Symposium - 4 by Rock Group LLC

SYMPOSIUM

ART 39 BASEL

A TRIBUTE

MOAFL

The Hub of the International Art World

Benazir Bhutto Finding Your Voice

Cuban Artists Unbroken Ties

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Book Review:

Deviant Behavior. ............................9 Terrie on Non-Profits Public Pay for an Internal

Tribute.... 10

Book Review:

The Rebel’s Hour. .............................. 11 An Electrifying FUSION of Art....... 12 Editors Choice:

Modern Master, Age-Old Allegory....... 16 CUBAN ARTISTS CREATE THE

TIES THAT BIND......... 20

ART “39” BASEL ................ 33

Art Premiere......................................... 34 Art Statements...................................... 35 Public Art Projects................................... 36 Art Unlimited: Ambitious Art on a Large-Scale. ........ 38

A tribute to Benazir Bhutto

directory

Finding Your Voice.......... 42 G is for Gallery............................... 47 M is for Museum............................ 52 T is for Theatre.............................. 56 Edible Beauty: Cooking with Flowers.............. 62

Publisher

Troy Publishing Inc. Editor-in-chief

Jennifer Jolly Managing Editor

David DeRusso Copy Editor

Sean Lablanche Office Manager

Kerry Laking Office Assistant

Salina Delano Production & GRAPHIC DESIGN

Roch Nakajima & Felipe Osorio ROCK Group LLC

Advertising, Visual Branding & Communication

www.myrockgroup.com

Contributing Writers

Emily Watson, Mack Derouac, Terrie Temkin, PhD, David DeRusso, Olivia Garcia, Huey Fontaine Delahauterive Media Consultants

Jeff Malin, Chris Chambers and Jeremy Abel For advertising rates and other information please call (305) 868-8769 Complete media kit online at: www.symposiummagazine.com Advisory Board

Keith Jolly, Jim Simpson, Steve Weil, Diana Mooney, Robyn Pearlman, Ken Henson, Jeff Malin and Stuart Macnamara Ph.D. Subscription Information

Domestic subscriptions to Symposium Magazine can be purchased for $75 annually. To receive a subscription to Symposium Magazine please send checks or money orders payable to Troy Publishing Inc/Symposium Magazine, PO Box 370685, Miami, FL 33137-0685, USA Disclaimer

Symposium Magazine assumes no responsibility for the care and/or return of unsolicited materials. Return postage must accompany any material to be returned. In no event shall unsolicited materials subject this publication to any claim for a holding fee or similar charges. The views and opinions of columnists and letters to the editor do not necessarily reflect those of the publisher and staff of Symposium Magazine. Symposium Magazine reserves the right to edit copy for clarity and space. The entire contents of Symposium Magazine are Copyright 2008 by Troy Publishing, Inc. No portion may be reproduced in whole or in part by any means, including electronic retrieval systems, without the express written permission of the publisher. Symposium Magazine is published twelve times a year by Troy Publishing, Inc. All Rights Reserved.

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Editor’s Letter

Philosophers have argued art serves no purpose, it has no function, exists purely for its own sake. Others have suggested there is something about the arts which transcends the essence of life with unparalleled aptitude. Some maintain that in analyzing art too closely we lose sight of its beauty, its awe-inspiring capacity for conveying the human condition. These may all be valid points of view. Nevertheless, our appreciation and understanding of the arts can often be enhanced by determining the motivation behind an individual artwork, the purpose for its existence. In this issue we see works that exist for an array of reasons, created by a myriad of artists with varying backgrounds. Art 39 Basel in Basel, Switzerland is the largest art fair in the world, the “El Dorado” of the art world. In our Art 39 Basel section, you see paintings, video, installation, sculpture and performance art produced by advanced, mid-career and emerging new artists from around the globe. In this unprecedented international event, the brightest artists and most respected galleries come together in a celebration of constructed beauty.

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Bringing us closer to home, our cover story “Cuban Artists Create the Ties that Bind” explores the lives and works of several Cuban artists, inspired by a current exhibit at the Museum of Art | Fort Lauderdale (MOAFL) entitled Unbroken Ties: Dialogues in Cuban Art (Sin rupturas). In this article, we examine the artists of the exhibit, an exceptional presentation put together by MOAFL curator Jorge Santis featuring works that convey the Cuban experience as it pertains to everything from politics to family tradition. Also in this issue we take a look at the work of a young New York-based artist, Natalie Frank, in our Editors Choice section. Frank is a brilliant artist whose work remains relatively unknown. Her paintings represent a dark, disturbing view of life. In this rare opportunity, we see the psychological turmoil of the “ugly truth,” as seen through the eyes of a modern master. Symposium Magazine thanks you once again for joining us in a journey through the arts. We hope that after enjoying this issue you have come to at least one very certain conclusion – works of art come into existence for a host of reasons that are as varied as the human condition.

Jennifer T. Jolly Editor-in-Chief

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REVIEW OF

DEVIANT

By Mack Derouac

BEHAVIOR:

A NOVEL OF SEX, DRUGS, FATHERHOOD, AND CRYSTAL SKULLS

Author:

MIKE SAGER

Title: DEVIANT BEHAVIOR Paperback: 304 Pages Publisher: Grove Atlantic/Black Cat Press Date:

April 2008

Price:

$14.00

In his first novel, Deviant Behavior: A Novel of Sex, Drugs, Fatherhood, and Crystal Skulls, Mike Sager blends a magnified slice of urban subculture in late-1980s early-1990s Washington, D.C., with a subplot about powerful mystical artifacts. Washington Herald reporter Jonathan Seede is working on a book that subverts the Just Say No movement. On the surface, Seede is the picture of Washington, D.C. He is respectable, with a pretty wife, a new baby and a job at the town’s most esteemed newspaper. But ten blocks from the White House, on the notorious Fourteenth Street strip, a war is raging over deviant behavior. And Seede is on the front lines, deep into a secret freelance project that’s taking him to places where most people would never dare to go. Things hit a snag when his main source, the Pope of Pot, a “do-gooder” dealer who only sells the best pot, gets framed by dirty cops for dealing coke. One of the pope’s possessions – a crystal skull rumored to have magical powers – ends up in the hands of a runaway who finds shelter in Seede’s house. Other characters, like pimp Jamal Alfred and Salem, one of Jamal’s girls with a shady past, contribute to the sleazy milieu and provide entrée to the wealthy Bert Metcalfe, who has designs on the crystal skull. Seede descends into an inferno of repressed urges and human frailties. The selfish reporter is eventually done in by his penchant for an irresistible high and sex. His indiscretions land him almost dead in the gutter, hallucinating about — and subsequently battling with — his wife, child in tow, who left him some months ago. It’s a nod to the philosophical queries of the book: Do

we give in to our urges, despite societal restrictions and possibly losing everything, or do we follow the rules and possibly lose ourselves? Sager answers those questions without saying a word about them, leaving it up to the reader to decipher what he means. Deviant Behavior: A Novel of Sex, Drugs, Fatherhood, and Crystal Skulls is the story of what happens when one frustrated father decides to Just Say Yes. It is a mad, vivid, and daring expedition through a society in crisis, featuring pimps and hustlers, an accidental hooker, an honest cop, a storefront prophet/marijuana dealer, a beautiful teenage runaway, a crack-addicted music legend, an A-list gay activist and a diminutive billionaire who is searching for the answers to life’s greatest questions in a crystal skull. The supernatural elements are thankfully muted. Seede’s journey plays out against a brilliantly realized portrait of the nation’s capital. And because of that, despite the skull and the stereotypes, Deviant Behavior is a worthwhile read. 04

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Terrie on Nonprofits

Public Pay for an Internal Tribute QUESTION: We had a long-time board member pass away and the family requested that donations be

made to a scholarship fund in lieu of flowers. Is there any reason why we could not make a token donation – say $50 – to that fund? One of our board members questioned the legitimacy of using public funds in such a manner.

Answer: Many organizations do dip into their funds to make donations in similar situations. Some deal with this question in their bylaws, some include a line item in their budget for such tributes and others just do it when the situation arises. Still, the answer to your question is actually fraught with complex issues to consider.

Obviously, the cleanest way to handle this would be for each board member to chip in personally to pay tribute to their recently deceased colleague. However, that opens its own can of worms. What if someone doesn’t want to contribute – perhaps he or she is new to the board and did not know the person well? Do you (can you) still say the gift is from “the board?” Or, what if the individual contributions come in at a variety of levels? Will those giving more be satisfied with having their money co-mingled? If, instead, you have the contributions sent separately, has the organization really recognized the dedication of the person who just passed? What happens the next time there is a death – or a birth, illness or marriage? What will be the response? At what point do you reach “donor” fatigue? And, where is the equity if board members tire of giving at the same time that one of the biggest contributors to these tributes in the past faces a life cycle event? Best would be if the board agreed that one of the expectations of all board members will be that they would give a specified lump-sum amount to a tribute fund each year to cover such contingencies. That amount might range from $15 – $100 per person, depending on the size of the board, the anticipated demand for such a fund and the tribute gift level deemed appropriate. But, the organization then has to consider whether that expectation will negatively affect giving to the organization itself. But you asked whether public funds could be used to make this tribute. We all know that board members cannot “benefit” from their position. In realistic terms, I doubt the IRS or the general public would consider an occasional tribute gift made in memory of a long-serving board member to be an abuse of the system worth pursuing. This is especially true since such tributes tend to be a card, flowers or a platter of food costing a relatively insubstantial amount of money. Of course, if you expect to acknowledge

all life cycle events of not only your long-standing board members, but all board members, staff, past presidents and so on, you may end up spending a substantial amount of money on these tributes, which is harder to justify. And, as I questioned above, where do you stop? There is still the ethics of spending money for purposes beyond the realm of donor intent. Also, in this instance you wanted to make a donation to an outside scholarship fund. What do your bylaws say about making donations to other organizations? You might want to consider setting up an internal tribute program where people can be recognized in some manner, but any monies spent will stay within the organization. Just because someone has a “preferred” charity doesn’t mean that tribute

cannot be paid in a different manner. Presumably, since these people have been involved with your organization, it holds (or did hold) some place in their heart. Terrie Temkin, Ph.D. is an internationally-recognized governance and planning expert. She is a founding principal of CoreStrategies for Nonprofits, Inc., which interweaves governance, board development, fund development, PR/marketing and public policy to strengthen organizational capacity. Terrie is a longtime member of AFP. She invites your questions. Contact her at 888-458-4351 Ext. 3 or TerrieTemkin@CoreStrategies4Nonprofits.com. 04

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REVIEW OF

THE

REBELS’ HOUR

By Mack Derouac

The Belgian journalist Lieve Joris works within the tradition of literary reportage in her third book about Congo. In The Rebels’ Hour, she illuminates the dark heart of contemporary Congo through the prism of one lonely and complicated man—a rebel leader named Assani who eventually becomes a high-ranking general in the Congolese army. When Assani, a young cowherd, leaves his remote eastern village to pursue his studies in the city, he learns that he is ethnically Tutsi. Though uninterested in politics or military life, he is forced to take sides in the bloody conflict rocking the Congo in the wake of the genocide in neighboring Rwanda. Strong, clever, and trusting of no one, he becomes a fearsome rebel leader. With his expanding cadre of child soldiers he traverses the war-ravaged country, repeatedly dodging death at the hands of competing rebel factions in the bush, angry mobs in the capital city of Kinshasa, and even the rebel-turned-dictator Laurent Kabila himself. The Rebels’ Hour thrusts us into Assani’s world, forcing us to navigate the chaos of a lawless country alongside him, compelled by an instinct to survive in a place where human life has been stripped of value. Though pathologically evasive, Assani—in Joris’s horrifying and brilliant zoomlens portrait—stands out in relief as a man who is both monstrous and sympathetic, perpetrator and victim. Joris writes that her story “is based on real characters, situations, and places, without ever coinciding them completely.” Though all the facts are true, she writes, “in order to paint a realistic picture of my characters, I’ve had to fill in some parts of their lives from my own imagination.” This setup, which includes changing the protagonist’s name, will make some readers uncomfortable. After all, in a war-torn country with the largest U.N. peacekeeping mission in the world, there is more than a story to tell; there is a record to set straight. The book does, however, offer glimpses of a man who has internalized the conflict in Congo. Joris offers a fresh view of a country, smack in the heart of

Africa, that has been obscure to too much of the English-speaking world. Once known as Belgian Congo, then as Zaire, the Democratic Republic of the Congo hasn’t known substantial peace since the 19th century. With its wealth of natural resources, history of repression and diverse population, the country is steeped in old resentments. Joris’ main character is Zikiya, a Tutsi cowherd from the eastern plains, and the story alternates between his childhood and recent years when he becomes part of Congo’s transitional government. As a college student in the early 1990s, Zikiya’s Rwandan classmates poke fun at his hillbilly ways, and the Congolese judge him for appearing Tutsi. Responding to the times, Zikiya joins the Tutsi rebels, the Rwandan Patriotic Front. Partly, he’s seduced, partly, he sees no alternative – everyone already assumes he’s a member anyway. Now adept at disappearing, whether into the bush, a crowded room or an assumed identity, he takes on a new name, Assani. He has “broken loose from the landscape that produced him,” and anger and fear become his guiding principles. Assani’s search for an identity took place in a time of chaos that continues in Congo today. In 1994, more than 800,000 Tutsi were killed in Rwanda, helping to set off unrest across the border in Congo. Roughly 4 million Congolese civilians were killed during the civil war, which lasted from 1998 to 2003, and violence persists in eastern parts of the country. The Tutsi were first victims, then perpetrators carrying out brutal revenge killings. In Joris’s book, the smell of threat is everywhere, especially strong on Assani, who whips his kadogos¸ or little ones, and treats women like second-class citizens as a matter of course.

Author: LIEVE JORIS Title: THE REBELS’ HOUR Hardcover: 272 Pages Publisher: Grove PRESS Date: April 2008 Price: $24.00

Despite Joris’s vivid details – the putrid smells of sweaty young soldiers and death, generals constantly gabbing on cell phones, a protagonist partial to milk and Fanta – the story doesn’t read like a novel, and Assani never comes into clear focus. The prejudice and violence he encountered from his youth had obvious negative effects on him, and the portrait sheds light on notorious figures in Congo today, such as the rebel leader Laurent Nkunda. But Assani is guarded with his story, and Joris removes herself as a character, a journalist trying to understand him. Instead, it’s a restaurant owner named Claudine who takes Assani’s late-night calls and listens to his morbid ruminations. Claudine seems like a stand-in for a journalist and Assani a stand-in for a real person deeply involved in a continuing crisis. The holes that have been filled with Joris’ imagination seem like icing where there should be cake. And if cake isn’t forthcoming, so be it. Those holes are part of what makes nonfiction narratives gripping. The Rebels’ Hour would have been a more powerful story if its facts had coincided with the truth completely, and if Joris had treated them, nevertheless, with the rich and clear prose that is her trademark. While this book will be shelved under “nonfiction,” it will sit there uneasily, certainly until the unrest in Congo is history. 04

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By Huey Fontaine Delahauterive

AN ELECTRIFYING

FUSION OF ART Art Fusion Gallery is located in the Miami Design District on the corner of North Miami Avenue and NW 40th Street. It’s the largest gallery in the Design District – about 4000 square feet – currently representing over 450 artists from around the world. The artists featured are not the big names. They are emerging artists. But their work represents something new and exciting, a blend of contemporary works unlike anything else in Miami. It’s Gallery Walk, an event that takes place on the second Saturday of every month when many galleries time their new shows. I am on assignment, trying to get a feeling for this monthly event. I walk up and down the Design District, 18 blocks of stores from the 1920s and ‘30s far from the ocean breeze of South Beach on this particular night in May when the weather is more humid than usual. Over the last few years, a handful of galleries and private collections have either relocated or opened up shop along these sun-bleached avenues, a former industrial sector adjacent to the ethnic enclave of Little Haiti. Inside some of the galleries, it’s not difficult to feel uncomfortable. I circulate amongst those who seem to be totally enthralled by the artwork. They are casually chatting with the gallery employees, sipping red wine and eating finger foods. I hear words like “vision” and “genius” used every now and then. But I don’t understand the interest people show towards much of the work. It appears esoteric to the point of being condescending, something I am not supposed to understand because understanding it would ruin the appeal. I later learn that the collections are not supposed to be very impressive this time of year. In Switzerland Art Basel is in full swing, but in Miami the frenzy of Art Basel was in December. Few, if any, of the people at Gallery Walk are collectors. It’s an opportunity to socialize.

“Every gallery and institution plans their best shows during Art Basel,” says Terence Riley, director of the Miami Art Museum. “The Miami art scene is somewhere between young adulthood and late adolescence. It’s no longer a kid, but it’s still happy-go-lucky and trying to figure out what it wants to do with its future.” Art Fusion is different from the other galleries. Outside the sidewalks are packed with people listening to a live band playing “My Favorite Things,” the classic ’61 version by Coltrane. Strong bass lines, jazz saxophone, Latin guitar and complex percussion rhythms can be heard up and down the street. Inside there are even more people drinking wine and viewing the artwork with a different kind of keen interest. It’s an impressive site to see. Not only is the scene lively, but the work is legitimately engaging. There is nothing pretentious or stale about the art. These artists are daring and exhilarating. “Art Fusion Gallery sells contemporary works of art that are colorful, uplifting and decorative. We represent different mediums: oils, acrylics, watercolors, digitals, charcoals, photography, collage, and a variety of mixed media. These works can be on canvas board, wood, plexi glass or any other surface an artist can create on,” says Braemer. “Our artists come from all over the world. They are all emerging to mid-career artists – some with no academic background, others with years of classical art training, but all are very talented.”

Roman Žalac emphasizes the human experience as it interacts with urban society. In Birtija you see a group of people seated at tables in a crowded city restaurant. Born in Zagreb, the capital of Croatia, Žalac’s paintings often contain the European motif that appears in Birtija. In Red contains Žalac’s other favorite metaphor, the female essence and her power as she struggles to reconcile here sexuality with her spirituality. In this painting a woman and a priest appear together weeping, draped in red. Dina Pizzarello bends the mind with a blend of mysterious, salacious self portraits. In these

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Blumenthal. “I see an image of the whole painting before my eyes and then I paint it. Part of me does not want to explain my work; I just want people to use their imagination. I also want them to be happy when looking at it.” If Blumenthal wants his viewers to be happy, it is possible Humberto Cuan wants his to experience contradictory emotions. His work is particularly dark, almost to the point of being hypnotic. Like another Columbian artist, Fernando Botero, Cuan tends to focus on situational portraiture. However, instead of using Botero’s obese figures, Cuan features dark-haired women who appear either angry or drugged.

she poses nude, clad only in colorful Venetian carnival masks and matching fingernail polish. The suggestive quality of her work’s appearance, coupled with the enigmatic nature of a masked being, illustrates the lascivious passion of the clandestine. Caiphus is a captivating painter of complex compositions. A graduate of the Maryland Institute, College of Art, Caiphus has always been inspired by the natural human form. His paintings are candid, composed of unseen metaphors and subtle punditry. “I enjoy creating art that holds a double meaning – one for the viewer and one for me,” says Caiphus. “My artwork is constantly growing and evolving, just like my physical self. It is a blend of my selective

past mixed with my present thoughts, thus allowing my subject matter to emerge through love and experience. I love the streets. I love the constant struggle between the haves and have-nots. I love the constant duel with human relationships and I find myself compelled to tell that story without being too direct.”

“Artists have bridged the generations since the beginning of time,” says Cuan. “With each new generation there are new concepts, new art forms that change the paradigms of culture. We change the world. We follow our passions and our dreams. The choice is always there – to follow in violence or in peace. We must have art to describe this era of our lives, to keep open the bridge to our history.”

Michael Blumenthal is vivid and otherworldly, bringing to life wild, bizarre realities that exist only in his imagination, a surrealist for the twenty-first century. “I can’t really decide what style I have. I guess you could call it ‘Newism.’ Perhaps it is pop art, cubism and surrealism. I’m not limited by any rule, and my art is constantly changing,” says The artists at Art Fusion represent the rise of that which is new, unknown and unexplained but understood. The art world is meant to represent individuality and freedom of expression. Far too often the individuality expressed conforms to pre-conceived trends. Art becomes the basis for discriminatory association, as opposed to a mechanism for universal understanding. At Art Fusion, the works are not mere investment opportunities. They are objects of intellectual aspirations, meant to be appreciated for their aesthetic value. And because the gallery features emerging artists, work can be purchased at reasonable costs. “People buy art for different reasons – to decorate their home, for investment purposes, to cover a hole in the wall, to help an artist’s career, because they just love art. Maybe a piece of art moves them or reminds them of a special moment in their life. Artwork can bring you a feeling of hope or serenity or joy or passion,” says Braemer. “Most artists have great difficulty in promoting and selling their works. Because of my intensive business background I have found it relatively easy to market my work.” 04

All images courtesy of Art Fusion Gallery

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Editor’s Choice

“The Stammerer”, 2007

“The painting has an almost voyeuristic quality. As is typical in most of Frank’s paintings, it evokes the sense that you have opened a very private visual diary of well kept dirty little secrets.”

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MODERN MASTER Natalie with

Frank

superior

personalities

observes

and

psychological

and

facets

documents insight

the

contemporary

culture’s underbelly. She uses her paintings as a vehicle for challenging our preoccupation with social norms and acceptance. Her subjects are almost like literary figures with seemingly destructive, yet fertile forces that leave most of us with little choice but to self-reflect. A New York-based painter, Frank was born in Austin, Texas in 1980. She earned an M.F.A in visual arts at Columbia University’s School of the Arts in 2006 and holds a B.A. in studio art from Yale University. She was awarded the 2003-2004 Fulbright Scholarship for study at the National Academy of Fine Arts in Oslo, Norway. In 1997 and in 1999, Frank attended the Slade School in London and in 2001 the École des Beaux in Paris. Frank has mastered brush control with her academic, “painterly” style. She works quickly and decisively, every nuance of color and every stroke intelligently executed on her large-scale canvases. Her work shows calm, methodical determination which results in a warm, meditative glow radiating in varying degrees from her paintings. Frank’s portraits (notably her best work is in portraiture) are distinguished by her mastery of paint and a gift for observation; character and spirit are expressed

through physiognomy. Her painting method combines thick, sumptuous lines, harmonious proportions and an audacious use of reflected light. A subdued juxtaposition of color in combination with the permanent values of imagination and lyrical expression create an atmosphere that is both psychologically and visually stunning. In October 2007, Frank landed an exhibition at the world renowned gallery Mitchell-Innes and Nash in New York. The exhibition entitled “Where She Stops” included several large-scale, multi-figure contemporary history paintings, as well as portraits and domestic scenes. The work in the exhibition explored relationships of power as they function within issues of identity, sexuality, religion, and history. Also present in the exhibit were personal, political, and theatrical elements that collide in her representations of the beautiful and the grotesque. Among the situational paintings on display in the exhibit was

“Self-Portrait”, 2007

AGE-OLD ALLEGORY

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“The Stammerer.” In this piece, a reclining woman, nude except for lace panties and posed atop a floral throw painted with a staccato of muted flowers, stares directly at the viewer but is seemingly unaware of their presence. A naked, heavyset man chokes a short wide eyed woman with a gaping mouth in the background. The painting has an almost voyeuristic quality. As is typical in most of Frank’s paintings, it evokes the sense that you have opened a very private visual diary of well kept dirty little secrets. I often in my line of work come across brilliant art, but it is a rare occasion that I am as stirred by an artist as I am Natalie Frank. She is a natural; however, her talent is ascribed to diligence as much as intelligence and creativity. She made the inspiring decision not to sever art from its social and historical contexts by ignoring the craft-skill training, knowledge of subject-matter, and education required to prepare artists for the undertaking of professional practice. At less than thirty years old, Frank has barely skimmed the surface of her maturity as an artist. However, her accomplishments so far make it evident that we have a master in the making. 04

“Ryan And Jeremy”, 2007

“Return Reveal”, 2007

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“Hangman”, 2007

Images for “Modern Master, Age-old Allegory” courtesy of Mitchell-Innes and Nash “On The Lawn”, 2007

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Nereida Garcia Ferraz [Mamiâ&#x20AC;&#x2122;s Wedding] Courtesy of Nereida Garcia Ferraz

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Cuban Artists

Create the Ties

That Bind By David De Russo

The Museum of Art | Fort Lauderdale (MOAFL) is currently showcasing nearly 65 works by more than 40 artists in Unbroken Ties: Dialogues in Cuban Art (Sin rupturas). Some of the artists left Cuba as children. Some left as adults. Some never left. In this historic display, exiles and nationals have been brought together, creating a unique discourse on the human condition as it pertains to national identity.

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The MOAFL collection of contemporary Cuban art began in 1993, concentrating exclusively on the work of Cuban exiles. The collection was put on display in the Breaking Barriers exhibit, held in 1997. Unbroken Ties expands on its predecessor by including works by artists who have remained on the island. According to an introductory catalog essay by MOAFL curator Jorge Santis, who has organized both exhibits, Unbroken Ties “focuses on the survival and perpetuity of Cuban values and the Cuban character beyond the island. The thesis is put forward by way of pointed comparisons and contrasts between works of art created by immigrants and works by nationals. The visual dialogues established herein often break generational, gender, and ideological barriers.” The works of art in this exhibition are united not by a set of formal characteristics in the objects themselves but rather a set of cultural, political and social issues and circumstances that can be understood both on and off the island. Santis arranged the artworks into three distinct segments to explore the avenues through which national identity is revealed: “Paradise Lost” documents the worker’s paradise that eventually crumbled to ruins; “Risking Life and Limb” chronicles the dangerous voyage undertaken by fleeing Cubans; “Unbroken Ties/New Reality” examines the range of experiences endured by exiles. “I call it a Greek tragedy in three acts,” says Santis. “It’s a very, very risky show – melodramatic, passionate and a bit depressing. I hope it’s an emotional experience for the viewer.” In the catalog for the exhibition’s debut at the Museum of Latin American Art (MoLAA) in Long Beach, California, interim director of the Frost Museum at Florida International University Carol Damian writes of Cuba, “It is Paradise, and it is lost.” During the Period of Degeneration after the Revolution, in an attempt to equalize society, urban areas were “ruralized” and rural areas were “urbanized.” Government buildings were maintained for aesthetic and social purposes, while government-mandated demolitions resulted in urban craters that fragmented the cities. Corresponding photographs by Tony Mendoza, Citizen’s House and Government House, present a poignant portrayal of the resulting disparity. Both photographs feature the same low-angle shot, viewing each house from the front. Both houses feature a series of steps that lead to two stone columns and a generously proportioned doorway entrance. But these similarities serve only to reinforce the blatant distinctions. The citizen’s house is dilapidated, practically on the verge of collapse. The government’s house is a beautiful, freshly painted portrait of architectural integrity.

Nereida Garcia Ferraz (Top to Bottom) [Esquina, 1989] [Esquina, 2002] [Balcones, 2002] Courtesy of Nereida Garcia Ferraz

Contrary to the dismal reality illustrated by Mendoza, photographs taken shortly after the Revolution provide a viewpoint characterized by optimistic idealism. The Militiaman’s Wedding, a gelatin silver print photograph by Raul Corrales, shows a smiling bride and groom as they

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Nereida Garcia Ferraz (Top to Bottom) [Bambola, 2005] [La Reyna, 2005] Courtesy of Nereida Garcia Ferraz

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Courtesy of the AP

Arturo Cuenca [Science and Ideology (Che)] Courtesy of MOAFL

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Nereida Garcia Ferraz [Bookmark, 2007] Courtesy of Nereida Garcia Ferraz

walk through a courtyard underneath flowerfilled gun barrels. During Castro’s speech after he arrived in Havana Alberto Korda photographed The Don Quixote of the Lamppost, a lithe man in a straw hat, seated high above the swarming mob, relaxed and smoking. According to Santis, “In this image we see that Castro, for better or for worse, has the backing of the peasants.” Alberto Korda later took the famous photograph of Che Guevara in Havana, entitled Heroic Guerrilla. Korda’s version of the photograph does not appear in Unbroken Ties. But in Arturo Cuenca’s Science and Ideology (Che) the back of Heroic Guerilla is seen featured on a billboard made of scaffolding. The outline on the left is Che’s head, while the right side contains a phrase that translated into English reads: “A revolutionary must be a tireless worker.” By some trick with photographic negatives Cuenca

has made the propaganda text legible, instead the reversed lettering that we should properly see from this rear view.

when it comes to acquiring works that display Castro because I am very sensitive to the feelings of the exiled people.”

Che also appears in Requiem, a video installation by José A. Toirac. Screened inside a dark room built for the exhibition, the film slowly pans over the black and white image of Che’s bulletridden body after he was killed in Bolivia. Even though the work is not specifically spiritual, one gets the sense that there is a visual language of ritual and myth that transcends Christ-like allusions. Spiritual allusions occur again in a wood sculpture by Alejandro Aguilera where two revolutionary figures are given saint-like qualities.

Fidel Castro appears twice throughout the entire exhibit. Neither rendering is positive. In The Repressor by Julio Antonio, his mouth sends out guns, prisoners and doctrine. And in 1,2,3 Se acabó tu conteo (1,2,3 Your Countdown is Over) by Carlos Luna, Castro is knocked to the ground by a knockout punch during a boxing match.

“From the very beginning, Castro tried to mix religion with politics, believe it or not,” says Santis. “I have tried to be as tasteful as possible

“At times, in my painting, I try to ridicule or satirize the topic or expose it in all rawness. Whether I am right or not, it is part of my internal struggle,” says Carlos Luna. “I don’t want to get involved in political topics, but I can tell you that my decision [to leave Cuba] was based on the need to express myself with

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Ibrahim Miranda [ El Cretro (The Coffin)] Courtesy of the AP

total freedom. In Cuba you can express yourself while you don’t deal with a touchy aspect that irritates the government. For my rebellion there in Cuba, I always felt I was trapped; I wasn’t welcome in the established structures of the official culture. I got everything I could out of my work in Cuba. There I had a successful career with prizes and distinctions. I can’t complain, but I could not stand the status quo.” Understanding the work of artists who have left Cuba requires an in-depth look at the exile experience, depicted throughout “Risking Life and Limb” and “Unbroken Ties/New Reality.” Unlike the migrants who leave their country of origin for economic or social reasons, most of the Cubans who leave the island do so to escape political persecution. Their decision to leave is burdened not only by the peril of traveling across the sea but also by the realization that they can never return home.

Sandra Ramos [ La Balsa (The Raft)] Courtesy of MOAFL

“I had grown up with the idea that we were going to be leaving the island, and when you leave you know you never can go back. I tried to absorb everything,” says Nereida García-Ferraz, who left the island with her family in 1970 at the age of 16. “When

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[Old Havana Series from the Exhibition] Courtesy of MOAFL

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Juan Si [Rosa Nautica] Courtesy of MOAFL

I looked at something I was so conscious, so aware that sooner or later my life was going to be dramatically different. When I came to this country I had that with me, everything that I wanted to put in my mind, to etch in my consciousness. I never wanted to let go.” In Unbroken Ties García-Ferraz exhibits an art piece entitled Old Havana, a complex work comprised of six photographic negatives she retrieved on her return to Cuba. Using new digital techniques, García-Ferraz modified the old snapshots to create a sense of memory and displacement that transcends barriers of time and place. “When I became a photographer, the first thing I did was get a chance to go back to Cuba. But I was perceived there as an American. Here, I am perceived as a Cuban. There is this weird

dichotomy. My identity is totally Cuban. My formation as an artist is wholly American,” says García-Ferraz. She grew up in Chicago and received her BFA from the Art Institute of Chicago in 1981. “Most of the Cuban artists that are here in Miami right now went to art school in Cuba. So even as a Cuban-American artist I have always been an outsider.” An artist who left Cuba more recently is Humberto Castro, whose work exhibits themes of trauma related to the death-defying expedition experienced by many Cuban exiles and often paramount within exile artworks, though Castro’s own journey was not life-threatening. After a rise in censorship followed the fall of the Soviet Union in the late 1980s, a large number of artists (known as the “generation of the 1980s”) left Cuba.

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Using a combination of organic forms and mythological figures, Castro’s work conveys themes related to the massive exodus of Cuban “balseros.” Here Castro incorporates both. “In The Sea Horse I used Ulysses, someone who for many years lived far away from his country,” says Castro. To the right of Ulysses is the recurring figure of a snail, often used by Castro to symbolize the traveler who carries his home on its shoulders. Another member of the “generation of the 1980s” is Juan Sí González, whose work presents even stronger degrees of political activism. His Rosa Nautica (Nautical Compass) features is a compass supplemented by propeller-shaped limbs that appear to be spinning above the bucket that catches their falling blood. A graduate of the Superior Institute of Art and the Cuban Institute of Art and Cinematography, González originally enjoyed government support. But as his work became more controversial, he found himself relegated to cleaning the streets, his art censored because of its political nature.

Even today’s Cuban artists must give up to half their sales to the government and must gain approval to travel or show anywhere off the island. State-owned commercial galleries sell to tourists. Travelers hoping to take artwork home from Cuba must bring it to Cuba’s Ministry of Culture, along with a small payment and a letter of approval allowing the work to leave. Collectors say Cuban customs officials at the airport invariably ask to see these letters and will confiscate any undocumented artworks. Both Ibrahim Miranda and Sandra Ramos have been exhibited widely in Miami, despite their being Cuban nationals. Their works provide subtle attempts at political criticism that fail to elicit widespread condemnation from the anti-Castro community in Miami. In Ramos’ La balsa (The Raft) the shape of the island is drawn with red logs, two oars facing south, a faded Cuban flag for a sail. The raft floats in the middle of shark-infested waters, which some viewers have interpreted as a reference to the U.S. embargo. Ibrahim Miranda also uses

Eduardo Muñoz Ordoqui [Untitled, Banishment Series] Courtesy of MOAFL

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a map of Cuba to emphasize water and isolation. In Miranda’s El Féretro (The Coffin) Cuba is covered in a black tarp, perhaps suggesting the country’s impending mortality. During the 1980s and 1990s, bitter fights took place within Miami’s art establishment over the prospect of exhibiting works made in Cuba. In 1988, artworks by several pro-Castro artists were going to be auctioned at the Cuban Museum of Arts and Culture. The auction experienced widespread protests charging the museum with sponsoring Communist sympathizers. One painting was purchased for $500 and set on fire in the middle of the street. After a small pipe-bomb blast damaged the entrance to the museum, 17 of the museum’s 54 directors and five of its top officials turned in their resignations. “We are surrounded all the time with so many images, especially now. We are inundated. Sometimes I wonder why I am taking one more. But, in a way, images are engaging processes,” says Nereida GarcíaFerraz. “My generation has been divided politically. We happen to have lived in a time of history where Cuba and the United States were at each other. But time will pass, the tensions will be gone. Fidel will die, we will die. All that will remain is the images.” For Unbroken Ties confrontation with ideological divisions was inevitable. The exhibit examines Cuba’s national identity and much of the Cuban experience has been characterized by controversy. “This exhibition, like everything Cuban, somehow elicits some controversy. In the Museum of Latin American Art in California, the controversy came from the Left. Some of the trustees at that museum felt my essay was too anti-Castro,” explains Santis. “Now I face controversy again, but this time it comes from the Right. Some of the artists for whom I have the greatest respect complained that I have some pictures by artists that should not be here.” Miami artists Arturo Rodriguez and his wife Demi continue to have works in the show. But they chose not to appear at a media-preview press conference due to the inclusion of works by Cuban artist Kcho. ‘’It’s my own personal discomfort with an artist who acts like a government official,’’ Rodríguez says. ``I’m not saying he shouldn’t be exhibited. This is simply my personal protest.’’ ``I could not leave Kcho out. He’s part of Cuba’s art history,’’ says Santis. “I tried to balance things out. It’s not an easy show, but it has historical importance. Usually, you see one work here, one work there, or one show with one theme. This one tries to create a narrative using works of art. A Cuban will feel ‘That’s our history. Good or bad, it’s our history.’” 04 (Top to Bottom) Manuel Pisa[Sin Titulo (from the series Monuments)], Humberto Castro [Sea Horse,1998], Tony Mendoza[Casa de Ciudadano (A Citizens House)] Courtesy of MOAFL

(Top to Bottom) Carlos Luna[1,2, 3, Your Countdown is Over], Jose Bedia[Temporada Alta (Leaving the High Season)] Courtesy of MOAFL

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ART 39

BASEL

THE HUB OF THE INTERNATIONAL ART WORLD

Isa Genzken [Rose 1] Courtesy of David Zwirner Gallery, New York

The 39th edition of Art Basel takes place in the museum rich city of Basel (Switzerland) from June 4 through 8, 2008. As the world’s premier art show, Art Basel is the annual meeting place of the international art world. This year’s 300 exhibiting galleries, coming from all over the world, were selected out of a record number of more than 1,000 applications and will show works by over 2,000 artists of the 20th and 21st centuries. The Art Unlimited hall, with its 60 largescale projects, and Art Basel Conversations, features internationally respected panelists. The event kicks off with a vernissage for invited guests on June 3 and is open to the general public from June 4 through June 8. This annual reunion of the international art world regularly attracts some 60,000 artists, collectors, gallerists, curators, and art enthusiasts from across the globe, who come to see the largest, most rigorously juried overview of what the international art market has to offer - and to meet the stars and insiders of the international art scene. Covered by more than 2,300 media representatives, Art Basel enjoys a formidable reputation based both on the peerless quality and incomparable diversity of the exhibited art works and on the show’s international audience.

Pietro Roccasalva [Senza Titol] Courtesy ZERO, Milano

Art 39 Basel will be showcasing all forms of artistic expression, the repertoire extending from paintings, drawings, editions, and sculptures to installations, photography, performances, and internet and video art. Works for a few thousand dollars by young emerging artists will be on display alongside museum-quality masterpieces priced in the millions.

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Art Premiere Artists in Dialogue With a record number of over 200 applications to choose from, the Art Basel Committee selected 16 galleries for the Art Premiere sector of Art 39 Basel. The participating galleries come from Austria, Belgium, Great Britain, China, Denmark, France, Germany, India, Japan, Portugal, Sweden, and the USA. This yearâ&#x20AC;&#x2122;s edition of Art Premiere is devoted to the concept of artists in dialogue. The 16 selected projects promise exciting, unexpected, and provocative dialogues and juxtapositions featuring works by artists representing different cultural backgrounds, generations, or artistic approaches.

Song Kun [Itâ&#x20AC;&#x2122;s my life] Courtesy of Boers-Li Gallery, Beijing

Yangjiang [Rat cow tiger dragon snake] Courtesy of Vitamin creative space, Guangzhou

Yorgos Sapountzis [after Electricity,The remains of a start] Courtesy of Loraini Alimantiri Gazonrouge, Athens

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Haegue Yang [Mountains of Encounter; instalation] Courtesy Galerie Barbara Wien, Berlin

Angel Vergara [Belle femme au miroir] Courtesy Stella LohausGallery, Antwerp

Yuki Kimura [untitled] Courtesy of Taka Ishii Gallery, Tokyo

Art Statements The future of Art For Art 39 Basel the Art Statements sector expands to include 31 solo shows by young artists. Selected by the Art Basel Committee from a record number of more than 290 applications, the participating artists come from 19 different countries. Art Statements has promoted young artists for over 10 years now, offering them a special platform that brings them to the eyes of an international audience of curators, collectors and art critics. These 31 projects promise art enthusiasts interesting discoveries and fascinating encounters with work from the rising generation of artists. This year Art Baselâ&#x20AC;&#x2122;s selection committee has focused above all on artists who are little-known or represent less easily accessible artistic positions. The projects on show will all be created especially for Art 39 Basel. The participating artists come from Austria, Brazil, Britain, China, Cuba, France, Germany, Greece, Ireland, Italy, Japan, the Netherlands, New Zealand, Norway, Peru, Romania, Switzerland, the USA, and Vietnam

Germaine Kruip [Counter composition] Courtesy of The Approach, London

Art Basel has been committed to promoting young artists for over three decades now: The sections Perspektiven, Neue Tendenzen, Young Galleries, and, since 1996, Art Statements have consistently offered galleries of contemporary art an annual subsidized platform guaranteeing them significant attention. That Art Basel has become an international benchmark for the latest artistic trends, and that kunsthalles and museums frequently select Art Statements artists for their exhibition programs, is a tribute to the enormous success of the sector. Gallerists and artists know that those allotted one of the coveted booths are sure to gain the attention of the professional art world to a degree virtually unmatched for young artists anywhere else in the world.

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Subodh Gupta [Ganghiâ&#x20AC;&#x2122;s Three Monkeys] Courtesy of Nature Morte Bose Pacia, New Delhi

PUBLIC ART PROJECTS Exploring Our Boundaries The outdoor exhibition area in front of the buildings hosting the international art show are once again scheduled to become a stage for art projects in public space. Ten works by internationally renowned artists like Dan Graham, Luca Vitone, Isa Genzken, Roxy Paine, Thomas Baumann, Conrad Shawcross, Subodh Gupta, Sol LeWitt, Tobias Rehberger, and Ugo Rondinone will be installed there. Engaging directly with the viewer, they connect with the daily lives of passersby in ways now poetic, now surprising. Creating perspectival shifts, they turn the familiar and accustomed into a new and unexpected experience, while at the same time exploring the boundaries between art and life. This year Isteinerstrasse, the access street to halls 1 and 2 of the international art fair, is also being integrated into the exhibition concept. The Public Art Projects platform offers fascinating insight into leading contemporary artistsâ&#x20AC;&#x2122; interpretation of new art in public space. By no means a traditional sculpture exhibition, Public Art Projects showcases interventions in urban space. The ten pieces featured on Exhibition Square and Isteinerstrasse will be installed site-specifically. The exhibition concept has once again been devised by experienced Basel exhibition maker Martin Schwander. 04

Luca Vitone [Gli occhi di Segantini] Courtesy of Galleria Emi Fontana, Milano

Ugo Rondinone [Moonrise east] Courtesy of Galerie Eva Presenhuber, Zurich

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Thomas Hirschhorn [Hotel Democracy] Courtesy Stephen Friedman Gallery, London

4 SYMPOSIUM | 39

ART

UNLIMITED:

AMBITIOUS ART ON A LARGE-SCALE This year’s Art Unlimited exhibition features 60 artists from 23 countries, presenting an array of ambitious art projects unlike those that can be seen at any other art show in the world. The line up of artists showing at this prestigious exhibition of contemporary art, reads like a stellar cross-section of the current international art scene. Many of the pieces on show have been created especially for the Art Unlimited platform. New this year is a central site for intellectual encounters within the Art Unlimited hall. Conceived to promote dialogue between visitors and distinguished members of the international art world, it will be the site of Art Basel Conversations in the morning and Art Lobby in the afternoon. The center will also play host to a Video Lounge, bookstore, and special exhibition of artist-created magazines.

Management, and the technical team, Art Basel succeeds in staging an internationally acclaimed exhibition of contemporary art.

Alongside this exhibition in the Art Unlimited hall, the Art Statements section is being expanded from 26 to 31 one-person shows of young artists this year. Thanks to the unique interaction of artists, galleries, the Art Basel Committee, the curator, the Show

The exhibition concept was devised by the accomplished Geneva curator Simon Lamunière. Art Unlimited offers artists and galleries a platform for works that exceed the scope of conventional artfair booths - and frequently even of galleries, museums, and other traditional venues for the presentation of art. The 12,000-square-

Complementing the wide array of art on display in the Art Galleries section at the international art show, Art Unlimited holds exciting discoveries in store. The 60-plus projects at this year’s edition of Art Unlimited were selected by the Art Basel Committee from a record number of 215 applications.

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meter exhibition hall, designed by the architect and art collector Theo Hotz showcases outside sculptures, video projections, installations, wall paintings, photographic series, and performance art. Swiss artist Thomas Hirschhorn (Stephen Friedman Gallery, London) has refused to exhibit in his native country for political reasons since 2003. Now he chooses Art Basel as the venue for his return, showing his monumental Hotel Democracy at Art Unlimited. In this oversized model of a 44room hotel, the walls of every room are plastered with photographs from newspapers and magazines showing scenes of people fighting for democracy. Hirschhorn describes his piece as follows: “Hotel Democracy is a sculpture of an uncertain building embodying different concepts, realizations, misunderstandings, perversions, hopes, dreams, and catastrophes of democracy. In every room of the hotel I interpret the common term democracy in a different way.” The monumental Still Life # 61, nearly 10 meters long, by American artist Tom Wesselmann, one of the fathers of Pop Art, dates from 1976. Four screens show a group of objects on a bedside table: two keys, a ring with a gemstone, a cigarette, and a toothbrush. Still Life # 61 is one of the few works of monumental scale in Tom Wesselmann’s oeuvre. With it, Wesselmann recasts this classical genre of art

Carl Andre [Lament for the children] Courtesy Paula Cooper Gallery, New York

– which blossomed in the 17th century, retaining its popularity well into the 20th century. With Lament for the Children , Carl Andre created a minimalist work consisting of 100 concrete blocks (18 x 8 x 8 inches) standing in rows of 10. The installation was originally created and exhibited in the abandoned playground at P.S. 1 in 1975 for Rooms, the inaugural show of

the P.S.1 Contemporary Art Center (New York). Over the years it was gradually destroyed and then remade by the artist in 1996 for an exhibition at the Kunstmuseum in Wolfsburg, Germany. The somber presence of the piece calls to mind a field of gravestones, but also a 17th century Scottish dirge lamenting the death of a child by fire. Qui Anxiong is influenced by everyday life in rapidly changing Guagzhou, which has grown from communist isolation to the economic capital in southern China. The work reflects how modern lifestyle and the ecology of China are changing. Anxiong attempts to connect experiences with the collective memory. The exhibition includes four his screen installation animations and fingerprint paintings using Chinese ink and paper on video. Anxiong utilises traditional Chinese myths to highlight modern concerns. The large scale high definition projections depict the mythical creatures of Chinese fables set against a modern urban China. The exhibition concept was devised by the accomplished Geneva curator Simon Lamunière. Art Unlimited offers artists and galleries a platform for works that exceed the scope of conventional art-fair booths - and frequently even of galleries, museums, and other traditional venues for the presentation of art. The 12,000-square-meter exhibition hall, designed by the architect and art collector Theo Hotz showcases outside sculptures, video projections, installations, wall paintings, photographic series, and performance art. 04

Carl Andre [Lament for the children] Courtesy Paula Cooper Gallery, New York

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A TRIBUTE TO BENAZIR BHUTTO

By Emily Watson

FINDING YOUR VOICE

“Her voice was ever low, gentle and soft—an excellent thing in woman.” – King Lear. The bus was packed with a boisterous mob of people as it slowly made its way down Karachi’s main thoroughfare on October 18th. Pick-up trucks containing armed police guards flanked either side and hundreds of young men surrounded the vehicle to push back the horde of excited observers. Benazir Bhutto was seated inside with an injured dove cradled in her lap. Leader of the Pakistan Peoples Party (PPP) and the woman many in the crowd believed to be their nation’s savior, she had returned home after nine years in exile and was currently on her way to give a speech at the Jinnah memorial. Shortly after midnight, an explosion lit up the sky and violently rocked the crowded bus, sending its passengers to the floor with a shocking jolt. Several seconds later there was another explosion and then silence gave way to the deafening echo of sirens and screaming.

coup. He was later executed on charges of conspiracy. In 1980 Bhutto’s brother Shanawaz was murdered in France under mysterious circumstances, and another of her brothers, Mir Murtaza, was killed in 1996.

“The terrorists are trying to take over my country and we have to stop them,” proclaimed Bhutto hours before two bombs killed scores of people near her motorcade as she returned from exile. The bomb blasts intended for Bhutto ended up leaving her relatively unharmed but 140 of the quarter-million supporters who traveled to Karachi that day were killed.

Widespread opposition to gender equality among Islamic countries remained an unavoidable source of criticism for Bhutto. According to Samya Burney, researcher for the women’s rights division of Human Rights Watch and author of a report on women’s rights in Pakistan, “Women in Pakistan face spiraling rates of genderbased violence, a legal framework that is deeply biased against women, and a law enforcement system that re-traumatizes female victims instead of facilitating justice.”

She was the first woman ever to lead a modern Islamic nation but she did not plan to be a politician. Bhutto became active in politics after her father, the late Pakistani Prime Minister Zulfikar Ali Bhutto, was thrown out of office in a 1977 military

Bhutto swore to carry out her father’s political legacy, leading the PPP to a victory in the November 1988 and October 1993 parliamentary elections. While in office she faced enormous challenges in governing a poor politically fractious and ethnically diverse nation.

Several weeks prior to her October homecoming, the chief minister of Sindh Province (the Pakistani territory of which

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Karachi is the capital) spoke of Bhutto and publicly proclaimed the potential rule of a woman to be a curse on Pakistan. As Prime Minister, Bhutto was praised for moving swiftly to restore civil liberties and political freedom, suspended under military rule. In her autobiography Daughter of Destiny (published in 1989) Bhutto discusses her personal life and political career. Born into a wealthy landholding family with a tradition of political activism in southeastern Sindh province, Bhutto enjoyed a privileged childhood and went on to study political science and philosophy at Radcliffe College and Oxford University. She excelled academically and planned to work with her father’s government as a professional diplomat upon her return to Pakistan in June 1977. Two weeks after she returned military officers led by General Muhammad Zia-ul-Haq – capitalizing on public protests of disputed parliamentary elections – overthrew Prime Minister Zulfikar Ali Bhutto in a bloodless coup. Benazir Bhutto spent the next 18 months in and out of house arrest as she struggled to rally political support to force Zia to drop fallacious murder charges against her father. The military dictator ignored worldwide appeals for clemency and had Zulfikar Bhutto hanged in April 1979. Bhutto’s persecution began in earnest after the dismissal of her father’s government in 1977 and his execution in 1979. She intensified her denunciation of Zia and sought to organize a political movement against him. Repeatedly put under house arrest, she was finally imprisoned under solitary confinement in a desert cell in Sindh province during the summer of 1981. Bhutto describes the conditions in Daughter of Destiny: “The summer heat turned my cell into an oven. My skin split and peeled, coming off my hands in sheets. Boils erupted on my face. My hair, which had always been thick, began to come out by the handful. Insects crept into the cell like invading armies. Grasshoppers, mosquitoes, stinging flies, bees and bugs came up through the cracks in the floor and through the open bars from the courtyard. Big black ants, cockroaches, seething clumps of little red ants and spiders. I tried pulling the sheet over my head at night to hide from their bites, pushing it back when it got too hot to breathe.” Bhutto was finally allowed to travel to England in 1984 to receive treatment for a serious ear infection and she remained in exile there until after Zia lifted Martial Law in December 1985. When she returned in April 1986 a huge crowd turned out on the streets to greet her. By the

time the Pakistan International Airlines plane landed in Lahore, there were millions of people in the streets of the city. Lahore had taken on the atmosphere of a carnival. After almost nine years of repressive military rule, the people of Pakistan had something to rejoice about. Benazir Bhutto represented the hope for the future. She was the leading symbol of the anti-Zia movement. The massive outpouring of emotion and support amazed all: the press, the government, the opposition of parties, and Benazir Bhutto were all impressed by the largest gathering in the history of Pakistan. It took the motorcade, carrying Benazir Bhutto on a platform in the back of an open truck, ten hours to travel eight and a half miles from the airport to the site chosen for Benazir Bhutto to speak. The crowds showered Bhutto with flower petals and gifts as she traveled. She was elected a chair in the PPP the following month. Bhutto lost no time in organizing mass protests and civil disobedience campaigns to pressure Zia to relinquish office and call national elections. Her stirring oratory, familiar name and striking appearance helped give her a strong mass appeal but she had to struggle to receive power from the PPP’s old-guard leadership. Its members were wary of her gender and youth. Contentious rightist parliamentary opposition composed of former Zia allies and Islamic fundamentalists accused the new Prime Minister of packing the civil service with PPP supporters. Relations with India showed early signs of improving after Bhutto met with former Indian Prime Minister Rajiv Gandhi, but Muslim unrest in the disputed territory of Kashmir threatened to renew tensions in early 1990. Still, despite these problems, political observers credit Bhutto with keeping the country’s chronic ethnic and regionalist tensions in check and developing a working relationship with the coup-prone military during her first year in office. Bhutto’s government gave a high priority to social sectors like health, education, clean drinking water, sanitation and energy. The budgetary allocations in these sectors were increased, allowing the fruits of democracy and freedom to reach the common man. In her first speech as prime minister, Benazir Bhutto said, “We will choose the path of love. We will eradicate hunger and poverty. We will provide shelter for the homeless. We will provide employment for the unemployed. We will eradicate the illiterates.” She went on to promise that women will be given full partnership in Pakistan. In the domain of foreign policy, her government pursued an aggressive and dynamic policy.

Addressing a historic US Joint Session of Congress during her state visit to the United States in 1989, Prime Minister Benazir Bhutto called for the establishment of an Association of New Democratic Nations. She told the Congress about the advances for democracy that she symbolized. “Everywhere the sun is setting on the day of the dictator, the generals are returning to the barracks,” said Bhutto. Elections were held again in October 1993. Bhutto’s PPP coalition was victorious and she continued with her reform initiatives. In 1996, amidst various corruption scandals, she was dismissed by then-president Farooq Leghari, who used the Eighth Amendment discretionary powers to dissolve the government. The Supreme Court affirmed President Leghari’s dismissal in a 6-1 ruling. Criticism against Bhutto came from the Punjabi elites and powerful landlord families who opposed Bhutto. She blamed this opposition for the destabilization of Pakistan. With national elections scheduled for January 2008, Bhutto was poised for victory. She would once again be Pakistan’s prime minister. But tragedy struck again. A few weeks before the election, shots rang out at a campaign rally in Rawalpindi, followed by a bomb blast that killed Benazir Bhutto. In the wake of her death, rioting erupted throughout the country. The loss of the country’s most popular democratic leader has plunged Pakistan into turmoil, intensifying instability in a highly volatile region. The story of Benazir Bhutto is a dramatic inspiration for the world at large. Her pamperedprincess childhood preceded a life plagued by consistent personal and public turmoil. She was a voice guiding a distraught people though their time in the darkness. She was mother to a society of orphans, calmly caring for them with a paternal sensitivity rarely found in a national leader. She represented hope for the hopeless. Bhutto knew the threats and continued with her mission, knowing that if she were to die her death would not be the end but the beginning. On her return to Pakistan, she told reporters, “The only way we can turn this round and save Pakistan is to save democracy, and that’s why I came back…I don’t want to face suicide bombers and be assassinated, but if it’s the price I must pay.” 04

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ATELIER

CONTEMPORANEA FINE ART

3863 Shipping Ave. Miami, Fl. 33146 305-569-9990 www.atelier.bz

AVANT GALLERY

1680 Michigan Ave Miami, Fl. 33139 305-535-9935 www.avantgallery.com

ART SOUTH

240 N. Krome Homestead, Fl. 33030 305-247-9406 www.artsouthhomestead.org

ARTSPACE CGQ

8761 SW 133 ST. Miami, Fl. 33176 305-282-9154 www.artspacecgq.com

1555 SW 8TH ST. Miami, Fl. 33135 305-642-3080

CREMATA FINE ART

1646 SW 8th ST. Miami, Fl. 33135 305-644-3315 www.crematafineart.com

BARRY FELLMAN/ EXPOSURE

4021 Laguna St. Coral Gables, Fl. 33145 305-884-1000

BEAUX ARTS GALLERY

2451 Brickell Ave. Main Floor Miami, Fl. 33129 305-858-6776 www.beauxartsgallery.com

ADAMAR FINE ARTS

BETTCHER GALLERY

5582 NE 4th Ct. Miami, Fl. 33137 305-801-1047 www.bettchergallery.com

BERTA C ALFONSO

BRAZIL GALLERY

46 NW 36th ST., Loft 3 Miami, Fl. 33127 305-448-2060 www. artrouge.com

1157 SW 6th ST. Miami, Fl. 33130 305-326-0800

4141 NE 2nd Ave. Ste. # 202 Miami, Fl 33137 305-573-1920 www.barbaragillmangallery. com

305-672-5305

ART ROUGE GALLERY

CARLOS ALVES GALLERY

BARBARA GILLMAN GALLERY

ART MARCEL GALLERIES

www.lepommier.net

DALEUS MUSEUM & ART GALLERY

785 NE 125TH ST. North Miami, Fl. 33161 305-899-2135

5625 SW 8th St. Coral Gables, Fl. 33134 305-262-5700

420 Espanola Way Miami Beach, Fl. 33139

CARIDI GALLERY

Miami’s longest established Fine Arts Gallery. Virginia Miller has presented close to 300 exhibitions in her nearly 35 years as a curator. 169 Madeira Ave. Coral Gables, fl. 33134 305-444-4493 www.virginiamiller.com

801 Brickell Bay Dr. Apt. 363 Miami, Fl. 33131 (33128) 786-777-0007

BRICKELL VILLAGE GALLERY 616 S Miami Ave. Miami, Fl. 33130 305-373-1772

BRITTO CENTRAL

Featuring work by world famous Pop-Artist Romero Britto 818 Lincoln Rd. Miami Beach, Fl. 33139 305-531-8821 www.brittocentral.com

CAREL GALLERY

922 Lincoln Rd. Miami Beach, Fl. 33139 305-534-4384

CRYSTAL ART GALLERIES 725 SE 9th Ct. Ste. Main Hialeah, Fl. 33010 305-885-5358

DALEUS Museum & ART GALLERY 1688 NE 123rd ST North Miami, Fl. 33181 305-891-0030 www.daleus.com

DAMIEN B. CONTEMPORARY ART CENTER 282 NW 36th ST. Miami, Fl. 33127 305-573-4949 www.damienb.com

DANIEL AZOULAY GALLERY

3900 NE 1st Ave Miami, Fl. 33137 305-576-1977 www.danielazoulaygallery.com

DARNAL GALLERY 9560 Harding Ave. Surfside, Fl. 33154 305-868-5755

48 | SYMPOSIUM 4

EMMANUEL ART GALLERY 860 NE 140th ST. North Miami, Fl. 33161 305-899-1015

EMMANUEL JAVOGUE FINE ARTS 123 NW 2rd ST. Miami, Fl. 33127 305-573-3903

ERNESTO LUJAN

19495 Biscayne Blvd. Miami, Fl. 33180 305-937-2002

ESTATES ART GALLERY 345 Lincoln Rd. Miami Beach, Fl. 33139 305-672-7892

ETRA FINE ART

10 NE 40th ST. Miami, Fl. 33137 305-438-4383 www.etrafineart.com

EUROPEAN ART GALLERY

61 NE 40 ST. Miami, Fl. 33137 305-438-9006 www.EuArtGalleryMiami.com th

EVELYN AIMIS FINE ART THE GIFT ART ROUGE GALLERY

DAVID CASTILLO GALLERY 2234 NW 2ND Ave. Miami, Fl. 33127 305-573-8110 www.castilloart.com

DAVINCI GALLERY AND FRAME

DORSCH GALLERY

151 NW 24th ST. Miami, Fl. 33127 305-576-1278 www.dorschgallery.com

FENIX FINE ARTS

DOT 51 INC.

FINEARTGASM.COM

2914 Ponce De Leon Blvd. Coral Gables, Fl. 33134 305-460-9002

51 NW 36th ST. Miami, Fl. 33127 305-573-9994 www.dotfiftyone.com

DELEHANTY SUZANNE GALLERY

DURBAN SEGNINI GALLERY

1541 Brickell Ave. Miami, Fl. 33129 305-858-5056

372 SW 38th Ave. Miami, Fl. 33146 305-774-7740 www.durbansegnini.com

DHARMA STUDIO

EFFUSION

An exceptional contemporary art gallery offering works from internationally acclaimed artists and emerging artists. Revolving solo and group artist exhibits and receptions. Hours: Mon-Sat 11am - 6pm 3170 Commodore Plz. Miami, Fl. 33133 305-461-1777 www.dharmastudio.com

1130 Ocean Dr. Miami Beach, Fl. 33139 305-538-3558 www.effusiongallery.com

1756 W 8 Ave. Hialeah, Fl. 33010 305-649-6089 th

(The chic new on-line art gallery and broker known for shaking up the gallery circuit) 3615 NE 207TH ST. Miami, Fl. 33180 305-933-1362 www.fineartgasm.com

FINE ART SALES 1160 NW 163 Dr. Miami, Fl. 33169 305-625-9566 rd

FLORIDA COLLECTORS GALLERY Hialeah, Fl. 33010 305-538-1812

FREDRIC SNITZER GALLERY 2247 NW 1st Pl. Miami, Fl. 33127 305-448-8976 www.snitzer.com

GALERIA

18457 S. Dixie Hwy. Cutler Bay, Fl. 33157 786-293-0647

GALERIA ARCHE

742 SW 16th Ave. Miami, Fl. 33135 305-643-2555 www.galeriacubearte.com

HIRSCH FINE ART

This gallery offers a unique selection of work by American Modernists, Latin American Masters and early southwest artists 3162 Coodore Plz. Miami, Fl. 33133 305-444-2600 www.hirschfineart.com

INDEPENDENT VISUAL ART GALLERY

GALLERY ART

INTERNATIONAL GALLERY

20633 Biscayne Blvd. Miami, Fl. 33180 305-932-6166 www.gallart.com

700 S Royal Poinciana Blvd. Miami Springs, Fl. 33166 305-882-7003

GALLERY BERTINTOUBLANC

180 NE 39th ST. Miami, Fl. 33137 305-571-9302

With the original gallery in Paris the Miami gallery showcases contemporary artists from across the globe. 2534 N Miami Ave. Miami, Fl. 33127 305-573-3554 www.gallerybertin.com

GALLERY DE JA VU

1390 Ocean Dr. Miami Beach, Fl. 33139 305-695-7355

GALLERY EMMANUEL PERROTIN

Private art dealer and collection 305-573-2130

GALLERY NORDSOUTH 16600 NW 54th Ave. Hialeah, Fl. 33014 305-621-0110 www.nordsouth.com

IVORY ART GALLERY

JASON SCHOEN FINE ARTS 1221 Brickell Ave., Ste. 900 Miami, Fl. 33131 305-858-4887

JORGE M SORI FINE ART 2970 Ponce De Leon Blvd. Coral Gables, Fl. 33134 305-567-3151

KEVIN BRUK GALLERY

2249 NW 1st Pl. Miami, Fl. 33127 305-576-2000 www.Kevinbrukgallery.com

KUNST HAUS GALLERY 3312 N Miami Ave. Miami, Fl 33127 305-438-1333 www.kunsthaus.org.mx

LEITER GALLERY

GDS FINE ARTS

Gallery featuring original works in the areas of painting, sculpture and design 6900 Biscayne Blvd. Miami, Fl. 33138 305-754-9062 www.leitergallery.com

GROVES GALLERY

LINCOLN CENTER ART GALLERY

2910 Ponce De Leon Blvd. Coral Gables, Fl. 33134 305-447-1740

DIASPORA VIBE GALLERY

A favorite of Symposium Magazine this gallery is a “must-see” for you Low-Brow art Patrons. 314 NW 24th ST. Miami, Fl. 33127 305-989-3359 www.haroldgolengallery.com

1628 Michigan Ave Miami, Fl. 33139 305-674-7076

GALERIA DEL SOL

51 Miracle Mile Miami, Fl. 33134 305-445-8566 www.garcialynskey.com

2043 N Miami Ave. Miami, Fl. 33127 305-576-1804 www.dlfinearts.com

HAROLD GOLEN GALLERY

46 NW 36th St. #2 Miami, Fl. 33127 305-576-7616 www.independentvisualart. com

GARCIA LYNSKEY GALLERY

DIANA LOWENSTEIN FINE ARTS

3938 N Miami Ave Miami, Fl. 33127 305-573-4046 www.diasporavibe.net

3780 NE 199th Ter. Miami, Fl. 33180 305-792-0300 www.evelynaimisfineart.com

G is for GALLERY

3137 Commodore Plz. Miami, Fl. 33133 305-444-2900

618 Lincoln Rd. Miami Beach, Fl. 33139 305-535-7415

JORGE M SORI FINE ART continued on page 51 >

4 SYMPOSIUM | 51

MOLINA ART GALLERY

G is for GALLERY

LOCUST PROJECTS 105 NW 23rd ST. Miami, Fl. 33127 305-576-8570

LUIS ADELANTADO MIAMI

98 NW 29th St. Miami, Fl. 33127 305-438-0069 www.luisadelantadomiami.com

LURIE FINE ART GALLERIES 3900 NE 1st Ave. Miami, Fl. 33137 305-573-7343 www.luriegalleries.com

LYLE O. Reitzel GALLERY 2441 NW 2nd Ave. Miami, Fl. 33127 305-573-1333 www.lyleor.com

MAMUSHKA INTERNATIONAL FINE ARTS 31 NW 36 ST. Miami, Fl. 33127 305-573-1445 th

MARIA CALAS ART GALLERY 2391 Coral Way Coral Gables, Fl. 33145 305-854-6068

MARPAD ART GALLERY 1518 Ponce De Leon Blvd. Coral Gables, Fl. 33134 305-444-9360

MAXOLY GALLERY 810 SW 16th Ave. Miami, Fl. 33135 305-631-0025

MGI ART GALLERY 1516 SW 8th ST. Miami, Fl. 33135 305-642-8922

MIAMI ART GROUP GALLERY

Miami Art Group offers the finest art to serious collectors while also providing unique purchasing options to the corporate and hospitality markets. 126 NE 40th ST. Miami, Fl. 33137 305-576-2633 www.miamiartgroup.com

MIARTE GALLERY

85 Merrick Way Coral Gables. Fl. 33134 305-445-2783 www.miartegallery.com

MIDORI GALLERY ANTIQUE FAR Eastern ART 3168 Commodore Plz. Miami, Fl. 33133 305-443-3399

MILDREY GUILLOT

1654 SW 8th ST. Miami, Fl. 33135 305-642-6122 www.mildreyguillot.com

1634 SW 8th ST. Miami, Fl. 33135 305-642-0444 www.molinaartgallery.com

NADERâ&#x20AC;&#x2122;S ART GALLERY

Featuring Latin American and contemporary Art 62 NE 27th ST. Miami, Fl. 33137 305-576-0256 www.garynader.com

NUEZ ART GALLERY

1648 SW 8th ST. Miami, Fl. 33135 305-631-2772 www.rauldelanuez.com

ONCE UPON A TIME ANTIQUE GALLERY

5111 Alhambra Cir. Coral Gables, Fl. 33146 305-666-7488

OPERA GALLERY

9700 Collins Ave., Ste. 218 Bal Harbour, Fl. 33154 305-868-3337 www.operagallery.com

OXENBERG FINE ARTS

7003 N Waterway Dr., Ste. 207 Miami, Fl. 33155 305-262-5917 www.ramoscollections.com

REED SAVAGE GALLERY

Across the street from Merrick Park in Coral Gables this contemporary Fine Art Gallery represents established and emerging artists from around the world 4217 Ponce De Leon Blvd. Coral Gables, Fl. 33146 305-446-1222 www.reedsavage.net

RENEE GALLERY 1331 SW 8th ST. Miami, Fl. 33135 305-856-6789

ROSSIL GALLERY 6909 W Flagler ST. Miami, Fl. 33144 305-266-3789

ROYAL ART GALLERY 443 Lincoln Rd. Miami Beach, Fl. 33139 305-532-1775

2730 SW 3rd Ave Miami, Fl. 33129 305-854-7104 www.oxenbergart.com

SHADES OF AFRICA

Pan American Art Projects

SHER GALLERY AT THE WATERWAYS

2450 NW 2nd Ave Miami, Fl. 33127 305-573-2400 www.panamericanart.com

PATOU FINE ART

Conveniently located in the DCOTA building, this gallery provides full contemporary art procurement services to both designers and collectors. 2610 Ponce De Leon Blvd. Coral Gables, Fl. 33134 305-443-2573 www.patoufineart.com

PHTHALO GALLERY 250 NW 23rd ST. Miami, Fl. 33127 305-438-0218

PRADO FINE ART COLLECTION

70 Miracle Mile Miami, Fl. 33134 305-476-8444 www.pradoart.com

PRAXIS INTERNATIONAL ART

2219 NW 2 Ave. Miami, Fl. 33127 305-443-9700 / 305-573-2900 www.praxis-art.com nd

DHARMA STUDIO

RAMOS MASTERS COLLECTION

1117 NE 163 ST. North Miami, Fl. 33162 305-947-4322 rd

3585 NE 207th ST. Miami, Fl. 33180 305-932-9930

SILVANA FACCHINA GALLARY 1929 NW 1st Ave. Miami, Fl. 33136 305-576-4454

PAN AMERICAN ART PROJECTS

THE GILDED HAND

165 Aragon Ave. Coral Gables, Fl. 33134 305-442-1445

THE HAITIAN ART FACTORY 835 NE 79th ST. Miami, Fl. 33138 305-646-7200 / 305-758-6939 www.haitianartfactory.com

THE WIRTZ GALLERY 5750 Sunset Dr. South Miami, Fl. 33143 305-662-5414 www.fnbsm.com

TOP ART GALLERY PAINTING APPRAISELS & SALES 19201 Collins Ave. Sunny Isles Beach, Fl. 33160 305-937-3751

TRESART

550 Biltmore Way, Ste. 111 Coral Gables, Fl. 33134 305-648-3007 / 305-529-1115 www.tresart.us

UNDERCURRENT ARTS

2563 N Miami Ave. Miami, Fl. 33127 305-571-9574 www.undercurrentarts.com

UNZUETA GALLERY

2294 NW 2 Ave. Miami, Fl. 33127 305-573-1963 www.spinellogallery.com

Features original works by artist Ramon Unzueta 1607 SW 8th ST. Miami, Fl. 33135 305-541-0012 www.ramonunzueta.com

STEVE MARTIN Fine Art

URIBE BROWN FINE ART

SPINELLO GALLERY nd

66 NE 40th ST. Miami, Fl. 33137 305-484-1491

2600 NW 87th Ave. Suite 21 Doral, Fl. 33172 561-414-1575

SUNSET GALLERY & FRAMING

VON MORGEN LC

THE GALLERY ON FISHER ISLAND

WENTWORTH GALLERIES

5864 Sunset Dr. South Miami, Fl. 33143 305-667-0925

40206 Fisher Island Dr. Miami, Fl. 33109 305-672-7440

1629 NE 1st Ave. Miami, Fl. 33132 305-533-1299

1118 NW 159TH Dr. Miami, Fl. 33169 305-624-0715 www.wentworthgallery.com

ZU GALERIA FINE ARTS

2248 SW 8th ST. Miami, Fl. 33135 305-643-0059

M 52 | SYMPOSIUM 4

is for MUSEUM

AFRICAN-AMERICAN RESEARCH LIBRARY & CULTURAL CENTER

2650 Sistrunk Blvd. Fort Lauderdale, Fl. 33311 954-625-2800 www.broward.org/library/ aarlcc.htm

AH TAH THI KI MUSEUM

Big Cypress Reserve Clewiston, Fl. 33440 863-902-1113 www.ahtahthikimuseum.com

AH TAH THI KI MUSEUM AT OKALEE

Hard Rock Casino & Hotel Hollywood, Fl. 33019 954-965-9664 The Ah-Tah-Thi-Ki Museum at Okalee Village houses two permanant exhibits covering the Seminole reservations and an archaeology exhibit. They also have a contemporary art gallery, and we feature special traveling exhibits. www.ahtahthikimuseum.com

ANN NORTON SCULPTURE GARDENS 253 Barcelona Rd. West Palm Beach, Fl. 33401 561-832-5328 www.ansg.org

ANTIQUE CAR MUSEUM

1527 SW 1st Ave. Fort Lauderdale, Fl. 33315 954-779-7300 All the museum’s vehicles are maintained in running condition by the inhouse workshop, located within the museum premises. www.antiquecarmuseum.org

BOCA RATON HISTORICAL SOCIETY 71 N Federal Highway Boca Raton, Fl. 33432 561-395-6766 www.bocahistory.org

BOCA RATON MUSEUM OF ART 501 Plaza Real Boca Raton, Fl. 33432 561-392-2500 www.bocamuseum.org

BONNET HOUSE MUSEUM & GARDEN 900 North Birch Rd. Fort Lauderdale, Fl. 33304 954-563-5393 www.bonnethouse.org

BOYNTON BEACH CHILDREN'S SCHOOLHOUSE MUSEUM

129 E Ocean Ave. Boynton Beach, Fl. 33435 561-742-6780 www.schoolhousemuseum.org

BROWARD COUNTY LIBRARY & CULTURAL INFORMATION CENTER

100 S Andrews Ave. Fort Lauderdale, Fl. 33301 954-357-7444 www.broward.org/library

BURT REYNOLDS MUSEUM

100 N US Highway 1 Jupiter, Fl. 33477 561-743-9955 Preserving the history of the cultural contributions of Burt Reynolds www.burtreynoldsmuseum.org

CASON COTTAGE HOUSE MUSEUM

5 NE 1st St. Delray Beach, Fl. 33444 561-243-2577 Restored Historic House 1915-1935 www.db-hs.org

CENTRO CULTURAL ESPANOL DE COOPERACION IBER AMERICANA 800 Douglas Rd. Suite #170 Coral Gables, Fl. 33134 305-448-9677 www.ccemiami.org

CHILDREN'S SCIENCE EXPLORIUM

300 S Military Trail Boca Raton, Fl. 33486 561-347-3912 Children’s Science Explorium provides a hands-on exploration and challenges school age children and enhance their understanding of how physical science impacts everyday living. www.scienceexplorium.org

BASS MUSEUM OF ART

2121 Park Ave. Miami Beach, Fl. 33139 305-673-7530 History The Bass Museum of Art was established by agreement in 1963 when the City of Miami Beach accepted the gift of the art collection of John and Johanna Bass upon condition that it would maintain the collection in perpetuity, provide for the exhibition of the collections, and keep it open and available to the public. www.bassmuseum.org

A 35 acre winter retreat for the Bartlett & Birch families in a natural barrier island habitat � Designed and built by Frederic Clay Bartlett, Bonnet House is one of the few complete homes and studios of two American artists open to the public. Throughout the main house you will see mural on the ceilings, faux marble on the walls and ceilings, and balustrades that are really paintings. The Bartlett� s eclectic collections are also on display, everything from antique china to turn-of-the century carousel animals.

CORAL SPRINGS MUSEUM OF ART 2855 Coral Springs Dr. Coral Springs, Fl. 33065 954-340-5000 www.csmart.org

CUBAN HISTORICAL MUSEUM 3131 Coral Way Coral Gables, Fl. 33145 305-567-3131

CUBAN MUSEUM INC.

214 Giralda Ave. Coral Gables, Fl. 33134 305-529-5400 www.cubanmuseum.org

DALEUS Museum & ART GALLERY 1688 NE 123rd ST North Miami, Fl. 33181 305-891-0030 www.daleus.com

DEERFIELD BEACH HISTORICAL SOCIETYBUTLER HOUSE

ARMORY ART CENTER

1700 Parker Ave. West Palm Beach, Fl. 33401 561-832-1776 www.armoryart.org

BONNET HOUSE

BOCA RATON MUSEUM OF ART In Mizner Park

The Boca Raton Museum of Art presents changing exhibitions of national and international importance, and a wide range of educational programs, lectures, gallery tours, and studio art classes. The Museum’s permanent collection includes a superb assembly of modern masters including works by Degas, Matisse, Modigliani and Picasso; important American and European modern and comtermporary works by artists ranging from Louise Nevelson to Andy Warhol; an outstanding photography collection; and important collections of PreColumbian and African art.

CURRENT EXHIBIT: 05/09 - 06/22 • American Impressionism: Works from The Bank of America Collection • In the Eye of the Beholder: Selections from Art Galleries at Gallery Center • The Other Half: Women in the Collection T: 561.392.2500 F: 561.391.6410 www.bocamuseum.org Hours: Sat, Sun 12pm-5pm Tues, Thur, Fri 10am-5pm Wed 10am-9pm Closed Holidays

380 E Hillsboro Blvd. Deerfield Beach, Fl. 33442 954-429-0378 www.deerfield-history.org

DELRAY BEACH HISTORICAL SOCIETY ARCHIVES & GALLERY 51 N Swinton Ave. Delray Beach, Fl. 33444 561-274-9578 delraybeachhistoricalsociety. org

FLAGLER MUSEUM

1 Whitehall Way Palm Beach, Fl. 33480 561-655-2833 www.flaglermuseum.us

T: 954.563.5393 F: 954.561.4174 www.bonnethouse.org Hours: Tue-Sat 10am-4pm Sun 12pm-4pm

FENG SHUI CULTURAL CENTER

86 Miracle Mile Coral Gables, Fl. 33134 305-446-9315 www.fengshuiculturalcenter. com

FORT LAUDERDALE HISTORICAL SOCIETY

219 SW 2nd Ave. Fort Lauderdale, Fl. 33301 954-463-4431 www.oldfortlauderdale.org

GOLD COAST RAILROAD MUSEUM

12450 SW 152nd St. Miami, Fl. 33177 305-253-4675 www.goldcoast-railroad.org

HAITIAN HERITAGE MUSEUM

600 Brickell Ave. Miami, Fl. 33131 305-371-5988 www.haitianheritagemuseum. org

HIBEL MUSEUM OF ART 5353 Parkside Dr. Jupiter, Fl. 33458 561-622-5560 www.hibel.com

HISTORICAL MUSEUM OF SOUTHERN FLORIDA 101 W Flagler St. Miami, Fl. 33130 305-375-1492 www.hmsf.org

HISTORIC STRANAHAN HOUSE MUSEUM

335 SE 6th Ave. Fort Lauderdale, Fl. 33301 954-524-4736 www.stranahanhouse.org

4 SYMPOSIUM | 53

HOLOCAUST MEMORIAL OF MIAMI BEACH 1933 Meridian Ave. Miami Beach, Fl. 33139 305-538-1663 www.holocaustmmb.org

IGBO CULTURAL ASSOCIATION INC.

1799 NE 164th St. North Miami Beach, Fl. 33162 786-871-4006

IGFA FISHING HALL OF FAME AND MUSEUM 300 Gulf Stream Way Dania, Fl. 33004 954-927-2628 www.igfa.org

INTERNATIONAL SWIMMING HALL OF FAME MUSEUM 1 Hall of Fame Dr. Fort Lauderdale, Fl. 33316 954-462-6536 www.ishof.org

JEWISH MUSEUM OF FLORIDA

301 Washington Ave. Miami Beach, Fl. 33139 305-672-5044 www.jewishmuseum.com

JUPITER INLET LIGHTHOUSE & MUSEUM 500 Captain Armours Way Jupiter, Fl. 33469 561-747-8380 www.jupiterlighthouse.org

MARGULIES PHOTOGRAPHY COLLECTION 591 NW 27th St. Miami, Fl. 33127 305-576-1051 www.margulieswarehouse. com

MIAMI ART CENTRAL

5960 SW 57th Ave. Miami, Fl. 33143 305-455-3333 www.miamiartcentral.org

MIAMI ART MUSEUM

101 W Flagler St. Miami, Fl. 33130 305-375-3000 www.miamiartmuseum.org

MIAMI CHILDRENS MUSEUM

980 Macarthur Cswy. Miami, Fl. 33132 305-373-5437 Come play, learn, imagine and create at Miami Children’s Museum with hundreds of interactive and bilingual exhibits and daily programs for the whole family and so much more. www.miamichildrensmuseum. org

MIAMI-DADE KENDALL CAMPUS ART 11011 SW 104th St. Miami, Fl. 33176 305-237-2322 www.mdc.edu

MORIKAMI MUSEUM & JAPANESE GARDENS

MUSEUM OF POLO & HALL OF FAME

PATRONS OF THE VATICAN MUSEUM

MOS' ART CENTER

MUSEUM OF THE AMERICAS

SCHACKNOW MUSEUM OF FINE ARTS SMOFA

4000 Morikami Park Rd. Delray Beach, Fl. 33446 561-495-0233 www.morikami.org

700 Park Ave. West Palm Beach, Fl. 33401 561-296-1806

MUSEUM OF ART/FORT LAUDERDALE 1 East. Las Olas Blvd. Fort Lauderdale, Fl. 33301 954-525-5500 www.moafl.org

MUSEUM OF CONTEMPORARY ART/MOCA

770 NE 125th St. North Miami, Fl. 33161 305-893-6211 The Museum of Contemporary Art established its Permanent Collection in 1994. MOCA’s Permanent Collection now numbers more than 400 works. The museum has acquired works through donations or purchased with funds donated specifically for acquiring art, including the Janet and Robert Liebowitz acquisition endowment and the Gucci Young Artist Acquisition Fund. The permanent collection reflects significant artistic developments in contemporary art by emerging and established artists from the U.S. and abroad. www.mocanomi.org

KOUBEK MANSION AND GARDENS

LIGHTHOUSE CENTER FOR THE ARTS 373 Tequesta Dr. Tequesta, Fl. 33469 561-746-3101 www.lighthousearts.org

LOWE ART MUSEUM

1301 Stanford Dr. Coral Gables, Fl. 33124 305-284-3535 www6.miami.edu/lowe

7080 NW 4th St. Plantation, Fl. 33317 954-583-5551 www.smofa.com

MUSIC ART PRODUCTIONS OF FLORIDA

SOCIETY OF THE FOUR ARTS

NAVAL AIR STATION FORT LAUDERDALE HISTORICAL ASSOCIATION

SOUTH FlORIDA RAILROAD MUSEUM

NORTON MUSEUM OF ART

SOUTH FLORIDA SCIENCE MUSEUM

2218 NW 82nd Ave. Doral, Fl. 33122 305-593-0740

4000 W Perimeter Rd. Fort Lauderdale, Fl. 33315 954-359-4400

1451 S Olive Ave. West Palm Beach,Fl. 33401 561-832-5196 www.norton.org

OLD DILLARD MUSEUM 1009 NW 4th St. Fort Lauderdale, Fl. 33311 754-322-8828 www.broward.k12.fl.us/ olddillardmuseum

PALM BEACH INSTITUTE OF CONTEMPORARY ART

PALM BEACH MARITIME MUSEUM

LATIN QUARTER CULTURAL CENTER OF MIAMI MIAMI CHILDREN’S MUSEUM on Watson Island W: www.miamichildrensmuseum.org Hours: Daily 10am-6pm Adm: $12

Current Exhibit: Castle of Dreams Port of Miami All About Art

MIAMI MUSEUM OF SCIENCE & PLANETARIUM

MUSEUM OF DISCOVERY AND SCIENCE

3280 S Miami Ave. Miami, Fl. 33129 305-646-4200-34 www.miamisci.org

401 SW 2nd St. Fort Lauderdale, Fl. 33312 954-467-6637 www.mods.org

MOCA AT GOLDMAN WAREHOUSE

MUSEUM OF LAKE WORTH

404 NW 26th St. Miami, Fl. 33127 305-573-5441 www.mocanomi.org

414 Lake Ave. Lake Worth, Fl. 33460 561-586-1700 www.lakeworth.org

7525 NW 2nd Ave. Miami, Fl. 33150 305-759-2733

2500 NW 79th Ave., Suite 104 Doral, Fl. 33122 305-599-8088 www.museumamericas.org

601 Lake Ave. Lake Worth, Fl. 33460 561-582-0006 www.kmoser.com/pbica/

2705 SW 3rd St. Miami, Fl. 33135 305-284-5137 The University of Miami’s Koubek Mansion and Gardens is situated in the soul of Miami, contributing to the rich cultural traditions found in “Little Havana.” A historic site, it has been home to numerous weddings and cultural events. www.koubekmansion.com

1501 SW 8th St., 2nd Floor Miami, Fl. 33135 305-631-0588

9011 Lake Worth Rd. Lake Worth, Fl. 33467 561-969-3210 www.polomuseum.com

7719 S Dixie Highway West Palm Beach, Fl. 33405 561-547-3775 The opening of the Palm Beach Maritime Museum in 1999, after 6 years of preliminary work, is a major event for South Florida. Following a lengthy restoration and construction program, we now have four facilities: 1. the former U.S.Coast Guard Station, Boathouse and President John F. Kennedy command post and bomb shelter on Peanut Island; 2. the marine science field office and dock on the Intracoastal Waterway; 3. an educational center, preview building and ferry dock at Currie Park in West Palm Beach (Museum tours leave from this site for Peanut Island and the Kennedy Bunker at the Coast Guard Station and 4. the new location for our Palm Beach Maritime Academy K-8 Charter School at 7719 S. Dixie Hwy. in West Palm Beach. www.pbmm.org

PALM BEACH MARITIME MUSEUM CURRIE PARK 2400 N Flagler Dr. West Palm Beach, Fl. 33407 561-832-7428 www.pbmm.org

2 Four Arts Plaza Palm Beach, Fl. 33480 561-655-7226 www.fourarts.org

1300 W Hillsboro Blvd. Deerfield Beach, Fl. 33442 954-698-6620 www.sfrm.org

4801 Dreher Trail N West Palm Beach, Fl. 33405 561-832-1988 www.sfsm.org

SIDNEY SAMOLE CHESS MUSEUM 13755 SW 119th Ave. Miami, Fl. 33186 786-242-4255 www.chessmuseum.org

SPADY CULTURAL HERITAGE MUSEUM 170 NW 5th Ave. Delray Beach, Fl. 33444 561-279-8487 www.spadymuseum.org

THE HOLLYWOOD HISTORICAL SOCIETY

1520 Polk St. Hollywood, Fl. 33020 954-923-5590 Our mission is to collect, preserve and disseminate information about the history of Hollywood, Florida. To preserve Hollywood’s historical resources and landmarks. To educate and encourage public awareness of Hollywood’s heritage. To pass on an enduring community to succeeding generations. In 1920, the developer Joseph W.Young, Jr. purchased the first square mile to begin the Florida city he would call Hollywood-by-the-Sea. His city was planned from the start with wide boulevards, parks, vistas, and harmonious architecture derived from styles then popular in southern California where he had lived, from bungalows to mission, Moorish, and Spanish-eclectic, styles still evident in buildings throughout Hollywood. hollywoodhistoricalsociety.org

THE MIAMI SPRINGS HISTORICAL MUSEUM 26 Westward Dr. Miami Springs, Fl. 33166 305-884-4406

54 | SYMPOSIUM 4

THE SOCIETY OF FOUR ARTS 2 Four Arts Plaza Palm Beach, Fl. 33480 561-655-7227 www.fourarts.org

UM JAMES L KNIGHT INTERNATIONAL CENTER 400 SE 2nd Ave., Suite 402 Miami, Fl. 33131 305-284-5137 www6.miami.edu

UNIVERSITY OF MIAMI CONVOCATION/BANK UNITED CENTER 1245 Dauer Drive Coral Gables, Fl. 33146 305-284-8244 www.bankunitedcenter.com

VIZCAYA MUSEUM & GARDENS 3251 S Miami Ave. Miami, FL 33129 305-250-9133 www.vizcayamuseum.org

WEST PALM BEACH MUSEUM OF CONTEMPORARY ARTS 5301 S Dixie Highway West Palm Beach, Fl. 33405 561-588-1965

WILLIAM T KIRBY NATURE CENTER 10900 Jack Nicklaus Dr. North Palm Beach, Fl. 33408 561-624-6952 www.macarthurbeach.org

WINGS OVER MIAMI MUSEUM 14710 SW 128th St. Miami, Fl. 33196 305-233-5197 www.wingsovermiami.com

WOLFSONIAN MUSEUM 1001 Washington Ave. Miami Beach Fl. 33139 305-531-1001 www.wolfsonian.org

WORLD EROTIC ART MUSEUM

1205 Washington Ave. Miami, Fl. 33139 305-532-9336 The collection includes art, sculptures, tapestries, and artifacts from many of the world’s most influential cultures, past and present, exquisite ancient to contemporary classics. www.weam.com

YESTERYEAR VILLAGE S FLA FAIRGROUNDS 9067 Southern Blvd. West Palm Beach, Fl. 33411 561-793-0333 www.southfloridafair.com

YOUNG AT ART CHILDREN'S MUSEUM 11584 W State Road 84 Davie, Fl. 33325 954-424-0085 www.youngatartmuseum.org

My name is Heidi Klum and I’m an American Red Cross volunteer. Will you join me?

We all have to look out for each other. When you help the American Red Cross, you help America. Through her involvement with the American Red Cross, Heidi Klum helps to save lives every day. To learn how Heidi Klum is helping, or to find out what you can do to help, visit redcross.org.

H20234 July 2006

56 | SYMPOSIUM 4

is for THEATRE

ACTORS' PLAYHOUSE AT THE MIRACLE 280 Miracle Mile Coral Gables, Fl. 33134 305-444-9293 www.actorsplayhouse.org

ADRIENNE ARSHT CENTER FOR THE PERFORMING ART

1300 Biscayne Blvd. Miami, Fl. 33132 786-468-2000 A full-season lineup that will include many more presentations, including jazz from around the world; theater works both intimate and spectacular; shows for children and their families; the latest in contemporary dance; experimental multimedia shows and beloved classics; popular entertainment spanning top-selling recording stars, acclaimed cabaret artists, favorite comedians, and much more. www.carnivalcenter.org www.arshtcenter.org

ATLANTIC THEATEr

6743 W Indiantown Rd. Jupiter, Fl. 33458 561-575-3271 www.theatlantictheater.com

BROADWAY IN

Pompano Beach, FL 33062 954-764-0700 Miami: 1-800-939-8587 Palm Beach: 1-800-520-2324 www.broadwayacrossamerica. com

BROADWAY IN FORT LAUDERDALE

P.O. Box 4603 Ft. Lauderdale, Fl. 33312 1800-764-0700 www.broadwayacrossamerica. com

BROWARD CENTER FOR THE PERFORMING ARTS

201 SW 5th Ave. Ft. Lauderdale, Fl. 33312 954-522-5334 Box Office 954-462-0222 The Broward Center for the Performing Arts invites you to discover something new to love about the arts. Try theater, from tragedy to farce. Dance, from ballet to modern. Music, from classical to opera to pop. With performances year-round, there’s something for everyone to enjoy! www.browardcenter.org

BROWARD COUNTY FILM SOCIETY 503 SE 6th St. Fort Lauderdale, Fl. 33301 954-525-3456 www.fliff.com

BYRON CARLYLE

500 71st St. Miami Beach, Fl. 33141 305-867-4192 www.miamibeachculture.com

CALDWELL THEATRE COMPANY

7901 N Federal Highway Boca Raton, Fl. 33487 561-241-7432 Known for its outstanding acting ensembles and attention to production details, Caldwell has delivered awardwinning productions. www.caldwelltheatre.com

CENTRE FOR THE ARTS

433 Plaza Real #339 Boca Raton, Fl. 33432 561-961-2098 www.centre4artsboca.com

CUILLO CENTRE FOR THE PERFORMING ARTS

201 Clematis St. West Palm Beach, Fl. 33401 561-835-9226 Our intimate, 377-thrust Mainstage theatre has been home to several new plays and musicals on their way either to or from Broadway. Our new 45 seat Second Story Theatre provides a perfect setting for private meetings and cabaret-style concerts. www.cuillocentre.com

CULTURAL TRUST OF PALM BEACHES 2175 Wellington Green Dr. Wellington, Fl. 33414 561-333-4948 www.culturaltrustpb.org

CURTAIN CALL PLAYHOUSE

222 Lakeview Ave West Palm Beach, Fl. 33401 561-366-1000

2500 SE 3rd St. Pompano Beach, Fl. 33062 954-784-0768 www.curtaincallplayhouse. com

CITY THEATRE

DELRAY BEACH PLAYHOUSE

CITY PLACE

1470 Biscayne Blvd. Miami, Fl. 33132 1-877-433-3200 A not-for-profit organization, introduces its forty-first season as the largest and most high profile presenter of classical music orchestras, soloists, opera stars and ballet and dance companies in the Southeastern US. www.concertfla.org

950 NW 9th Street Delray Beach, Fl. 33444 561-272-1281 The Delray Beach Playhouse is a modern fully equipped 238 seat theater situated in an attractive park setting overlooking scenic Lake Ida in Delray Beach, Florida. Its productions provide unique acting opportunities for talented and motivated performers. The Playhouse is a non-profit organization, which strives to expand its commitment to serving the community at large through several outreach programs. www.delraybeachplayhouse. com

CREATIVE CHILDREN’S THEATRE

DREAM THEATRE PRODUCTIONS INC.

444 Brickell Ave. Miami, Fl. 33131 305-755-9401 www.citytheatre.com

CONCERT ASSOCIATION OF FLORIDA

12320 W Dixie Highway North Miami, Fl. 33161 305-895-8955

CREATIVE CHILDREN’S THEATRE 12343 W Dixie Highway North Miami, Fl. 33161 305-895-0335

CRUZAN AMPHITHEATRE

601-7 Sansbury Way West Palm Beach, Fl. 33411 Hotline: 561-793-0445 www.livenation.com/venue

BROWARD CENTER FOR THE PERFORMING ARTS 201 SW Fifth Ave Ft. Lauderdale, FL 33312 T: (954) 462-0222 877-311-7469(SHOW) W: www.browardcenter.org

FLORIDA GRAND OPERA 221 SW 3rd Ave. Ft. Lauderdale, Fl. 33312 954-728-9700 www.fgo.org

FLORIDA STAGE

262 S Ocean Blvd. Lantana, Fl. 33462 561-585-3404 www.floridastage.org

FOLLIE'S ADULT THEATRE 2550 S Military Trail West Palm Beach, Fl. 33415 561-433-9272

FORT LAUDERDALE CHILDREN'S THEATRE

520 N Andrews Ave. Fort Lauderdale, Fl. 33301 954-763-6882 www.flct.org

GABLESTAGE BOX OFFICE 1200 Anastasia Ave. Coral Gables, Fl. 33134 305-445-1119 EXECUTIVE OFFICE 305-4461116 www.gablestage.org

GOLD COAST THEATRE COMPANY

345 W 37th St. Miami Beach, Fl. 33140 305-538-5500 515 Valencia Ave., #7 Gold Coast Theatre Company was Coral Gables, Fl. 33134 established in 1982 to bring profes305-446-9175 sional theatre experiences to people from all walks of life. The company FANTASY THEATRE FACTORY specializes in mime and physical the7069 SW 47th St. atre and delights Florida audiences Miami, Fl. 33155 with original, culturally diverse theatri305-284-8800 cal shows influenced by artists from As a touring theatre, we are uniquely all over the world. The theatre is one different from housed theatres in that of Florida’s busiest arts organizations, our audiences do not come to our performing to over 100,000 people theatre space; we take theatre to our annually in about 200 engagements audience. We perform in rural and in- in South Florida and overseas. ner city schools, theatres, parks, hos- www.britishpanto.org pitals, community centers, practically everywhere. HOLLYWOOD PLAYHOUSE www.ftfshows.com 2640 Washington St. Hollywood, Fl. 33020 954-922-0404 www.hollywoodplayhouse.com

6/13 - 6/19 • Jesus Christ Superstar 6/16 - 8/8 • BCPA Summer Camp

IMAX BLOCKBUSTER 3D THEATER 401 Sw 2nd St. Fort Lauderdale, Fl. 33312 954-463-4629 954-467-6637 www.mods.org

INSIDE OUT THEATRE

One East Los Olas Blvd. Ft. Lauderdale, Fl. 33301 954-385-3060 www.insideouttheatre.org

JACKIE GLEASON THEATER OF THE PERFORMING ARTS 1700 Washington Ave. Miami Beach, Fl. 33139 305-673-7300 www.gleasontheater.com

JAMES L KNIGHT INTERNATIONAL CENTER

400 SE 2nd Ave. Miami, Fl. 33131 305-416-5970 612 guest rooms on-site, Hyatt Regency Miami www.jlkc.com

KRAVIS CENTER FOR THE PERFORMING ARTS 701 Okeechobee Blvd. West Palm Beach, Fl. 33401 561-832-7469 www.kravis.org

LAFFING MATTERZ

219 S Andrews Ave. Fort Lauderdale, Fl. 33301 954-763-5236 www.laffingmatterz.com

LAKE WORTH PLAYHOUSE

713 Lake Ave. Lake Worth, Fl. 33460 561-586-3549 www.lakeworthplayhouse.org

4 SYMPOSIUM | 57

LAUGHING GAS COMEDY IMPROV THEATRE

4129 Laguna St. Coral Gables, Fl. 33146 305-461-1161 The Laughing Gas Comedy Improv Theatre Company is the longestrunning professional improvisational theatre troupe in South Florida. We present a 90-minute, interactive show combining music, sketches, and improvised comedy based on your suggestions from the audience. And we’ve been doing it since 1992! Laughing Gas performs every Friday and Saturday nights at The Main Street Playhouse, located at 6766 Main Street in Miami Lakes. Curtain time is 11:00 PM (box office opens at 10:45 PM). www.laughinggasimprov.com

MALTZ JUPITER THEATRE

1001 E Indiantown Rd. Jupiter, Fl. 33477 561-575-2223 The Maltz Jupiter Theatre is a professional nonprofit regional theatre dedicated to the performing arts whose mission is to entertain, educate and inspire our community. www.jupitertheatre.org

MANUEL ARTIME THEATER 900 SW 1st St. Miami, Fl. 33130 305-575-5057 www.manuelartimetheater. com

MIAMI BEACH CINEMATHEQUE & GALLERY 512 Espanola Way Miami Beach, Fl. 33139 305-673-4567 www.mbcinema.com

MIAMI CHILDREN'S THEATER

11155 SW 112th Ave. Miami, Fl. 33176 305-274-3596 www.miamichildrenstheater. com

MIAMI CITY BALLET

2200 Liberty Ave. Miami Beach, Fl. 33139 305-929-7000 www.miamicityballet.org

MIAMI LIGHT PROJECT

3000 Biscayne Blvd. Miami, Fl. 33137 305-576-4350 Founded in 1989, Miami Light Project is a not-for-profit cultural organization which presents live performances by innovative dance, music and theater artists from around the world; supports the development of new York by South Florida-based artists; and offers educational programs for students of every age. www.miamilightproject.com

MIAMI WORLD THEATER

Miami Beach, Fl. 33139 305-535-9930 www.miamiworldtheater.com

MOSAIC THEATRE

12200 W Broward Blvd. #3121 Plaintation, Fl. 33325 954-577-8243 www.mosaictheatre.com

NEW THEATRE INC.

4120 Laguna St. Coral Gables, Fl. 33146 305-443-5909 www.new-theatre.org

NEW WORLD SYMPHONY LINCOLN THEATRE

541 Lincoln Rd. Miami Beach, Fl. 33139 305-673-3331 The New World Symphony presents a full season of concerts from October to May at the Lincoln Theatre, located in the heart of Miami Beach’s Art Deco district. www.nws.org

NORTH MIAMI BEACH JULIUS LITTMAN PERFORMING ARTS THEATER

17011 NE 19th. Ave. North Miami Beach, Fl. 33162 305-787-6005 Hialeah, Fl. 33010 305-948-2957

PALM BEACH DRAMAWORKS

322 Banyan Blvd. West Palm Beach, Fl. 33401 561-514-4042 www.palmbeachdramaworks. org

PALM BEACH SHAKESPEARE FESTIVAL 103 US Highway 1 Suite F-5 Jupiter, Fl. 33458 561-575-7336 www.pbshakespeare.org

PARKER PLAYHOUSE

707 NE 8th St. Ft. Lauderdale, Fl. 33304 954-462-0222 954-763-2444 The Parker Playhouse curtain rose for the first time on February 6, 1967. One of Fort Lauderdale’s first venues, the neo-classical Playhouse, was built by Dr. Louis Parker and is managed now by the Broward Center for the Performing Arts. This 1,167-seat fully equipped theater plays an important role in the community by serving as a vibrant part of the area. Parker Playhouse helps fuel economic development while also bringing the community together with performances, activities and educational programming. www.parkerplayhouse.com

POET PRODUCTIONS LLC

1382 W Mcnab Rd. Fort Lauderdale, Fl. 33309 954-956-7681 Exciting aerial performers, gymnasts, acrobats and contortionists from all over the world make up our awardwinning cirque-style theatrical productions. www.poetproductions.com

RISING ACTION THEATRE INC

840 E Oakland Park Blvd. Oakland Park, Fl. 33334 954-561-2225 Box Office: 1-800-595-4849 www.risingactiontheatre.com

ROYAL POINCIANA PLAYHOUSE

70 Royal Poinciana Plaza Palm Beach, Fl. 33480 561-833-9148

ROYAL POINCIANA PLAYHOUSE

701 Okeechobee Blvd. West Palm Beach, Fl. 33401 561-659-7141

SILVER SCREEN CINEMA CAFÉ & COMEDY CLUB 12795 Forest Hill Blvd. Wellington, Fl. 33411 561-793-6657

SOL CHILDRENS THEATRE TROUPE

3333 N Federal Highway Boca Raton, Fl. 33431 561-447-8829 www.solchildrentheatretroupe. org

STAGE DOOR 26TH STREET THEATRE 1444 NE 26th St. Ft. Lauderdale, Fl. 33305 954-344-7765 www.stagedoortheatre.com

STAGE DOOR THEATRE 8036 W Sample Rd. Margate, Fl. 33065 954-344-7765 stagedoortheatre.com

THE LAFFING MATTERZ DINNER THEATER 219 South Andrews Avenue Ft. lauderdale, Florida 33301 T: 954-763-5236 F: 954-763-2457 W: laffingmatterz.com

TAMARAC THEATRE OF PERFORMING ARTS

7143 NW 88th Ave. Tamarac, Fl. 33321 954-726-7898 For 26 years we have endeavored to present to you, our audience, shows that satisfy, entertain, and enlighten. www.tamaractheatreof performingarts.org

TEATRO AVANTE

Alice in Wonderland and The Clean House. www.theplaygroundtheatre. com

THE STUDIO THEATRE OF WELLINGTON 11320 Fortune Circle Wellington, Fl. 33411 561-204-4100

THE THEATRE

744 SW 8th St. 2nd Floor Miami, Fl. 33130 305-858-2446 www.teatroavante.com

854 Conniston Rd. West Palm Beach, Fl. 33405 561-833-7305

TEATRO DE BELLAS ARTES 1273 SW 8th St. Miami, Fl. 33135 305-325-0515

2452 Lyons Rd. Coconut Creek, Fl. 33063 954-973-7022 Box Office: 954-970-0606 www.thetownship.info

THE LAFFING MATTERZ DINNER THEATER

RIVIERA PLAZA LLC

219 South Andrews Ave. Ft. Lauderdale, FL 33301 954-7635236 www.laffingmatterz.com

THE NEW VISTA THEATRE CO. 12811 Glades Rd. Boca Raton, Fl. 33498 561-470-1266 Box Office: 1-888-284-4633 www.newvistatheatre.com

THE PERFORMANCE PROJECT

New World Symphony at LINCOLN THEATRE 541 Lincoln Road 2nd Floor Miami Beach, FL 33139 T: (305) 673-3331 (800) 597-3331 W: www.nws.edu

“ALWAYS LAUGH WHEN YOU CAN. IT IS A CHEAP MEDICINE.” - Lord Byron

8745 SW 57th St Cooper City, Fl. 33328 954-680-9887 www.theperformanceproject. info

THE PLAYGROUND THEATRE FOR YOUNG AUDIENCES

9806 NE 2nd Ave. Miami Shores, Fl. 33138 305-751-9550 This coming season will be even busier with over 124 performances and the introduction of 2 new productions,

TOWNSHIP CENTER FOR PERFORMING ARTS

1560 S Dixie Highway Coral Gables, Fl. 33146 305-666-7908

SYMPHONY OF THE AMERICAS

199 N Ocean Blvd., Suite 200 Pompano Beach, Fl. 33062 954-545-0088 The Symphony of the Americas celebrates its 18th Season, bringing the best of classical music to the multicultural population of South Florida. By presenting diverse orchestral repertoire at intimately scaled concerts by our resident orchestra and international guest artists, the Symphony of the Americas takes pride in the contribution it makes to the cultural environment here in South Florida. www.symphonyoftheamericas. com

WAR MEMORIAL AUDITORIUM

800 NE 8th St. Fort Lauderdale, Fl. 33304 954-828-5380 www.fortlauderdale.gov/wma

E 58 | SYMPOSIUM 4

By Olivia Garcia

EDIBLE

> Roses

> Violas, Pansies, and Johnny-Jump-Ups

The old-fashioned varieties have much more flavor than the hybrids grown today. Judge the flavor by the smell. Try the antique varieties of Rugosas and other bush types. Grind up rose petals with sugar in a food processor and add water for a sweet, rose-flavored syrup.

This class of flowers has a floral, wintergreen flavor. Try grinding flowers in a food processor with sugar. Add the mixture to water for a delightful violet syrup.

BEAUTY COOKING WITH FLOWERS

Many varieties of flowers are edible and, in fact, taste wonderful. Adding flowers to a dish can add color, taste, and an unexpected surprise for your dinner guests. There are, however, a few rules you should follow before tossing in some flowers from your garden into tonight’s salad: 1. positively identify the flower you want to use. 2. Make sure the flower is free of chemicals and bugs. 3. The flower should taste good and compliment the dish you wish to add it to.

> Lavender Steep for lavender tea or use to lightly flavor ice cream.

> Daylilies Daylilies have a sweet lettuce flavor. A good variety is the lemon lily which has a strong citrus scent. Dried daylily buds, called golden needles, are sold in many Asian markets. Soak in hot water for 15 minutes and add to Chinese dishes like hot-andsour soup.

> Herb flowers Virtually all herbs have flowers that are edible. Usually the flower tastes very similar to the herb. Common herb flowers used are basil, thyme, sage (a wonderful bright blue), cilantro, and chives.

First, positively identify the flower as edible. A lot of flowers are edible, but just as many are toxic. If you’re not an experienced gardener, talk with someone who is or your local greenhouse about what kind of flowers you want to grow. Secondly, make sure the flowers are free of chemicals. Do not buy flowers for cooking from a flower shop. These flowers have been sprayed to make them last longer. If you buy a potted plant from a greenhouse, wait several weeks before using the flowers. These plants are often given growth inhibitors so they don’t outgrow their pots. If you buy flowers at a farmer’s market or grocery, check with the seller to make sure they haven’t been treated. Also check for bugs on any flowers you buy or get from the garden. Flowers should not be washed. Just brush the insects away. Lastly, the flowers should taste good and compliment the dish they are added to.

> Monarda (Bee balm) Monarda petals taste similar to oregano. They can be used in salads, herb butters, or sprinkled over steamed vegetables.

> Borage

> Squash Blossoms These flowers have a similar taste to the squash. All varieties of squash blossoms are edible, but zucchini is the most commonly used. Some varieties of winter squash have bitter tasting blossoms.

Wonderful in salads or in herb rubs for roast meats.

> Nasturtiums Nasturtiums come in a wide variety of colors and are very easy to grow in your garden.

> Calendula (Pot or Garden Marigolds) & Citrus Marigold Varieties This flower has an aromatic and slightly bitter taste. When a flower is dried it can be added to soups.

915 East Las Olas Boulevard, Fort Lauderdale, FL 33301 954-463-3711 â&#x20AC;˘ www.Carrollsjewelry.com