My first museum visit in Miami ( outside of the University) was quite a treat. After enduring two weeks of on and off again hurricane weather, I decided that it was time to stop letting the rain control my plans. Miami thrives on outdoor activities, so I really had to think of something to “stick it” to the rain. On a particularly rainy afternoon, I remembered reading about the Vanishing Points exhibit at the Bass Museum of Art. I knew it was going to be closing soon, so I decided to go and I’m happy I did.
Admission was $6 for students which was a significant discount from the ridiculously elevated New York admission fees. I was immediately drawn to the multicolored striped ramp leading up to the exhibit. The ramp reminded me of candy stripes out of a Willy Wonka movie, and I encountered a little girl rolling around on the floor, an oompa loompa, if you will. She must have been no more than three years old and was critiquing the colors of the pathway (“the pink is just the right size!” she exclaimed). Already I knew this was a child friendly spot.
Plus one, Bass.
Up the ramp I went and immediately encountered a giant print. The first element I noticed was the splatter of red, white, and aqua on the hazy black and white photo. Upon closer look, I realized that the photo was of some young black men being beaten by a white police officer, probably during the Civil Rights era. The juxtaposition of the fun and colorful splatter on such a heavy picture was provocative. The title Aquafresh with Crest Whitening perhaps alluded to society’s inclination toward white citizens at the expense of minorities. Either way, the painting has a strangely modern feel to it, despite the historical significance and the (dare I say) lighthearted splatter in the foreground.
I was only halfway up the ramp, so I continued up the candy striped lane, running right into a crushed Fiat car painted bright pink. Mounted on the wall, it was absolutely smashed from top to bottom as if someone had dropped a giant weight on the roof. I’m not sure what the artist was trying to get at, but I found it eye-catching nonetheless.
The next room was mainly black and white pieces hung amid a wall spray-painted with a design motif. This was a piece in and of itself. I liked it. I wonder how my landlord would react if I spray painted the walls using stencils instead of wallpaper. Doubt it would fly. My favorite work in the room was a black placard sign with “Black fluent is the language of the unheard.” This message was also in black which you could imagine would be hard to read from a distance, but the difficulty in understanding somehow added to the piece. Black people’s voices, expecially when expressed in Ebonics, are rarely considered, thus these citizens are usually “left in the dark.” How very clever, Adler Guerrier. Unfortunately I couldn’t find an image online, but that’s why you should go in person.
Turning into the next room, I was a little disoriented. I could not figure out an overarching theme for this display of works. One was colorful and kalidescope-like, three others had muted grays and blues, while a few more had intersecting spatial planes that made one question how space was to be interpreted. So many outliers.
In retrospect, I think this is where I began to understand why the name “Vanishing Points” was chosen for the show . The exhibit was created to showcase artistic interpretations such as spirituality and religious experiences and to comment on the fact that our digital world has “become flattened by networks.” Vanishing points, I believe, was an appropriate title because the inspiration for a piece can often “vanish” when a viewer encounters a work and interprets its meaning. Regardless of what the original meaning of the work was, one’s imagination inevitably takes over and interprets a work to fit in with his/her schema. If the exhibit was named “Dogs,” perhaps I could have identified some canine element in each piece. I think that by making the name of the exhibit open-ended, it forced the viewer to question how and if the pieces fit together. In this exhibit, my imagination really had to work hard to create a story for each piece because each was so uniquely different from the next.
But back to the art itself, not its name.
Francesca DiMattio’s pieces warped the intersection of space and stressed the relationship and interconnectivity of objects rather than their individual space. Check out this piece to get a better idea of her talent. I was really taken aback by her interpretation of spatial planes.
Next up was a few African-inspired pieces. I really love tribal art (check out some of my older posts if you want more on that), so I took my time looking through them. Two pieces caught my eye because I’d never seen African dot art in person. The colors of Norbert Lynch Knwerraye’s piece reminded me of the clay earth in Arizona. The flow of the dots were so organic and beautiful. It reminded me of African fabrics that form the captivating garbs of African women. Donnegan’s art was more varietal and colorful. It seemed more abstract and less deliberate than Knerraye’s, which is a style I prefer.
So that was it. The Bass as a whole is a small museum and I’d recommend planning to be there for no longer than a half-day. This exhibit ends Sunday, so be sure to hurry out.
Or live vicariously through me.