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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251205
DTEND;VALUE=DATE:20251208
DTSTAMP:20260627T154114
CREATED:20251208T211255Z
LAST-MODIFIED:20251208T211255Z
UID:115335-1764892800-1765151999@artinamericaguide.com
SUMMARY:Art Basel Miami Beach 2025
DESCRIPTION:Michael Rosenfeld Gallery is proud to announce its return to Art Basel Miami Beach for its nineteenth year. The selection of masterworks on view highlights the depth and breadth of the art and artists championed by the gallery. \nLearn more
URL:https://artinamericaguide.com/event/art-basel-miami-beach-2025/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251205
DTEND;VALUE=DATE:20251208
DTSTAMP:20260627T154114
CREATED:20251208T211255Z
LAST-MODIFIED:20251208T211255Z
UID:115343-1764892800-1765151999@artinamericaguide.com
SUMMARY:Mary Bauermeister | Kabinett\, Art Basel Miami Beach
DESCRIPTION:For the Kabinett sector at Art Basel Miami Beach 2025\, Michael Rosenfeld Gallery is excited to present a solo exhibition of rarely-before-seen works on paper by Mary Bauermeister (1934–2023). \nLearn more
URL:https://artinamericaguide.com/event/mary-bauermeister-kabinett-art-basel-miami-beach/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241206T080000
DTEND;TZID=America/New_York:20241208T170000
DTSTAMP:20260627T154114
CREATED:20240722T191430Z
LAST-MODIFIED:20241202T220501Z
UID:109278-1733472000-1733677200@artinamericaguide.com
SUMMARY:James Cohan at Art Basel Miami Beach
DESCRIPTION:– \nArt Basel Miami Beach\nBooth G22 | December 4-8\, 2024\n\nImage caption:\nJORDAN NASSAR\nSong of the Flowers\, 2022\nHand-embroidered cotton on cotton\n130 x 245 x 3 in.\n330.2 x 622.3 x 8 cm.\nImage courtesy of the artist and James Cohan Gallery
URL:https://artinamericaguide.com/event/art-basel-miami-beach/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
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ORGANIZER;CN="James Cohan":MAILTO:info@jamescohan.com
GEO:25.7950215;-80.1345386
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241206
DTEND;VALUE=DATE:20241209
DTSTAMP:20260627T154114
CREATED:20241204T152613Z
LAST-MODIFIED:20241204T152613Z
UID:110859-1733443200-1733702399@artinamericaguide.com
SUMMARY:Art Basel Miami Beach 2024
DESCRIPTION:Learn more
URL:https://artinamericaguide.com/event/art-basel-miami-beach-2024/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/f236d29d720bfa92ccab3f31d4b7223bj.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Basel Miami Beach Miami Beach Convention Center 1901 Convention Center Drive Miami Beach FL 33139 Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139:geo:-80.1345386,25.7950215
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241206
DTEND;VALUE=DATE:20241209
DTSTAMP:20260627T154114
CREATED:20241204T152613Z
LAST-MODIFIED:20241204T152613Z
UID:110865-1733443200-1733702399@artinamericaguide.com
SUMMARY:Hannelore Baron | Kabinett Sector\, Art Basel Miami Beach 2024
DESCRIPTION:Learn more
URL:https://artinamericaguide.com/event/hannelore-baron-kabinett-sector-art-basel-miami-beach-2024/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/12/Hannelore-Baron-1926–1987-Untitled-C81122-1981-copy.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Basel Miami Beach Miami Beach Convention Center 1901 Convention Center Drive Miami Beach FL 33139 Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139:geo:-80.1345386,25.7950215
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231206T110000
DTEND;TZID=America/New_York:20231210T180000
DTSTAMP:20260627T154114
CREATED:20231205T195652Z
LAST-MODIFIED:20231206T164239Z
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SUMMARY:Art Basel Miami Beach 2023\, Booth A17
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present a group exhibition of American masterworks representative of the gallery’s historically grounded and culturally diverse program. Spanning eight decades\, the majority of works on view are standout examples of midcentury American painting\, sculpture\, and works on paper by the artists that have been the backbone of the gallery’s program since its founding in 1989. Featured artists include Charles Alston\, Benny Andrews\, Ruth Asawa\, Milton Avery\, Hannelore Baron\, Richmond Barthé\, Mary Bauermeister\, Romare Bearden\, Harry Bertoia\, Joseph Cornell\, Harold Cousins\, Sam Gilliam\, Michael Goldberg\, Nancy Grossman\, Hans Hofmann\, Lee Krasner\, Yayoi Kusama\, Alfred Leslie\, Norman Lewis\, Conrad Marca-Relli\, Alice Neel\, Alfonso Ossorio\, Irene Rice Pereira\, Milton Resnick\, Betye Saar\, Alma Thomas\, Bob Thompson\, Mark Tobey\, Charles White\, Jack Whitten\, Charmion von Wiegand\, William T. Williams\, and Hale Woodruff. \nOrganized into sections exploring a range of disciplines and stylistic approaches\, Booth A17 includes a Kabinett installation featuring a stunning selection of fifty small-scale works by Claire Falkenstein (1908–1997) from her celebrated Fusion series of abstract metal and glass sculptures. Drawn from the holdings of the artist’s Foundation\, the vast majority of the delicate\, intimately sized works on view in Michael Rosenfeld Gallery’s presentation have never been publicly exhibited. \nComposed of welded metal and melted glass\, Claire Falkenstein’s Fusions embody the dichotomies that exemplify the artist’s practice as a whole: solid and fluid\, opaque and translucent\, durable and fragile. Executed over a thirty-year period\, from the mid-1950s through the mid-1980s\, the Fusions constitute Falkenstein’s most sustained exploration of the possibilities inherent to a particular technical approach to sculpture. These works are perhaps the greatest testament to her artistic ingenuity\, as they encompass a seemingly infinite array of shapes\, scales\, and palettes; some are quite minimalist\, while others are a dense tangle of metal with many colors of glass. The small-scale Fusions on view in Booth A17 demonstrate the sculptor’s singular range; also a successful jewelry designer\, Falkenstein is widely remembered for her large-scale public artworks and architectural installations\, yet observers of her delicately diminutive works will see that the formal and material nuance for which her oeuvre is celebrated is consistent across her work of all scales. Testifying to her unique ability to execute minutely intricate works without losing any formal or conceptual power\, the small-scale Fusions embody the fundamental concepts that shaped Falkenstein’s visual vocabulary throughout her career. \nIn addition to the Kabinett installation\, Michael Rosenfeld Gallery’s Art Basel Miami Beach presentation features key works shown in the gallery’s exhibition program of the past year\, presenting highlights from the exhibitions Harold Cousins: Forms of Empty Space\, Bob Thompson: Agony & Ecstasy\, and Norman Lewis: Give Me Wings To Fly. A major canvas by Thompson\, Untitled (The Proofing of the Cross) (1963)\, exemplifies the painter’s prescient approach to figurative expressionism and his signature appropriative technique. Executed while he was living in Spain\, Thompson’s painting riffs on the compositional structure of Piero della Francesca’s Proofing of the Cross\, the Legend of the True Cross (1455–66) in the Basilica of San Francesco in Arezzo\, Italy\, transmuting a Renaissance rendition of a Christian legend into a psychedelic tableaux of otherworldly\, animalistic creatures engaged in an enigmatic ritual that evokes\, as curator Slade Stumbo writes\, “a sense of a dream state which is furthered by the fantastic setting that is absent of any reference to any actual place. Thompson’s overarching theme in this work becomes the movement between realms\, metamorphosis.” Also on view at Booth A17 is a large-scale work featured in the gallery’s recent solo exhibition William T. Williams: Tension to the Edge (September 8–November 5\, 2022) titled Avon\, Rainmakers Piss (1970)\, an important canvas from the artist’s earliest mature body of work. A concise selection of works similar to those exhibited in the gallery’s current show\, Mary Bauermeister: Fuck the System—recently deemed a “Must-See” by Artforum—will complete the overview. \nAugmenting the wall-sized paintings installed on the booth’s exterior is an alcove dedicated to figuration. A large collage painting by Benny Andrews\, Thanks (1977)\, hangs adjacent to a quintessential portrait by one of Andrews’ good friends\, Alice Neel\, as well as one of Beauford Delaney’s most accomplished portraits depicting the influential journalist and critic Colin Gravois. Across the booth from this section is another alcove dedicated to material explorations of collage and assemblage\, featuring an abstract painted canvas collage by Conrad Marca-Relli\, a striking “Congregation” by Alfonso Ossorio from his celebrated series of intricate found-object assemblages\, and a historic\, large-scale paper collage by Romare Bearden from his Of the Blues series dedicated to the key players\, composers\, songs\, and locales that were integral to the blues and jazz music that deeply informed the artist’s practice. \nMichael Rosenfeld Gallery is recognized for its commitment to advancing an expanded view of twentieth- and twenty-first century American art. For over three decades\, the gallery has presented an ambitious and diverse exhibition program informed by a progressive vision and an inclusive understanding of art history. Through the championing and recontextualization of works by a range of important twentieth-century artists\, Michael Rosenfeld Gallery remains committed to expanding the canon of American art. A member of the Art Dealers Association of America (ADAA) since 2000\, Michael Rosenfeld Gallery proudly represents the distinguished living artists Nancy Grossman and William T. Williams\, as well as the estates and families of Benny Andrews\, Hannelore Baron\, Mary Bauermeister\, John Biggers\, Federico Castellon\, Harold Cousins\, Beauford Delaney\, Claire Falkenstein\, Michael Goldberg\, Morris Graves\, Norman Lewis\, Seymour Lipton\, Boris Margo\, Alfonso Ossorio\, Theodore Roszak\, Louis Stone\, Bob Thompson\, and Charmion von Wiegand.
URL:https://artinamericaguide.com/event/art-basel-miami-beach-2023-booth-a17/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/Thomas-128.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231206T110000
DTEND;TZID=America/New_York:20231210T180000
DTSTAMP:20260627T154114
CREATED:20231205T195652Z
LAST-MODIFIED:20231206T164054Z
UID:106140-1701860400-1702231200@artinamericaguide.com
SUMMARY:Kabinett Sector\, Art Basel Miami Beach | Claire Falkenstein: Fusions
DESCRIPTION:Michael Rosenfeld Gallery is proud to participate in the Kabinett sector of Art Basel Miami Beach with an installation of twenty-four small-scale sculptures by Claire Falkenstein (1908–1997) from her celebrated Fusion series. Drawn from the holdings of the artist’s Foundation\, the vast majority of the intimately sized works on view have never been publicly exhibited. \nAn interdisciplinary artist whose career spanned seven decades\, Claire Falkenstein does not fit easily into any school or movement. Comprising a wide variety of mediums—wood\, ceramic\, and metal sculpting\, painting\, prints\, jewelry\, and more—the Fusions are perhaps the greatest testament to her artistic ingenuity\, as they encompass a seemingly infinite array of shapes\, scales\, and palettes. Composed of welded metal and melted glass\, the Fusions embody the dichotomies that exemplify the artist’s practice as a whole: solid and fluid\, opaque and translucent\, durable and fragile. \nFalkenstein developed the Fusions after a trip to Venice\, Italy inspired her to incorporate Murano glass into her sculpture. Material experimentation was a cornerstone of Falkenstein’s artistic practice throughout her career\, and the Fusions came about through a methodical process of trial and error. After determining the precise temperature required to securely bond the glass and metal\, Falkenstein developed the technique through which all Fusions were made: She first created a welded metal armature into which she placed pieces of glass in specific joints\, “as a jeweler sets a jewel.” The object was then fired in a kiln until the two materials “fused\,” allowing the final form to be determined by the uncontrolled interaction between the glass and metal. Scholar Maren Henderson writes of the Fusions: \n“[Experiment]\, especially with an element of risk\, was now a fully realized sculptural method. Process itself was an authentic aesthetic expression\, as were chance and anti-form. The Fusions carried materials to the breaking point\, testing their essential character to the degree of altering or even destroying them. Glass was heated well beyond becoming malleable to the point where it collapsed or even burned. Sheet metal surfaces were heated until they warped. Edges were torn\, scarred or burned. Accidents were welcomed. And chance became a significant component of the process and the result.”[1] \nFalkenstein’s prolific experimentation with the Fusion sculptures resulted in a diverse body of work. Fusions exist in a wide range of configurations\, with some embodying a minimalist approach while others are densely complex; likewise\, some examples exhibit a kaleidoscopic array of colors\, while others contain only one or two. \nBorn and raised in the Pacific Northwest\, Falkenstein felt a deep appreciation of the region’s natural beauty\, and the visual contrast between the dense woodlands set against the flowing sea became a major trope in her art. Concentrating in art\, philosophy\, and anthropology at the University of California\, Berkeley\, Falkenstein was awarded her first solo exhibition by the East-West Gallery in San Francisco in 1930\, the same year she graduated—a rare achievement for such a young artist. In 1933\, Falkenstein received a grant to study at Mills College in Oakland under Cubist sculptor Alexander Archipenko. Her sculptures of the 1930s and 1940s comprise biomorphic abstractions rendered in wood and ceramic. Her work was first shown in New York City in 1944\, when the Bonestell Gallery mounted a solo exhibition. In the late 1940s\, she began teaching at the California School of Fine Arts (now the San Francisco Art Institute)\, where she met abstract expressionist painter Clyfford Still\, who became a lifelong friend and encouraged her to take a more open-ended approach to composition. \nIn 1950\, Falkenstein moved to Paris\, settling into the growing scene of American abstract artists there and soon befriending Sam Francis\, Paul Jenkins\, and Mark Tobey. A thoroughly individual artist who never sought association with a particular school or movement\, Falkenstein attributes her confidence in her unique sensibility partly to her time in Paris\, explaining\, “the French allowed a kind of individual action. …I felt it so strongly that right away my so-called ‘looking within’ really worked. That’s when I developed my own vocabulary.’”[2] Feeling a new sense of freedom\, she began working in metal and soon developed the artistic vocabulary that became the bedrock of her mature style. Her work was supported by the influential critic Michel Tapié\, who defined “art autre” as a European parallel to American abstract expressionism. Writing in the catalogue for her 1958 exhibition at Il Segno Gallery in Rome\, Tapié lauded\, “Claire Falkenstein is probably the artist who has most brought Sculpture to the heart of what the artistic epopee of today must be.” \nFalkenstein returned to the United States in 1963\, settling in Venice\, California\, where she would remain for the rest of her life. She continued to produce a wide variety of Fusions through the mid-1980s. Represented by Galerie Stadler in Paris and Martha Jackson Gallery in New York\, Falkenstein completed numerous public commissions while continuing to evolve her studio practice until her death. Her first public commission in Los Angeles was a welded copper tube and glass fountain for the California Federal Savings and Loan Association. Completed in 1965\, the Cal Fed Fountain was specially designed by Falkenstein to emphasize that the water that flowed through the construction was as integral to the sculpture’s composition as the complexly intertwined copper and glass elements\, resulting in the impression of an endless\, dynamic formal continuity. \nAfter regularly exhibiting her work for fifteen years\, Michael Rosenfeld Gallery became the exclusive representative of The Falkenstein Foundation in 2014. The gallery has since mounted two solo exhibitions\, Claire Falkenstein: A Selection of Works from 1955–1975 (2016) and Claire Falkenstein: Matter in Motion (2018)\, the latter of which was accompanied by a catalogue featuring an interview by Paul J. Karlstrom\, former director of the Archives of American Art\, and a tribute by Lynda Benglis. \n[1] Maren Henderson\, “Sculpture\,” in Claire Falkenstein (Los Angeles\, CA: The Falkenstein Foundation\, 2012)\, 108. \n[2] Oral history interview with Claire Falkenstein\, 1995 Mar. 2-21\, Archives of American Art\, Smithsonian Institution. http://www.aaa.si.edu/collections/interviews/oral-history-interview-claire-falkenstein-12659 \n 
URL:https://artinamericaguide.com/event/kabinett-sector-art-basel-miami-beach-claire-falkenstein-fusions/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/Falkenstein-228e.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211202
DTEND;VALUE=DATE:20211205
DTSTAMP:20260627T154114
CREATED:20211130T191040Z
LAST-MODIFIED:20211130T191040Z
UID:90407-1638403200-1638662399@artinamericaguide.com
SUMMARY:'Manhatta: City of Ambition' at Art Basel Miami Beach\, Booth G3
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present a group exhibition inspired by Paul Strand and Charles Sheeler’s avant-garde documentary film Manhatta (1920–21) at Art Basel Miami Beach 2021. Brought together in celebration of the centennial of Manhatta’s premiere\, the works on view explore themes of urbanity\, industry and immigration\, conjuring visions of urban life that capture the scintillating energy and soaring aspirations of a densely populated metropolis. Featuring a broad selection of artists central to the gallery program\, Manhatta: City of Ambition celebrates urban centers as loci of inspiration\, highlighting artworks that exalt the struggles and triumphs of life in a major city rebuilding itself in the wake of global catastrophe. \nA diverse group of works by artists associated with the 20th century New York avant-garde anchors the presentation in the city to which Manhatta is dedicated. Commuters (1954) by Norman Lewis (1909–1979)\, portrays the frenetic bustle of midcentury New York through the artist’s signature calligraphic line and sublimely atmospheric abstraction. George Tooker’s (1920–2011) otherworldly vision of Washington Square Park\, Fountain (1949–50)\, is an early example of the artist’s masterful figurative practice containing all the hallmarks of his mature career\, including an intensely psychological set of symbols and a radiant palette executed in his signature egg tempera medium. Beauford Delaney (1901–1979) likewise portrays the popular gathering place of the Greenwich Village creative community in his 1949 painting Washington Square\, an exemplary work from his Greene Street period in which his fauvist-inflected palette and expressionistic facture affectively describe the site as an idyllic oasis within the concrete expanse of Lower Manhattan. Howard Cook’s (1901–1980) iconic rendition of the Brooklyn Bridge\, The Bridge No. 1 (c.1951)\, constitutes an ode to the feat of modern engineering that connects the city’s two most populous boroughs. Embodying the electrified visual environment of the modern cityscape are Red Grooms’ (b.1937) monumental tribute to turn-of-the-century architectures\, Flatiron Building (1995)\, which incorporates a live electrical component\, and Irene Rice Pereira’s (1907–1971) Glass Construction (c.1944)\, a textured glass lightbox composition that echoes the nested\, luminescent grid of an urban environment after sunset. \nWhile many of the artists included in Manhatta: City of Ambition were luminaries of the New York scene\, the purview of the exhibition encompasses urban centers across the United States. Two major paintings from the interwar years effectively convey the grand architectural achievements of Chicago’s swiftly rising skyline in City Lights (1933) and City Ultimate (1936) by Raymond Jonson (1891–1992). In Edmund Lewandowski’s (1914–1998) Industry (1942)\, workers toil in a factory scene set in the artist’s native city of Milwaukee; Lewandowski (who ran in the same Precisionist painting circles as Sheeler) sought to elevate the sleek\, complex forms of modern industrial machinery as well as the workers who operated them\, who he considered to be exemplars of American progress. A particularly architectonic example of Claire Falkenstein’s (1908–1997) Fusion series will be on view; using an original technique she developed in Europe\, Untitled (Fusion) (c.1970) melds copper with jewel-toned glass similar to the artisanal Murano glassware that inspired the series’ conception\, transforming a centuries-old Venetian tradition into a thoroughly modernist American masterpiece constructed in Venice Beach\, California. A rare study by Harlem Renaissance master Aaron Douglas (1899–1979) evidences the artist’s refined graphic sensibilities\, applied at the height of his faculties in advance of his most ambitious mural commission\, the Cravath Hall cycle at Fisk University in Nashville. Another mural study\, Untitled (Mural Study\, Camp Wo-Chi-Ca) (1945)\, demonstrates Charles White’s (1918–1979) unparalleled draftsmanship; inspired by the artist’s experiences at a progressive summer camp in Hunterdon County\, New Jersey\, the composition advances a multicultural vision of society defined by access to education and protected workers’ rights. Finally\, a prime example of Harry Bertoia’s (1915–1978) high modernist metalwork sculpture reflects the midcentury architectures in which many of his public artworks were installed throughout the Midwest; constructed in the years after he left a wildly successful career as a designer to create sculpture full-time in his eastern Pennsylvania farmhouse\, Untitled (1956) constitutes an experiment in embodied variation limited to a stripped-down set of component parts and repetitive constituent motifs to create a structure simultaneously solid and transparent. \nVisitors will have the opportunity to view Manhatta in a dedicated alcove of the booth; the silent film contains verses from Walt Whitman poems in lieu of narrational exposition. Sheeler and Strand shot the film at various locations in Lower Manhattan throughout 1920; in fact\, fans of Strand’s photography will notice several locations that the artist also documented in some of his most famous photographs. Both Strand and Sheeler were protégés of Alfred Stieglitz\, and many of the film’s sixty-five shots resemble the sharp focus and richly varied tonal scale of a platinum print. Often using extreme camera angles evocative of a Cubist perspective\, the 11-minute film comprises a series of vignettes that echo the structure of Whitman’s verse. Manhatta is considered by most film historians to be the first avant-garde film produced in America\, amounting to a moving portrait of the island wherein visions of modern life are captured via a non-narrative\, documentary approach. The film was digitally restored in 2008\, as most extant versions were jittery\, scratched celluloid prints that had been overexposed due to years of screenings and poor storage practices. Thanks to the efforts of Anthology Film Archives\, The British Film Institute\, DTS Digital Images\, Lane Collection at the Museum of Fine Arts Boston\, The Library of Congress\, The Museum of Modern Art\, The National Gallery of Art and Eye Filmmuseum\, all 11\,223 frames on view at Michael Rosenfeld Gallery’s booth have been corrected to reflect the crystal-clear\, steadily shot film audiences saw in the 1920s. Enhanced by Whitman’s rhapsodic words\, Manhatta’s silvery impressions of the era’s achievements in architectural innovation\, urban infrastructure and industrial efficiency perfectly reflect the thematic concerns of the works on view. \nManhatta: City of Ambition is Michael Rosenfeld Gallery’s fifteenth presentation at Art Basel Miami Beach.
URL:https://artinamericaguide.com/event/manhatta-city-of-ambition-at-art-basel-miami-beach-booth-g3/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/11/JONSON0017-image.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:25.7950215;-80.1345386
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Basel Miami Beach Miami Beach Convention Center 1901 Convention Center Drive Miami Beach FL 33139 Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139:geo:-80.1345386,25.7950215
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191121T080000
DTEND;TZID=America/Halifax:20191121T170000
DTSTAMP:20260627T154114
CREATED:20191122T014359Z
LAST-MODIFIED:20191125T175726Z
UID:61876-1574323200-1574355600@artinamericaguide.com
SUMMARY:Michael Rosenfeld Gallery at Art Basel Miami Beach\, Booth G4
DESCRIPTION:Michael Rosenfeld Gallery | Celebrating 30 Years\, December 5 – December 8\, 2019
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-art-basel-miami-beach-booth-g4-2/
LOCATION:Art Basel Miami Beach\, Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139\, Miami Beach\, FL\, 33139\, United States
CATEGORIES:Art Fair
GEO:25.7950215;-80.1345386
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Basel Miami Beach Miami Beach Convention Center 1901 Convention Center Drive Miami Beach FL 33139 Miami Beach FL 33139 United States;X-APPLE-RADIUS=500;X-TITLE=Miami Beach Convention Center 1901 Convention Center Drive Miami Beach\, FL 33139:geo:-80.1345386,25.7950215
END:VEVENT
END:VCALENDAR