Brasileiros também podem visitar museus em Miami. É tanta a nossa fissura no consumismo que deixamos passar oportunidades culturais e de entretenimento como o Miami Art Museum…
|Between Here and There|
|Susan Rothenberg: Moving in Place|
|Focus Gallery: Robert Rauschenberg|
MAM’s Permanent Collection
Self-Portrait/Pulp/Pochoir, 2001 Stenciled handmade paper pulp in 11 grays 57 x 40 inches
In its earliest incarnation, Miami Art Museum, known from 1984 to 1996 as the Center for Fine Arts, was strictly an exhibiting organization, presenting temporary exhibitions from the entire breadth of art history but having no collection of its own. The building MAM now inhabits was built for that purpose, not to house a permanent collection.
In 1995, as the CFA completed its tenth anniversary year, it engaged in a long-range planning process involving thousands of Miamians. Among the decisions made as a result of that process was to change the institution’s name to Miami Art Museum and focus on collecting and exhibiting art of the 20th and 21st centuries, with an emphasis on art from the Western Hemisphere. The determination to focus on modern art was based on the conviction that this was the area in which the museum could most successfully achieve its goals, given the nature of private collections in the Miami area and the market value of more historical works.
From 1996 to 2005, under the leadership of Founding Director Suzanne Delehanty, the new MAM made important steps towards its goal, growing its collection from nothing to nearly 300 works of art-a number which quickly grew to nearly 500 by mid-2007.
Untitled, 1992 Oil on canvas 178 x 59 inches
MAM’s collection began with a series of five exhibitions dubbed Dream Collection. The first installment, Dream Collection: Gifts and just a few hidden desires, which opened in October 1996, included the first 14 gifts offered to the museum’s new collection. The quiet gem of this original group was a rare 1947 “pictograph” painting by Adolph Gottlieb, a gift from former MiamiHerald publisher Lee Hills and his wife, Tina. Artists who established their reputations in the 1950s and 1960s, including Robert Rauschenberg, James Rosenquist, Helen Frankenthaler, Louise Nevelson, Al Held and Gene Davis were well represented. Also featured were a number of artists with strong Florida and Miami connections. In addition to Rauschenberg and Rosenquist, they included Carlos Alfonzo, José Bedia, Ana Mendieta, Barbara Neijna and Rubén Torres-Llorca. Supplementing the works given to MAM were pieces by 24 other artists-“hidden desires”-lent by private collectors. Works by 12 of these artists have since entered the museum’s collection.
|Carrie Mae Weems
MayFlowers from May Days Long Forgotten, 2002
The next Dream Collection exhibition, which opened in September 1997, featured 11 new acquisitions; among these was Lorna Simpson’s enormous felt piece, Still, which she created as the centerpiece for her 1996 New Work exhibition at MAM. Still was the first piece actually purchased by MAM for its collection, with funds donated by Rosa and Carlos de la Cruz and Nedra and Mark Oren. Later in 1997, MAM received its first two gifts from Mimi and Bud Floback: Morris Louis’ epic Beth Shin (1958) from his seminal Veil series of “poured” canvases, and Frank Stella’s Chodorów ll (1971), from his pivotal Polish Village series of relief paintings. Subsequent gifts by the Flobacks of works by José Bedia, Ann Hamilton, Jim Hodges, Joseph Kosuth, Gerhard Richter, Susan Rothenberg and Carrie Mae Weems, among others, form the most important block of works donated to MAM in its first ten years of collecting.
|Odili Donald Odita
In Between, 2002
Acrylic on canvas, 84 x 104 ‘/4 inches
From 1998 to 2004, MAM’s collection grew at a consistent rate of about 25 new works a year. Additions to the collection came primarily through works of art donated by generous private collectors. Two important gifts, however, came from artists’ foundations: George Segal’s Abraham’s Farewell to Ishmael (1987), from the George and Helen Segal Foundation, and a group of six works by Joseph Cornell from The Joseph and Robert Cornell Memorial Foundation, augmented by an additional gift of ten pieces in 2005.
Periodically, the museum was also able to find donors to contribute funds to acquire works of art the staff felt were important to have represented. In 2000, for example, Suzanne Delehanty located an edition of Marcel Duchamp’s famous Boîte-en-valise (Box in a Valise), the portable mini-retrospective that Duchamp assembled and released in various forms from 1942 to 1968. Knowing that Duchamp’s influence on 20th-century art was vitally important to represent in MAM’s collection and that the Boîte-en-valise provided a unique way of conveying the breadth of the artist’s achievement, Delehanty brought together three donors-Lang Baumgarten, Mimi Floback and Sally Ashton Story-to contribute the funds to acquire the piece.
With the exception of the Duchamp, the museum has generally sought to raise purchase funds to acquire works from MAM exhibitions. This has allowed the museum to more actively represent its exhibition history and acquire works that reflect the cultural diversity of South Florida. Among these were Ann Hamilton’s film installation lineament (1994/96), María Fernanda Cardoso’s 1992 Cementerio-jardin vertical (Cemetery-Vertical Garden), Janine Antoni and Paul Ramírez-Jonas’ Always New, Always Familiar (2000), two self-portrait works on paper by Chuck Close, and Carrie Mae Weems’ video, May Days Long Forgotten (2002). A significant number of purchased works were commissioned pieces from MAM’s innovative New Work exhibitions, including two large-scale photographs by Miami artist Naomi Fisher, Odili Donald Odita’s painting In Between (2002) and Russell Crotty’s Venus, Jupiter, Canopus over Payahokee (2004).
Beginning in 2005, when the museum acquired more than 50 works, MAM’s collecting activity increased dramatically. This upsurge is largely attributable to a pair of generative events. The first was the 2004 passage of a county general obligation bond that resulted in the allotment of $100 million for the construction of a new, free-standing MAM building. The second was the establishment of MAM’s Collectors Council, a 40-member group whose annual dues are devoted entirely to the acquisition of art works. Under the leadership of collector Dennis Scholl, the group has focused on early- and mid-career artists selected by MAM’s curators. The funds donated by the Council have given MAM’s curators an unprecedented opportunity to shape the long-term growth of the collection.
In 2006, MAM’s new Director, Terence Riley, encouraged MAM’s trustees to use the institution’s tenth anniversary as the occasion to build the museum’s holdings of established artists. Kicking off the initiative was New York-based collector, curator and gallerist Charles Cowles’ decision to follow through on a gift he had long been contemplating: 101 photographs of MAM’s choice from his collection of almost a thousand. Spanning 1901 to the present, the girt broadened the collection’s historical base and gave MAM a solid foundation for its future collection of photographic works.
Among the works promised as part of MAM’s Power of Ten anniversary campaign were La Chevelure (The Mane), a 1945 painting by Wifredo Lam, the Cuban master who married Modernist form with the Afro-Cuban subject matter of his native land. Lam has long been considered a pivotal exemplar of the cross-cultural hybridization that has been so central to 20th century art and to MAWS mission. Works by the Chilean artist Alfredo Jaar and Miami-based José Bedia, both of whom were featured in solo exhibitions in the days when MAM was still the CFA, were also donated. This gift of two major 1987 paintings and their preparatory studies, En carne (In Flesh) and En espíritu (In Spirit) by Carlos Alfonzo, the Cuban-born artist who died of AIDS in Miami in 1991, and the photographic triptych, Waterlilies After Monet (2005), by Vik Muniz both acknowledged large-scale traveling exhibitions that had been organized by the museum. In addition, Ella Fontanals Cisneros promised to MAM a major new video installation, Triangle of Need, by Los Angeles-based artist Catherine Sullivan. A strong expression of faith in MAM’s future was the gift of three major outdoor pieces for the museum’s new home in Museum Park: Fernand Lèger’s 1951-52 Femmes au Perroquet (Women and Parrot), Niki de Saint Phalle’s 20-foot tall Red Nana (1995), both donations of Florida Marlins owner Jeffrey Loria, and Doug Aitken’s outdoor projection installation sleepwalkers (2007), a gift of the Arison Arts Foundation.
Increasingly, the “Dream Collection” of MAM’s early days is becoming a reality.
Um novo Museu em 2013:
The new Miami Art Museum (MAM) will be an anchor of the 29-acre Museum Park overlooking Biscayne Bay and will include public gardens and sculpture installations. Museum Park is Miami’s urban redesign vision for the area now known as Bicentennial Park. This vital downtown park, a catalyst for the transformation of the district, is central to efforts to strengthen Greater Miami’s momentum as an emerging global capital. A vibrant mix of green space and cultural offerings, in addition to landmark new facilities for MAM, the Park will also be the site of the future home of the Miami Science Museum.
The New Miami Art Museum
Designed by Herzog & de Meuron, the new Miami Art Museum will offer 200,000 square feet of programmable space, including 120,000 square feet of interior space – more than three times the size of the Museum’s current facility. It will also include approximately 80,000 square feet of exterior program space for the display of works of art, educational activities, relaxation and dining. This expansion will provide room for larger and more varied displays of the Museum’s collection and special exhibitions. The building will also house an educational complex with a library, auditorium, classrooms, and workshop space; and a café and store. The new design will stimulate and support collection growth and enable MAM to better fulfill its role as an educational resource for the city and beyond.
Herzog & de Meuron’s design for the new Miami Art Museum is highly responsive to Miami’s climate and the needs of a young, rising art museum. The three-story building will sit upon an elevated platform and below a canopy, both of which will extend far beyond the Museum’s walls, creating a shaded veranda and plazas. Working with local and international landscape designers and horticulturists, the architects will use this space to “bring the park into the museum” in new and innovative ways.
The interior of the Museum will comprise a series of distinct galleries and other public areas connected by a series of interstitial spaces displaying the permanent collection, allowing for a fluid visitor experience. Transparency on the first and third levels of the galleries will reveal the public and semi-public functions within: the entry halls, auditorium, shop and café on the first level and the education center and staff offices on the third. An open-air parking garage will be located beneath the Museum and surrounded by landscaping and terraces.
The permanent collection galleries will be located on the first and, principally, the second level, which will also house extensive temporary exhibition galleries. While mainly oriented inward so as to focus on the art, the second floor galleries will incorporate carefully placed windows to allow for natural light and views of the surrounding park and bay. The main gallery level of the new museum will appear to hover between more transparent levels, all of which will be shaded by the canopy above.
The canopy’s overhang will create a series of outdoor spaces that bridge the museum, park, and city. The canopy will be perforated to allow in light, and lush vegetation will literally be built into the columns, transforming the veranda into a multi-dimensional garden. The tropical plants enfolding the museum will be integral to the museum’s structural system. The microclimate of the areas under the canopy will be regulated through geothermal cooling of the exterior surfaces and by the canopy itself, one of the many “green” strategies being explored for the new museum. The design allows for multiple transitions, as visitors gradually move from the outside to the inside, hot to cold, humid to dry, and from the street or park to the art. A set of stairs the width of the Museum will link the building to the bay walk in Museum Park. Local natural resources, such as ground temperature, the wind, rain and the solar power, will be used to further reduce the building’s energy needs and environmental footprint.
In recognition of MAM’s role as an emerging and rapidly growing art museum, the architects have designed a building which can expand organically from within without major disruptions. As MAM’s collection continues to grow, additional walls and rooms can be added within the fluid interior volumes. In addition, discrete gallery expansions can be made, at a later date, without interruption of the Museum’s daily activities. Various options for a larger 25,000 square foot expansion with the museum’s site have also been explored in the need for future growth.
The people of Miami-Dade have approved $100 million in bonds towards the $220 million projected budget and the Museum is in the midst of a capital campaign to raise the balance.
THIS PROJECT IS SUPPORTED BY THE BUILDING BETTER COMMUNITIES BOND PROGRAM AND THE MAYOR AND BOARD OF COUNTY COMMISSIONERS OF MIAMI-DADE COUNTY.
Image: The new Miami Art Museum at Museum Park by Herzog & de Meuron (bay view). © Herzog & de Meuron, visualization by Artefactorylab.
Localização e Visitas:
Miami Art Museum is located in downtown Miami’s Cultural Center Plaza
101 West Flagler Street
Miami, Florida, 33130
Tuesday – Friday: 10am-5pm
Saturday and Sunday: Noon-5pm
Closed: Fourth of July; Veterens Day; Thanksgiving day and Friday, November 26, 2010; Christmas Eve and Christmas Day; and New Year’s Eve and New Year’s Day
Children under 12: Free
Students with valid ID: Free
Second Saturdays: Free
Combination ticket to MAM and HistoryMiami: $10
For Parents with Small Children
MAM permits strollers in galleries. Maximum stroller width: 36 inches.
For the safety of visitors, please note that MAM does not allow large bags and packages in the galleries. Size restrictions for bags and packages are posted in the lobby. You may check your bags at the front desk at no charge.