pad to jump off of,” Sirmans says, as he follows in the wake of former director Thom Collins, who shepherded the Miami Art Museum’s transformation to the PAMM in its current home overlooking Biscayne Bay. “I probably would not have been the person to get the building done, when it needed to get done, like [former MAM director] Terry [Riley] did and then to have Thom come in — someone who already had directorial experience, obviously, and to get things running and to get the staff into the new building and things working.”

But with the Pérez breaking attendance goals, the director’s job moves into a new phase. Sirmans sees his role as establishing PAMM’s artistic identity.

“I feel like the groundwork has been laid in a perfect way for me,” he says. “We’re located right down the street from the [AmericanAirlines] Arena. I want all the people who go to the arena to come to the Pérez. I want them to feel that it’s part of their city, something to be proud of, something that plays a role out there in the world, the same way that the Miami Heat does.”

NAME: Franklin Sirmans, 46 FAVORITE MUSEUM: 21st Century Museum of Contemporary Art, Kanazawa, Japan.

Aside from the obvious pull of the contemporary art on display, the museum’s architecture, as with PAMM’s, is inviting to the public, Sirmans says.

BEST ART EXPERIENCE: Because his father, who was an ob-gyn, collected art, Sirmans grew up surrounded by contemporary works. While in high school, he worked for abstract artist Ed Clark, whose work is in PAMM’s permanent collection. But it was JeanMichel Basquiat who expanded his views of art and the artist’s role in the world. That epiphany occurred in 1985, when The New York Times Magazine featured Basquiat on its cover. “It opened up the world that was just different from what I knew and one that perhaps spoke specifically and directly to my generation.” PHOTOGRAPHY BY EMILY MICHOT

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JILL DEUPI For Jill Deupi, entering a museum, any museum, holds the magic of a homecoming.

“Whenever I walk into a museum . . . I feel like I’ve come home,” Deupi says. “There’s something about looking at objects that just floods me with this wonderful sense of well-being but also makes me feel I’m a part of something larger . . . So, to me, it’s this great connector amongst humanity.”

Last year, a headhunter sought out Deupi after the former director of the University of Miami’s Lowe Art Museum announced his retirement. In many ways, the Lowe is a perfect fit for Deupi. A highly educated museum director, Deupi feels at home in an academic setting. Additionally, her husband, Victor, is a lecturer at UM’s School of Architecture.

He is a Cuban American, with strong family ties to Miami. Together they have three children.

In her last job, at Fairfield University in Connecticut, Deupi ran not one but two art facilities.

She was the founding director and chief curator of the Bellarmine Museum of Art, which opened in 2010, and the director of Fairfield’s Thomas J. Walsh Art Gallery since 2013.

If that weren’t enough, she also taught art history and museum studies at the university.

Deupi followed a circuitous route to the Lowe. The daughter of an orthopedic surgeon and a stay-at-home mom trained in microbiology, Deupi grew up near the Chesapeake Bay in Virginia. No one in her orbit was involved with art, much less museums.

So when she went to college, she decided to tamp down her interest in the arts in favor of what she thought were “serious” studies. After receiving an undergraduate degree in French and political science from Mount Holyoke College, she went on to obtain her law degree from American University. While in law school, she made the rounds to lawyers representing the various major museums and learned it would take years and senior partner status before she could represent a museum.

Undaunted, she decided to return to school, earning a master’s degree in art history at the University of London’s Birkbeck College while working at the Royal Academy of Arts.

She returned to the United States for her art history doctorate from the University of Virginia. But the accomplishment she’s proudest of is winning a two-year Rome Prize fellowship in 2002.

Now she is in charge of a museum with 19,000 objects that span 5,000 years. The encyclopedic collection includes an eclectic assortment of items, including a mummified cat, Egyptian cartouches, totems and elaborate African masks — all of which help put contemporary art exhibits in historical context, she says.

“I’m very committed to reminding people that we are not only the oldest visual arts institution in town — we’ve been here since 1950; we were accredited in 1972 — but we also are the largest,” she says.

NAME: Jill Deupi, 46 FAVORITE MUSEUM: The Metropolitan Museum of Art, New York. “They do everything at such an incredibly high level,” she says. “Not only do they have the great masterworks, the ones that take your breath away, but also they do a great job with education and programming.”

BEST ART EXPERIENCE: Deupi spent her junior undergraduate year in Paris, where she took her first art history class. “It met once a week on-site at the Louvre,” she says.

“It’s very hard, if you have a nascent interest in art history, to go to the Louvre every week and not be captivated.” PHOTOGRAPHY BY AL DIAZ

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SILVIA KARMAN CUBIÑÁ Silvia Karman Cubiñá is one of the few museum directors with Chevalier among her list of awards. The honorary award is not the equivalent of a French knighthood, nor does it come with free champagne for life. But it does serve as recognition for the work Cubiñá has done to infuse French art into the Miami mainstream — first at the Moore Space with the “French Kissing in the USA” exhibit and most recently at the Bass Museum of Art, where she has been director and chief curator since 2008.

Under her reins, Cubiñá foresees the Bass Museum becoming the focal point of cultural life in Miami Beach, thanks in part to the expansion that is due for completion in October 2016.

“I like to compare [the Bass] to a town hall, or what used to be the plaza,” Cubiñá says, “which is what museums of art turning into.”

The expansion will increase the museum’s programmable space by 50 percent, giving it five galleries instead of the current three and three classrooms instead of the one it has now. The lobby will feature a cafe that will be connected to visitor services and the bookstore. “So you’re going to come and see art and you’re going to want to stay,” she says. “And the wanting to stay is very key, because that’s where you’re going to meet people and see friends and bump into people.”

Art as a lifestyle, where art is both accessible and intermingled with daily life, is what Cubiñá wants to create. “People who are not interested in art will go because their friends are going,” she explains. “You go and have a cocktail, and all of a sudden

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it’s something that you do . . . For whatever reason, the arts are pulling people in, and that didn’t happen 10 years ago.”

It’s the kind of art-infused life Cubiñá craved as a child. Growing up in Puerto Rico, the director says she missed out on the museum and gallery experience. Until she studied art history at Boston College, Cubiñá says, she thought the only way to be around art was to become an artist. When she returned to Puerto Rico, she began volunteering at museums, and eventually began curating shows.

“My first real museum experience was when I created a show in Puerto Rico called “Pepón Osorio: Door-to-Door,” Cubiñá says. She was 35 years old at the time. “That’s the great thing about being young.

I just peddled this exhibition to five museums. [Osorio] is an important artist. It was the first exhibition, the first time that he would come back to Puerto Rico to have this show. It turned into a five-museum exhibition.”

NAME: Silvia Karman Cubiñá, 50 FAVORITE MUSEUM: The Pergamon Museum, Berlin. “Why? Because it leaves me in awe of the world’s civilizations.”

BEST ART EXPERIENCE: “The first experience I can remember was in third grade, where I did a paper on artists, like a little project.

I just spent so much time on it. I didn’t really know why, but I was just spending a lot of time on it. It was disproportionate to the project.”

PHOTOGRAPHY BY CARL JUSTE

TIMOTHY RODGERS A visit to Timothy Rodgers’ office at the Wolfsonian is akin to entering the pages of Architectural Digest. One wall is taken over by futurist paintings, another by an illuminated case filled with fine Art Deco objets d’art. (The exquisite silver tea service with convex images of gazelles is a jaw-dropper.)

Rodgers selected the décor from the Wolfsonian’s collection of over 180,000 objects. The Miami Beach museum, which focuses on the period from 1885 to 1945 — the apex of the Industrial Revolution through the end of World War II — appeals to the new director’s passion for decorative arts.

“For me, this is like a dream come true,” he says of the directorship that he assumed in July. It was an almost decade-long dream that took root around 2006, when as the chief curator of the New Mexico Museum of Art, Rodgers sought to assemble an exhibition using works from the Wolfsonian.

“We were looking at public health issues and how they intersect with design,” Rodgers says, explaining the popularity of tubular furniture following massive tuberculosis and flu epidemics in the early part of the 20th century. “It was a look,” he says, “but it was also meant to be hygienic. It could be wiped down and cleaned.”

A lack of funding derailed the exhibition. But it’s an idea Rodgers says he may revisit. He also plans to make the items in the collection more accessible online. And eventually, he would like to create a permanent home at Florida International University for the bulk of the collection, currently stored off-site, where it would be more accessible to students and faculty members. The museum itself would remain in its Miami Beach home, a former storage company whose building was adapted and expanded for the museum by the late architect Mark Hampton.

As a museum director who also taught art history, Rodgers bridges the worlds of academia and administration. He holds a bachelor’s degree in art from Arizona State University and a doctorate in art

history from Brown University, where he both studied and taught.

He hopes to expand on the existing program to integrate the museum into collegiate courses at FIU. He spent the past six years prior to his move to the Wolfsonian as director of the Scottsdale Museum of Contemporary Arts in Arizona.

“I am one of the few people in Miami who can actually say it is cooler here than where I was before,” he says, laughing, and then extols the virtues of his new home. “It was just remarkable to have the ocean and to have a museum near the ocean, and I enjoyed all of the things in the collection. It’s eclectic and looks at the world from a slightly different angle than most museums do. I thought, ‘Well, so do I.’ ” NAME: Timothy Rodgers, 56 FAVORITE MUSEUM: Naming a favorite museum is “a bit like Sophie’s choice,” Rodgers says, listing in rapid succession the Pulitzer Foundation in St. Louis, with an unforgettable exhibit of Brancusi sculptures and Richard Serra drawings; the Kimball Art Museum in Fort Worth, which he described as “intimate, quiet, graceful — like a private viewing with great works of art”; and the Serpentine Gallery in London.

BEST ART EXPERIENCE: Rodgers experienced a bout of selective mutism in the first grade, when he stopped talking in class for a year.

That’s when his parents enrolled him in a special art class. Rodgers thought it was because the adults could spot his hidden talent. It was only after he was in college and studying studio art that he learned the truth. “I said to my mom, ‘I just want to thank you for those special art classes you gave to me as a kid. It really encouraged me to think that I could paint and I could draw.’ She looked at me and said, ‘That was a child psychologist. We were very worried about you because you hadn’t talked for a whole year.’ ” PHOTOGRAPHY BY CHARLES TRAINOR JR.

JEREMY MIKOLAJCZAK For Jeremy Mikolajczak, the journey to becoming the director of the Miami Dade College Museum of Art + Design began in a lap pool.

“I was a breaststroker,” he says with a hearty laugh, explaining that he studied art at West Virginia University, which offered him a full scholarship to swim for the team. Unlike most museum directors who study art history, Mikolajczak focused on creating art, specializing in painting and prints.

He soon moved from breaststrokes and brushstrokes to organizing exhibitions. As an undergraduate, he began working on curatorial projects. That led to graduate studies in Italy and ultimately an MFA from the University of Florida. A succession of jobs included running a gallery in Chicago and the Gallery of Art & Design at the University of Central Missouri.

It was there that he heard about the opening at Miami Dade College. “I wasn’t actively looking, but I thought, you know, this is an opportunity,” he says. “I loved Miami. I loved the idea of coming to work with this community. It was one of those — ‘I’ll throw my name in.’ ” Mikolajczak started in October 2011, and four years later he still speaks with a sense of wonder about the job, which included creating a museum in the iconic Freedom Tower. The museum serves both as a link to the city’s past — with memorabilia from the Cuban refugees who were processed at the tower during the 1960s — and as a showcase for the college’s extensive collection, which includes works by Andy Warhol, Joseph Beuys, Donald Judd and other contemporary stalwarts.

“This is so important,” he says of the museum that opened in 2012. “It’s so much bigger than my own self, my own interests. There’s an importance to the community, and that was really what drew me to come to Miami Dade College. There was an opportunity to really let the arts have a difference here and to really build something.

“It goes hand-in-hand with making a piece of work . . . You don’t want to make a work and have it just sit in a closet or hang in your studio for hours on end. You really want it to communicate with the public. You want to get it out there. That was really important to me, and I was OK with letting the personal aspect of creating work go.”

NAME: Jeremy Mikolajczak, 35 FAVORITE MUSEUM: Centre Georges Pompidou, Paris. “I love how the community interacts with the institution, which includes a library, theatre and center for music research. It is the focal point of the neighborhood, the heart, and as you sit and watch, it is a flurry of schoolchildren, locals and tourists flowing in and out . . . It’s a very democratic place, and I’ve always been fascinated by public education structures.”

BEST ART EXPERIENCE: Diego Rivera’s large-scale fresco, Detroit Industry, at the Detroit Institute of Art had a profound effect on the Michigan native. “It was the first time I felt empowerment in a work of art.” PHOTOGRAPHY BY CHARLES TRAINOR JR.

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BONNIE CLEARWATER Bonnie Clearwater is a rock star of South Florida’s art world. At the very least, she likes to rock the boat and stir things up. In just two years as director and chief curator at Nova Southeastern University Art Museum Fort Lauderdale, Clearwater is presenting must-see shows, such as the Frida Kahlo and Diego Rivera exhibition last spring that drew 50,000 visitors.

“One of the reasons I really found it attractive here was that I like making things happen,” Clearwater says. “I never do anything nice and easy. I even warn them when I start places — you know, this isn’t going to stay small. It’s not a personal ambition on my part.

I just do it and it happens. I don’t know, I guess I’m the Tina Turner of the art world.”

Clearwater began her career as a private curator for cosmetics mogul Leonard Lauder when she was just 23 and in graduate school at Columbia University. After graduation she became the curator of the Mark Rothko Foundation and curated her first major exhibition for the National Gallery. She went on to write a top-selling book about Rothko that’s still in print: Mark Rothko: Works on Paper.

“I can tell you that my career has been a sequence of all high points,” she says. Originally she planned to leave the museum and curating world in order to write. “Actually, when I came down here to Miami in ’90, it was to retire,” she says. “I wasn’t even 30 yet.”

But along the way, she met Dacra developer and Design Miami/ co-founder Craig Robins. At the time, Robins was developing the Art Deco District in Miami Beach. He challenged Clearwater to come to Miami Beach and “make an art scene happen.”

That was in 1990. Four years later, she was head curator at the Museum of Contemporary Art in North Miami. Within three years she was running the place. By the time NSU lured her to downtown

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Fort Lauderdale in 2013, MOCA had doubled in size and had helped spur the careers of luminous local talents such as Daniel Arsham, Hernan Bas, José Bedia, Teresita Fernández and Mark Handforth.

Rather than compete with the Miami museums, Clearwater accommodates her potential visitors by hosting openings on weekends, when people have more time and energy to attend. She also creates buzz with lectures and exhibitions that tie into current trends, such as a snapshot of photographer and model Lee Miller’s life. Museums concurrently are hosting Lee Miller exhibits in Paris, London, Milan and Mexico City.

Her ambition is to make South Florida an arts destination. She likes to tell people, “I haven’t left Miami, I’ve just move northward so that Fort Lauderdale becomes this hub that bridges Miami and Palm Beach into this continuous art coast.”

NAME: Bonnie Clearwater, 58 FAVORITE MUSEUM: Metropolitan Museum of Art, New York (“The nicest thing is, people have been calling [NSU Museum] the Met of Florida”); the Wallace Collection in London; and the Menil Collection in Houston.

BEST ART EXPERIENCE: Clearwater came from an artistic family in Rockland County, New York. Her father was a composer and her mother helped run their art and music school. An uncle was one of the original Mad Men, a Madison Avenue advertising executive who handled the Buick account for McCann Erickson. “I was making my own art — abstract, of course. We’re talking painting on easels in diapers. And I was a critic at the age of 2.” PHOTOGRAPHY BY AL DIAZ

ELLEN SALPETER Saltpeter was the crucial component of gunpowder that helped the American colonists win the Revolutionary War. In Ellen Salpeter, the Institute of Contemporary Art, Miami has its own secret weapon.

Born of Latvian-Austrian stock, Salpeter spells her name with one fewer T, but she’s every bit a force for change as her near-namesake.

That’s a good thing for ICA, which was born from strife last year when the board of directors split from the Museum of Contemporary Art in North Miami.

“It’s really early days for me, but my vision for the ICA is what ICAs do really well, which is a global, cutting-edge presenting institution with a robust education program and community engagement,” Salpeter says.

As ICA’s newly named director, Salpeter plans to revolutionize through unity rather than take a divide-and-conquer approach. She hopes to work with South Florida’s dozen or so art museums to provide the community with the best art experience possible.

Her background as director of Heart of Brooklyn — where she oversaw the partnership of institutions including the Brooklyn Botanic Garden, the Brooklyn Children’s Museum and the Brooklyn Museum — should serve her well in that endeavor. Salpeter held that post for a decade before becoming deputy director of external affairs for the Jewish Museum in Manhattan, where she worked from 2012 until she accepted the ICA job this fall.

Salpeter’s financial management and fundraising credentials include annually raising $11 million of the Jewish Museum’s $19 million operating budget through donations, membership, special events and institutional giving.

Her business-management skills were honed through undergraduate studies at Georgetown University’s business school, with her parents

providing inspiration. Her father, Richard, who died in 2003, was a financial consultant who restructured distressed businesses. In the early 1990s, her mother, Deanna, ran a fashion accessories store called Dori’s Handbags on Miracle Mile in Coral Gables.

Salpeter’s new job will serve as a homecoming because, she says, after college she briefly lived in Miami Beach. “I know Miami a bit,” she says, “and I’m looking forward to getting reacquainted with the Miami of today.

A motorcycle enthusiast, Salpeter may just roar into town on her Kawasaki Ninja 500R. NAME: Ellen Salpeter, 55 FAVORITE MUSEUM: Outside the realm of contemporary art — there are too many museums on her list to pick just one — Salpeter picked the Mütter Museum in Philadelphia. Not only does the Mütter have an extraordinary collection of medical specimens within the College of Physicians, but it also has a longstanding history with the new ICA director. A couple of decades ago, while in charge of the Thread Waxing Space in New York, Salpeter collaborated with the museum on an exhibit titled Beyond Ars Medica, Treasures from the Mütter Museum.

BEST ART EXPERIENCE: Meeting Philip Glass, Lucinda Childs and Sol Lewitt at an early presentation of Dance, a 1979 collaborative presentation between the composer, choreographer and visual artist at the Smithsonian. Discussing with them how their work overlapped proved to be a seminal moment for Salpeter, who was a college undergraduate at the time. “To see artists from different disciplines collaborate to create something larger than their individual work was transformative for me,” she says. PHOTOGRAPHY BY PATRICK FARRELL

BABACAR M’BOW In so many ways, Babacar M’Bow is the right man for the job as director of North Miami’s Museum of Contemporary Art, which opened in 1981 as a one-room gallery called the Center of Contemporary Art. Even his last name — which means “refuses to leave” in Mandingo — is apt, as M’Bow refused to step aside during a 2014 dispute over the museum’s location and holdings.

M’Bow, a native of Senegal, cut his teeth at age 16 as a freedom fighter in neighboring Guinea-Bissau. Now he embraces art, not arms.

“The art of the people is the genesis of their freedom,” he says.

Today, M’Bow sees his mission as reshaping Miami’s role in the art world, with its local artists at the forefront. He wants to mine their talent — both for local consumption and export to the world. “Miami shouldn’t just export orange juice,” he says with a laugh. He hopes that MOCA will serve as an incubator for local artists, and provide them an ongoing venue to express themselves without feeling the need to relocate to New York or Los Angeles.

“We have a unique opportunity in Miami to shape the 21st century,” he says.

“If we gave to Miami artists the place in our museums — give us three years and we will have the rise of Miami as an art capital of the world.”

As a young man, M’Bow studied French and literature at the University of Dakar in Senegal. He went on to obtain an advanced degree, from Université Paris 8 Vincennes-Saint Denis, in sociology of the image — a study of how visual arts affect and reflect society.

Although a native son of Africa, he has strong ties to South Florida. M’Bow worked for a decade with the Broward County Library system, helping to coordinate international programs and exhibitions. He also ran the Multitudes Contemporary Art Gallery in Little Haiti, which focused on art of the Caribbean and the African diaspora.

His family, too, has left its imprint on South Florida. His wife, Carole Boyce-Davies, served nine years as director of African New World Studies at Florida International University before joining the faculty at Cornell University. His father, Amadou-Mahter M’Bow, was director general of UNESCO from 1974 to 1987, when Everglades National Park and Old Havana were added to the United Nations organization’s list of World Heritage Sites.

MOCA’s director has set himself some lofty goals: secure a $10 million bond to develop the museum, including the addition of a second floor, and to expand the collection through donations. They are high aspirations indeed: North Miami voters shot down an expansion proposal in 2012, and many former donors have shifted their support to the new Institute of Contemporary Art in the Design District. But if sheer passion can turn the tide, M’Bow’s vision may yet become reality.

NAME: Babacar M’Bow, 62 FAVORITE MUSEUM: The Norton Museum of Art in West Palm Beach. “The museum is humble and doesn’t pretend,” he says.

BEST ART EXPERIENCE: M’Bow’s mother practiced the art of batique, in which fabrics are dyed using wax to form the pattern. At age 17, young women in Senegal produce their first batique and present it to the elders of their village for critique. He purchased one of those batique works while in France and has it on display in his home. He says of the design: “It was so profound and yet so simple.” PHOTOGRAPHY BY CHARLES TRAINOR JR.

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JORDANA POMEROY Imbued with art history from her undergraduate degree at Bryn Mawr College to a doctorate from Columbia University and recent experience as head of the Louisiana State University Museum of Art in Baton Rouge, certainly has the chops to take charge of the FIU Frost Art Museum on its south campus. Yet like a good field anthropologist, she’s smart enough to observe and listen to the locals.

“I am learning on the job,” she says matter-of-factly of the position she assumed in January. “I have no problem asking my staff, ‘What do you think? How do you think this can be best done?’ It is true that I will make that final decision, but I very much value what others bring to the table, other ideas. And I’m in a new part of the world, so I also value their experience with working in Miami. They’ll set me straight on my expectations. What would fly up in Washington or Louisiana just isn’t going to fly down here. I really respect that knowledge, that deep knowledge that some of my staff bring.”

That kind of open attitude could go a long way in helping her secure the donations needed to grow the museum’s collection, which currently stands at 5,500 objects, including several Hans Hofmann works on paper slated for exhibit through Jan. 3. Part of her job entails cataloguing the collection and deciding what should stay and what should go. It costs roughly $60 a year to store each work, and it doesn’t make sense to keep objects that will never go on display, she says. Another part of the job is seeking donors who have or are willing to purchase art that will enhance the collection. In addition, Pomeroy hopes to digitize highlights from the collection to present on the museum’s website later this year.

Aside from upgrading the collection, Pomeroy is looking for ways to make the museum accessible to all.

“This museum has been underutilized both by the university community as well as the larger Miami community,” she says. “We do have a disadvantage; someone called it ‘awkward geography.’ We’re trying to move away from doing events on weekdays. What’s the point?

Nobody wants to get in a car and drive, battle traffic. So, we’re really looking to do weekends.

You can’t move the building, so . . .”

Like any good anthropologist, Pomeroy is working with, rather than trying to change, the existing behavior of local museumgoers.

NAME: Jordana Pomeroy, 53 FAVORITE MUSEUM: Victoria and Albert Museum, London. “I love the V&A because it has the sense of being a very old British museum,” she says, adding that she spent a lot of time in the museum library while working on her dissertation. “They have gobs and gobs of art . . . They have so much — especially the way it’s laid out — that you might just come upon something.”

BEST ART EXPERIENCE: By age 17, Pomeroy knew she was going to work in museums.

The summer between high school and college, she worked at the Metropolitan Museum of Art in New York, which was hosting the largest Picasso exhibition ever shown in the United States. “Suddenly I was everybody’s best friend because I could get them into the Picasso show,” she says. “On Mondays when the museum was closed to the public, I could wander through the galleries by myself. That was an awesome experience. That was just having the quiet, the solitude, to have this right in front of you with nobody else around you.

I was bitten by the museum bug.” PHOTOGRAPHY BY AL DIAZ

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rt, says Alex Rodriguez, is his escape. After a game, when he’s clearing his head, he turns to books and art. “It’s therapeutic.”

It’s been that way since his days with the Seattle Mariners, long before the performance-enhancing drug scandal that led to last year’s one-year suspension. His injured hip has healed — well enough to carry him beyond Willie Mays into fourth place on the all-time home run list and past the 3,000-hit mark. After the New York Yankees were knocked out of the playoffs, Fox Sports hired him as a World Series analyst. Still, he says, the year’s highlight came in September in a pregame ceremony at which the Yankees presented A-Rod with his 3,000th-hit ball, his family at his side. “The neatest day of my entire career was being able to share the field and the spotlight with my mother and my two daughters. It’s my 21st year in the major leagues, and I’ve never been on a baseball field at the same time with [them].

It’s extremely special.”

Daughters, Ella, 7, and Natasha, 11, are clearly daddy’s girls. A photographic portrait of each hangs above his office desk; another of the pair, hand in hand, hangs by the sofa. A strip of photo-booth snaps of the girls rests atop his mail. And as for his mother, Lourdes Navarro, he says, “Mothers suffer five to 10 times more than the kids, so the last few years for her obviously have been extremely painful.”

Slugger, businessman and art collector Alex Rodriguez in his Coral Gables office with a painting by Mr. Brainwash of the late artist, Jean-Michel Basquiat, one of the Rodriguezâ&#x20AC;&#x2122;s favorites.

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On this fall afternoon, Rodriguez, 40, is supposed be sitting in his new South Miami-Dade home, a contemporary twist on Mid-Century Modern designed to showcase his art collection and still be a family home for his daughters. (No TV or computers in the girls’ rooms, thank you; they do homework in the family room/kitchen.) The construction is long finished — after all, he owns the building company, Newport Property, with childhood friends Jose Gomez and Jose More. The six-bedroom, one-story home stretches across 11,000 square feet, with reclaimed-wood herringbone insets in stone floors, knife-edge pool, media room (“He’s a documentary junkie,” says Gomez), gym, four-car garage — for the Maybach, an old Jeep and a Suburban he uses to take the girls to school — and attached study (for working on post-baseball business ventures). The plan incorporates sliding glass doors and massive windows overlooking the two-acre compound with basketball hoop, putting green and batting cage, nested in oak, bay rum, gumbo limbo, banyan and bamboo trees.

Inspiration came from the Mid-Century Truesdale Estates enclave in Beverly Hills, not far from Rodriguez’s Los Angeles home. Miami architect Ralph Cheoff crafted the Miami design, with interior design by Briggs Edward Solomon. But Rodriguez — who has been known to spend hours walking potential property purchases in the rain with his Newport partners — is very much involved. “He’ll sit with the interior decorator for days at a time,” says More. The house is a shift from his two previous homes,

including Art Basel Miami Beach and London’s Frieze Art Fair. “I ask a million questions.”

In New York, Rodriguez often goes to museums and galleries, sometimes before night games, says Rohatyn. Initially he bought artists of his own generation with whom he had developed a personal rapport during studio visits. “I love sitting down and talking about their passion and what makes them tick. They ask me questions, and we have this great exchange,” he says. He draws up a roster of 10 or 15 names of artists whose work he likes, then confers with Rohatyn and purchases the best of their work.

Rarely does he sell a work. “I’m not a seller, but I’m a really good buyer.”

“The great thing for me about investing in young artists is I look at it like someone who was investing in me as a young player. I look at them as young prospects. Someone believed in me. Someone gave me the opportunity.” After the Yankees season ended, Rodriguez took the opportunity to visit with Urs Fischer and Lowman.

More recently, Rodriguez has been acquiring work by modern masters — including Andy Warhol and Keith Haring — who inspired the current generation.

Recently he acquired a second portrait of Basquiat, this one by Warhol.

The ability to buy art is one of the benefits of a baseball career that has earned him $375 million in salary. Long baseball’s highest-paid player, A-Rod has always attracted attention; relationships with stars like Madonna put him squarely in the lenses of the paparazzi. In New York, at least,

one Mediterranean Revival, the last Art Deco-influenced. He recently purchased a 3,200-square-foot penthouse under construction in Edgewater; what he’ll do with that, Rodriguez says he doesn’t know. Says a business acquaintance, “Alex likes real estate.”

The furniture ordered from an Italian designer is still missing, delayed by several months. Until the furniture is installed, the paintings sit in storage.

So Miami Herald photographer Patrick Farrell — the same photographer who covered the 1993 day Rodriguez became baseball’s No. 1 draft pick at age 17 — sits the impeccably tailored Rodriguez in a sleek black chair in his Coral Gables corporate office, in front of a portrait of the late JeanMichel Basquiat painted by the street artist Mr. Brainwash. Of the dozens of paintings in Rodriguez’ collection, the Basquiat, M.T., is his favorite.

His collection also includes works by Nate Lowman (for whom he did an exhibition in 2011 in his Miami Beach home batting cage), Dan Colen, Richard Prince, Sarah Walker and John Baldessari.

Rodriguez got into art, he says, “the wrong way.”

“I was intrigued,” he says. But, “I made a mistake. I bought before I understood it, and it kind of went sideways a little bit.” His initial purchases were mostly prints; the originals were large-scale works. Rapper Jay Z first told him about Jeanne Rohatyn, now his art advisor; they met at a Nate Lowman project show at Rohatyn’s Salon 94 gallery in Manhattan in 2010.

Rodriguez began working with her in 2011. “She’s amazing. She’s been a lifesaver.” He has also educated himself, he says, reading and visiting fairs,

little in his life on or off the field goes without comment from dozens of TV analysts, columnists, bloggers. If he could turn back the clock, he says, he would have gone to the University of Miami before entering the pros.

“I think I would have matured a lot in four years.”

Instead, his mistakes have been blasted in headlines and cost him his legacy. What he regrets the most? He thinks for several long minutes.

“I don’t think there’s just one thing. I think it’s my overall behavior.”

Since his return to baseball earlier this year, he says, “I’ve been surprised at how forgiving the fans, baseball and my colleagues — my baseball teammates and players I play against — have been. The irony is I’ve never been treated better in my entire career.

“I think they sense how grateful I am. And there’s the golden rule — I’m treating others how I want to be treated. And I’m really, really appreciating the moment. Whether you’re thanking the ball boys or thanking someone that’s parking lot security, you understand you’re part of something really special. You’re one of 750 players. We’re talking about the American Dream . . . and I’ve been able to do that for two decades. The year off allowed me to get a full understanding of this incredible opportunity that I have.

“Maybe not so quickly, like now, but maybe in five years, I’m going to look back and say the biggest and best thing that ever happened to me was 2014 . . . because I was able to turn my life around and have a new understanding and appreciation and be happy and in the moment.

I was nowhere near that before.” ☐

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DANIEL SHAPIRO

Alex Rodriguez examines a painting by Nate Lowman at the 2013 Art Basel Miami Beach fair.

‘FLOATING’ REFUGE Jacob and Melissa Brillhart’s home near downtown Miami offers a refreshing counterpoint to generic modernism

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CHARLES TRAINOR JR.

Architects Melissa and Jacob Brillhart designed their Spring Garden house to harmonize with the surrounding foliage, with a nod to pre-air conditioning vernacular days.

hen one thinks of Miami architecture, it’s most often a flamboyant hotel by Morris Lapidus from the 1950s, a multihued tropical extravaganza by Arquitectonica from the 1980s, or an au courant luxury tower by any number of international design stars who parachute into Miami and leave their mark. The small, single-family house stands tall in American mythology — the embodiment of our dreams for a better way of life — but for whatever reason, it has not been as prevalent a typology in Miami as it has been in other parts of the country.

While handsome, the U-shaped house that Lapidus designed in 1958 for his dentist, Dr. Leonard Finn, was little more than a miniature version of his eccentric hotel layouts. Locally based architects like Wahl Snyder, Alfred Browning Parker and Igor Polevitzky offered variations on the subtropical modern home with screened-in porches and louvered doorways, but nothing of any styleshifting significance. Architectural innovation tended to be reserved for tourist amenities — hotels, motels, beach clubs and cabanas — while year-round residents lived in faux Mediterranean confections or gated communities with cookie-cutter housing.

One of the only paradigm-shifting houses to come out of Miami was the Pink House in Miami Shores that Arquitectonica’s Laurinda Spear designed in 1974 with a nod toward Lapidus, her former mentor, and Rem Koolhaas. With shifting façades and garish shades of flamingo pink, the house expressed all that was risky and sexy about Miami, and soon became famous from cameo appearances on Miami Vice as backdrop for supermodels and cocaine cowboys. Like so much else in Miami, this was a calculated deception. The house was originally designed for the architect’s parents, who were not drug lords at all but hard-working physicians.

Miami’s most recent wave of development has seen the rise of a generic modernism, sleek forms in pale stucco and glass that resemble a computer rendering even after they’ve been built. While they might work fine for all-night parties and Kardashian-type photo ops, these places seem completely neutral and interchangeable, lacking much in the way of narrative and/or imagination.

The small, but well-tempered house that Jacob and Melissa Brillhart recently designed for themselves cuts a very different profile. It has already made an impression well beyond its diminutive size and cost, won awards, been well-publicized, and can be considered Miami’s “House of the Year,” perhaps even “House of the Decade,” as it reflects a refreshing new trend on the domestic frontier and goes against the city’s current building practices, an alternative to the multimillion-

CLAUDIA URIBE

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dollar condos and bling housing that Miami has become associated with. It is compact, modest, beautifully designed, well-grounded to its site, in tune with nature, and self-built, at least in part.

The couple are principals of the five-member Brillhart Architecture firm. Jacob, who studied at Columbia University, also teaches at the University of Miami, where Melissa received her architecture degree.

Their surname will be familiar to art connoisseurs: His sister is Miami artist Jenny Brillhart.

“People expect whiteness and stucco here,” says Jacob, standing on the front steps of the one-story house. “There’s not one bit of white. There’s no stucco, no plaster. It’s all steel, glass and wood.” The louvered shutters that hang across the 50-foot-wide façade evoke a moody, more-textured kind of scenario that’s less Lapidus, more Bogart-Bacall in Key Largo. It is further enhanced by lush tropical foliage that grows around the periphery of the site, making it seem romantic and settled — Henri Rousseau with a hint of Jurassic Park — while shielding the house from neighboring properties with native hardwoods, oaks, black olive trees, climbing fig trees, coconut palms and dense clusters of Simpson’s stopper.

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“It’s like we’re living in the middle of a jungle,” says Melissa, co-architect and co-homeowner, who with her partner/husband, spent four years stalking the property on North River Drive that was first spotted when they took an exploratory drive along the river in the fall of 2007. The 18,335-square-foot lot wasn’t for sale at the time, but the Brillharts practiced patience and finally were able to buy it in July 2011 for $165,000.

They had been looking for a site that had mature trees on it, and the Spring Garden neighborhood was ideal. The secondoldest platted neighborhood in Miami, it’s a peninsular area that borders the Miami River on one side and the Seybold Canal on the other, with the Dolphin Expressway passing just to the north. Less than a mile from downtown Miami, Spring Garden feels surprisingly isolated — even bucolic — with its shaded lawns and sprawling canopies of ancient oak trees. “There are only three roads in and three roads out,” says Jacob.

Motorists on the elevated expressway whizz past at 65 miles an hour, oblivious to the fact that a historic enclave lurks beneath the overpass.

CLAUDIA URIBE

CLAUDIA URIBE

The floor plan is basically a reinterpretation of the vernacular dogtrot of the old south in which two cabins were attached by a covered porch.

The open design puts library, living room, dining table and kitchen in continuous flow with the back yard.

The industrialist John Seybold developed the area in 1919 and built himself a mock Moorish temple on Northwest 11th Street.

Cuban dictator Fulgencio Batista kept a getaway house there in the 1950s, and Marjory Stoneman Douglas, the venerable author and environmentalist, lived down the block.

From the start, the Brillharts knew they wanted a modernist glass house — what they called a “floating refuge” — partially in homage to the flat-roofed pavilions of Mies van der Rohe and Philip Johnson, but equally inspired by the Florida beach houses of Paul Rudolph, especially his tiny Cocoon House in Sarasota and the Walker Guest House in Sanibel — both for practical as well as aesthetic reasons. “Rudolph somehow figured out how to make those little houses livable in a subtropical climate, before air conditioning,” says Jacob, who also acknowledges the influence of more-traditional methodologies.

The floor plan is basically a reinterpretation of the vernacular dogtrot of the old south in which two cabins were attached by a covered porch. “We wanted an open breezeway through the middle of the house, but couldn’t afford to lose that much space,”

Jacob explains. Instead, the central hall serves as a kind of enclosed breezeway with sleeping on one side, living on the other, kitchen in the middle, and bathrooms nested between the bedrooms. There are two sliding-glass panels on the front and back of the house; when they are open it creates natural, cross-draft ventilation. The Brillharts installed a small AC unit, but hardly ever turn it on during the winter months. (Their monthly electricity bill is about $75.)

The narrow, 66-foot-wide lot runs south to north, and the central positioning and shape of the house was largely determined by required setbacks from the east and west boundaries. While on approach, the 1,500-square-foot structure looks like a long and narrow pavilion, although it is essentially square in plan: 50 feet wide and a few feet under 50 in depth. Covered porches at the front and back create an additional 800 square feet of living space.

The main floor is elevated five feet off the ground on concrete stem walls, designed to create a hovering “floating refuge” effect; it is also a response to the threat of a rising sea level. (The Miami River runs only about 350 feet from the Brillharts’ front door.)

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CHARLES TRAINOR JR.

CHARLES TRAINOR JR.

When fully open, the house becomes Adam and Eveâ&#x20AC;&#x2122;s hut in the Garden of Eden, fully transparent on both its north and south elevations, inviting the lushly planted grounds to come inside.

CHARLES TRAINOR JR.

STEFANI FACHINI

The clean architectural lines are accented with bright touches: cheery porch seating; an entry table; work by Jacob’s artist sister Jenny, below, and lounges designed by Jacob.

A framework of 50-foot-long steel I-beams lies atop the concrete foundation walls and supports the upper part of the house, which is essentially a combination of tempered glass and wood.

Exterior steps and sidewalls are made from Ipe, a Brazilian hardwood. Interior floors are made from white oak. The shutters that shield the front porch are made from Western Red Cedar, providing privacy while giving the house a woody warmth and sense of movement. (The shutters can be opened or closed in a variety of configurations.) On the inside, the louvered slats block out the heat of the sun and create a mesh of crisscrossing shadows that shift throughout the day, depending on the angle of the sun.

When fully open, the house becomes Adam and Eve’s hut in the Garden of Eden, fully transparent on both its north and south elevations, inviting the lushly planted grounds to come inside. “In a sense, the landscape acts as the walls of the house,” says Jacob.

The open-plan interior is furnished with simple pieces — a glass coffee table, a leather couch, two Barcelona chairs, a tulip table by Eero Saarinen, and cabinetry custom-made by Jacob’s father, David Brillhart, and trucked to Miami from his barn in New Hampshire.

The couple did everything possible to keep their costs low. They weren’t afraid to get their hands dirty, and fabricated most of the kitchen shelving and louvered doors themselves. They also did all of the painting. Afterward, they vowed to never touch a paintbrush again.

By using standard lengths of steel for the superstructure, they shortened the time of construction, simplified assembly and reduced waste. “We couldn’t afford a second floor, so we had to make do,” says Melissa. Structural spans were limited to less than 20 feet so that standard lengths of lumber could be used to frame out the house.

Off-the-rack panels of 9/16-inch-thick thermal glass (measuring 9 feet high by 18.5 feet wide) were employed for the floor-to-ceiling windows. In many ways, the set proportions of these prefabricated elements — structural I-beams, wooden joists, sliding-glass doors and windows — determined the final dimensions of the house.

“We’re essentially trying to create a new architecture for the tropics,” say the Brillharts.

Perhaps their house will become a new paradigm — the next Pink House – for a new kind of awareness: a Miami that is in tune with both nature and the economic realities of our time. ☐

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conven on

BY ANNE TSCHIDA PHOTOGRAPHY BY MORIS MORENO

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Michele Oka Doner in the roots of the Miami Beach banyans that have long been her inspiration.

Michele Oka Doner sits in a wingback chair in Soho Beach House’s lounge, her signature white tunic and make-up-free face seemingly channeling a Grecian noble or philosopher. It’s a fitting image for the artist who models her life and work on the foundations of classical aesthetics, tied to the natural world and the mythologies that surround it, while questioning the societal norms that define us.

For the past half century, Oka Doner has been confronting convention. A prolific and pioneering artist whose sculptures and installations are exhibited and acclaimed internationally, she creates monumental sculptures, figurative forms drawn on paper or crafted from cast bronze and delicate home accessories from vases to candelabra. She’s also a writer, a furniture designer and a student of the man-made and natural worlds from which she has always drawn inspiration.

Her basic tools derive from the everyday earthy environment that she constantly explores. Leaves, roots, shells that she picks up can turn into gleaming tableaus that resemble the micro-universe in the sand when a wave first rolls back; or they are transformed by molds into life-size statues. Though nature is her inspiration, it doesn’t limit her choice of materials; along with natural objects, she works with wax, ceramics, paper, bronze and epoxy.

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Michele Oka Doner places sculptures inspired by palms in the lobby floor of the One Ocean condo on Miami Beach.

The floor will be set in terrazzo.

MIAMI WILL BE ABLE TO TAKE IN THE SCOPE OF OKA DONER’S WORK IN THE MARCH PAMM RETROSPECTIVE, HOW I CAUGHT A SWALLOW IN MID-AIR. “SHE IS AN IMPORTANT ARTIST WHO HAS WORKED WITH THE MIAMI CONTEXT FOR DECADES, AND WE WANTED TO CELEBRATE THIS HISTORY OF RICH PRODUCTION.”

At age 70, Oka Doner shows no signs of curtailing her explorations of the physical and artistic worlds.

She’s always defied boundaries and categories, and as this year suggests, she will continue to do so.

Based now in New York City, the breadth of Oka Doner’s work will be on display in Miami this winter with a retrospective of her work at the Perez Art Museum Miami and large art commissions at two new South Beach condo developments. And as the Miami City Ballet celebrates its 30th anniversary this year, the sets and costumes in its signature production of A Midsummer’s Night Dream will have been divined by Oka Doner.

It’s nice to have her back, as Doner’s roots are in fact here.

The daughter of Miami Beach mayor Kenneth Oka, the artist grew up in a 1950s world that was a far cry from today. “Back then there was no air conditioning,” she recalls. “You could smell the smoke from the Everglades fires, feel the insect bites; there was something feral, visceral.”

Surrounding her was the unique environment of a relatively undeveloped sand bar: the seashells and pristine ocean, the terrifying storms, the flora and pungent foliage – and the banyan tree. With its primordial-looking root structure and huge canopy, the banyan is one of nature’s most majestic specimens.

And one prime example was just down the block from Oka Doner’s childhood home. It has been her life-long muse.

Dressed in her trademark draped silk, Oka Doner looks calm and coolly elegant during one of her trips to Miami. Her distinctive attire – when not white, it’s black – reflects her views on art and life.

Almost 30 years ago she saw a version of the dress and asked the store to put her in touch with the designer, which they did. The two worked out a simplified prototype –stripping out all the extra color –

that Oka Doner would be faithful to ever since. “The world around us is over-saturated with both visual and audio stimulation,” she says.

“I feel more connected to ancestral quiet.” It seems appropriate that the dress resembles a Grecian robe, as ancient myths and ideas of classical beauty influence her work.

Miamians and visitors likely have walked over her art at Miami International Airport. Her most famous public piece, A Walk on the Beach, created over a period in the 1990s, covers a half-mile-long walkway in the airport. Travelers stroll over glowing epoxy terrazzo embedded with thousands of bronze and mother-of-pearl pieces that are arranged to look like sea plants and creatures, that marine life you encounter during a trip to the shore.

She created a second part of the walkway when the airport expanded in the 2000s, making it one of the largest public art pieces in the world stretching a mile-and-a-quarter.

The long luminescent pathway through the airport is a gorgeous example of Oka Doner’s multidisciplinary production, but it shouldn’t be taken as representative of all of her diverse body of work throughout the decades. While keeping with a theme that connects the natural world to the artistic and philosophical one, Oka Doner has explored many sides of the cyclical nature of life, always in her own particular lyrical way.

When Oka Doner left Miami for the University of Michigan in the early 1960s, the art world was centered on the Mid-Century Modern movements of abstraction, minimalism and conceptual art. And it was centered on a man’s world.

“They weren’t that interested in me” as a woman, or in nature-centric art.

Oka Doner's best-known public work lies in the floor of Miami International Airport's north terminal concourse.

PHOTOS COURTESY OF MICHELE OKA DONER

MIAMIANS AND VISITORS LIKELY HAVE WALKED OVER HER ART AT MIAMI INTERNATIONAL AIRPORT. HER MOST FAMOUS PUBLIC PIECE, A WALK ON THE BEACH, CREATED OVER A PERIOD IN THE 1990S, COVERS A HALF-MILE-LONG WALKWAY IN THE AIRPORT.

PHOTOS COURTESY OF MICHELE OKA DONER

Oka Doner's work is inspired by nature. Others are made with nature's help; for the paper work at right, banyan vines were soaked in ink.

So Oka Doner formulated her own path as an artistic stealth warrior of sorts. Her combination of gender and genre was a little confounding. Her Tattooed Porcelain Dolls, a series of small sculptures put her on the art-world radar in the late 1960s, a time of social activism and counter-culture experimentation. Covered in what

look like shells, these are no beachshack souvenirs. The ceramic baby figures are missing arms, legs â&#x20AC;&#x201C; even stomachs. During the height of the Vietnam War, they were viewed as protest symbols conveying the message that while wars are generally assumed to be man made, its victims so frequently are women and children.

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Through the years, she would create other disturbing figurative sculptures. Disturbing, but not hideous. Often, they depict a natural progression of which decay or even disfiguration is part. “Life is a process,” says Oka Doner. “You have to accept that, and flow with it.”

By the 1970s, Oka Doner was showing in galleries and institutions.

A “trickle down effect” had finally hit the art world for women artists.

She had continued to work guided by her own principles and interests, “but I had a seat at the table…. I got the seat and I held on. Was I paid the same as a man? No. But I was focused on my path.”

In 1987, after moving to New York with her husband and two sons, she put her next big stamp on the art scene with Radiant Site.

Taking 11,000 tiles that she made at a pottery factory in Detroit, Oka Doner covered a wall at the 34th Street Herald Square subway station in a gradation of copper-toned squares. The golden glowing tiles create a calming aura juxtaposed with the frenzied – and often unsightly – atmosphere of New York’s subways.

Since then she has had threedozen solo shows, countless groups shows and numerous public and private commissions. Her art can be found in the Metropolitan Museum

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of Art New York; the Art Institute of Chicago; the Musée des Artes Decoratifs at the Louvre, Paris; the Victoria and Albert Museum in London; and numerous other institutions. She’s long been represented by one of the top global galleries, Marlborough Gallery.

In keeping with her focus on integrating life and work, Oka Doner combines her influences and inspirations in her loft/studio space in Manhattan, which she shares with husband of almost 50 years, retired advertising executive Frederick

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Doner. There, found elements like seeds, shells and palm fronds and native artifacts such as masks and carvings intermingle with the art she makes. The loft includes an extensive library. Not only is Oka Doner a voracious reader, but she’s an author as well, having co-penned a book with Mitchell Wolfson, Jr., the founder of the Wolfsonian Museum, on the history of Miami Beach, Miami Beach: Blueprint of an Eden.

Miami will be able to take in the scope of Oka Doner’s work in the March PAMM retrospective,

How I Caught a Swallow in Mid-Air. “She is an important artist who has worked with the Miami context for decades, and we wanted to celebrate this history of rich production,” says PAMM chief curator Tobias Ostrander. “The way that she engages the natural environment and her use of materials is so unique, elegant and thoughtful.” It will include work from the 1960s on.

Coinciding with this survey, Oka Doner is creating the sets and costumes for Miami City Ballet’s reworking of George Balanchine’s A Midsummer Night’s Dream. MCB artistic director Lourdes Lopez calls the project a perfect fit, combining Oka Doner’s craft, her subtle feminist trail blazing and her longtime interest in the ballet company.

“Her work is very organic, it has shape, curves, lines, texture. It has tremendous amount of movement, and all of this relates to dance.”

While Midsummer was set in a forest, Oka Doner’s version will be underwater. “The forest, at least during Shakespeare’s time, is where the unknown took place, where life as you knew it, no longer existed,” explains Lopez. “Michele has chosen to use the ocean floor as inspiration. … The ocean floor is unchartered territory. All bets are off when you go down there. It is an unrecognizable world.” ☐

PHOTOS COURTESY OF MICHELE OKA DONER

A massive Miami Beach banyan, now behind a fence, inspired works including the metal sculptures, right, and the massive centerpiece in Downtown Doral, below.

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HEREâ&#x20AC;&#x2122;S EVERYTHING YOU NEED TO KNOW FOR ART BASEL MIAMI BEACH 2015 AND OTHER ART WEEK EVENTS

Hans Hofmann, Out of This World, 1945, Gouache on paper.

What you need to know this year Art Basel Miami Beach has become an annual highlight for Miami art enthusiasts, and in this 14th edition, those who have attended the fair in years past will find much that’s familiar. The week’s rhythm will repeat last year, with Wednesday reserved for serious collectors and the public opening at 3 p.m. Thursday. Blue-chip will join well-known contemporary dealers in the main fair sector of 267 galleries, surrounded by new art in Positions, Nova and Kabinett. Artists, curators, gallerists and museum directors will discuss the heady subjects of the new role for art in Cuba, the ethics of art advertising and the vicissitudes of the art market.

And that’s just at the Convention Center. Art Public, the sculpture exhibition in Collins Park, will still be held in front of the Bass Museum of Art, though the museum itself is undergoing renovation. Sound works will join film presentations this year at the New World Wallcast.

What will be new is the fair’s director. Noah Horowitz, author of the Art of the Deal (not that Art of the Deal) and previously chief of the Armory Show in New York, has been named director of the Miami fair.

Like the directors of fairs in Basel and Hong Kong, he works closely with Marc Spiegler, Art Basel’s global director.

This fall we chatted with both Horowitz and Spiegler for a preview of 2015 Art Basel Miami Beach.

Q: Noah, what exactly is your job?

This role entails engaging the Americas in the broad sense, from Bogota to Los Angeles and engaging with the constituents of the fair -galleries, curators, museum directors, collectors, artists. Galleries are our primary client. Our business is to represent them, to [facilitate] their ability to sell artworks and meet people that are relevant for what they do in the most efficient way possible.

Q: There’s been a lot of talk about art as an investment class. Is 178

Art Basel Miami Beach opens to the public at 3 – 8 p.m. Thursday, Dec. 3, noon – 8 p.m. Dec. 4-5, and noon – 6 p.m. Dec. 6. Miami Beach Convention Center, 1901 Convention Center Drive. One-day tickets $47; $30 students / seniors; multi-day tickets available.

Artbasel.com

there an art market bubble?

Horowitz: I think there was a bubble, certainly in auction pricing.

There was a setback in 2009 and 2010. We’ve rebounded from that; global sales numbers at a higher number last year than in 2007.

What we’ve seen subsequently is how global the market is now. So it’s extremely difficult to say whether we’re in a bubble right now Spiegler: In German, there’s a word “yein” – “ya” and “nein,” yes and no. At any given point there’s work that’s priced more than it will be in a few years. At the same time there are a lot of artists in Cuba, for example, who are priced much less than they will be in a few years. The problem is the phrase ‘art market.’

Every artist, every gallery is its own market. These markets are not interdependent.

Q: What advice would you give a nascent collector?

Spiegler: If you have the means to buy art and want to treat it as an investment, then you should probably develop a lot more knowledge before you start buying art. You should work with an advisor or join a young patrons’ board or take a semester at the Sotheby’s Institute or the Christie’s institute.

But a better way to think about it is the same way you think about money you spend on a vacation or an expensive dinner. It’s hedonistic pricing, not utility pricing. What is the

INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

Art Basel Miami Beach 2014 AL DIAZ

Spiegler: We’re very excited about this convention center renovation.

It will be a much more attractive building, and it’s going to get wired for the 21st century. In terms of schedule couldn’t be better for us.

Construction will start right after the 2015 fair. It will stop for the 2016 fair, and it will be finished before the 2017 fair.

Marc Spiegler

Noah Horowitz

pleasure owning this work will give me? If you buy artwork you love, it’s a good investment in your quality of life.

Q: What impact will the economic woes in China and Latin America have on this year’s Miami Beach fair?

Spiegler: In China, the super wealthy are still super wealthy. They already have their money out of the country. It’s really hard to judge how the Latin American economies will affect the show this year. Serious collectors will continue to collect.

What you won’t get is a lot of people new to the market who are feeling super flush. The people I met with [this fall] in Brazil and Colombia … all said they are coming to the fair.

Q: How will the renovation of the Miami Beach Convention Center affect the fair?

Q: How has Miami changed as a cultural community in the years since Art Basel arrived?

Spiegler: People underestimate the seriousness of what is going on in Miami, not just in our halls but all around town. The seriousness of the artists and works transcends the reputation that people outside sometimes try to tag Miami with.

The reality is that anyone who looks around will see that there’s great artwork to be seen, not just in our halls but in private collections and museums. It’s important for an art fair that it not take place in a vacuum. It’s important people walk away thinking their week in Miami was worth it.

It’s very hard to build up an art ecosystem. If people look at what is here compared with other cities of this size or what’s here now versus 10 years ago, it’s night and day.

TEXT BY JANE WOOLDRIDGE

DECEMBER 1-6, 2015

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Agustina Woodgate clock at Locust Projects

Our recommendations for getting the best from Art Basel Week 2015

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From 9 a.m. Check out the latest shows at the De la Cruz Collection (it opens at 9) and ICAMiami (opens at 11; don’t miss Alex Bag’s "The Van") in the Design District, then head up to MiMo for Prizm Art Fair (opens at 10). Swing by Spinello’s new Little River location for Littlest Sister show/fair (opens at noon).

From 9 a.m. Head to the Margulies Warehouse for the spectacular Anselm Kiefer show and Susan Philipsz sound installation.

Then hit the Design District for FLASH, the exhibit of Lenny Kravitz’s photos, the Unrealism show and other District displays before you head to Art Miami (opening at 11 a.m.)

9 a.m. Rubell Family Collection hosts its annual breakfast installation. Go early.

Morning: Head to Miami Dade College for Holoscenes, the ongoing interactive performance/ installation on the main plaza simulating life in the flood zone, then catch the "Argentinian Artists in Miami" exhibit at the Freedom Tower.

Fairs are open all around.

And it’s the last chance to visit PULSE, which closes Saturday evening.

From noon: VIP preview at Design Miami/. (Not a VIP? Catch the Nari Ward retrospective at PAMM.)

Throughout the afternoon: VIP openings at Art Basel Miami Beach. (Not a VIP? Unless you’re a serious collector, there’s no hope.)

5:30 p.m. VIP previews in Midtown of Art Miami/ CONTEXT. (No invite? See your favorite gallerist or head up to PULSE and SATELLITE on Miami Beach; both open to the public at 4 p.m.)

11 p.m. Wynwood Walls opens for night owls.

Alternative No. 1: Head to Design Miami/; it opens to the public at 10 a.m..

Then go by SCOPE, Spectrum and UNTITLED. Alternative No. 2: Stop by the Sagamore Hotel through Sunday to chat with people in Iran, Cuba, Mexico or Afghanistan via “The Portal,” then pop over to the Delano for the MoMA Design Store popup shop and installation.

8 p.m. Hit the opening reception at Bass X (inside Miami Beach Regional Library, 227 22nd Street), then catch a performance at the launch of Art Public in Collins Park (Collins Avenue between 21st and 22nd streets).

NADA Fair at the Fontainebleau, 10 a.m. for VIPs, 2 p.m. for the public.

3 p.m. Art Basel Miami Beach opens to the public.

8 p.m. Haven’t seen Martha Friedman’s "Pore" performance at Locust Projects? Now is your chance.

9 p.m. Party with Dev Hynes and Ryan McNamara at PAMM’s annual bash, 1103 Biscayne Blvd. (Open to sustaining members; pamm.org) Alternative: Catch the sound show and films at Soundscape Park at the New World Center in Miami Beach, from 6 p.m.

Still haven’t caught Martha Friedman’s "Pore" performance? Try 11 a.m. or 6 p.m. at Locust Projects.

Missed the Daniel Arsham opening earlier this fall? Stop by YoungArts before the show closes.

Noon: Pop over to Art Basel Miami Beach before the weekend crowds descend. (Open noon8 p.m.)

For addresses and other details, see pages 178-199.

Murals at Wynwood Walls

ca ux]& utv8 .

Brunch time! Annual Breakfast in the Park at Frost Museum at FIU begins at 9:30, Bubbles and Brunch begins at 10 a.m. at the Lowe Art Museum and Chef Creole’s brunch begins at 11 at the Little Haiti Cultural Center.

Last day for the fairs. Art Basel opens at noon.

PULSE MIAMI BEACH CONTEMPORARY ART FAIR DECEMBER 1–5 , 2015 INDIAN BEACH PARK

ADAMSON GALLERY / EDITIONS Washington, DC l Antonio Colombo Arte Contemporanea Milan, Italy l Art First London, UK l ART LEX ï NG Miami, FL l Beers Contemporary London, UK l Black & White Gallery Brooklyn, NY l Bryce Wolkowitz Gallery New York, NY l Carl Solway Gallery Cincinnati, OH l Causey Contemporary New York, NY l Cecilia Gonzalez Arte Contemporaneo Lima, Peru l CES Gallery Los Angeles, CA l Charlie James Gallery Los Angeles, CA l CONRADS Düsseldorf, Germany l Danziger Gallery New York, NY l Davidson Contemporary New York, NY l De Soto Gallery Venice, CA l Elizabeth Leach Gallery Portland, OR l Emerson Dorsch Miami, FL l Ferrin Contemporary North Adams, MA l Foley Gallery New York, NY l Frederieke Taylor Gallery New York, NY l GALERIE FREY Vienna/ Salzburg, Austria l Galerie Heike Strelow Frankfurt am Main, Germany l Galeria Senda Barcelona, Spain l Galerie Simon Blais Montreal, Canada l Gallery Poulsen Copenhagen, Denmark l Garis & Hahn New York, NY l Gregory Lind Gallery San Francisco, CA l Hosfelt Gallery San Francisco, CA l James Harris Gallery Seattle, WA l JHB Gallery New York, NY l Julie Saul Gallery New York, NY l Kleindienst Leipzig, Germany l Klowden Mann Los Angeles, CA l Kopeikin Gallery Los Angeles, CA l Lesley Heller Workspace New York, NY l LMAKprojects New York, NY l Lyons Wier Gallery New York, NY l MARC STRAUS New York, NY l Margaret Thatcher Projects New York, NY l mc2gallery Milan, Italy l McKenzie Fine Art New York, NY l Miller Yezerski Gallery Boston, MA l Mindy Solomon Gallery Miami, FL l Mixed Greens New York, NY l Monya Rowe Gallery Saint Augustine, FL l Morgan Lehman Gallery New York, NY l New Art Projects London, UK l Nohra Haime Gallery New York, NY l PATRICIA SWEETOW GALLERY Oakland, CA l Patrick Heide Contemporary Art London, UK l Paul Loya Gallery Los Angeles, CA l Pavel Zoubok Gallery New York, NY l PDX CONTEMPORARY ART Portland, OR l Pictura Gallery Bloomington, IN l Pitt Projects / Studio Worcester, UK l Purdy Hicks Gallery London, UK l Rena Bransten Projects San Francisco, CA l Rick Wester Fine Art Inc. New York, NY l robert henry contemporary Brooklyn, NY l ROCKELMANN& Berlin, Germany l Rubicon Projects Dublin, Ireland l RxArt New York, NY l RYAN LEE GALLERY New York , NY l Scaramouche New York, NY l SEASON Seattle, WA l Shoshana Wayne Gallery Santa Monica, CA l Sienna Patti Lenox, MA l SVA Galleries New York, NY l taubert contemporary Berlin, Germany l The Good Luck Gallery Los Angeles, CA l Thierry Goldberg Gallery New York, NY l Tibor de Nagy Gallery New York, NY l TJ Boulting London, UK l TRANSFER Brooklyn, NY l Tyler Rollins Fine Art New York, NY l Uprise Art New York, NY l Visual AIDS New York, NY l Voltz Clarke New York, NY l Von Lintel Gallery Los Angeles, CA l WAGNER + PARTNER Berlin, Germany l Walter Maciel Gallery Los Angeles, CA l William Baczek Fine Arts Northampton, MA l Yancey Richardson Gallery New York, NY l

SAVE THE DATE l PULSE NEW YORK: MARCH 3–6 , 2016

PULSE-ART.COM

Joep van Lieshout

Among familiar names at Design Miami/ are three less-known designers worth watching.

Exquisitely executed forms with function are the essence of Design Miami/, the fair that combines furniture, jewelry and other objects with discussions about this increasingly popular art form. The design commission for the entrance pavilion to this 11th edition Design Miami/ tent went to students of the Harvard Graduate School of Design for a series of 3D models titled UNBUILT, an homage to architectural plans that have never been realized.

Inside, galleries will include exhibitions of historic homage, including a recreation of Gio Ponti’s design for Villa Panchart in Caracas

DESIGN MIAMI includes 36 galleries showcasing 20th and 21st century furniture, lighting and objets d’art.

The fair runs Dec. 2-6 in a tented venue at Meridian Avenue and 19th Street in Miami Beach, across from the entrance to the Miami Beach Convention Center. One-day tickets cost $47; combination tickets are available. designmiami.com.

Swarovski will stage an interactive geodesic installation.

at Galleria Rossella Colombari. Other highlights will include a table given to French designer Jean Prouvé in 1943 by fellow designer Pierre Jeanneret at Laffanour-Galerie Downtown, plus the only remaining example of Prouvé’s 1939 military hut at Galerie Patrick Seguin. Yves Behar will be celebrated as Design Visionary of the Year. The alwaysstunning Swarovski exhibit, this year designed by Mexican architect Fernando Romero, incorporates 2,800 crystals in a geodesign installation.

Fairgoers will also want to keep an eye out for work by three standout designers who are internationally acclaimed yet fairly new to the U.S. market: Joep Van Lieshout of Atelier Van Lieshout (AVL) jumped into design at the Rotterdam Academy of the Arts at age 16. Today, his provocative sculptures are on view in outdoor spaces across Europe, from Paris to Malmö, Sweden, while his smaller pieces are showcased in almost a dozen museums. Each work is executed with his studio, AVL, where he has worked for 20 years. To Architectural Digest, Lieshout described the furniture line coming to this year’s Design Miami/ as “nouveau brutalism.”

Nacho Carbonell

Vincent Dubourg Nacho Carbonell sees the objects he makes as living organisms. The Spanish designer, who was named Designer of the Future in 2009 at Design Miami/ in Basel, Switzerland, recently closed a highly lauded show at Carpenters Workshop Gallery in London.

Wallpaper magazine labeled the light sculptures from “Cocoon,” his ongoing series, as “other-worldly.”

To construct the pieces, he and his Netherlands-based team use Harvard students designed UNBUILT, the entrance to this year's Design Miami/ tent.

steel frame, metal mesh, concrete, rubber and a mix of plaster and paverpol (textile hardener).

Vincent Dubourg breathes life into traditional craftsmanship with a fresh approach to materials and techniques. Using radical methods for glass-blowing, wood-bending and metal-casting, his furniture subverts the status quo with a sense of motion. In 2014, The New York Times International Edition said much of the thrill for Dubourg comes from the tactile pleasure of contorting material. The French designer is known for abandoning purpose or function in favor of poetry.

TEXT BY GALENA MOSOVICH

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CONTEXT Miami

Keep a map handy; some of this year’s satellite fairs are in new locations.

PATRICK FARRELL

Spectrum

NADA

It’s no secret that a dizzying amount of the action during Art Week takes place outside the well-attended but comparatively narrow confines of the Miami Beach Convention Center. This year is no different, with satellite fairs on both sides of the causeways proving to be substantial lures — whether in the form of a repurposed North Beach pharmacy or the well-established Art Miami in Midtown.

“Everyone in the art world descends on Miami for this important cultural event,” said Nick Korniloff, director of Art Miami, which marks its 26th edition this year. The Art Miami family of fairs includes the adjacent sister fair CONTEXT, as well as the Aqua Art Fair in Miami Beach’s Aqua Hotel.

“This is the bellwether for the art fair market in America, and it only gets stronger.”

Joining Art Miami on the mainland: Red Dot and Spectrum, which have moved to a new location in the Performing Arts District. Pinta, a curated boutique fair devoted to the art of Latin America, Spain and

Art Miami

PATRICK FARRELL

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INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

PINTA

PULSE

Portugal, returns to Miami this year, trading its Midtown location for Mana Wynwood. There, it will be joined by the new X Contemporary fair, which focuses on emerging and mid-career artists. And in the Design District’s Moore Building, star gallerists (and sometime competitors) Jeffrey Deitch and Larry Gagosian have teamed on an exhibition fair called “Unrealism” that will feature 100 figurative works — many for sale — showcased in the 20,000-square-foot, four floor space.

Art Africa Miami Arts Fair brings a multidisciplinary exhibition of fine contemporary art from Africa to the Carver Building in Overtown. The event also includes jazz performances, kid-friendly workshops and a Dec. 3 talk by architect Neil Hall on the future design landscape of Overtown. Art from the African Diaspora is also the focus of PRIZM, which returns for its third year in the MiMo District.

Although the offerings in Midtown, Wynwood and other Miami neighborhoods offer plenty of buzz-worthy events, the gravitational pull of Miami Beach during Art Basel is hard to match.

One newcomer of note is SATELLITE, which will take over four locations in the comparatively low-key neighborhood of North Beach: the shuttered Ocean Terrace Hotel, the defunct Surf Med Pharmacy, the former Curry’s Steakhouse and the North Beach band shell, which will play host to performances throughout Art Week.

“We fell in love with this area and wanted the business and the community to be involved,” said Brian Whitely, creative director, who said city officials have embraced the fair’s effort to enliven the North Beach scene. Artists who have been offered these spaces for their installations are similarly jazzed.

“I would ask someone, ‘Would you like an entire pharmacy?’ ” said Whitely. “Their interest would be definitely piqued.”

Whitely himself will be curating an unlikely gift shop at the Ocean Terrace, which will include artists’ interpretations of standard beach-kitsch fare such as sunscreen, soda and bongs. Among the artists selected to present installations and performances: the Russian punk-collective Pussy Riot, who will be among the Eastern European artists taking part in the repurposed “Restaurant” exhibit space.

UNTITLED

While hitting up every fair in town in a few short days is logistically improbable, and likely downright impossible, consistent draws include Miami Beach’s well-respected Design Miami/ and UNTITLED., which has established itself in a few short years as a shouldn’t-miss fair.

PULSE, now in its 11th year, returns for the second year to its tent at Indian Beach Park in Miami Beach. The physical layout of the fair has expanded, and about a dozen new galleries are featured this year. The new space also makes room for an addition called Conversations, which allows 25 galleries to present the work of two artists each in mini-exhibitions.

The NADA art fair, organized by the nonprofit New Alliance Art Dealers, has also seen notable expansion in recent years. Although it previously took up residence at the historic Deauville Beach Resort, this year the showcase of emerging contemporary artists moves to the far more spacious Fontainebleau Miami Beach. The nearby Fridge Art Fair, which spent its first two years in Little Havana, embraces Miami Beach this year with a move to the Holiday Inn Miami Beach.

Another fixture: INK Miami, which celebrates its 10th anniversary this year.

“I just think we’re still climbing up the peak of the mountain toward what Miami can be,” said Michele Senecal, executive director of the International

AQUA ART FAIR Aqua Hotel, 1530 Collins Ave. Miami Beach. Hours: noon-9 p.m. Dec. 3; 11 a.m.-9 p.m. Dec. 4-5; 11 a.m.-6 p.m. Dec. 6. Tickets: $15 one-day; $85 multi-day pass includes CONTEXT and Art Miami. aquaartmiami.com

CONTEXT ART MIAMI The Art Miami Pavilion, 2901 NE First Ave., Midtown. Hours: 11 a.m.-8 p.m. Dec. 2-5; 11 a.m.-6 p.m. Dec. 6. Tickets: $40 (including entry to Art Miami); $85 multiday pass includes Art Miami and Aqua. contextartmiami.com

ART AFRICA MIAMI Carver Building, 801 NW Second Ave., Miami. Hours: 11 a.m.-9 p.m. Dec. 3-5.

Tickets: free. artafricamiamifair.com

DESIGN MIAMI Meridian Avenue and 19th Street, adjacent to the Miami Beach Convention Center.

Hours: 10 a.m.-8 p.m. Dec. 2-3; 11 a.m.-8 p.m. Dec. 4; noon-8 p.m. Dec. 5; noon-6 p.m. Dec. 6. Tickets: $25 one-day, $20 students/seniors; combination one-day with Art Basel Miami Beach, $60. designmiami.com

ART BASEL MIAMI BEACH Miami Beach Convention Center, 1901 Convention Center Dr., Miami Beach.

Hours: 3-8 p.m. Dec. 3; noon-8 p.m. Dec. 4-5; noon-6 p.m., Dec. 6. Tickets: $47 oneday, $30 students/seniors; $100 all days; combination one-day with Design Miami/, $60. artbasel.com ART MIAMI The Art Miami Pavilion, 3101 NE First Ave., Midtown. Hours: 11 a.m.-8 p.m. Dec. 2-5; 11 a.m.-6 p.m. Dec. 6. Tickets: $40; $85 multi-day pass includes CONTEXT. artmiamifair.com ART ON PAPER Deauville Beach Resort, 6701 Collins Ave., Miami Beach. Hours: 11 a.m.-2 p.m. Dec. 2; 11 a.m.-7 p.m. Dec. 3-5; 11 a.m.-6 p.m. Dec. 6. thepaperfair.com ART SPOT MIAMI 1700 NE Second Ave. Hours: 6-10 p.m.

Dec. 2; 1-9 p.m. Dec. 3-5; noon-6 p.m.

Dec. 6. Tickets: $20. artspotmiami.com

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Fine Print Dealers Association, which sponsors the fair at the Suites of Dorchester in Miami Beach. “Not just a cultural destination but a cultural foundation for this country.”.

TEXT BY TERE FIGUERAS NEGRETE

MIAMI PROJECT 7275 Collins Ave., Miami Beach. Hours: 11 a.m.-3 p.m. Dec. 2; 11 a.m.-7 p.m. Dec. 3-5; 11 a.m.-6 p.m. Dec. 6. Tickets: $25. miami-project.com

RED DOT MIAMI 1700 NE Second Ave., Miami. Hours: 11 a.m.-8 p.m. Dec. 2-5; 11 a.m.-6 p.m. Dec. 6. Tickets: $15. reddotfair.com

MIAMI STREET PHOTOGRAPHY FESTIVAL History Miami Museum, 101 W. Flagler St., Miami. Tickets: free. Hours: 10 a.m.-10 p.m. Dec. 3-5; 11 a.m.-5 p.m. Dec. 6. miamistreetphotographyfestival.org

SATELLITE ART FAIR Ocean Terrace Hotel, 7410 Ocean Ter.; Surf Med Pharmacy, 7432 Collins Ave.; The Restaurant, 7433 Collins Ave.; North Beach Bandshell, 7300 Collins Ave., Miami Beach. Tickets: free. Hours: 11 a.m.-9 p.m.

Dec. 2-3; 11 a.m.-10 p.m. Dec. 4-5; 11 a.m.-6 p.m. Dec. 6. satelliteprojects.com

MIAMI RIVER ART FAIR Miami Convention Center at the James L. Knight Center, 400 SE Second Ave., Miami.

Hours: noon-8 p.m. Dec. 4-6. Tickets: $20. miamiriverartfair.com

FRIDGE ART FAIR Holiday Inn Miami Beach-Oceanfront, 4333 Collins Ave., Miami Beach. Hours: 2-8 p.m. Dec. 4; 1-9 p.m. Dec. 5-8; 1-3 p.m. Dec. 9. Tickets: free. fridgeartfair.com

NADA ART FAIR The Fontainebleau Miami Beach, 4441 Collins Ave., Miami Beach. Hours: 2-7 p.m.

Dec. 3; 10 a.m.-7 p.m. Dec. 4; 10 a.m.-6 p.m. Dec. 5. Tickets: $20. newartdealers. org

INK MIAMI ART FAIR Suites of Dorchester, 1850 Collins Ave., Miami Beach. Tickets: free. Hours: 9 a.m.5 p.m. Dec. 2; 10 a.m.-7 p.m. Dec. 3-5; 10 a.m.-3 p.m. Dec. 6. inkartfair.com

PINTA ART FAIR Mana Wynwood, 318 NW 23rd St., Miami.

5-9 p.m. Dec. 2; 11 a.m.-8 p.m. Dec. 3-5; 11 a.m.-6 p.m. Dec. 6. Tickets: $20. pintamiami.com

MIAMI PHOTO SALON Spectrum Art Show Booth 1002, 3011 NE First Ave. Hours: 2-10 p.m. Dec. 2; 1-9 p.m. Dec. 3-5; noon-6 p.m. Dec. 6. Tickets: $20 (entrance to Spectrum). miamiphotosalonfestival.com

INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

PRIZM 7300 Biscayne Blvd., Miami. Hours: 10 a.m.-5 p.m. Dec. 1-6. Tickets: $10. prizmartfair.com PULSE MIAMI Indian Beach Park, 4601 Collins Ave., Miami Beach. Hours: 4-7 p.m. Dec. 1; 10 a.m.5 p.m. Dec. 2-5. Tickets: $25. pulse-art.com

SCOPE MIAMI BEACH SCOPE Miami Beach Pavilion, 801 Ocean Dr., Miami Beach. Hours: 11 a.m.-8 p.m.

Dec. 2-6. Tickets: $35. scope-art.com SPECTRUM MIAMI 1700 NE Second Ave ., Miami. Hours: 2-10 p.m. Dec. 2; 1-9 p.m. Dec. 3-5; noon-6 p.m. Dec. 6. Tickets: $20. spectrum-miami.com UNTITLED 12th Street and Ocean Drive, Miami Beach. Hours: 3-7 p.m. Dec. 2; 11 a.m.-7 p.m. Dec. 3-5; 11 a.m.-4 p.m. Dec. 6. Tickets: $30, $15 for Miami Beach residents. art-untitled.com X CONTEMPORARY ART FAIR Mana Wynwood Production Village, 227-247 NW 24th St., Miami. Hours: noon-9 p.m. Dec. 2-5; noon-6 p.m. Dec. 6.

Tickets: $20. x-contemporary.com.

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Sculpture in Collins Park and Wallcasts at the New World Center Soundscape

Matt Johnson’s sculpture of bent metal — Twisted Jersey Barrier — could easily serve as a commentary on the driving skills of Miamians. It also perfectly illustrates the theme of this year’s sculpture garden created for Collins Park during Art Basel Miami Beach.

Metaforms — a play on the word metaphor — is both the title and the theme of the sculpture show, which includes more than two dozen works and explores the public perception of form. That is, form from anything as seemingly simple as a chair to the multiple meanings assigned to thought bubbles that appear in cartoons.

“A lot of the works are about taking something that is a recognizable form, but then reimagining that, transforming it into something that then takes on different layers of meaning, and of course a different aesthetic,” says Nicholas Baume, who as curator of the fair’s Public sector selected the works for display. As for Johnson’s Jersey Barrier, Baume laughs and says, “I cannot say it was conceived with any specific commentary on Miami driving, but you are free to editorialize on that.”

Baume, who also serves as director of the Public Art Fund in New York City, hopes the sculpture will prompt people to think about the layered meanings inherent to Jersey barriers.

“Of course,” he says, “it’s a design object, Tim Ulrichs-Wentrup

Ursula Von Rydingsvard

FREE TO THE PUBLIC The Art Basel Miami Beach Public sculpture garden opens Dec. 2 in Collins Park, in front of the Bass Museum of Art between 21st and 22nd streets.

Thanks to funding from the Knight Foundation, some sculptures will stay in place through February 2016.

Art Film, a separate sector of Art Basel, shows free films in the New World Center Soundscape and other Miami Beach locations. It is curated by David Gryn, director of London’s Artprojx, and Marian Masone, senior programing advisor at the Film Society of Lincoln Center. Details at artbaselmiamibeach.com.

an architectural form that is about control — controlling space, controlling access, keeping boundaries. It also has, in a way, a dialogue about power invested in that form.”

The same holds true for the untitled chain installation that Melvin Edwards updated from a work he created in the 1960s. “It also speaks to power, control and obviously the many associations — social, cultural, historical — one can have with the idea of a chain,” Baume says.

“And there’s Sterling Ruby’s Big Yellow Mama, which looks like this bright sun, joyful, almost like playful park furniture that you can just imagine kids clambering all over it, people taking a selfie,” he says. “But of course, it is based on the electric chair that was used by the state of Alabama, notoriously, for executions. So, I was really interested in how a number of these very recognizable objects also carry and resonate with metaphorical meanings and connections. I think visitors will enjoy peeling back that onion.”

“Eva,’’ a scaled replica of a giant Sao Paolo relic, by Ana Luiza Dias Batista will appear this year in Collins Park.

Recognizing that not everyone will feel comfortable sitting on an electric chair, Baume included at least one sculpture that embraces power as a healing rather than controlling force.

That’s the Sam Falls installation, a “healing pavilion, which is constructed with terrazzo made of healing gemstones,” Baume says. “We talk of power that’s the more controlling kind. Here’s power to heal. So, power in different ways being expressed in different work.”

Hank Willis Thomas provides a more playful place to rest the bones — that of a speech bubble repurposed into a park bench.

“You can think of it just as a comic book form, but, of course, what Hank’s been doing in much of his work is talking about freedom of speech, about people enabled to give voice to their own experience, people who are marginalized having the opportunity to speak,” Baume says. “That’s why I was interested in this thread about forms that are recognizable but then peel back layers. I think bringing some of these objects together that do speak about power and culture in interesting ways will, hopefully, develop a resonant kind of experience for people who are bringing very different perspectives to the work.”

Then there are sculptures that are powerful just by their pure presence, such as the monumental works by Tony Cragg and Ursula Von Rydingsvard.

Other works, by their very titles, seem ideally suited to Miami Beach’s seaside setting.

There’s Ishmael Randall-Weeks’ Paraiso, which means paradise in English; Francisco Ugarte’s Sunlight I; and Robert Wilson’s Einstein Chair (from Einstein on the Beach). Of course, Rubén Ortiz Torres’ Pimped Shopping Rides could also play well with all the new glamorous development taking place in South Florida.

TEXT BY SIOBHAN MORRISSEY

2015 SEASON HIGHLIGHTS @

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ARTCENTER / SOUTH FLORIDA Having closed its flagship space on South Beach, ArtCenter is nomadic this year. At what it is calling the ArtCenter Little River Edition, it will host the U.S. debut of the powerful work of Israeli artist Dina Shenhavt, an installation of a hunting lodge made entirely of mattress foam — the rifles, knives and traps crafted from the soft material of a bed.

Opening Nov. 29. 7252 NW Miami Ct., Little River; artcentersf.org ArtCenter / South Florida

BASS MUSEUM OF ART Although the museum is closed for renovations, the neighboring library is filling in, hosting BassX solo art projects. Sylvie Fleury is a performance from the Geneva, Switzerland-based artist based on a sound and dance piece she premiered in Paris last year that incorporates the sounds from sensors fitted to female actors, which Fleury than turns into a live composition. Opening Dec. 3 . 227 22nd St., Miami Beach; bassmuseum.org; 305-535-4219 CIFO

Martin Kippenberger, Albert Oehlin and Sigmar Polke. They join Mark Bradford, Alex Katz, Glenn Ligon and others in this rule-breaking trek. On the third floor, works by the standards of the space, Felix Gonzalez-Torres and Ana Mendieta, will again be on display.

23 NW 41st St., Design District; delacruzcollection.org; 305-5766112 PAMM CIFO The Cisneros Fontanals-funded exhibition space breaks from its history of group shows for a solo exhibit of Cuban artist Gustavo Pérez Monzón’s work. In Tramas, more than 70 works from the 1980s, including drawings and installations, focus on his exploration of geometric abstraction and spatial interplay. It is a collaboration with the National Museum of Fine Arts, Havana.

Opening Dec. 2. 1018 N. Miami Ave., downtown Miami; cifo.org; 305-415-6343 DE LA CRUZ COLLECTION The title You’ve Got To Know the Rules... To Break Them lets us in on what will be presented in this expansive group show: Works from the de la Cruz collection that disclose how well-known contemporary artists, informed by minimalism, conceptualism and abstract expressionism, then bent and expanded the boundaries.

Germans are a specialty in the De la Cruz collection — including

FROST ART MUSEUM-FLORIDA INTERNATIONAL UNIVERSITY Hans Hofmann, a master of the Abstract Expressionist movement, pushed the boundaries of spatial dynamics and color. Walls of Color: The Murals of Hans Hofmann is limited to his underappreciated mural projects, including those in Peru. Migration is a theme in another exhibit, Carola Bravo: Blurred Borders, with her fascinating animated videos projected within wooden frames.

10975 SW 17th St., West MiamiDade; frost.fiu.edu; 305-348-2890 INSTITUTE OF CONTEMPORARY ART, MIAMI (ICA MIAMI) The latest entry to the pantheon of Miami museums, ICA wants to make an imprint with vanguard new-media art — which will be well-represented by a solo outing of video and performance from Alex Bag. Set in the Dodge vehicle in which it was initially filmed, The Van will be screened while visitors can sit on furry pink seats and watch the artist depict three art-world personae.

Opening Dec. 1. 4040 NE Second Ave., Design District; icamiami.org; 305-901-5272 LOWE ART MUSEUM-UNIVERSITY OF MIAMI Portraiture is one of the most popular art forms, from its early days depicting the rich and famous to its

Frost-FIU

later iterations revealing more-subtle, inner lives. That trajectory is explored in The Portrait Transformed: Drawings & Oil Sketches From Jacques Louis David to Lucien Freud. From the 18th century on, portraits became psychological studies, culminating in the works of Freud and highlighted here, the unique profile of Alfred Hitchcock.

1301 Stanford Dr., Coral Gables; miami.edu/lowe; 305-284-3535 THE MARGULIES COLLECTION The profound and powerful German artist Anselm Keifer is already well-represented at the Margulies exhibition space, but this year he gets the place almost to himself, with a survey of his monumental paintings, sculptures and installations. A sound installation

by Susan Philipzs will add to the experience. 591 NW 27th Ave., Wynwood; margulieswarehouse. com; 305-57i6-1051

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MIAMI DADE COLLEGE MUSEUM OF ART + DESIGN Two New York brothers have used their familial heritage to create meticulous hand-sewn boxes — 13 years in the making — that, when dismantled performance-style, reveal the contents of their lives in an exhibit that combines art, craft, design and memory. Steven and William Ladd: Mary Queen of the Universe opens Dec. 2. 300 NE Second Ave., downtown Miami; mdcmoad.org; 305-237-7700 MUSEUM OF CONTEMPORARY ART NORTH MIAMI Carlos Salas is one of Colombia’s best-known contemporary painters, and some of his monumental abstract paintings will be included in this semi-survey, Carlos Salas: Latin America and the Global Imagination, which also addresses questions of cross-cultural traditions in today’s art. A documentary on the artist will debut Dec. 4. Opening Dec. 2.

770 NE 125th St., North Miami; mocanomi.org; 305-891-1472 MOCA

PÉREZ ART MUSEUM MIAMI Another great fit for Miami’s flagship museum, Nari Ward: Sun Splashed follows issues of migration and cultural transplantation through the use of found objects and a

variety of multimedia materials from Jamaican-born, New York native Ward in his largest mid-career survey to date. Also on view, No Boundaries: Aboriginal Australian Contemporary Abstract Art, featuring nine Aboriginal artists whose work is both rooted in ancient tradition and amazingly connected to Western abstraction. 1103 Biscayne Blvd., downtown Miami; pamm.org; 305375-3000 RUBELL FAMILY COLLECTION As the famous collecting couple of Don and Mera Rubell continue to celebrate their 50th anniversary, they will highlight some of their best pieces on the second floor, from Jean-Michel Basquiat and Jeff Koons to Richard Prince and Elizabeth Peyton. On the first floor, six artists have been commissioned to make large-scale, site-specific works for a fresh take on contemporary art — the first time the collection has launched such an ambitious program. Opening Dec. 3. 95 NW 29th St., Wynwood; rfc. museum; 305-573-6090 VIZCAYA MUSEUM & GARDENS The third annual performancebased show will take place amid the incredible landscape of the Vizcaya estate for a week, featuring David Rohn, Miseal Soto, Dona Altemus, Cara Despain and seven other artists in a roster of all-local performers.

Opening Nov. 30 and running through Dec. 5. 3251 S. Miami Ave., Coconut Grove; vizcaya.org; 305250-9133 WOLFSONIAN-FIU Margin of Error delves into the precarious world of technology we have built — the man-made disasters of shipwrecks, explosions,

PAMM

crashes — through a variety of forms, including graphic designs, industrial artifacts and paintings created by Man Ray, Margaret Bourke-White and others. The natural world is the counterpoint exhibition, Philodendron: From Pan-Latin Exotic to Modern America, tracking through art the centurieslong migration of plants from the jungle to the contemporary garden and cultural imagery. 1001 Washington Ave., Miami Beach; wolfsonian.org; 305-531-1001

wdi_xdu viajb] ART AND CULTURE CENTER OF HOLLYWOOD A locally based artist will be the Center’s focus with Nina Surel: Sailing to Byzantium, an allegory of aging loosely based around William Butler Yeats’ poem, involving sculpture, installation, sound and video. Women here sail on a journey from youth to old age in an artistic negotiation with biology, and from the temporal to the eternal. 1650 Harrison St., Hollywood; artandculturecenter.org; 954-921-3274 GIRLS' CLUB

GIRLS’ CLUB Highlighting artists from across the globe and generations, Self Proliferation explores female identity politics and the construct of “self” as modern culture has defined women, but with a common backdrop of varied landscapes. In painting, photography and video, these environs are interpreted by Tracey Emin, John Baldessari, Cindy Sherman, Elizabeth Peyton and numerous others from the Francie Bishop Good and David Horvitz collection. 117 NE Second St., Fort Lauderdale; girlsclubcollection.org; 954-828-9151

NSU NSU ART MUSEUM FORT LAUDERDALE What do the television series Batman and The Ed Sullivan Show have in common with Marcel Duchamp and Georgia O’Keeffe?

The former, along with other programs from TV’s formative years, were influenced by the Modern Art movement, not just visually but in their aesthetic experimentation.

That is the basis for Revolution of the Eye: Modern Art and the Birth of American Television, which will feature other artists such as Roy Lichtenstein, Agnes Martin, Andy Warhol and Frank Steel, along with ephemera from the era and clips from groundbreaking shows like The Twilight Zone. 1 E. Las Olas Blvd., Fort Lauderdale; nsuartmuseum.org; 954-525-5500

gxlk wtxvp viajb] NORTON MUSEUM OF ART Israel is more than a country.

It stands for a lost homeland reclaimed, and another homeland lost — and as a metaphor for many of today’s complex international relationships. This Place: Israel Through Photography’s Lens looks at Israel and the West Bank through the eyes of 12 photographers who are neither Israeli nor Arab, from 2009 to 2012. 1451 N. Olive Ave., West Palm Beach; norton.org; 561832-5196.

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ON-GOING THROUGH DEC. 6 UNLESS OTHERWISE STATED

Fine Art Auctions Miami: Sale of early drawings and sculptures by Agustin Cárdenas, on view from Nov. 21.

4141 NE Second Ave., Suite 106A, Design District. Auction, 5 p.m.

Dec. 6. faamiami.com.

igtjojq batcux]& utv8 5 FAIRS PRIZM: 7300 Biscayne Blvd., 10 a.m.-5 p.m. through Friday, noon-5 p.m. Saturday and Sunday, through Dec. 13. $10.

PULSE: Indian Beach Park, 4601 Collins Ave., through Dec. 5. $25; seniors/students $15. pulse-art.com.

SATELLITE: Multiple North Beach locations (Ocean Terrace Hotel, Surf Med Pharmacy, The Restaurant, North Beach Bandshell, Collins Avenue between 73rd and 75th streets). Free. 4-10 p.m. Dec. 1; noon-9 p.m. Dec. 2; noon-10 p.m.

Dec. 3-5; noon-6 p.m. Dec. 6. satellite-show.com.

EXHIBITIONS MOCA: Museum of Contemporary Art North Miami: Opening of Carlos Salas: Latin America and the Global Imagination. Free to members (membership $50). 770 NE 125th St.; mocanomi.org.

Wynwood Walls: Unveiling of 14 new, large-scale murals, 2516 NW Second Ave., Miami. 11 p.m.-2 a.m. Free. thewynwoodwalls.com.

For more events, updates, see our database at miamiherald.com/artbasel/.

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Littlest Sister: “Faux” invitational art fair features 10 unrepresented women-identified Miami artists.

Spinello, 7221 NW Second Ave. Noon-7 p.m. Free. littlestsister.com.

Art Beat Miami: Showcase of emerging and renowned artists from Haiti and around the world, including artist talks and ongoing exhibition of Little Haiti Mural Project Showcase.

Free. Little Haiti Cultural Center, 212 NE 59th Ter. Opening, 6-9 p.m., with events throughout the week. Free. artbeatmiami.com.

De la Cruz Collection: “You've Got to Know the Rules . . . to Break Them,” selections from the collection of Rosa and Carlos de la Cruz explore the artists’ technical acumen from new American Abstraction to German Neo-Expressionism.

Plus, “Per Contra,” work by Félix González-Torres, Ana Mendieta and Rob Pruitt. 23 NE 41st St., Design District. 9 a.m.-3 p.m. daily. Free. delacruzcollection.org.

Institute of Contemporary Art Miami: Shannon Ebner’s A Public Character, the first major museum presentation of the artist’s work. Plus Alex Bag — The Van (Redux), centers around the 2001 video The Van, shown inside a van. Moore Building, 4040 NE Second Ave., Suite 200, Design District. 11 a.m.-7 p.m. daily. Free. icamiami.org.

Snarkitecture: Exhibition of abstracted and exaggerated interpretations of the traditional holiday candy cane form. Paseo Ponti, Design District. Free. 24 hours.

Hermes: Presents collaboration with Argentinian artist Julio Le Parc. 163 NE 39th St., Design District. 11 a.m.7 p.m. Free.

igtjojq _tujtcux]& utv8 ) FAIRS Art Africa Miami 2015: Carver Building, 801 NW Second Ave., downtown Miami. 7-10 p.m.

INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

Dec. 2; 11 a.m.-7 p.m. Dec. 3-5; brunch noon-2 p.m. Dec. 6. Free except Sunday brunch, $50. theurbancollective.co.

Art on Paper: Deauville Beach Resort, 6701 Collins Ave., 11 a.m.-7 p.m.

Dec. 2-5; 11 a.m.-6 p.m. Dec. 6. $25. thepaperfair.com.

Art Miami: 3101 NE First Ave., 11 a.m. to 8 p.m. Dec. 2-5; 11 a.m.-6 p.m. Dec. 6. $40; senior/student discounts and multi-day packages; combinations with Aqua available. artmiamifair.com.

Design Miami/: Meridian Avenue and 19th Street, 10 a.m.-8 p.m. Dec. 2-3, 11 a.m.-8 p.m. Dec. 4; noon-8 p.m.

Dec. 5; noon-6 p.m. Dec. 6. $25; students/seniors $20; combination with Art Basel, $60. designmiami.com.

INK Miami, Suites of Dorchester, 1850 Collins Ave., 9 a.m.-5 p.m.

Free. inkartfair.com.

Miami Project: Deauville Beach Resort, 6701 Collins Ave., Miami Beach; 11 a.m.-7 p.m. Dec. 2-5; 11 a.m.-6 p.m. Dec. 6, with shuttles from Miami Beach Convention Center. $25. miami-project.com.

PINTA: Mana Wynwood, 318 NW 23rd St.; 5-9 p.m. Dec. 2; 11 a.m.-8 p.m. Dec. 3-5; 11 a.m.-6 p.m. Dec. 6. $20. pintamiami.com.

Red Dot: 1700 NE Second Ave., Performing Arts District. Noon-6 p.m. Dec. 2, with 6-10 p.m. benefit reception; noon-8 p.m. Dec. 3-5; noon-6 p.m. Dec. 6. $20; free on Dec. 3-4. reddotfair.com.

SCOPE: 801 Ocean Dr., Miami Beach; 11 a.m.-8 p.m.; $35 ($25 students). scope-art.com.

Spectrum: 1700 NE Second Ave., Performing Arts District; 6-10 p.m. opening, $25; noon-8 p.m. Dec. 3-5, noon-5 p.m. Dec. 6, $20. spectrummiami.com.

UNTITLED: Ocean Drive and 12th Street, Miami Beach; 11 a.m.-7 p.m. Dec. 2-5; 10 a.m.-5 p.m. Dec. 6, with shuttle to Miami Beach Convention Center. $28; students/ seniors/Miami Beach residents $18. art-untitled.com.

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Dec. 2-5; noon-6 p.m. Dec. 6. $10. x-contemporary.com.

EXHIBITIONS/EVENTS Art Public/Art Basel Miami Beach: Opening of public exhibition of 27 outdoor art installations around the theme of Metaforms, plus Dec. 2 performances from 8-10 p.m. Free. artbasel.com.

Locust Projects: Martha Friedman’s Pore, installation and performance.

8 p.m. Dec. 2, 11 a.m. and 8 p.m., Dec. 3; 11 a.m. only Dec. 4 and 6, 11 a.m. and 6 p.m. Dec. 5. 3852 N. Miami Ave., Design District. Free. locustprojects.org.

Lenny Kravitz Photo Exhibition: 160 NE 40th St., Design District. 11 a.m.7 p.m. Free.

Unframed Ellis Island: Pop-up exhibition by Galerie Perrotin featuring a 14-minute film with Robert De Niro and photographs of 19th and 20th century immigrants. The Melin Building, 3930 NE Second Ave., Design District. Free. 11 a.m.-7 p.m.

Unrealism: Exhibition of figurative art organized by mega-dealers Jeffrey Dietch and Larry Gagosian. The Moore Building-Elastica, 191 NE 40th St., Design District. 11 a.m.-8

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White Cube Gallery: Larry Bell: 6 X 6 An Improvisation, 40 free-standing glass panels. The Melin Building, 3930 NE Second Ave., Suite 200, Design District. 11 a.m.-7 p.m.

Art Basel Sound Work: Mariele Neudecker at Soundscape Park/ New World Center, 500 17th St., Miami Beach, 6 p.m., Dec. 2. Free. artbasel.com.

Art Basel Film: Evening program of two collections of short films, Fairy Doll (8 p.m. Dec. 2) and Speak Easy (9 p.m. Dec. 2). Free. Soundscape Park/New World Center, 500 17th St., Miami Beach. artbasel.com.

Holoscenes: Performance installation

by TED Senior Fellow Lars Jan. Kyriakides Plaza, Miami Dade College Wolfson Campus, 300 NE Second Ave., downtown Miami. 10 a.m.-4 p.m. Free. mdclivearts.org.

Urban Experience: Four days of art, music, fashion, culture and sidewalk art. 175 NW 14th St., Miami. 6 p.m.2 a.m. Free.

Sean Kelly X Chrome Hearts: Work by Marina Abramovic´, Los Carpinteros, Jose Dávila, Robert Mapplethorpe, Mariko Mori, Alec Soth and Kehinde Wiley. Chrome Hearts, 4025 NE Second Ave., Second Floor. Free.

Dec. 3-5; noon-6 p.m. Dec. 6. miamiphotosalon.com.

NADA (New Art Dealers Alliance): Fountainbleau Miami Beach, 4441 Collins Ave., 2-7 p.m. Dec. 3; 10 a.m.-7 p.m. Dec. 4; 10 a.m.-6 p.m.

Dec. 5. $20; $10 seniors/students. newartdealers.org.

EXHIBITIONS/EVENTS Art Basel Conversation: Artist talk with Trevor Paglen and Jenny Holzer, 10 a.m. Hall C auditorium, Miami Beach Convention Center, 1901 Convention Center Dr. Free. artbasel.com.

ICA Performs: Los Angeles-based artist Erika Vogt presents the Artist Theater Program, a collaborative performance commissioned in partnership with Performa 15.

Institute of Contemporary Art-Miami, Moore Building, 4040 NE Second Ave., Suite 200, Design District. 3 p.m. Free. icamiami.org.

Pérez Art Museum Miami: Dev Hynes and Ryan McNamara sound and visual performance, 9 p.m.-midnight, Dec. 3. Free for sustaining members ($175). 1103 Biscayne Blvd., downtown Miami. pamm.org.

Louis Vuitton Objets Nomades: Louis Vuitton design collaboration on foldable furniture and travel accessories paying homage to the House’s special orders of the past.

140 NE 39th St., Design District.

10:30 a.m.-7:30 p.m. Free.

Loewe Foundation: Exhibition bringing Spanish history into modern context

by British artists Anthea Hamilton, Paul Nash, Lucie Rie and Rose Wylie. 110 NE 39th St., Suite 102; Design District. 11 a.m.-7 p.m. Free.

100+ Degrees in the Shade: A Survey of South Florida Art: Work by South

igtjojq bpadcux]& utv8 % Aqua Art Miami: Aqua Hotel, 1530 Collins Ave.; noon-9 p.m. Dec. 3; 11 a.m.-9 p.m. Dec. 4-5; 11 a.m.-6 p.m.

Dec. 6. $15. aquaartmiami.com.

Art Basel Miami Beach: Miami Beach Convention Center, 1901 Convention Center Dr., Miami Beach; 3-8 p.m.

Dec. 3; noon-8 p.m. Dec. 4-5; noon6 p.m. Dec. 6. $47; students/seniors $30. Multi-day and combination tickets with Design Miami/ available. artbasel.com.

ArtSpot: 1700 NE Second Ave., Performing Arts District. 1-9 p.m.

Dec. 3-5; noon-6 p.m. Dec. 6. $20. artspotmiami.com.

Fridge Art Fair Miami: Holiday Inn Miami Beach-Oceanfront, 4333 Collins Ave., with shuttle to Pulse and NADA. 4-9 p.m. Dec. 3; 11 a.m.-9 p.m. Dec. 4-5; 11 a.m.-7 p.m. Dec. 6. fridgeartfair.com.

Miami Photo Salon: 1700 NE Second Ave. (inside Spectrum), Performing Arts District. 1-9 p.m.

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Florida artists. 3900 N. Miami Ave., Design District. 11-9 p.m. daily. Free.

Art Basel Sound Work: Sofie Alsbo at Soundscape Park/New World Center, 500 17th St., Miami Beach, 6 p.m.

Free. artbasel.com.

Art Basel Film: Evening program featuring Afterward Via Fantasia, an opera written by George Lewis (8 p.m.) and Sea of Silence, a selection of short films (10 p.m.). Free.

Soundscape Park/New World Center, 500 17th St., Miami Beach. artbasel. com.

Fine Art Auctions Miami: Important Painting & Sculpture Auction. 4141 NE Second Ave., Suite 106A, Design District. 5 p.m. faamiami.com.

Now or Neverland: Adventures in Urban Surrealism: Presented

by Miami Urban Contemporary Experience, Chef Creole and #ArtCentralMiami. 3-10 p.m., 3-8 p.m. Dec. 6. $15. muce305.com.

Art Beat Vernissage: Little Haiti Cultural Center, 212 NE 59th Ter., 6-9 p.m. Free. artbeatmiami.com.

igtjojq sdoux]& utv8 r EXHIBITIONS/EVENTS Argentinian Artists in Miami: Miami Dade College Freedom Tower, 600 Biscayne Blvd., downtown Miami.

Noon-5 p.m. Free.

Art Basel Conversations: The Artist as Slow Traveler, 10 a.m., Hall C auditorium, Miami Beach Convention Center, 1901 Convention Center Dr. Free. artbasel.com.

Art Basel Sound Work: Camille Norment at Soundscape Park/New World Center, 500 17th St., Miami Beach. 6 p.m. Free. artbasel.com.

Art Basel Film: Duet, a collection of short films (8 p.m.) and Snow Job, a selection of short films (9 p.m.).

Free. Soundscape Park/New World Center, 500 17th St., Miami Beach.

Free. artbasel.com.

Troublemakers: The Story of Land Art,

by James Crump. Special Art Basel film screening at Colony Theatre, 1040 Lincoln Rd., Miami Beach.

8:30 p.m. Free. artbasel.com.

cxbadux]& utv8 " EVENTS Art Basel Conversation: Should art schools prepare artists for the art world? 10 a.m., Hall C auditorium, Miami Beach Convention Center, 1901 Convention Center Dr. Free. artbasel. com.

100+ Degrees in the Shade: A Survey of South Florida Art: Book release brunch, Girls’ Club Fort Lauderdale, 117 NE Second St., Fort Lauderdale. Free. girlsclubcollection.org.

Art Basel Sound Work: Alice Jacobs at Soundscape Park/New World Center, 500 17th St., Miami Beach. 6 p.m.

Free. artbasel.com.

Art Basel Film: Two short films, Vanishing Point (8 p.m.) and Bikini Carwash (9 p.m.). Soundscape Park/ New World Center, 500 17th St., Miami Beach. Free. artbasel.com.

Untitled (Material Matters): Exhibition of work by Carlos E. Sandoval de Leon at Under the Bridge Art Space, 12425 NW 13th Ave., #4. 10 a.m.-noon. Free.

cajux]& utv8 .

EVENTS Celebrity Brunch with Chef Creole & Friends: 11 a.m.-1 p.m., Little Haiti Cultural Center, 212 NE 59th Ter. $25. artbeatmiami.com.

Art Basel Conversation: The artist and the gallerist. 10 a.m., Hall C auditorium, Miami Beach Convention Center, 1901 Convention Center Dr., Miami Beach. Free. artbasel.com.

Breakfast at the Park: Lecture by sculptor Alice Aycock and outdoor breakfast, 9:30-noon, Frost Museum of Art at FIU, 10975 SW 17th St., West Miami-Dade. thefrost.fiu.edu.

Bubbles and Brunch: Breakfast at the Lowe Art Museum at the University of Miami, 1301 Stanford Dr., 10 a.m., with a talk by New Yorker cartoonist and author Roz Chast at 11:30. $15. www6.miami.edu/lowe.

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WE ARE PLEDGED TO THE LETTER AND SPIRIT OF THE U.S. POLICY FOR THE ACHIEVEMENT OF EQUAL HOUSING OPPORTUNITY THROUGHOUT THE NATION. WE ENCOURAGE AND SUPPORT AN AFFIRMATIVE ADVERTISING AND MARKETING PROGRAM IN WHICH THERE ARE NO BARRIERS TO OBTAINING HOUSING BECAUSE OF RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS OR NATIONAL ORIGIN. ORAL REPRESENTATION CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUES, TO BE FURNISHED BY A DEVELOPER TO A BUYER. OBTAIN THE PROPERTY REPORT REQUIRED BY FEDERAL LAW AND READ IT BEFORE SIGNING ANYTHING. NO FEDERAL AGENCY HAS JUDGED THE MERITS OR VALUE, IF ANY, OF THIS PROPERTY. ALL FEATURES, DIMENSIONS, DRAWINGS, GRAPHIC MATERIAL, PICTURES, CONCEPTUAL RENDERINGS, PLANS AND SPECIFICATIONS ARE NOT NECESSARILY AN ACCURATE DEPICTION AND ARE SUBJECT TO CHANGE WITHOUT NOTICE, AND DEVELOPER EXPRESSLY RESERVES THE RIGHT TO MAKE MODIFICATIONS. ALL PRICES ARE SUBJECT TO CHANGE WITHOUT NOTICE. ALL IMPROVEMENTS, DESIGN, AND CONSTRUCTION ARE SUBJECT TO FIRST OBTAINING APPROPRIATE PERMITS AND APPROVALS. THIS IS NOT AN OFFER TO SELL, OR SOLICITATION OF OFFERS TO BUY, THE CONDOMINIUM UNITS IN STATES WHERE SUCH CANNOT BE MADE.

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Now on view, only at the Lowe Art Museum!

General Admission: $10 University of Miami 1301 Stanford Drive Coral Gables 305.284.3535 www.lowemuseum.org

Dürer to Rubens: Northern European Art from The Bass Museum Through July 17, 2016

Contemplating Character: Drawings & Oil Sketches from Jacques-Louis David to Lucian Freud

Liliane Tomasko: Mother-Matrix-Matter Through January 31, 2016

Through January 17, 2016

MARCELLUS COFFERMANS (Netherlandish, ate. 1549-1579), The Holy Family with an Angel, ca. 1600, Gift of John and Johanna Bass.

JACQUES-LOUIS DAVID (French, 1748-1825), A Turbaned Man in Distress, 1815, black chalk, 4 1⁄4 x 4 3⁄8 in (108 x 112 mm). Courtesy of Landau Traveling Exhibitions.

LILIANE TOMASKO (Switzerland, b. 1967), Delirious, 2013, oil on linen, 70 x 76” (177.8 x 193 cm). © L. Tomasko.

A plug for our light shows.

Key West Holiday Fest presented by The Lodging Association of The Florida Keys & Key West

DECEMBER 3RD-20TH Harbor Walk of Lights Holiday Historic Inn Tour Lighted Boat Parade

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ENJOY LIVING IN THE

ART of the BEACH PRESENTS

MIAMI STREET PHOTOGRAPHY FESTIVAL 2015 MURANO AT PORTOFINO - SOUTH OF FIFTH Rare 3BD/3.5BA | 2,618 SF Int + 3 Terraces | Private Elevator Lobby | Tennis, Miami Beach Marina, Park $4,495,000 | www.MuranoAtPortofino3402.com

6ft white rabbit, Nashville, USA/ Courtesy of MSPF

MURANO GRANDE AT PORTOFINO - SOUTH OF FIFTH 5-Star Living | 2BD/2BA | 2,183 SF | Designer Decorated | Huge Terrace | City & Ocean Views | Sold Furnished $4,100,000 | www.400AltonRoadPH06.com

Join us Downtown during Art Basel as HistoryMiami Museum brings you the best of Street Photography from around the world.

VENETIAN ISLANDS PENTHOUSE Corner 3BR/3.5BA | 20’Ceilings | 4.750 SF | Completely Renovated | Surrounded by Water & Great Neighborhood $8,900,000 | www.GrandVenetianPH.com

November 20, 2015 - January 17, 2016 Master Talks, Portfolio Reviews, and Workshops by featured artists Bruce Davidson, David Alan Harvey, Maggie Steber, and Peter Turnley December 3 - 6, 2015

Also Come experience our permanent galleries and archives as well as our featured current and upcoming exhibitions:

GATED & PRIVATE AQUA ISLAND - MIAMI BEACH Professionally Decorated 3BD/3.5BA | 2,300 SF | Bulthaup Kitchen | Water Views | Huge Terraces | 3 Parking Spaces $1,495,000 | www.AquaIslandLanai.com

Operation Pedro Pan: The Cuban Children’s Exodus – through January 17, 2016 Sinatra: An American Icon – March 4, 2016 - June 5, 2016

Find like and follow #HISTORYMIAMI

www.historymiami.org

101 Flagler Street Miami, FL 33130

305.375.1492 e.info@historymiami.org

To request materials in accessible format, and /or any accommodation, please call 305-375-1621 or email: accessibility@historymiami.org. Enjoy the HistoryMiami Member discount, call 305-375-1618 or email membership@historymiami.org. Parking available at discounted rate for museum patrons.

NANCYBATCHELOR.COM

305.903.2850 nancy@nancybatchelor.com EWM REALTY INTERNATIONAL | CHRISTIE’S INTERNATIONAL REAL ESTATE

www.miamiindulge.com | DECEMBER / JANUARY 2016 | INDULGE 205

iuarts.com

NORTH MIAMI

MIAMI BEACH

As vibrant, diverse and innovative as

South Florida

SOUTHWEST MIAMI-DADE

College of Architecture + The Artss Center For The Humanities In An Urban Environmentt FIU Communication Arts Studio FIU-Miami Creative City Initiative e Jewish Museum of Florida-FIU U Mary Ann Wolfe Theaterr Miami Beach Urban Studios School of Environment, Arts and Societyy The Herbert and Nicole Wertheim Performing Arts Centerr The Patricia & Phillip Frost Art Museum The Royal@FIU World Stage Collaborative e The Wolfsonian-FIU U Writers on the Bay

Poised above Brickell City Centre, Rise is one of the cornerstones of Swire Properties’ artfully designed lifestyle concept. This luxurious, state-of-the-art residence offers exceptional amenities that cater to the needs of the entire family.

COURVOISIER COURTS

$939K

701 Brickell Key Blvd, # 812 3 Bedrooms | 2.5 Baths | 1,655 SF

JADE RESIDENCES

Samira Ramirez 786 426 5767 samiraramirez@gmail.com

Jenny Gonzalez 786 486 1617 jennygonzalezre@gmail.com

PINECREST ESTATE 6501 SW 92 Street 6 Bedrooms | 7.5 Baths | 8,522 SF

$1.485M

1331 Brickell Bay Dr, #3109 2 Bedrooms | Den | 3 Baths | 1,730 SF

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ST. LOUIS

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800 Claughton Island Dr, #2205 2 Bedrooms | 2.5 Baths | 1,000 SF

Stephan Hermida 305 905 6632 stephanhermida@gmail.com

Renata Galembeck Rohr 305 496 2862 garotagalembeckrohr@yahoo.com Rocio Useche 305 796 6769 rocio.useche@gmail.com

625 Brickell Key Drive, Miami, Florida 33131 | 305.372.1288 | Mon Fri 10 am. 6 pm. | Sat Sun 11 am. 5 pm. | Multilingual Staff FOR MORE LISTINGS, VISIT WWW.SWIREREALTY.COM OR DROP IN ANY TIME. WE’RE IN THE NEIGHBORHOOD. 206 INDULGE | DECEMBER / JANUARY 2016 | www.miamiindulge.com

Aqua Art Miami celebrates its 2015 edition this December – marking the fair’s 11th edition and its third since joining the Art Miami family of fairs. One of the top showcases for emerging art, the boutique fair supports a wide range of young and established galleries with strong emerging and mid-career artists. Set within the unique art fair setting of a classic South Beach hotel, the fair is just a short walk away from the convention center and features spacious exhibition rooms that open onto a breezy, intimate courtyard.

Aqua Art Miami at the Aqua Hotel 1530 Collins Ave | Miami Beach, FL 33139 Between Espanola Way and 16th St.

30 Minute

WWW.AQUAARTMIAMI.COM

Luxurious Style High-end Design Finest Museum Quality

2015 PARTICIPATING GALLERIES:

20%* off any Framing w/ mention of this ad. * Can not be combined w/ any other offer. Valid only Brickell Location. Exp. 12/30/15

Largest selection of frames in-stock in Miami. Call for pickup and delivery on any framing.

Discounts available on Crating & Shipping FREE ON SITE PARKING Latin American Investment Art • 100% Satisfaction Guarantee Picture Hanging • Insured Installation Available by Appointment

96 SW 7th St. •

57 Projects | Los Angeles; Arcilesi | Homberg Fine Art | New York; Art Center Allapattah | Miami; Artfactory Club | Vienna; Aureus Contemporary | Wakefield; Azart Gallery | New York; C. Emerson Fine Arts | St. Petersburg, FL; Cancio Contemporary | Miami; CASS Contemporary | Tampa; Derek Gores Gallery | Melbourne, FL; Elisa Contemporary Art | New York; Ernest G. Welch School of Art and Design | Atlanta; Everything is Art | Moscow; Exposure Gallery | Truth or Consequences; Fiercely Curious | Brooklyn; Fine Art Consultancy | London & Tokyo; Frantic Gallery | Tokyo; Gallery 300 | Santa Rosa; Gallery Marcoux | Ta’ Xbiex, Malta; Gallery on Wade | Toronto; Ghostprint Gallery | Richmond; Haiti Friends | Pittsburgh; Hamiltonian Gallery | Washington, DC; Hang Art | San Francisco; Huberty-Breyne Gallery | Brussels; j fergeson gallery | Farmville; Jenny Green Gallery | Bend; McCaig + Welles | Brooklyn; Morton Fine Art | Washington, DC; New Apostle Gallery | Brooklyn; Pele Prints | St. Louis; Projects Gallery | Miami; Rademakers Gallery | Amsterdam; Red Corridor Gallery | Künzell; Revision Space | Pittsburgh; S Artspace Gallery | New York; Sandra Lee Gallery | San Francisco; Space 776 | Brooklyn; Spacewomb Gallery | New York; SPiN Galleries | Shanghai; Studio 26 Gallery | New York; Signature | Atlanta; Vertical Gallery | Chicago; Victori + Mo | Brooklyn; Working Method Contemporary | Tallahassee

305.358.7226 • www.FrameArtMiami.com www.miamiindulge.com | DECEMBER / JANUARY 2016 | INDULGE 207

VIP OPENING NIGHT PARTY Dec. 2nd / 6–10pm

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SHOW HOURS Dec. 3rd, 4th, 5th / 1pm–9pm Dec. 6th / 12pm–6pm

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LOCATION 3011 NE 1st Ave. Miami, FL 33137

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2O15-16 SEASON TICKETS START AT JUST $39!

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BRAHMS AND PROKOFIEV

JAN 21, 2016 – Thursday at 8 p.m. JAN 29, 2016 – Friday at 8 p.m.

JAN 22 , 2016 – Friday at 8 p.m. JAN 30, 2016 – Saturday at 8 p.m.

10th Season Gala Evening with Renée Fleming JAN 23, 2016 – Saturday at 7 p.m.

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THIBAUDET PLAYS LISZT MAR 17, 2016 – Thursday at 8 p.m.

MAR 18, 2016 – Friday at 8 p.m.

MAR 19, 2016 – Saturday at 8 p.m.

Presented by the Miami Music Association and the Adrienne Arsht Center

SEASON SPONSOR

TURN BEAUTIFUL MOMENTS INTO BEAUTIFUL SHOTS

Europe’s most comfortable shoes just arrived in Miami!

Meet the ultimate combination of image quality and portability, speed and versatility, creativity and connectivity: Nikon 1 J5. The Nikon 1 J5 achieves image quality and low-light performance few compact cameras can rival and yet is small enough to take on every outing. Shoot 20.8-megapixel photos, 1080/60p videos, time-lapse and slow-motion sequences, HDR (High Dynamic Range) images and much more.

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All Nikon products include Nikon Inc. USA limited warranty. ©2015 Nikon Inc.

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n 1956, before man had yet ventured into the cosmos, Yves Klein declared “the world is blue.” He marked the occasion by creating a model globe painted completely in his signature shade IKB — or International Klein Blue. Klein’s prognostication proved correct: Four years later, when Russian Gagarin became the first human in outer space, the cosmonaut commented “the Earth is an intense deep blue!” By the time he died at age 34, Klein was the leading member of the French movement of Nouveau réalisme, known for his conceptual art and monochrome painting. Exploring his fascination with the immaterial, space and nature, he developed a body of work focused on the shade

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he adored, and which he declared was “the perfect expression of blue.” Today, the Yves Klein archive has collaborated with Lalique to make the perfect shade of IKB in crystal for an innovative limited edition piece recreating “La Terre Bleue.” Lalique artisans used the lost-wax technique to model this contemporary globe on the original work. The modern twist of the crystal material in IKB gives it a beauty of lightness and transparency that, simply, is out of this world.

Price upon request. Yves Klein by Lalique, Limited edition of 100, Lalique, Bal Harbour Shops, 9700 Collins Ave, Suite 103; 305-537-5150, lalique.com TEXT BY CLAUDIA MIYAR

inspired living and design

© 2015 Swarovski Lighting, Ltd

HANDCRAFTED LUXURY

north miami 1850 ne 146 st 305.947.5451

At the new Schonbek® gallery, elegance is a virtue. Discover an expansive collection of exquisite lighting options like the Eclyptix. From classic taste to modern chic, Schonbek® offers handcrafted pieces that are sure to complement — and enhance — your style.

coconut grove 3000 sw 28 ln 305.445.2244

Eclyptix EC1328N-401A1

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