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DTSTAMP:20260613T213421
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SUMMARY:The Fiber Show @ CAMP : Don’t Be Absurd
DESCRIPTION:The Contemporary Art Modern Project announces its 7th Edition of Women Pulling at The Threads of Social Discourse: Don’t be Absurd. Over 100 years ago Søren Aabye Kierkegaard set the stage for society to look beyond one’s own concerns with the start of Existentialism. Absurdism emerges after the Second World War as the world grappled with the sense of the meaninglessness of life due to an overwhelming indifference for humanity and the suffering of others. For this year’s edition of: Women Pulling at The Threads of Social Discourse\, and Guests: Don’t Be Absurd\, the exploration of Absurdism is done through the hands of fiber artists. Artists were asked to refer to works by: Albert Camus\, Franz Kafka\, Simone De Beauvoir\, Samuel Beckett\, and Jose Saramago and interpret the writings into circular fiber responses.  \nThe exhibition opens October 17\, at 6pm in our North Miami gallery with an artist and collector preview. Join us October 18th\, as we welcome Art Table for a private tour\, and our first hosting of many in gallery conversations starting with Nuria Richards\, Founder of Clandestina Feria and Director of Development and Advisor of Strategy at Oolite Arts\, Miami. We will also be welcoming fiber artist Aurora Molina and FAMA Founding Member\, among other guests to discuss the contemporary fiber world and the role women play. The run of the exhibition will include several in gallery art talks\, workshops and conversations about fiber art with both artists and curators. 
URL:https://artinamericaguide.com/event/the-fiber-show-camp-dont-be-absurd/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
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DTSTART;TZID=America/New_York:20230603T150000
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SUMMARY:Opening Reception for Mabelin Castellanos: Alone With Her Head
DESCRIPTION:Mabelin Castellanos’ first solo exhibition at The Contemporary Art Modern Project\, Alone With Her Head presents precise\, intricate line work juxtaposed with bright fabrics on bare-bones muslin quirky meditations on fleeting moments that capture the artist’s attention during her time spent people-watching. \n“This exhibition explores complicated topics such as aging as a woman and having to rediscover or redefine what one’s ‘prime’ looks like\, through a minimalist lens. It’s almost a subversion of what processing big\, difficult emotions can look like to others\,” said Maria Gabriela Di GIammarco\, the exhibition’s curator. \nThe exhibition will be open to the public in our Miami gallery beginning June 3 and will run through July 29. The gallery will be hosting an opening reception on Saturday\, June 3\, 2023 from 3–6PM. \n\n\n  \n\n\n\n\n\n\n\n\nABOUT MABELIN CASTELLANOS (b. 1958\, Cuban) \n  \nMabelin Castellanos is a Cuban fiber artist based in Miami. Her delicate interpretations of quotidian life as seen from her window are often made from scrap fabrics\, with both her story as an artist and fiber paintings acting as conduits for agency—namely\, Castellanos’ own. Her practice is marked by self-reflection\, pleasant observations\, and a tender reconstructing of identity and paths to personal development through moments of strife and rebirth. Mabela’s body of work can be interpreted as a series of textile snapshots\, subverting the nature of textile work by treating her sewing machine as an instrument for photography\, while honoring the fleeting beauty in moments most would describe as trivial. \n  \n  \nABOUT THE CONTEMPORARY ART MODERN PROJECT \nThe Contemporary Art Modern Project exists at the intersection of higher thought and aesthetics\, turning the classic gallery model on its head in principle and practice. Founded by Melanie Prapopoulos\, The CAMP’s approach to curation and criticism is equal parts academic and experimental\, resulting in a robust exhibition program that spotlights a range of experiences and media in roster and staff. Coupled with a deep seated aversion to artist exploitation and an insistence on nurturing the relationship between artist\, collector and gallery patron\, The Contemporary Art Modern Project’s reactionary approach is intentional\, designed to disrupt the exploitative norms of the art industry and safeguard the relationship between artistic expression and appreciation. \n  \nTHE CAMP GALLERY MIAMI is located in North Miami at 791 NE 125 St.\, Miami FL 33161. The gallery is open Wednesday–Saturday\, from 11 AM to 5 PM. Private tours can be scheduled by emailing hello@thecampgallery.com or calling (786) 953-8807.
URL:https://artinamericaguide.com/event/opening-reception-for-mabelin-castellanos-alone-with-her-head/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230421T110000
DTEND;TZID=America/Halifax:20230525T170000
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SUMMARY:Vacancy Within: Khotan Fernandez
DESCRIPTION:The Contemporary Art Modern Project is pleased to announce Vacancy Within\, a solo exhibition featuring new and past works by Miami-based artist Khotan Fernandez. \n  \nThe exhibition explores Khotan’s latest body of work alongside past works never before seen. “The series explores the neon signs of Miami’s motels and incorporates narrative language aspects that evoke a sense of emotion or feeling rather than literal meaning. Additionally\, I hope they create a pause or moment of reflection for the overall visual experience of the painting. The buildings themselves are inspired by art deco architecture\, which I think is a beautiful and often overlooked style in today’s world of modern architecture so absent of curves\,” the artist writes. Vacancy Within thus coincides with NoMi Art Deco Week. \n  \nThe exhibition will be open to the public in our Miami gallery beginning April 21 and will run through May 25. The gallery will be hosting an opening reception on Friday\, April 21\, 2023 from 6–8 PM. \n  \n\n\n\n\n\n\n\n\n\n  \n\n\n\n\nVacancy Within is available for viewing in our North Miami gallery at 791 NE 125th St. from April 21–May 25\, 2023. The CAMP Gallery is open Wednesday–Saturday\, 11 to 5 PM. \n  \nFor more information\, please reach out to hello@thecampgallery.com
URL:https://artinamericaguide.com/event/vacancy-within-khotan-fernandez/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230412T110000
DTEND;TZID=America/Halifax:20230527T170000
DTSTAMP:20260613T213421
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SUMMARY:The Continuum of Connection: Sooo-z Mastropietro & Julie Peppito
DESCRIPTION:The CAMP Gallery is pleased to present The Continuum of Connection\, a group exhibition where Sooo-z Mastropietro and Julie Peppito embrace the breadth of layered planes of existence in modern American society. \n  \nThe gallery will be hosting an artist reception on May 6\, 2023 from 4 to 6pm\, as well as their signature High Tea with the artists on May 13\, 2023 from 4-5pm. \n  \n\n\n\n\n\n\n\n\n\n\nThe exhibition explores connection through art and social practices\, positing a new direction for acceptance in communities. Among the works to be exhibited are Mastropietro’s Microfiberorganism-Spandasaurusex (2020-2022)\, an ever-growing and evolving fiber installation comprised of repurposed fiber and new satellites since it last showed at SCOPE Art Show in Miami Beach\, and Peppito’s Cake Series (2022)\, a playful presentation of how difference can work together once directed by the creative mind\, named for the famed Marie Antoinette quote. \nCurated by gallery director\, Melanie Prapopoulos. \n  \n\n\n\n\n\n\n\n\n\nThe Continuum of Connection is available for viewing in our Westport gallery at 190 Main St. from April 12–May 27\, 2023. Hours of operation are Wednesday–Saturday\, 11:00 AM to 5:00 PM. \n  \nFor more information or to schedule a private visit\, please reach out to hello@thecampgallery.com
URL:https://artinamericaguide.com/event/the-continuum-of-connection-sooo-z-mastropietro-julie-peppito/
LOCATION:The CAMP Gallery Westport\, 190 Main Street\, Westport\, CT\, 06880\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230217T110000
DTEND;TZID=America/Halifax:20230325T170000
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CREATED:20230208T230549Z
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SUMMARY:Looking At You Looking At Me | A Group Exhibition
DESCRIPTION:The Contemporary Art Modern Project is pleased to present our latest exhibition: Looking at You Looking at Me\, a group exhibition wherein three Miami-based artists from different generations explore the symbiotic relationship between their place in the world and their relationships with themselves. External parties may assume a woman’s attention to her image is in vain\, but the truth is women are often forced to be hyper-aware because of society’s obsession with ideals and standards of what is woman. The above claim is supported in John Berger’s Ways of Seeing\, where he states: “a woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father\, she can scarcely avoid envisaging herself walking or weeping.” Artists Laetitia Adam-Rabel\, Silvana Soriano\, and Analea Adam-Rabel take the concept of the “female gaze” and approach it in different manners; One portrays the gaze through complex subversion of color and form\, another through digitally manipulating images of herself\, and the other fantasizing about the girl she is becoming. \n  \nIn her collages\, Silvana Soriano depicts stories with a technique that can be examined as repurposing or redefining. While she is repurposing paper and textile\, she is also redefining the space. The uniform but organic shapes give these scenes movement\, as if the viewer is able to witness in real time the story or vignette presented. Each presence captures the space and viewer with actual clothing\, whether owned by the artist or a loved one\, using familiar textures to draw one in. The central figure in Across The Board speaks loudest to a woman’s self-perception in a public space. Here\, Soriano portrays the silhouette of a woman’s back\, the reflection of her face and another blurred silhouette standing in front of them. Who is recognizing whom? While bringing the gaze within herself she is not acting in vain but attending to her own image. \n  \nAs an artist working in a variety of media\, from photography and sculpture\, to printmaking and painting\, Laetitia Adam-Rabel is constantly rediscovering herself. Art is often a therapeutic measure to understand her own feelings and let go. Laeti’s If I Were a Fashion Figure is a collection of designs she created herself using her experiences as a former Parsons student and knowledge of the fashion industry. Soon her desire to embody fashion turned from designing to modeling. After some rejection\, it became hard to sit with the image of herself. In IIWAFF 1\, she portrays a version of her bare body holding her own perfectly smooth skin. Tapping into the young woman she once was as the woman she currently is\, Laeti is also sitting with old versions of herself and accepting them. \n  \nMany little girls dream of a version of themselves\, which sometimes begins as a mermaid or princess. Analea has been drawing mermaids since she was one; creativity is second nature to her coming from a family of artists. In a short time\, an abundance of knowledge and creative intuition has been passed on to her. While she watches and learns art from her mother\, she\, without knowing it\, is taking her mother’s pain and turning it into something new and beautiful. Analea’s self portrait shows viewers that at the young age of four\, she is already perceiving herself. She and her expressions mean something and through art she is able to share a version of herself that she imagines. \n  \nWomen are constantly being perceived by others while living in a society where they are told what to wear\, how to feel and even their sexual orientation. Our identities are constantly shape-shifting\, transforming from child to woman\, friend to mother\, all based around how we look to others and what we can do for them rather than ourselves. At the end of the day\, once we strip away all of the -isms\, we go to bed with perceptions of our innerselves; past\, present\, future and all. \n  \nCurated by Chloe Fabien. \n\n\n\n\n\n\n\n\n\n\n\n\nLooking at You Looking at Me is available for viewing in our North Miami gallery at 791 NE 125th St. from February 17–March 725 2023. \n  \nFor more information\, please reach out to hello@thecampgallery.com
URL:https://artinamericaguide.com/event/looking-at-you-looking-at-me-a-group-exhibition/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230127T170000
DTEND;TZID=America/Halifax:20230127T200000
DTSTAMP:20260613T213421
CREATED:20230123T193144Z
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SUMMARY:The Not So Silent Witnesses: Lydia Viscardi and Rita Valley
DESCRIPTION:Artists Lydia Viscardi and Rita Valley\, through their works\, take on many areas of social behavior and dress up these qualities through their artistic  language with the sole objective of asking that we accept culpability for the world we all  both create and inhabit. Focusing on language and universal memory\, both artists approach the arena of social discontent\, something greatly inflamed in this current era and bring forth realities which are found in their work. \nLydia Viscardi through her soft touch often seems to look back to times that present safe vignettes into a more stylized and maybe better time. Taking for example\, in her series: Hear and After\, with obvious connotations towards what lies beyond our existence\, the works present a version of what could be heaven above and an inferno below and somewhere ‘stuck’ in the middle are Viscardi’s characters often ‘caught’ in idyllic settings of a life presumably  undisturbed. The disturbance though permeates the canvas suggesting\, naturally a balance but also the limitations of all  that lives – lives perfectly packaged and presented not only to the viewer\, but also to the artist  The struggle though between the ‘above’ and ‘below’ is clearly seen and understood in Travel Agency. Starting just with the name – the idea of a woman being the agency of travel\, even though all births travel through her body\, the association of the feminine to the phallic vessels of transportation\, are not expected. Viscardi\, though is not having this – instead in the above mentioned work\, the middle vignette focuses on a woman – possible a woman from the Antebellum who on one surface stimulates notions of Scarlett O’Hara\, but also in the same moment\, when looking at the complete composition – invites comparisons with the archangel Michael\, thereby elevating the position of the feminine and affording her with characteristics of a guide\, and not the subjected follower many want her to be.  \nRita Valley\, deeply political and confrontational in her work tackles all social trends\, morality and political behaviors and turns them all around and into art – art that stands up and will be heard. Valley\, as with Viscardi\, also has a soft touch\, part of that is the medium used\, fiber\, the other part\, also connected to her medium\, is the mixing of fibers – creating multilevel patchworks of statements that draw one in with their unabashed taunts\, but that also get softened by fringes\, sequins\, and the like.  Valley seems to have no discomfort in calling us all out – wether one is wealthy and living on the brink of destruction along the coasts\, whether one is trying to live their best life\, exhausting every moment\, or the reduction of the art world and those involved to be naught much more than whores – the intent is there bellowing that we all stop\, turn around and look into who we are and what we do\, what we aspire to – and are these things good for us all? For anyone?  Wrapping her lambasts at society\, Rita confuses us a little\, catches us off guard as we are initially drawn into the works by the luxury of her works\, only to be slapped by our behavior calling us out\, betraying the perceived self idol we all formulate to lighten our burden of not being who we should be.  \nCombined these two artists make up The Not So Silent Witnesses of our current in gallery exhibition\, both artists gently reminding us not to be the A**holes that we often are – the question is\, will we listen? Will we become the people we think we are\, will we just be and do better?  \nMelanie Prapopoulos
URL:https://artinamericaguide.com/event/the-not-so-silent-witnesses-lydia-viscardi-and-rita-valley/
LOCATION:The CAMP Gallery Westport\, 190 Main Street\, Westport\, CT\, 06880\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20221028T080000
DTEND;TZID=America/Halifax:20221028T170000
DTSTAMP:20260613T213421
CREATED:20221028T203306Z
LAST-MODIFIED:20221028T203306Z
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SUMMARY:Liz Leggett: Abstractly Frenzied and Separate\, Unified by a Line
DESCRIPTION:A solo exhibition featuring works from Westport artist\, Liz Leggett. \nAbstract art has always been deeply rooted in the seeming undefined\, but when looking at the works of Westport artist\, Curator and mom\, Liz Leggett one encounters an apparent frenzied depiction of the depths of life on the contemporary woman who does it all and finds balance and meaning through her paint brush. \nAbstract Expressionism is not a new trend in the art world\, originally ascribed to the male artist who through his stroke and often wild application of paint reinforced his masculinity through the new movement\, understandable considering the movement begins after WWII when men came back from war and needled to elbow the women out of their jobs. But what does it mean when a contemporary artist\, and woman\, employs the same drama and dynamics to her application of paint and subject? Is it a means to equalize the art world? A way to consume and redefine patriarchal artistic language and practice? Does this type of paint application mean certain emotions\, is it all just symbolic of something else\, something more personal\, something inherent in the artist? All good questions\, and one can argue that all of the above are behind this artist’s venture in Abstract Expressionism and in so doing much of the work can be seen as a response to the questions posited here.  After Party\, for example\, presents the viewer with an initial explosion of color\, drips\, and squiggly lines\, but after closer inspection one is able to discern why the piece is titled so – martini olives are all over the place\, a green pumpkin and what could be an electric heater. With a color palette of blues\, black\,  greens and red there are levels to the piece and ways in which to interpret – the background is blue – suggesting daylight\, the day after a party and what many encounter the morning after – but in that ‘mess’ are memories\, good\, uncomfortable\, but also hassles; did the kids get enough sleep\, did we make too much noise\, “ugh\, I have to clean this mess”- was the party worth it? What is different in Leggett’s work\, unlike that of Pollack\, is she is documenting and explaining her life and what she does and in so doing she creates a new language that is not masculine\, patriarchal or expected – this is the language of Liz Leggett. Leggett’s powerful language is further seen in Holding Pen\, another large scale work that through palette and line creates a grid and other geometric shapes that in their entirety suggest a mask – is this the intent? Is this the artist\, why are some lines stronger than others\, why this palette – all these questions and others are what is central and behind any kind of abstraction – what does it all mean? Abstraction can be looked at in many ways – easily one can apply psychoanalytical theory\, color theory\, and even feminist theory\, and in the case of Liz Leggett all these theories find comfort in her work – but the greatest attribute that affords all these associations and approaches are found in her lines. It takes great courage to create a line that stands out and alone yet unifies\, and Leggett’s lines do just that\, they unify the artist and the viewer in the field of interpretation. The are the entrance into the work\, and hold everything together – they break expectation\, order\, and award the viewer with distinct vignettes into this person’s life and in so doing give meaning to what we often consider the mundane\, which though through this artist’s hand are elevated to the sublime. 
URL:https://artinamericaguide.com/event/liz-leggett-abstractly-frenzied-and-separate-unified-by-a-line/
LOCATION:The CAMP Gallery Westport\, 190 Main Street\, Westport\, CT\, 06880\, United States
CATEGORIES:Event,Exhibition
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DTSTART;TZID=America/Halifax:20220909T110000
DTEND;TZID=America/Halifax:20221007T170000
DTSTAMP:20260613T213421
CREATED:20220907T174327Z
LAST-MODIFIED:20220907T174327Z
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SUMMARY:Impressions of Jenny Perez
DESCRIPTION:Miami-based artist Jenny Perez‘ debut exhibition with The CAMP Gallery explores her body of work as an inheriting and reinventing many of pillars of the revolutionary artists that came before her. Using her history as a self-taught artist and situating it in the context of both her street artistry and abstract works\, Impressions of Jenny Perez validates her path and trajectory. \nCurated by Mario Andres Rodriguez \n  \n\n\n\n\n\n  \nAbout Jenny Perez: \nJenny Perez is a Caribbean-American painter and visual artist based out of Miami\, Florida. With nearly over a decade of experience\, Perez’s projects span a wide variety. She began her career as an apprentice under internationally-recognized painters inspiring Perez to explore her own voice as an artist. Early into her development she quickly became one of the pioneering artists in the rise of Miami’s street art movement. As a self-taught painter Jenny immersed herself in a disciplined studio practice exploring abstract expressionism with notes of pop art\, eventually mimicking her paintings onto walls. \nShe has been featured in international publications including DISfunction Magazine\, Latina Magazine\,LumiereMagazine and onCuba\, as well as online platforms for her dynamic\, multi-media works. Jenny also dedicates her efforts to giving back to her beloved community by partnering up with several nonprofit organizations in support of initiatives she is most passionate about such as Ronald Macdonald House\, Kristi House\, No Kid Hungry\, Blue Missions and No More Tears to name a few. \n\n\n\n\n  \nImpressions of Jenny Perez is available for viewing in our North Miami gallery at 791 NE 125th St. from September 9–October 7\, 2022. An opening reception for Impressions of Jenny Perez will be held on Friday\, September 16. \nFor more information\, please reach out to hello@thecampgallery.com
URL:https://artinamericaguide.com/event/impressions-of-jenny-perez/2022-09-09/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220715T180000
DTEND;TZID=America/Halifax:20220715T200000
DTSTAMP:20260613T213421
CREATED:20220708T163337Z
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SUMMARY:Lucia Warck-Meister: Fragmentos Rescatados
DESCRIPTION:In The Contemporary Art Modern Project’s showing of Fragmentos Rescatados\, Lucia Warck-Meister deals with the concept of memory\, be it its relationship with nationhood\, its deprecation in the face of historical revisionism\, and its frailty in part due to the ravages of change and time. Curated by Mario Andres Rodriguez. An opening reception will be hosted in our Miami gallery on July 15 from 6-8 PM \n  \nAmongst the abstract thoughts privy only to mankind\, collective memory is unique in its ability to creep into identity. Countless examples exist: the liturgical stories we use to guide our lives in global religions\, the filtered recounting of nationhood fed to the global youth in elementary schools\, the story of how your mom and dad fell in love and fatefully conceived their children. These memories inform who we are and what we believe about the world around us; because of their centrality in our paradigm of thought\, one would imagine that these memories were durable\, steadfast\, tangible items\, that they are realities of one’s life. Such a status would make life more simplistic and direct. \n\n\n\n\n  \n  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Lucia Warck-Meister: \n  \nLucia Warck-Meister is a sculptor and mixed-media artist interested in exploring individual and collective memory and how they build the foundation of our identity. “Who we are is contingent on what we remember\, and how we use those memories to construct new narratives. Through memory\, I explore ideas of identity\, gender\, narrative\, and visibility.” \nWarck-Meister holds an MFA from UNA University of the Arts\, Buenos Aires. Her works have been exhibited at the DUMBO Arts Festival\, New York\, Palm Beach International Biennial\, Florida; Outdoor Sculpture Exhibition Bellevue\, WA\, Museo del Barrio\, New York; New York LatinAmerican Triennial\, NYC; Katonah Museum of Art\, NY; Museum of the Americas\, Washington DC; Griffiss Sculpture Park\, Rome\, NY; Miura Museum of Art\, Matsuyama City\, Japan; Briggens Museum\, Bergen\, Norway\, Deutsche Bank Foundation\, New York; Piedmont Biennial\, Torino\, Italy; National Endowment for the Arts\, Buenos Aires\, Recoleta Cultural Center\, Buenos Aires\, MAT Tigre Art Museum\, Buenos Aires; MUMBAT\, Tandil; Timoteo Navarro Museum\, Tucumán\, Argentina. \n  \n\n\n\n\nFragmentos Rescatados is available for viewing in our North Miami gallery at 791 NE 125th St. from July 15th – August 26th. \n  \nSi desea información en español\, puede enviar un email a hello@thecampgallery.com
URL:https://artinamericaguide.com/event/lucia-warck-meister-fragmentos-rescatados/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220714T100000
DTEND;TZID=America/Halifax:20220717T200000
DTSTAMP:20260613T213421
CREATED:20220708T163337Z
LAST-MODIFIED:20220708T163337Z
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SUMMARY:The Contemporary Art Modern Project at Hamptons Fine Art Fair — Booth #307
DESCRIPTION:The Contemporary Art Modern Project is proud to announce its participation in the Hamptons Fine Art Fair 2022. The goal of the CAMP‘s booth\, Metamorphosis\,  is to contrast the abstractions of Liz Leggett\, Melissa Dadourian\, and Clara Fialho\, all of which are united by an intentional use of color\, to create a visceral experience of the perpetual dance between liminality and distinction. \n  \nAs a whole\, the works by Leggett\, Dadourian\, and Fialho embody a distilled version of a life cycle. Each work holds within it the knowledge and beauty of the various stages we all traverse during our lifetime\, and regardless of which stage one is currently in\, there is resonance to be found. \n\nStatment and curation by Brianna Luz Fernandez
URL:https://artinamericaguide.com/event/the-contemporary-art-modern-project-at-hamptons-fine-art-fair-booth-307/
LOCATION:Southampton Fairgrounds\, 605 County Rd 39\, Southampton\, NY\, 11968\, United States
CATEGORIES:Art Fair
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DTSTART;TZID=America/Halifax:20220630T180000
DTEND;TZID=America/Halifax:20220630T200000
DTSTAMP:20260613T213421
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LAST-MODIFIED:20220615T185758Z
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SUMMARY:Opening Reception: Women Pulling at the Threads of Social Discourse at MoCA Westport
DESCRIPTION:The Contemporary Art Modern Project (CAMP) and Fiber Artists Miami Association (FAMA) are partnering with the Museum of Contemporary Art in Westport\, CT. for a forty-artist exhibition held at MoCA from June 30–September 4\, 2022. The exhibition\, a textile survey of the ways in which gender\, culture\, and sociopolitics intersect\, was the inaugural collaboration for CAMP and FAMA’s annual exhibition\, Women Pulling at the Threads of Social Discourse\, in 2020. \nInspired by the gendered history of textile and fiber work and seeking to both open dialogue and democratize access to artistic practice\, Women Pulling at the Threads of Social Discourse sees topics such as capitalism’s effect on the body; the interplay of race and gender in fine art; reproductive justice; bodily autonomy; ageism; immigration and displacement explored through textiles. The result is a subversion of textiles’ perceived nature—soft\, easy\, women’s busy work—birthed from poignant and biting\, sometimes jarring\, social commentary. \n“The timeliness of this exhibition is not lost in the obvious\, but becomes another rung in the continual search for equality. At the time of the original exhibition’s opening on September 19\, 2020\, we mourned the passing of Justice Ruth Bader Ginsburg. As we approach 2022’s [opening]\, we worry about the possible overturning of Roe v. Wade—that a right awarded in our lifetime would teeter on the balance of being revoked\, turning reproductive and body rights over to a moral minority instead of the individual\,” says CAMP founder\, Melanie Prapopoulos. \nThe opening reception for Women Pulling at the Threads of Social Discourse at MoCA Westport will be held on June 30\, 2022 from 6–8 PM. The event is free and open to the public.
URL:https://artinamericaguide.com/event/opening-reception-women-pulling-at-the-threads-of-social-discourse-at-moca-westport/
LOCATION:Westport Museum of Contemporary Art\, 19 Newtown Turnpike\, Westport\, CT\, 06880\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220630T080000
DTEND;TZID=America/Halifax:20220904T170000
DTSTAMP:20260613T213421
CREATED:20220615T185758Z
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SUMMARY:Women Pulling at the Threads of Social Discourse at MoCA Westport
DESCRIPTION:The Contemporary Art Modern Project and Fiber Artists Miami Association partner with MoCA Westport for the return of Women Pulling at the Threads of Social Discourse. The seminal collaboration between CAMP and FAMA\, first exhibited in 2020\, will be on display in Westport\, Connecticut this summer from June 30–September 4\, 2022\, exposing social and cultural vulnerabilities in women’s rights\, past and present. The exhibition\, a textile survey of the ways in which gender\, culture\, and sociopolitics intersect\, was the inaugural collaboration for CAMP and FAMA’s annual exhibition\, Women Pulling at the Threads of Social Discourse\, in 2020.\n  \nInspired by the gendered history of textile and fiber work and seeking to both open dialogue and democratize access to artistic practice\, Women Pulling at the Threads of Social Discourse sees topics such as capitalism’s effect on the body; the interplay of race and gender in fine art; reproductive justice; bodily autonomy; ageism; immigration and displacement explored through textiles. The result is a subversion of textiles’ perceived nature—soft\, easy\, women’s busy work—birthed from poignant and biting\, sometimes jarring\, social commentary. \nIn this edition\, both CAMP and FAMA have been invited by Ruth Mannes\, Liz Leggett\, and the board of Westport’s MoCA to bring a new edition\, new works\, and new artists using mixed media and the fiber arts to ignite positive social change. Our collective revisiting of the inaugural collaboration\, which coincided with the centennial of the women’s vote in the Unites States and 2020’s election season\, has been expanded to artists in the Northeastern United States in order to explore the ways in which dialogues change across space within an eclectic national identity. \n\n\n\nThe exhibition was curated by Melanie Prapopoulos\, Maria Gabriela Di Giammarco\, and Mario Andres Rodriguez of The CAMP Gallery\, with locations in both Miami\, Florida and Westport\, Connecticut. \n\n\n\nSupporting Programming will be part of MoCA Westport’s Cocktails & Conversation series\, featuring an ongoing line-up of speakers relevant to the exhibition on Thursday evenings. Speakers begin at 6 PM sharp\, so please arrive early to purchase a custom cocktail and to experience the exhibition. \n\n\n\n\nArtists Included In the Exhibition \nLaetitia Adam-Rabel\, Alissa Alfonso\, Carlos Bautista Biernnay\, Nancy Billings\, Liene Bosquê\, Pip Brant\, Carola Bravo\, Mabelin Castellanos\, Melissa Dadourian\, Camille Eskell\, Susan Feliciano\, Molly Gambardella\, Amy Gelb\, Joseph Ginsberg\, Jac Lahav\, Maria Lino\, Laura Marsh\, Sooo-z Mastropietro\, Caitlin McCormack\, Shelly McCoy\, Jeanne Jaffe & Molly McGreevy\, Norma Minkowitz\, Aurora Molina\, Valeria Montag\, Chiara No\, Evelyn Politzer\, Rosana Machado Rodriguez\, Alina Rodriguez Rojo\, Damian Rojo\, Margaret Roleke\, Debora Rosental\, Rosario Salazar\, Yolanda Sanchez\, Natalia Schonowski\, Leslie Sheryll\, Silvana Soriano\, Maru Ulivi\, Rita Valley\, Lisu Vega\, Laura Villareal\, Joan Wheeler\, Silvia Yapur\, and Wendy Wahl. \n  \nThe Contemporary Art Modern Project (The CAMP Gallery) \nthecampgallery.com \nThe Contemporary Art Modern Project Gallery specializes in art advisory and contemporary art with a focus on emerging and mid-career artists working in: installation\, painting\, photography\, sculpture\, textiles\, and video art with a specific direction of both self and worldly reflection. Looking at art\, as a whole\, through a reactionary and interdisciplinary approach\, the gallery covers the ever-populating notion of society and life in general through art and curation\, offering a creative space both in the gallery and out—where creativity and reality co-exist. \nThe Contemporary Art Modern Project Miami \n791 NE 125 St. North Miami\, FL 33161 \n 786-953-8807 \nThe Contemporary Art Modern Project Westport \n190 Main Street\, Westport\, CT 06880 \n203-557-0223 \nGallery Hours \nWednesday to Saturday 11am – 5pm \n  \nFiber Artists Miami Association (FAMA) \nfiberartists-miamiassociation.com \nWith the goal of the education of and the advancement of fiber arts in Miami or abroad\, Fiber Arts Miami Association came into being during the onset of COVID-19 as three artist:s \, Alina Rodriguez Rojo\, Aurora Molina\, and Evelyn Politzer began organizing socially engaged virtual workshops that united people using the healing power of thread-based work. The group formed a link through daily embroidery\, weaving\, and recyclable materials workshops. This daily communion was the impetus or the ultimate trigger for Molina\, Politzer\, and Rojo to mobilize and create FAMA. an artist-initiated group that educates\, advances\, and elevates textile traditions and contemporary fiber techniques.  \n  \nMuseum of Contemporary Art Westport \nmocawestport.org \nMoCA Westport is a non-profit visual and performing arts organization that has been a cornerstone of the Westport\, Connecticut community for over 50 years. In 2019\, MoCA Westport underwent a significant expansion in order to bring extensive programming to the local community and greater New York and New England regions. MoCA Westport is a destination for contemporary visual arts exhibitions\, music performances\, and comprehensive arts education. Their mission is to build a deeper understanding of\, and passion for\, the arts by presenting thought-provoking and relevant arts experiences. In addition to hosting contemporary art exhibitions and performing arts events\, The Academy at MoCA Westport provides arts and wellness classes for all ages\, a pre- school and elementary school academic and arts enrichment program\, and Camp MoCA\, a weekly summer day camp.  \nMoCA Westport \n19 Newtown Turnpike\, Westport\, CT 06880 \n786-953-8807 \nGallery Hours  \nMonday & Tuesday | Closed \nWednesday | 12PM – 4PM \nThursday | 12PM – 7PM \nFriday | 12PM – 4PM \nSaturday & Sunday | 12PM – 4PM
URL:https://artinamericaguide.com/event/women-pulling-at-the-threads-of-social-discourse-at-moca-westport/
LOCATION:Westport Museum of Contemporary Art\, 19 Newtown Turnpike\, Westport\, CT\, 06880\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220617T180000
DTEND;TZID=America/Halifax:20220617T200000
DTSTAMP:20260613T213421
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SUMMARY:Caprices\, a Contemporary Homage to Goya
DESCRIPTION:In the next CAMP gallery exhibition\, Caprices\, a Contemporary Homage to Goya\, artists Aurora Molina\,German Molina\,Violeta Caldrés\, Jac Lahav and Luis Alonso all draw directly upon the original Caprichosof Francisco de Goya y Lucientes and\, like the original concept\, draw attention to the inherent folly in society\, whether that folly be a direct interpretation of a piece\, or our reaction to what we encounter as other. The original pieces by Goya were etchings\, simply because the artist found that a line would be the ideal means of expression\, but because no one in Spain at the time was creating etchings\, Goya had to look to artists that he admired—in this case Rembrandt and Tiepolo. Combining their techniques with his deep respect and understanding of nature\, he was able to develop and make a blatant statement about the society in which he existed\, often finding that same society to be ignorant\, superstitious\, and limited. The timeliness of these new interpretations\, and treatments of the idea to call a society into check is also timely today\, as we\, too\, inhabit a modern world still weighted with ignorance and superstition\, and are often limited. \nGoya\, and the artists above\, stand fast in their self-imposed role as witnesses to society\, documenting what they see\, what they encounter\, and insisting that we\, the audience\, join them in taking on the identity of a witness\, accept what is being shown to us\, and hopefully become the entities of change and awareness. \n\nCaprices\, a Contemporary Homage to Goya will be on display in The CAMP Gallery Westport from June 15–July 15. An opening reception will be held on June 17 from 6–8 PM.
URL:https://artinamericaguide.com/event/caprices-a-contemporary-homage-to-goya/
LOCATION:The CAMP Gallery Westport\, 190 Main Street\, Westport\, CT\, 06880\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220429T170000
DTEND;TZID=America/Halifax:20220429T190000
DTSTAMP:20260613T213421
CREATED:20220324T205010Z
LAST-MODIFIED:20220422T153657Z
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SUMMARY:The Rooms of Joseph Ginsberg
DESCRIPTION:The Contemporary Art Modern Project (The CAMP Gallery) is please to announce the opening of our April exhibition: The Rooms of Joseph Ginsberg\, and the exhibition celebrating our two year anniversary on display at our Westport Gallery space at 190 Main Street\, CT.\, 06880 from April 29 – May 24\, 2022.  \nExhibition Highlights include an array of works from Joseph Ginsberg covering not only his fine art works but also elements of his design eye and expertise. Visitors will be able to see first hand his creative approach to both art and design and quickly be able to discern that although the media and matter are varied\, the line and expression of the artist spreads through all he touches\, be it works on canvas\, hand blown glass works\, designed and woven floor coverings to design elements in fibers. \n  \nOpening April 29\, 2022\, The Rooms of Joseph Ginsberg\, will be on display until May 24\, 2022\, at The CAMP Gallery: 190 Main Street\, Westport\, CT 06880. The opening reception will be held on April 29\, 2022\, from 5–7 PM; private viewings can be scheduled by emailing hello@thecampgallery.com
URL:https://artinamericaguide.com/event/the-rooms-of-joseph-ginsberg-2/
LOCATION:The CAMP Gallery Westport\, 190 Main Street\, Westport\, CT\, 06880\, United States
CATEGORIES:Event,Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220401T110000
DTEND;TZID=America/Halifax:20220430T170000
DTSTAMP:20260613T213421
CREATED:20220324T205010Z
LAST-MODIFIED:20220324T205010Z
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SUMMARY:Clara Fialho: Dreamscapes
DESCRIPTION:Clara Fialho’s artistic sensibilities are interpreted as an intimate\, liminal study of emotion\, removed from the constructs of time and space in The Contemporary Art Modern Project’s April exhibition\, Dreamscapes. The result is an expert layering of personal experiences\, color\, and technique\, a collection of contemplative scenes whose energies and meanings are left up to interpretation. Her approach to abstract work is grounded in an intentionality that finds its footing in an intertwining of psychology\, surrealism\, universal symbols\, and her previous portraiture practice\, allowing her to appropriate both the reflexive qualities of instinct with the objective spirit of realism into a reframing of existential sentiments. Dreamscapes explores Fialho’s adaptive realms\, unconfined by time and space\, bringing witnesses to unnamed\, yet defined points of respite\, and occupying spaces between the dichotomies of disorder and form; individual and collective; discipline and fluidity; tension and repose; texture and color; dimension and ephemerality.     \n  \nFialho takes advantage of the space she allots herself\, allowing her compositions to transcend firm interpretations into completely liminal territories. Ethnographers Arnold Van Gennep’s and Victor Turner’s work on the concept of liminality has given society a name for the viscerally ambiguous checkpoints of a life lived\, though it is Turner’s description of liminal experiences in The Ritual Process: Structure and Anti-Structure (1969) as “betwixt and between the positions assigned and arrayed by law\, custom\, convention\, and ceremonial\,” that run concurrent to Fialho’s endeavor. This is best exemplified by Fialho’s deliberate toying with illusions\, or remnants\, even\, of negative space through a recurring use of orb-like forms\, no matter if they’ve been colored in to totality\, overlapped with thick coats of paint\, or left empty to bring forth the raw material underneath\, and mirroring the weight\, or power\, that we allow any one thing. Dreamscapes features the debut of It Was Good to Be Loved\, a ten-year project that can be approached as an archive of the growing pains that accompany our existences\, be they emotional\, spiritual\, or physical. Fialho’s color palette further runs parallel to interrogations of emotion\, a study of emotional potential in both delicate and deep\, almost severe hues\, often on the same piece. This duality\, or multiplicity\, is present throughout her body of work—elegant watercolor pieces are exercises in spontaneity\, and exist neatly alongside large-scale oil paintings\, which are carefully planned ahead in her collection of sketchbooks\, all living catalogues of Fialho’s conceptual instincts. \n  \nDreamscapes embraces the undefined\, coalescing into a brilliant\, sensorial emancipation\, an embodiment of the very essence of abstract art wherein the works ultimately function as vessels for whatever one may need: reflection\, understanding\, or transformation. Nonetheless\, Dreamscapes\, and by extension\, this statement\, whether it is seen from afar or through a magnifying lens\, is offered to the viewer as an invitation to stand right here and experience. \n  \n  \nOpening April 1\, 2022\, Dreamscapes will be on display until April 28\, 2022\, at The CAMP Gallery: 791 NE 125 St\, Miami\, FL 33161. The opening reception will be held on April 1\, 2022\, from 6–8 PM; private viewings and tours can be scheduled by emailing hello@thecampgallery.com  \nStatement by Maria Gabriela Di Giammarco
URL:https://artinamericaguide.com/event/clara-fialho-dreamscapes/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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