Impose on Autumn Casey

Words by JP BASILEO

Solo projects can often act as a return to an artist’s introduction to music, a reacquaintance with the instrument that started it all, and the enchantment affiliated with learning. And if you’ve ever heard the frenzied psychosis of Philadelphia/Miami noise rock duo Snakehole, it may come as a small surprise to hear that Autumn Casey (guitar/vocals) first approached music by way of piano. A somewhat recent conversation between her and writer/artist/label owner Jordan Reyes incited the return of a prodigal daughter to her musical foundation (not to say that she ever really left the keys, simply that she had perhaps not yet utilized them as a focal point for personal output). The result is Casey’s solo debut, This Is No Dream, just released this past Friday on Reyes’ brand new tape label, American Damage.

Beautiful and mystifying arpeggios descend down a wormhole of emotional release, their hushed tones permeating through the mix like rain through an overtired tent. Sure, the whole thing rings of a Walden-like woodland experience, the disappearance of all things electric allowing for the focus on self and the self’s place in the world. Field recordings weave in and out, in an eerie fashion – things like the rattling of chains and chimes to echo the solitude necessary for introspection. The twenty-nine+ minute piece picks up momentum, loses it, and picks up faster like the fluctuating perception of reality synonymous with a nervous breakdown. But that’s just tempo. Melodically, sped up or molasses-like, it’s calming as ever. What begins as whispered voices in the field recordings slowly reveal themselves to be Mia Farrow from Rosemary’s Baby, the film which inspires the tape’s title, as she realized that she is really getting impregnated by the Devil. Casey notes, “That screamed phrase always resonated. It’s easy to be deep in a situation before noticing what is happening.” The tape, which plays the same on both sides, acts as a dream into which you don’t realize you’ve fallen. It’s too late before you’re out cold and imploring unconsciousness but lucid and longing in ways that channel the process of awakening.

Impose: How long have you been playing piano? 

Autumn Casey: The piano was my first instrument. I think I was around 7 when I asked for piano lessons. I took them for about 4 years before the forced demands of having to practice every day strangled the joy out of it for me. I declared “I Quit”. Then at 14, I asked for my dad to teach me how to play the guitar. I grew up around music and the piano was always around. I’ve gone back to it over the years to see if I could still read music, but I would say around 4 years ago I went back to it with intention. I realized it was a great tool for making melodies that I could transfer over to the guitar for Snakehole or use to collaborate with KC for something cool to add to a record. I re-found the fun with the piano by allowing myself to be creative with it, instead of having to play songs out of a book. In some ways I’ve been playing the piano on and off for 23 years.

I: How did This Is No Dream come to fruition? Was this something you’ve wanted to do for a while? 

AC: All the musical stuff I do seems to funnel into Snakehole. When Jordan [Reyes] asked me if I would consider doing a solo release, it made me more conscious about what was going to become a solo project for me. It was hard to understand where those separations should occur. It all kind of comes down to timing. This opportunity and goal presented itself at a certain time, and this is what was already beneath the surface. 

I: This album was recorded after your move from Miami to Philadelphia. How would you say the move influenced you? Changed you?

AC: I think being able to watch the seasons change has influenced me the most. I love experiencing the seasons change. Being stuck inside during the winter is a great time to get weird as fuck and record an album. This album is more lonely. But lonely in a good way. I’ve dug into being alone. It’s nice to experience the other side of the spectrum, having gone from a popping, infectiously tropical place like Miami. 

I: You had a ton of field recordings ready to go to “weave in and around the piano.” How did the pairing of field recording and piano parts go?

AC: I used the field recordings like collage material. Sometimes I would play the recordings and add piano to it to see what was inspired. Other times I would already have the piano part and just add the field recording on top because I thought it would be an interesting combination. 

I: This is a project rooted in catharsis. Would you say there are different types of catharsis to be pulled from different outlets? Say, like, from playing piano vs. playing in Snakehole? Vs. sculpting or any other artistic endeavor?

AC: They all have different vibes – sure. Snakehole allows me to be more aggressive whereas the piano lets me go into a meditated trance, but those can both be switched depending on mood. You can make a sculpture with violence, and you can write a soft song on the guitar.

I: Will you be performing this live? What does the new year look like for you? 

AC: I am not sure! I am still figuring it out the logistics of what it would take to perform this live. I have another solo release coming out on Primitive Languages and something also in the works for Lost In the Flood. This In No Dream untapped a process I enjoy very much, and I am excited to keep making more sounds. Snakehole has also been working on new music and we’ll hopefully get to record our new album this year.

LINK | on IMPOSE

BOMB Magazine on Derrick Adams

The title of Derrick Adams’s current show at Primary Projects, Black White and Brown, is a literal reference to the brown body, placed in a geometric and shifting environment of black-and-white forms. Adams’s oeuvre is massive, and while much of it draws inspiration from television—specifically the depiction of black culture and the ways it is coopted en masse—it is too big to define it as such, despite the humor and real poignancy of that work (watch the Sesame Street-inspired video interludes from his performance, Go Stand Next to the Mountain, 2010). His repertoire is a kind of collage.

A more specific thread is Adams’s ability to get at the heart of whatever he is exploring by transforming, dramatically, how it’s viewed. When his Culture Club paintings, 2014—depicting black men, women, and children reveling in summertime bliss—were shown at Project for Empty Space, he placed inflatable pool toys in the gallery, specifically for visitors to lounge and revel. When he premiered ON at Pioneer Works, Adams turned the space into a multi-channeled TV set, with rows of SMPTE color bars acting as backdrop to performed scenes.

For Black White and Brown, which features new work and previously unavailable segments from past performances, Adams created an Op art installation to house his collaged forms of sociopolitical commentary, destabilized identities, and good humor. There is—always—an underlying educational component, almost by virtue of the work’s existence: “Here,” it seems to say, “look at us this way.”

— Monica Uszerowicz

Monica Uszerowicz

Tell me about Black White and Brown. It’s a showcase of both previous and unseen work.

Derrick Adams

When I first thought about the content for the show, I was considering my performative works, objects that I’ve used in my performances, and how they would come together as a complete installation to emphasize these performative interests. I created an optical grid of different black-and-white interior geometric forms. Some other work had a consistent amount of figuration, in which I was often the subject, as well as objects that primarily consisted of black and white, with the figure as the black body. The black body would become the representation of “brown” in Black White and Brown.

MU

You’re frequently inspired by television, how stereotypes are portrayed on TV, how we ingest them. Now, media is different—there are many different types of “screens.”

DA

A computer is a television; a monitor is just a monitor. It’s not the same format, but you can have a channel on YouTube or Vimeo, and if you don’t have a channel, you can just have an account. If the television itself, the object, no longer existed, it’s still about the portal—looking into things. People now have more control—or think they do—over what they watch and how they consume images. The idea of cultural representation has flattened out.

MU

In dealing with cultural representation, you’ve spoken about maintaining a double consciousness of yourself, as someone seen as an “other.”

DA

I’m a black artist—and I’m also just an artist. I’m American and educated, but I come from Baltimore, an urban space with various socioeconomic groups of black people. For me, this work is much more complex than a television show, or something that can be condensed into an hour-long program. It’s about understanding the complexity of black people as much as people understand the various ranges of socioeconomic structures of white people—which is equally as contrasting.

The black figure has always been a subject of entertainment in popular culture, as well as an image to sell things. In some ways, that’s how people relate to us—because they’ve seen us on television. But there’s a whole other part of black culture, one that talks about education, scientific innovation, the inventors of objects. There’s so much information that people are uncovering now that most black people know already. I think, due to a lack of education, a lot of people are unaware of the complexity of the category of “black” and of the achievements black people have accomplished.

MU

None of this should be a secret; it’s the way history is presented.

DA

Even in educational systems, kids learn more about the oppressive structure of Western culture than they learn about the achievements of people of color in opposition to that structure. It would really empower younger generations to know that during times even more critical than these, black people were able to prosper and make a positive impact on the world—that living in oppression is not our only legacy. In one hand we can raise a fist in solidarity against oppression while in the other raise a glass in celebration of our achievement.

MU

If you can’t find these stories in the traditional educational system, sometimes it becomes the responsibility of alternative educators or artists to show the multitudinous nature of a particular culture.

DA

That’s what I want to do with my work. I want to talk about what’s not necessarily on the surface—for people to find when they’re looking for reference material and inspiration, and to expose certain histories that aren’t visible. We need a counter-conversation about what’s been achieved within this constant struggle. Some of the inventions created and the progress made by black people, others are benefitting from without even knowing the origin of where they came from, who created them. As an artist, it’s a good challenge to have, because you’re translating these facts into visual experiences.

MU

I like that your work directly engages the audience, too. It’s experiential and accessible even for people who aren’t artists.

DA

I’ve never thought of my work or conversation as solely geared toward my fellow artists—not because I’m not interested in having a conversation with them, but because I realize that once you’re indoctrinated into the institution of art, that becomes your language. But I think you lose a lot in speaking to the general public when you’re part of those institutions. For me, it’s more of a challenge to maintain a sense of directness with the audience, to learn to speak to the people you grew up around.

MU

This is probably why you’ve been able to show your work in so many different settings.

DA

Yes. When it comes to the question of “not the white cube or the white cube,” I don’t think you have to choose either one. I think you can transform any space into one that’s open and engaging to any group of people. It has to do with the artist’s and the space’s intentions—who is their audience? No matter what space I’m in—a museum, an alternative space, a high-end gallery—it’s always more about my conversation, and, within that, a consideration of whom I want to be there for and whom I want to be in conversation with.

MU

In some of your videos, there are elements of shows like Sesame Streetand Schoolhouse Rock. There’s an educational component in showcasing complex histories.

DA

I grew up in the ’70s. When I started to think about where my art comes from—because I often talk about media and television—I thought of what I watched as a kid. Shows like Sesame Street and Electric Company were pioneers in diversity. Those educational shows represented a level of multiculturalism that was rarely seen on other programs then, but is now seen more frequently in visual culture. That was a perfect genre to tap into to talk about some of the things I’m interested in, especially when it comes to shaping people through visual culture.

My undergrad degree is in Art Education. I’ve taught elementary school, and have noticed that the visual imagery shown in schools becomes a big influence on the way kids see themselves—not in a direct, literal sense, but more subconsciously. It plays a major part in self-empowerment. That got me very interested in using the educational structure for making work. I try to acknowledge many different institutions of creative practice, and I want to utilize these platforms to talk about their complexities. I’d like to open up the conversation, to show people there are options—there are ways to critique these systems without necessarily tearing them down or breaking them apart. You can build on top of a corrupt system to overshadow it with information that is more inclusive and historically factual. I’m not sure we’re in a place where destroying anything can be more effective than building something on top, causing a transformation. But time will tell.

The show at Primary Projects acknowledges very different facets of what I’ve been making: a video of a puppet performance called Reality Bites, which I presented as my stand-in during a series of artist readings from the Museum of Modern Art’s library—I had selected two Jim Henson titles—and another of my performances, entitled Finding Derrick 6 to 8, 2016, at the Metropolitan Museum of Art in front of Sol Lewitt’s Wall Drawing #370. My own interests as an artist are combined with my interest in other artists and their practices, to show commonalities and differences, to expand the dialogue and introduce new ways of viewing form and content. I’m hoping to present other ways of seeing a particular subject, so that viewers, who might have thought that it had nothing to do with them, can become part of the conversation.

Monica Uszerowicz is a writer and photographer in Miami, FL. She’s contributed work to Hyperallergic, Vice, The Miami Rail, and Avidly, a channel of the Los Angeles Review of Books. 

—-

LINK | on BOMB MAG

Cultured on Derrick Adams at Primary.

When asked what makes Miami stand apart from other cities, Books Bischof, a co-founder of PRIMARY, says, “You can execute your projects with great freedom in this city. It's a small, hyper-unique community already doing something great, on the verge of doing something greater.”

Before settling into a permanent space, Bischof, Cristina Gonzalez and Typoe Gran first started as Primary Flight in 2007, a massive mural commissioning project that painted the neighborhoods of Wynwood and the Design District. The gallery itself has moved from the Design District to Downtown and back, and for Art Basel this year, PRIMARY will show "Black White and Brown" by Derrick Adams, a New York-based artist whose work oscillates between video, 2 and 3 dimensions and performance. The show will be a “monumental solo installation,” according to Bischof.

The gallery’s street cred is undergirded by its spate of local artists with flourishing studio practices. This includes Autumn Casey, whose work combines creepy found-object nostalgia with sophisticated assemblage. This desire to rep locals comes partly from a sense that Miami gets periodically taken over by visitors; and though the influx of outsiders serves Miami’s art scene in important ways, Bischof articulates a solid stance: “Miami belongs to those who inhabit it.”

Autumn Casey at La Sierra

Excited to announce Autumn Casey recently started her month long residency at La Sierra.

La Sierra Artist Residency brings art and nature together to inspire new works of art and to generate dynamic ideas around its core values of creativity, sustainabilty, cultural exchange and wellness. By supporting the work of artists, writers, designers and thought leaders in these areas, La Sierra Artist Residency dedicates itself to changing lives in Colombia and beyond. La Sierra programming includes an artist residency, educational initiatives, projects in partnership with international cultural organizations, and more. From its base on the Caribbean coast of Colombia, La Sierra Artist Residency is a nexus for cultural production and activities in Latin America, the Caribbean and the United States.

La Sierra Artist Residency is intended to support artists working professionally in all mediums, including painting, drawing, photography, film, sculpture, performance installation, architecture, industrial design, permaculture, music and writing. Artists are encouraged to create new work inspired by their experiences here or continued from their existing studio practice.

La Sierra Artist Residency is an opportunity for emerging and established creative professionals from all over the world to link their inspiration and creativity with the raw, natural environment that surrounds us all. This Artist in Residency program will provide the opportunity to cultivate creativity while seeking solitude, connecting with nature and facilitating a cultural exchange on the Caribbean Coast of Colombia.

La Sierra takes its name from its unique location on the Caribbean Sea in the foothills of the Sierra Nevada de Santa Marta in northern Colombia, South America. Here you will find the highest coastal mountain range in the world, with peaks of  5,700 mts (18,700 ft) above sea level only 42km away from the sea. This drastic change in elevation cultivates a variety of ecosystems in direct proximity of each other, harboring an incredible amount of diversity in flora, fauna and culture. In fact, every single ecosystem that exists on earth thrives in the Sierra Nevada mountains. Hence why the native people refer to this area as “The Heart of the World.”

Surrounded by jungle, mountains and virgin beaches, artists are welcomed to create, study and explore. We provide accommodation for one month, allowing the artist in residence to leave behind routine stress and focus on their immersion and connection to the land. The intention for this time is to slow down, reconnect with the rhythms of the earth and awaken the depths within.

More About Autumn Casey

Autumn Casey (b. 1987, Dallas) draws on a variety of personal relics and pop-cultural ephemera, both abject and singular, to challenge and question her own subjectivity against the world at large. Her practice, which moves from sculpture to collage, as well as video performances, considers the history of the found object and assemblage—redeploying existing materials or moments in unexpected, idiosyncratic ways. The result is a body of work that vibrates along the tense cord between the personal and the vernacular. She studied sculpture at the New World School of the Arts (BFA 2011). Her work is collected by the Museum of Contemporary Art, North Miami, where she won the 2010 Optic Nerve XII,the Perez Art Museum Miami. Casey currently lives and works in Miami, where she is represented by PRIMARY.

Artrepreneur | ICA | Cristina Gonzalez

Words by Nicole Martinez

Patrons who collect art would likely characterize the process as capricious and emotion-driven: They may recount an experience in which their decision to purchase the work was made suddenly and on impulse as they toured a gallery or artist’s studio, describing a sort of ‘eureka’ moment that may frequently occur while shopping for shoes, but rarely does when purchasing artwork worth thousands and thousands of dollars.

The reality is a bit different. While the decision to collect art or purchase a particular work can often be speculative, most experienced collectors take their time identifying artists and upcoming gallery shows before making the decision to purchase a work. The collecting process can be emotion-based, to be sure – it’s important to wholly identify with and love the work – but most collectors, particularly those who are just starting out, don’t take the decision to collect art lightly.

Drawing up a playbook to learn to collect art is a valuable tool for both aspiring collectors, emerging artists and gallery professionals managing an art business. Whether you want to learn how to collect art, or you wish to leverage that knowledge and build a better marketing platform for generating sales of your work or your gallery’s work, understanding the basic tenets of art collecting can help develop a detailed roadmap for both selling and owning artwork.

Recognizing that collecting art is inherently complex, a panel of experts gathered at Miami’s PRIMARY Projects last month to shed some light on the process. Hosted in partnership with the Institute of Contemporary Art Miami, a new contemporary art institution being erected in Miami’s Design District neighborhood, the Art Collecting 101 panel welcomed artists, art entrepreneurs and aspiring collectors who wanted to deepen their understanding of the business. The panel welcomed Jimena Guijarro, an independent art consultant that specializes in Latin American art; Christina Gonzalez, one of the co-founders of PRIMARY Projects, one of Miami’s longest-established local galleries; and Valentina Garcia, a Latin American art specialist and Associate Vice President of Phillip’s Auction House.

Guijarro noted that most who wish to collect art are often hesitant to do so because they fear its unaffordable. In reality, there are varying price points and artistic disciplines that make art collecting totally accessible. “The decision to purchase a young, emerging artist means that you’re part of their success,” said Guijarro. “In a lot of ways, you’re doing your part to advance their career by collecting them in the first place.”

Naturally, determining whether or not the art you collect will have some sort of resale value in the future is a consideration for many starting to collect art. But almost all panelists agree that your decision to collect art – at least initially – shouldn’t be viewed as an investment strategy. Instead, young collectors should purchase first based on their tastes, while considering the potential artists have to develop fruitful art careers.

Before You Collect Art, Develop a Roadmap

Before setting out on a mission to collect art, there are a variety of steps you can take to simplify the process. Setting clear-cut expectations for your collecting goal will also allow the creative professionals to provide better guidance.

To begin with, young collectors should determine what they want their collection to say about them. Whether that means a collector chooses to purchase artworks from a certain region or time frame – Russian artists working in the late 20th century, for example – or choosing to collect art that reflects a certain aesthetic taste or complements your home. “It’s important to find your own voice in this process,” said Garcia. “Investigate a movement, build a narrative, tell a story about your life with the work you collect.”

Part of building that narrative is determining which movements or works best represent your tastes. Gonzalez suggested getting out in your community to appreciate the type of work being made both locally and abroad. Visiting museums can give you a sense of the direction the art world is heading while spending time in your local galleries or artist-run institutions can help collectors draw an analysis as to some of the most interesting, exciting, or in-demand work.

Collectors should also determine who their partners will be in the process. Will they work with a gallery or an art consultant or similar art business? Will they purchase directly from an artist, or spend time scouting art fairs? Guijarro suggested that when shopping for artwork, a potential buyer should have a neutral third party coming along for the ride to act as a buffer between gallery or artist and collector. Your buffer can ask questions and provide a neutral opinion when determining whether to purchase an artwork – this can be a friend, or a significant other, or even an artist, who can provide outside knowledge of the complexity of the work and an analysis of the value of the work and the time it likely took to produce it.

Examine the Artist’s Potential for Success Before You Collect Art

The panelists agreed that determining an artist’s potential for success within the art market will be a key factor when deciding whether to collect art. Take a look at the artist’s CV to have a better understanding of who they are as an artist: Where did the artist study? Has he or she had any solo shows? Have they participated in group shows? Have they completed a residency? Won any juried competitions? Has their work been featured in any press?

“Obviously, with a younger artist, their CV won’t be that long,” said Guijarro, “but that doesn’t necessarily you shouldn’t purchase their work.” Instead, panelists suggest you do your research – find artists whose careers have taken off, and look to which CV items they may have in common with your younger emerging artist. Figure out whether the residencies, museums, and galleries they’ve collaborated with are worth their weight.

In addition, take a critical look at the artist’s entire body of work. Is it evolving? Is the work reactionary and provocative? Would you determine that their entire body of work is consistent? Understanding how the artist might be growing into themselves is a useful way to determine whether or not they’ll continue to flourish, and ideally, you’ll want to spend some time appreciating that before making the decision to collect art.

The panelists also cautioned collectors against believing the hype if it seems that there’s simply too much chatter swirling around an artist. “It’s often easy to spot fads in art, and that’s when I would say you should be weary,” said Gonzalez. Instead, think about whether the artist is getting attention because of shock value, or whether his work is genuinely meaningful.

Finally, the panelists also noted that collectors can play a role in the success of an artist’s career. “Introduce the artist to your friends, talk about the work you collect in conversation, and be a part of their career,” said Guijarro.

Artists can also benefit from understanding these tips if used as a means of approaching their career. Artists should understand that collectors will look to their CVs and artist bios in an effort to determine whether or not the artist is marketable enough to acquire. Artists should take the time to thoughtfully craft their CVs and bios, consider which residencies are the most sought-after and significant, and spend some time reaching out to arts journalists in their community as a means of obtaining press placement. Invite gallerists and journalists to your studio, get involved with your local museums, and spend a good portion of your time researching artist residencies and other enrichment programs that can catapult your career. Get to know your collectors and form a relationship with them that encourages the promotion of your work.

Determine Where You Want to Purchase Artwork

When embarking on a decision to collect art, determine where you’ll feel most comfortable doing so. Do you prefer to purchase from a gallery or an artist? Will you attend art fairs to determine what you want to buy? Or do you want to experience the thrill of purchasing at auction?

There are different types of strategies depending on where you want to buy. If a collector is going the gallery route, then they should take their time and cultivate a relationship with the gallery owner. Collectors should feel like their gallery advisors are approachable and have their best interests in mind.

“The ideal situation is one in which you aren’t afraid to ask questions, and have complete confidence and trust,” said Gonzalez. “People think we only care about the fee, but that’s simply not true. She adds that many galleries often organize walk-throughs of new shows, in an effort to help potential buyers have some deeper context of the work and the artist’s intention.

Purchasing at auction, on the other hand, means that the collector should have a pretty good handle on the art marketplace. “There’s more lead time, so you should already know the game and the facts about the artist and the work being sold,” said Garcia. Garcia cautioned that collectors should keep in mind that most artists at auction are often past the point of ’emerging’ and are likely mid-career, which means works at auction are often more expensive. On the flip side, that makes the artwork a safer investment bet.

One of the easiest ways to collect art is by visiting art fairs. Since they’re planned far in advance, collectors have plenty of lead time to determine which galleries will attend and whose work they’ll show. That means collectors often have plenty of time to research participating galleries and artists, which allows them to hone in on the work they’d like to collect and the price tag that usually accompanies it. Often times, fairs organize special tours through the fair, which also allows the collector to become acquainted with artists and works they may have overlooked.

In addition, art fairs offer a unique bargaining opportunity. Many collectors attend early on to determine what they like, and wait until the fair is about to close to make their offer. “If you wait until the end of the fair, there’s more room to negotiate,” said Guijarro.

It’s a good strategy, and one art business owners should consider, too. Pricing your work higher at the outset gives you more room to negotiate at the end. Of course, you’ll need to walk a fine line – you don’t want to scare a potential collector away with an outrageous price point. Art fairs are also a good opportunity to meet and network with new collectors, so take your time approaching unknown faces and don’t shy away from spending too much time with any one visitor. Often times, art business owners view art fairs as crunch time, and therefore spend most of the time chatting with “serious” collectors only. However, not giving a visitor a good amount of face time can mean the loss of a future buyer.

Collector, Gallery or Artist? Consider These Tips for Every Endeavor

The art market is inherently symbiotic, and collectors, gallerists, artists and other art business owners would do well to analyze how the strategies offered by this collecting panel can be applied to their own art business. Artists should take the time to craft their bios and CVs and make career decisions based on the likelihood that a certain move will offer big rewards. Collectors want to tell a story through the work they collect: Understand that telling your own story effectively will likely translate to a higher probability of success.

Galleries, in turn, need to be aware of what makes collectors feel engaged and encouraged to collect art. Take the time to answer questions, tow the line between forceful and firm when making sales, and consider a collector’s negotiation strategies when shopping at a fair.

The most important thing to remember throughout the process, though, is that it should be an immersive and highly personal experience. “Figure out what you like,” said Guijarro, “then get lots of good advice.”

LINK | on ARTREPRENEURSHIP

The Standard Guide to Miami

When The Standard Spa, Miami Beach opened eleven years ago, Miami looked very different from the city it is today. South Beach was the heartbeat of Miami’s culture, with its eccentric mix of art deco architecture, scantily dressed beach goers, glitzy night life, and loud music pumping through the night. Since then, the city has gone through a radical cultural evolution and has become one of the most significant design and art hubs in the world, and The Design District is at the center of this nucleus of change. Located on the other side of the bridges leading to South Beach, this neighborhood holds some of the city’s greatest design showrooms, galleries, museums, shops, restaurants, and cafés. We explored every corner of the bourgeoning area to narrow down our favorite spots. 

Primary Projects

This multifaceted organization defies the constraints of the classic gallery construct. Primary Projects offers a platform for edgy, artistic expression from both established and up-and-coming creatives within and outside gallery walls. A refreshing break from the commercialization of galleries, their, at times, controversial and gritty street aesthetics challenge our current conceptions of contemporary art by fostering group and solo projects that fluctuate from the forbidden to the sublime. 

Institute of Contemporary Art, Miami

As one of the Design District’s main art institutions, ICA Miami dedicates itself to continued experimentation in contemporary art. What exactly makes the ICA so singular? It provides a unique, international platform for emerging local and under-recognized artists within an ever-changing exhibition and program calendar that seeks to reflect the cultural and artistic landscape of both local and international creatives. Oh, and it’s free. December 1, 2017 marks the launch of ICA Miami’s new, permanent home featuring 20,000 square feet of multifaceted exhibition space and a 15,000 square foot sculpture garden. 

De la Cruz Collection

Miami’s de la Cruz Collection is the result of billionaire art lovers opening their private collection to the world and transforming it into one of Miami’s most impressive art institutes. Cuban collectors Rosa and Carlos de la Cruz are among the patrons seeking to make Miami an intellectual art capital. Their 30,000-square-foot contemporary art space acts as an extension of their home, housing their vast collection of sculptures, paintings, and installations by the most sought after artists of today. Their nurturing, artistic vision gives way to a flux of exhibitions that turn the cultural lens on itself; alongside artist-led workshops, forums, and lectures that bring awareness to the vast interpretations of the visual arts. Like the ICA, it’s free to the public.

Locust Projects

Imagine art freed from the constraints of sales and gallery fees, where artists can fully experiment and express themselves outside the limitations of conventional exhibition spaces. Locust Projects makes this dream a reality for artists. Once finding its roots in a converted warehouse space, they have evolved into one of Miami’s top art institutions with the backing of the Andy Warhol Foundation. Local and international artists are invited to create ambitious site-specific projects and installations as an extension of their personal work. 

Swampspace Gallery

This alternative, artist-run creative space and venue is Miami’s un-gallery, and was founded when artist and sculptor Oliver Sanchez welcomed artists into his unused studio space. In response to the need for community-based art spaces, Swampspace puts forth innovative visual and performance arts to create unique experiences that walk the line between sophistication and raw, unraveled ingenuity. It is certain to quench the palates of thirsting art enthusiasts from all perspectives and backgrounds. 

Buckminster Fuller Fly’s Eye Dome, 1978-2014    

The creation of this interactive sculpture, dubbed the “autonomous dwelling machine” by its original creator, spans decades. American architect and designer Buckminster Fuller patented the design in the ’60s and died before it was ever finished. Over 50 years later, Fuller’s vision was realized. The 24-foot prototype, considered a forerunner for today’s green architecture movement, sits at the center of the Design District as a focal point of inspiration. 

Konstantin Grcic’s Netscape, 2010/2014

German industrial designer Konstantin Grcic’s interactive installation makes you feel suspended from a metal cobweb entangled in tropical vines. His innovative design invites you into a moment of calm away from the overwhelming density of the Design District. Relax, sit back, and gently swing in Grcic’s hammock-like wire seats delicately suspended from a six-point metal structure. Just a warning: It might be hard to get up again

Xavier Veilhan’s Le Corbusier, 2013

This is where you go to get your dose of Corbusier loving surrealism. The endless complexity of the artist’s personal life, ripe with passion and controversy, has been encapsulated in a larger-than-life “bust” executed by French artist Xavier Veilhan. He challenges the balance between simplicity and scale, depicting the iconic Corbusier with pen in hand, representing the act of drawing as the perfect bridge between the prolific artist’s multifaceted passions of architecture, drawing, writing, and design. 

Zaha Hadid’s Elastika, 2005

The Elastika installation was commissioned after the late architect, Zaha Hadid, was given the first ever “Designer of the Year” award. As a representation of Hadid’s endless contribution to the realm of design, her web-like installation stretches across the atrium of the multi-storied Moore building. Hadid’s signature organically flowing aesthetics offers a beautiful contrast with the building’s art deco roots. It is the ultimate extrusion of the complex, spacial concepts like connectivity and fluidity that are so inherent within her architectural creations.  

Chris Oh | 1981 – 2017 | RIP

Tropicult on Kelly Breez

Words by Rosa Villa

“The artists’ role in society is to point out nuances of the human condition that most people miss while they’re on their grinds.”

When she’s not on her grind, artist Kelly Breez invites locals to gawk at her animated collection of derriere bookshelves and hanging aphorisms. At her solo exhibition at Primary Projects, aptly titled “Fuck it Will Set you Free”, viewers are greeted by continuous yet unconnected pieces, suspended against a backdrop of white walls.

In keeping with her mantra, Breez avoids taking herself too seriously. While wood acts as her canvas, the human stream of consciousness acts as her primary medium. She blends psychedelic sketching with absurd imagery: “Just think, no matter how bad things get, at least Three Six Mafia won an Oscar.” Breez lines the walls with a road map of her mind, highlighting the chaotic and absurd magnificence of being alive. She tells the viewer that art has an obligation to help us understand ourselves better (and if we can chuckle in the process, then all the better!).

Breez explains: “my art is really graphic, sarcastic, slightly crass, and vulgar. Those are some themes I tend to be drawn towards. Coming from a technical standpoint, I gravitate toward things that are really heavy on brush strokes and look really painterly and hand-drawn.”

Like our minds, Breez’s art works are anxious, unfiltered, and mystifying. Amusingly, Breez reacts to the “how-to” culture that seeks to prescribe its readers a functional manual on living. “How to remain Zen while waiting for a representative to assist you” and “How to bounce the fuck back” are craftily embossed on book–like cut outs, hung in perfect alignment along several first editions.

Her pieces could perhaps best be described as ideal fixtures to hang in a creative office, design studio, or in the bedroom. Her art is multi-faceted: it can simultaneously fit in both public and private spaces, while offering subversive visuals that tell us it’s okay to chuck the rule book.

She grooves to her own tune unapologetically. In the words of Charles Bukowski, “there’s no lie in her fire”.

Here’s what else Breez has to say:

What themes do you pursue? 

I like to think my work is the visual manifestation of corner-store-culture, with humorous and political undertones.

Where did you study art? And do you think that to be an artist, one should study it formally? 

Not so much. My family is full of artists so I started getting interested in art at a young age. I paid close attention to the children’s books I would read and all of the illustrations in them, which I think was the earliest art education and major source of art inspiration I received.

I got into a lot of different kinds of art on my own in the beginning of college when I started taking it more seriously and became more interested in being more technical with rendering things. That being said- I don’t believe that in order to be an artist you need to study it formally.

Some of my biggest art heroes are “folk” artists like Henry Darger and Grandma Moses, both of which have wild imaginations and were extremely driven to make large quantities of art. They never went to school.

I feel like sometimes taking your passion into a formal setting and taking in so many opinions from teachers and other students can actually squelch a lot of that raw drive that most artists naturally possess. Oh and I went to college at New World School of the Arts here in Miami.

What is your weirdest creative ritual? 

There’s a lot that occurs behind closed doors when I’m in the studio, buzzing around to different desks and projects acting like a total psychopath. I can have a pretty short attention span sometimes, so I like to skip around through different music videos before I start drawing. They anchor me to one chair, get me a bit more focused on the goal and are a muse of mine. I really like watching movies and shooting film, so for me they almost seem like extensions of drawings. Plus I like to blast the jams while I’m working. It’s a slick 2-4-1.

What jobs have you worked in other than art? 

I worked in production for a while when I was living in San Francisco. I was in the art department and I loved it. I started out interning for a guy that owned a prop house. We’d ride around in his truck going from set to set. He walked me into the industry because I found him, wouldn’t take no for an answer and he appreciated it because someone did the same thing for him. I ended up working on quite a few commercials, a couple of shorts and one very fun indie movie where I was the prop master/set decorator.

In your opinion, what’s central to the work of an artist? 

You have to pay attention to EVERYTHING. Being a sponge to your environment always keeps you wanting to make more work. It’s also what gives you your specific visual language. No other artist on earth is going to have a point of view like yours because you’re the only one living it.

What’s your favorite art work? 

Old liquor store signage.

Name three artists you would like to work with. 

Solange, Monica Canilao, Hype Williams.

What time period inspires you the most? 

I am a total junkie for British time period dramas. I love that no one has cell phones or laptops and no one is talking about technology other than the occasional eggbeater. I love that they all really soak up what each other are saying and they’re super present in their interactions. On a visual level though- i’d say the late 70s and early 80s are the absolute best. I am always trying to visually exist in that space, or at least pull references, colors and vibes out of it.

What wouldn’t you do without? 

The tropics.

What do you dislike about your work? 

That it hasn’t pissed off Donald Trump yet.

What do you like about your work? 

It is always teaching me things about myself I didn’t realize.

What’s the best piece of advice you’ve been given (creative or otherwise)? 

My Dad told me once if you can’t picture yourself doing something that you’re doing now in five years, that you’re wasting your time and to move on. That’s definitely kept me on a path.

What superpower would you have and why? 

Middle school me would say I’d be able to melt into a puddle like Alex Mack (because lets be honest she’s the queen) but now I’d say being able to speak any language would obviously have its benefits and be very rad. Being able to (literally) understand other people is essential to always being able to learn new things and have your bubble of existence expanded by cultures other than your own.

LINK | On TROPICULT

O, Miami + Dave Landsberger at Primary.

Poet Dave Landsberger culminates his day shooting a poetry-themed remake of 2 Fast 2 Furious with a reading and party at Primary Projects in the Design District.

Landsberger and guests read poems commemorating the death of Paul Walker and other tributes to the Fast Franchise inside of a white Ferrari, generously donated by Lou La Vie, Miami’s Premier Exotic Car Rental Agency.

Get a limited edition “2 Poetry 2 Ferrari” zine with the purchase a special ticket, or get a copy the night of (assuming supplies last) by purchasing Landsberger’s debut collection, Suicide by Jaguar.

After the reading, TURN ON THE AFTER-PARTY-BURNERS with ice cold “NosTails” and an original “Fast” playlist dominated by Ja Rule & Ludaaaaaaaaa.

Sponsored by Lou La Vie, Miami’s Premier Exotic Car Rental Agency

Noisy on Snakehole

Words by Tim Scott

Though I’ve not experienced Churchill’s Pub, I’ve heard a lot about the Florida music institution located in Miami’s Little Havana. Since 1979, the bar and venue, that many call the CBGB of the south, has hosted some wild musical acts and some wilder times. Autumn Casey and KC Toimil have spent many late nights at the bar as employees, customers and bandmates. Their band Snakehole, has played Churchill’s countless times and the place’s noisey din of the place seeps into their new album Interludes of Insanity.

Recorded by Ben Greenberg (Uniform, Mission Bubble) in Hudson, New York’s Waterfront Studios, the album has Autumn and KC plugging into some hefty noise that leans on feedback but also melody. This is a noise punk power trip that is remarkably listenable.

Piano compositions that peaked through on their self-titled 12″ are given more light on “Interlude Pt. 1” and a strange, almost eerie tone floats between the cracking and loud experimentation.

Take a listen below and read a conversation we had with KC and Autumn.

Noisey: How much does your sound owe to the humidity and closeness of a Miami July?

It’s not quantifiable but it’s definitely present. A swamp vibe does seep in every now and then, and we’ve written songs inspired by our proximity to tropical insects. The song “Izardus” was written in KC’s backyard while lizard watching.

Do you spend much time in the Florida Keys?

As much as we can! We recorded a music video down there at KC’s family’s house, where Satan comes to corrupt us in a wholesome environment. KC had a couple secret shows down there, where only a handful of people would be invited. We also love to just go down there and chill and go to the Caribbean Club.

The band is now split between Miami and Philly. Why is that?

Autumn fell in love and had to relocate. KC is still holding it down in Miami. We are both independent forces and make it work when we come together, and we have been able to visit pretty often. And we hope that having dual bases will present us with more opportunities.

Your sound has changed over time too right?

Yeah, in an ironic twist, the more we learned to play and get comfortable with our instruments and each other, the less cohesive and more wild we became. We also started off touring with Rat Bastard and we would always play noise/experimental shows, and that for sure influenced us to experiment more ourselves.

What is your craziest Churchill’s experience?

We’ve both have been hit in the face by flying shrapnel. KC got hit by a chair during a Cock ESP set, Autumn got hit right between the eyes by (I don’t even know what that was) during a Laundry Room Squelchers set.

One night, towards the end of the original owners tenure, was especially nuts. Autumn was bartending and a full on riot ensued. People were tearing at the walls as if the Titanic was going down and Churchill’s paraphernalia were the life preservers. Over the years we’ve seen our fair share of nudity, fires, rats, possums, explicit drug use, motorcycles in the building, bodily fluids.. etc. We should write a book.

I like the track “Good Conversation”. What makes for a good conversationalist?

Thanks! This was actually the first song we wrote for the album. It’s about social media, and sometimes because of it the lack of good conversation. The lyrics basically talk about being connected in fear and vanity to a network of people and questioning whether or not you have a pulse. It’s also about the good musical conversation we love to share with each other. So maybe to be a good conversationalist you should pick up an instrument.

LINK | on NOISY

ORDER Interludes of Insanity here - wharfcatrecords.com/store/pre-order…des-of-insanity ORDER on Bandcamp here - wharfcatrecords.bandcamp.com/album/pre-…f-insanity ORDER on Apple Music - https://itunes.apple.com/us/album/interludes-of-insanity/id1199342901 Snakehole has returned, and on the Miami/Philadelphia noise rock duo’s new LP, Interludes of Insanity, KC Toimil and Autumn Casey up the clarity, volume, crunch, and sophistication in a major way. Recorded by the prolific and precise Ben Greenberg (Uniform, Mission Hubble) in Hudson, New York’s cavernous Waterfront Studios, Interludes of Insanity showcases the duo’s headway into layering and experimentation. The LP makes no qualms; it’s the main act, and it wedges itself firmly into the tradition of cohesive, almost narrative, albums. Autumn and KC reiterate that the LP is a continuation of their self-titled 12”, and though there are similarities, Interludes of Insanity feels more realized, demonstrating a band fully in control of its sound and ethos. Fans of the 12” will find more snarling, filth-drenched grime rock, but, as that record hinted at, Snakehole here wields beauty just as easily as darkness. The piano sections that would peek their heads out of the woodwork sporadically on the 12” have become more full, more central. But there’s unease in the beauty, too — a little bit of reality. The album stands as a testament to self-actualization, and it’s as clear as it is engaging. But that’s what happens when your music isn’t confined to permutations on one song, isn’t it? Stereogum two minutes of rapid-fire guitar sludge and drum battery, topped off with willfully abrasive vocals that hit like a rallying cry in the midst of a warzone — so, basically it’s the sound of political discourse circa now, only much more viscerally satisfying” Premiere of “Bum Song” – “ Noisey - "aggressive and genre-leaping rock music" CLRVYNT - "two ferocious women dead-set on stirring up chaos" Post-Trash - "a crushing and unwieldy sprawl of blistering feedback, dense riffs, and immersive vocal melodies"

CLRVYNT on Snakehole

Words by Jordan Reyes

“Good Conversation” is the culmination of everything that Snakehole do best. The Miami / Philadelphia noise-rock duo — comprised of singer-drummer KC Toimil and singer-guitarist Autumn Casey — makes abrasive music, and “Good Conversation” is one of the duo’s meaner songs. Though it’s a familiar, memorable track to anyone who’s seen the band live in the last few years, it sounds even bigger recorded, thanks in part to Ben Greenberg’s studio wizardry.

The song begins with Casey’s swamp metal riff before being joined by Toimil’s pummeling rhythm. It proceeds in a slow build towards wonderful cacophony, all the while keeping a firm beat on the duo’s signature, maddening, noisy miasma. “Good Conversations” is almost a microcosmic effigy to new LP Interludes of Insanity as a whole. It’s got a great riff, a shit-ton of anger and controlled chaos — in short, everything you’d want from a Snakehole tune, except it sounds fucking massive this go-round.

Interludes of Insanity is out March 23 on Wharf Cat Records.

LINK | on CLRVYNT

Toys for Boys Magazine on TYPOE

Meet Miami’s finest master, a true Contemporary genius, whose experiential and interactive works are subsequently hanging on the walls and gracing the collections of some of the world’s most influential art collectors.

At fifteen years old, Michael Andrew Gran was not the typical Miami boy. He had major aspirations and dreams. Most kids of that age look forward to a crazy party life, mixed with a great college education followed by a future of a 9 to 5. However, Michael, who is known as TYPOE among the vast international community of fashion designers, artists and collectors, well, he was a gentleman whom had his very own vision.

In becoming the hugely successful artist that he is today, TYPOE’s approach to conquering the contemporary art market was not that of the average master of this generation. He believed in teaching himself through self-education, sharing “I really wanted to learn the world. I did not believe in going to school and paying someone to show me the way people did it. So, I dove face first into my personal and extensive collection of art books,” and the rest is history.

– – – – – – – – – – – – – – – – – – – – – – –

Meet TYPOE, the critically acclaimed thirty-three year old, with a story to be desired, and a man with dreams that have not only become his reality, but surpassed all of his, and our, expectations.

TFB: TYPOE, tell me about how this all began. Where did you study and learn the tools to become the artist that you are today?

Typoe: I didn’t go to college I felt like if I went to college, I would be doing a safety job. I was always infatuated with the old masters’ ways of doing things. I had a fascination with a Belgian artist named Jan Van Eyck from the 1390’s. I had also decided that I really wanted to learn the world through experiencing it. I did not believe in going to school and paying someone to show me the way people did it. I went and bought the old books, and I have an art library. A local artist Tao Rey taught me early on not to reinvent the wheel nor recreate the same sort of works as everyone else.

TFB: So, has creating art been your only job in life? When you were young was it all that you wanted to do?

Typoe: No, it is actually funny. Growing up in Miami, I worked in various jobs, like in construction. I also worked at Don Pan, and even at Parrot Jungle for one day, but I quit. I sold furniture for two years at West Elm. I also volunteered with DFYIT, a drug-free youth program in town, and mentored middle school kids on how to paint murals. I explained how important it is to be an artist without getting fucked up. 

TFB: How beautiful that you give back to the local community! Tell us about your sobriety.

Typoe: I have been Sober for thirteen years. To me, helping kids, helps me with my sobriety. When I got sober at the age of twenty, that was when I got serious with my work. I realized I had purpose, and the meaning of life had become so different

TFB: And have you always lived in Miami?

Typoe: Miami was a different world. I nearly moved to New York City, but I ended up staying because I love Miami SO much.

TFB: So considering you are a local of the Magic City, what galleries here represent your work, and speaking of your work, aside from art, tell us about the TYPOE collaborations.

Typoe: I am a free agent, so I have no representation. It has been so amazing, I have been commissioned by private clients to art dealers from different cities, so I am just working on constantly creating.

Regarding my collaborative projects in fashion, they were all unique and I loved every single project. I love what I did with Del Toro, where I designed a dress shoe with him in 2014 and that led me to a few projects that are in the works. Getting into fashion and having brands interested, is what keeps me going. Oh, and fresh off the press, I think you must know that I have a sneaker coming out in the near future with Haitian designer Fabrice Tardieu.

TFB: TYPOE, over the past years, you have been doing many projects with the hottest family in the hospitality world, the Alan and Ximena Faena. You first worked together in Miami than in Argentina and most recently at the Faena Art Center during Art Basel. Tell us ALL about it!

Typoe: The first project I did with the Faena’s, was at their property called Casa Claridge on Miami Beach. I took the opportunity to recreate the stuffy elevator experience by outfitting the entire space in iron, so it was magnetic and so, I covered it with magnets. I believe in engagement and playful experiences. As people played, they would leave messages, and future people who would enter, would see it.

After the elevator project, they asked me if I wanted to do a solo show in Buenos Aires. I was like ‘why are you even asking me, you know its yes?!’ (he hysterically laughs). When I saw the space I knew what would go in there.

TFB: OH WOW! A solo show. Superb! How long did the project take to execute?

Typoe: The whole project took five months, and I fully understand what the term ‘it takes a village,’ means.

It was a really awesome experience. I had met the right people, and everything fell into place. The platform they gave me made me feel majorly accomplished. I finally got to execute my work on a scale that I had dreamt of, and until you can actually create your works on a massive scale that they afforded me, you just never understand it.

My show in Argentina had a huge purpose, which was to respond to the world. Currently, it is off. A big problem is how we learn and retain info. As children, we learn, a lot of information. Some are right, and some are wrong, hence my building blocks. The whole point is learning how to play with space, interact with others, create and live. Many people get lost early on and take too much or don’t work together. Not to be an asshole, but people can be fucked up, and it is the parents’ responsibility. Like, if your parents are racist, you may be too, and especially in the times we are living in today, it is SO important for us to educate. I created an adventure for adults, so people can go on a journey of self-discovery and reflect and respond to their world. How do they choose to build it?

My exhibit also consisted of Ravens and tombstones, hourglasses, to reference life, time and death, referring to ‘what the fuck am I doing with my life.’ It was the first time that I have gotten any sort of political view out. My work had been more personal. It is my voice and what I have to offer.

TFB: So, back to Miami, tell me about your Art Basel project.

Typoe: The Faena’s asked me to design a functional space at the Faena Bazaar. I had never created a space that was catered around eight brands, and so that was a whole new experience. It was all around fascinating because, by nature, I am a collaborator. This is why I like working with brands, teams, people, other than myself.

TFB: So what is happening now?

Typoe: I am here in my studio is in little Haiti and I just renovated my new house, so I am in the nesting phase with my rescue pup Emma, who is the best assistant ever!

I am currently working on a few new things, including a new series and some commissions. I am also just creating works, in the form of sculpture, light boxes, text, and it is all exploratory, not for a show but for myself.

TFB: And last but not least, explain a bit about your role in Primary Projects.

Typoe: Primary Projects, a gallery owned by a group including Cristina Gonzalez, Books Bischof, and myself. I am a partner, and work mostly with the artists and on shows, but we all work on it together. Our paths cross between creative, business and vision. Right now we are working with Kelly Breez, a female artist who is local and her show opens this month. She has a show at Locust Projects, that is also opening at the same time as ours. It is across the street and we will all work together as a community.